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US: Reality Show Writers Want to Unionize

by Richard VerrierOrlando Sentinel
June 22nd, 2005

 

LOS ANGELES -- The guild representing Hollywood writers has disclosed that more than 75 percent of the scribes on TV reality shows have signed cards asking to be represented by the union.

The campaign sets up a potential showdown with the companies behind such programs as Survivor, The Amazing Race and The Bachelor.

The Writers Guild of America, West, said about 1,000 reality TV writers, producers and editors out of an estimated 1,300 have requested since May 7 to join the union. Guild officials said they had sent letters to all the major production companies asking to negotiate, but none responded.

Organizing writers on reality TV shows brings to light what has been one of the proliferating genre's open secrets: that so-called unscripted shows often are scripted after all.

Behind the scenes of popular reality shows, writers craft game formats, coach contestants and feed lines to such stars as Paris Hilton in Fox's The Simple Life.

Writers also splice together comments to create story lines and manufacture drama. In industry parlance, it's an editing process known as "Frankenbite."

Because writers are deeply involved in the dozens of reality shows, union leaders argue, they should get similar pay and benefits as writers on conventional programs.

"These are issues of justice for these writers," said Daniel Petrie Jr., president of the WGA, West. He described reality TV as a "sweatshop" for writers. "We've heard stories of people working three or four days at a stretch with an hour and a half sleep at night, or 23-hour days in 100-degree heat with no overtime."

J. Nicholas Counter, president of the Alliance of Motion Picture and Television Producers, the industry's negotiating arm, disputed the sweatshop claims.

"I know people in the television business generally work long hours," Counter said. "I'm not aware of any exploitation."

The popularity of Survivor and other reality shows triggered an explosion of programs on network and cable TV. Production costs usually are cheaper than network dramas and sitcoms, although the amount of money paid in licensing fees for shows from such top producers as Mark Burnett has soared dramatically.

Writers who work on prime-time scripted shows receive a guaranteed 13-week pay of $3,477 a week, plus pension, health and residual payments. By contrast, those who work in reality shows typically earn from $700 to $1,200 a week. Unlike other writers, they typically do not receive pension, health insurance or residuals and usually work for two to three months per job, according to the guild.

"We're making shows that make these networks millions and we can't afford a middle-class lifestyle," said Rebecca Hertz, a field producer who has worked on The Swan for Fox. "We think it's time for that to end."






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