Thought I'd give this it's own thread; there's a great video rant in it too!
http://sitcomgeek.blogspot.com/2011/01/business-of-not-getting-paid.html
Getting Paid
It's a weird situation. As a nothing, the money doesn't even come into it, I'm always a little taken aback when money is actually brought up, it never having crossed my mind. But when you think about it, that's wrong, you should be paid if you're working. I had a sitcom recently, with a major prod company, that went through about eight drafts, then was pitched to channels, and was ummed and ahhed over for quite a while at the BBC, and I never recieved a penny. It never crossed my mind during the whole thing that I would get any money, but you read articles like the one above and you can't help thinking that it's wrong, you should get paid something.
Of course, having said all that, I'll do it all again for not a bean.
I suppose there have always been spec scripts written and then pitched to be optioned. This process just seems to be a lot of meetings ahead of that process whereby people who often shouldn't be are meddling in the creative process. The scene with the 'writer' assigned to help Eric and Ernie in the drama the other night was, in some ways, a picture of a better time. Which is worrying. Luckily there are a lot of good people too in the biz.
An agent is more use, but that is a bit catch 22 I guess.
An agent is definitely of use, as obviously they want and expect to get money! Even with one, you end up doing things for no money; I think that's just how it goes.
I'm not a money grabbing fiend, I have to point out! The article just made sense. I will continue to stumble along not expecting any money, and being happily surprised when any falls my way!
Quote: Matthew Stott @ January 3 2011, 1:53 PM GMTEven with one, you end up doing things for no money; I think that's just how it goes.
I totally agree. Probably even more so in the comedy world. More chance getting wedge upfront with a drama pitch or concept. Sitcom - write the thing as best you can first is the way to go I reckon - even if you are a name. Too much fiddling around upfront and the climax can be a bit of a letdown. But make sure it is only fifteen minutes long and write three episodes! [ 
]
I NEVER tire of seeing that video.
So many writers, regardless of their experience, have absolutely no idea of their true value. And since they'll always be someone happy to work for nothing just to get a break, it's an industry that expects everything, and gives out very little in return.
The weird thing is the more ridiculous and unprofitable scheme I'm involved in the faster I get paid.
In some cases I've been rather embarassed about taking money for absolute rubbish that was going nowhere.....
Writers shouldn't feel that hard done by for not receiving payment. It's certainly not a unique situation.
A friend of mine is a professional snooker player, he doesn't get paid to practise - and that's work.
When I started my business, I was working 16-hour days - didn't get paid.
That's the way it is, deal with it. If you can't handle it - f**k off.
Quote: don rushmore @ January 3 2011, 4:13 PM GMTA friend of mine is a professional snooker player, he doesn't get paid to practise - and that's work.
That's not really the same thing.
At least, as an unpaid writer, in a meeting, you're potentially making new contacts - and that's priceless.
So every cloud ...
I was watching the film 'Trainspotting', last night, and I was wondering, how much would a first-time writer make for writing a film that was as successful as that was?
I suppose it depends what kind of deal was struck; if in the contract they get some sort of percentage of the profits.
It is also quite empowering sometimes not to be paid.
I have been empowered like that a few times 
What I don't like is when some people try to get a writer to sign an option on a sitcom pilot or somesuch for a year say - without paying them a bean! How does that work?
Quote: Matthew Stott @ January 4 2011, 12:08 PM GMTI suppose it depends what kind of deal was struck; if in the contract they get some sort of percentage of the profits.
Wouldn't a writer get any kind of bonus, if the film was a massive hit? I mean, take 'The Blair Witch Project' for example, it cost peanuts to make, but obviously made a huge amount.