I watched the stuntmen rehearse the climactic sword fight (in the lobby of the ST ELSEWHERE set, as it turned out), and I was present when they shot that scene and someone zigged when he should have zagged and a stuntman’s nose was cut off… a visceral lesson as to the kind of thing that can go wrong. “The Last Defender of Camelot” was the first of my scripts to go into production, and I was on set every day. “I wrote five scripts during my season and a half on, and I was deeply involved in every aspect of every one of them,” he said. You could tell, because it was the only job with “writer” in the title).Īs a Staff Writer on The Twilight Zone, Martin’s work didn’t end when he finished the script. (In the 80s, Staff Writer was the lowest rung on the ladder. Before I quite knew what had happened, I was on my way to LA with a six-week deal as a Staff Writer, at the Guild minimum salary, scripts against. So much so that within days of delivery, I got an offer to come on staff. I decided to give it a shot… and Phil and his team liked what I did. A freelance script that was how you began back then. Much as I enjoyed television, I never dreamt of writing for it until 1985, when CBS decided to launch a new version of THE TWILIGHT ZONE, and executive producer Phil DeGuere invited me to write an episode for them. For the first fourteen years of my career, I wrote only prose a few novels, and lots of stories for ANALOG, ASIMOV’S, and various other SF magazines and anthologies. Things were different when Martin was a working writer in Hollywood, as he explained:Ī look at my own career may be instructive. This is a new trend that largely came about in the streaming age, when seasons of television generally have fewer episodes than before. What exactly are “mini-rooms,” you may ask? In short, they’re highly condensed versions of a traditional television writers room writers gather to pound out scripts for a few weeks, and then most of them are essentially let go to go find other gigs while a few senior writers take those scripts and oversee them getting put into production. “I want to say a few words about what I think is THE most important issue in the current writers’ strike: the so-called ‘mini rooms’ that the Guild is hoping to abolish, and the terrible impact they are having on writers at the start of their careers,” Martin wrote on his Not A Blog.
Martin explains why “mini-rooms” are destroying the screenwriting career path Yesterday, he posted about what he sees as the most pressing concern the striking writers have. So when Martin speaks up about this stuff, he knows what he’s talking about.
Martin himself has been a member of the guild for quite some time he worked in Hollywood for around a decade before he began writing the Game of Thrones books, which he also helped adapt for TV. Martin took to his blog to weigh in on the strike, voicing his “full and complete and unequivocal support” for the WGA. The other day, A Song of Ice and Fire author George R.R. The Writer’s Guild of America strike continues! Last week, the Hollywood writers of the WGA put down their pens and took to the picket line to campaign on a bunch of important issues, from more job security to regulations on the use of AI to better residual payments from streaming companies.
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