City Agencies Join WGAE To Launch “Made In NY Writers Room” Program To Increase Diversity in NYC’s TV Writers’ Rooms

Made in NY LOGO v2

Intensive six-month fellowship will provide talented writers from diverse backgrounds with the tools they need to excel in NYC’s booming television industry

 Creatives from hit shows including House of Cards, Empire, Billions and The Affair to serve as mentors to up-and-coming writers

New York—The Mayor’s Office of Media and Entertainment (MOME), the New York City Department of Small Business Services (SBS) and the Writers Guild of America, East (WGAE) today announced the launch of the Made in NY Writers Room. This bold new initiative will establish a fellowship program to provide intensive support to writers of diverse backgrounds and perspectives in New York City, and amplify their voices in the entertainment industry. The program also aims to increase the number of television productions written in New York City, which has not kept pace with the record number of series now filmed in NYC. The Made in NY Writers Room will be available to New York City-based writers through a competitive application process, which opens for submissions on September 15, 2016.

“Increasing access to opportunities for people from all backgrounds in New York City’s thriving entertainment industry is one of our agency’s top priorities, and the Made in NY Writers Room program is an important initiative in furtherance of that goal,” said MOME Commissioner Julie Menin. “Recipients of this fellowship will receive unparalleled opportunities to learn first-hand from leaders in the entertainment world, and receive useful feedback on their works-in-progress. I look forward to seeing terrific results from this strong and groundbreaking partnership.”

“Every day, SBS is carrying out the Mayor’s plan to build a more vibrant and inclusive economy, by opening doors to economic opportunity for all New Yorkers,” said Gregg Bishop, Commissioner of the Department of Small Business Services.  “The Made in NY Writers Room is an excellent example of how SBS partners with other City agencies and industry leaders to create programs that advance careers – and support a diverse, competitive workforce.”

“As a matter of social justice and industry self-interest, it is imperative that stories told on television-and its digital equivalent-reflect the diversity of audiences. The best way to do that is to have diverse voices in writing rooms,” said Lowell Peterson, Executive Director of the Writers Guild of America, East. “We are deeply pleased that WGAE showrunner members are committed to sharing their experience, their wisdom and their industry chops with the Made in NY Writers Room fellows.  The six-month fellowships will give a dozen up-and-coming writers unparalleled insight in how to finalize production-ready scripts and how to bring them to fruition on the small screen.”

Scripted television production is booming in New York City: a record-breaking 52 series were filmed here during the 2015-16 season, with surging growth in the industry driven by the proliferation of networks and platforms commissioning scripted content. While this unprecedented volume creates immense opportunities, the prospects for women, people of color, and those from underserved communities who are interested in writing for television are more limited. A recent study by the WGA West analyzing entertainment industry employment data through 2014 shows the share of television employment of minority writers was 13 percent, while women writers made up 29 percent of the workforce. Given these numbers, creating opportunities for writers of diverse backgrounds helps foster a more inclusive environment both on set and on camera and one that is more reflective of our diverse society.

To that end, the Made in NY Writers Room program will propel the careers of talented, high-achieving writers whose unique perspectives are currently under-represented in the television writing profession. Through a competitive application process, up to 12 applicants, applying either as an individual or a writing team of two, will participate in a six-month fellowship. Participants in the program will be assigned to a dedicated mentor, who is an established New York City-based showrunner. Confirmed mentors include Sarah Treem (The Affair), Lee Daniels (Empire), Beau Willimon (House of Cards), Julie Klausner (Difficult People), Julie Martin (Law & Order: Special Victims Unit), Brian Koppelman (Billions), David Levien (Billions) and Richard LaGravenese (The Divide). This mentorship will provide an unprecedented opportunity for writers to learn what it takes to succeed in the industry here in New York City, and to receive feedback on their works in progress. Participants will also receive additional professional development opportunities and industry feedback, with the goal of developing an original drama or comedy pilot ready for production at the end of the fellowship period.

“I’m grateful to Mayor de Blasio and his administration for supporting this program,” said Beau Willimon, Creator of the Netflix original series House of Cards. “By offering mentorship to aspiring writers we can continue to grow the TV industry in New York and diversify the stories that we tell.”

“As New York City continues to become a destination for entertainment, we must ensure that our homegrown writers and producers have the opportunities and resources they need to be successful in the television and movie industry,” said Public Advocate Letitia James. “The Made in NY Writers Room will provide in-depth curriculum and experiences to New Yorkers from a wide variety of backgrounds that will enable them to thrive. We must support programs that will attract and maintain this type of talent to ensure New York continues to be a leader in this space.”

“New York is a storied city, but it’s New Yorkers who have the stories to tell,” said New York City Council Speaker Melissa Mark-Viverito. “The Made in NY Writers Room is a vital step forward in diversifying the experiences we see reflected onscreen. I applaud the Writers Guild of America, East (WGAE) and the administration of Mayor de Blasio for collaborating on such a valuable mentorship program.”

“Bringing diversity to television should always be paramount, especially in creative industries, as it provides for varying perspectives,” said Assemblyman Joseph R. Lentol. “Luckily, my district is home to two of the greatest television studios in the world – Steiner Studios and Broadway Stages – so I welcome the fellows of the Made in NY Writers Room to my district with open arms.”

“I’m glad that MOME, SBS, and WGAE are taking a proactive approach to increasing diversity in NYC’s television industry. I’m optimistic that the Made in NY Writers Room program will have a significant impact in addressing issues of opportunity in the entertainment industry,” said Council Member James Vacca, Chair of the New York City Committee on Technology.

“In order for the media industry to become more diverse, there needs to be roles written for actors and actresses from diverse backgrounds that are outside of the mold. The new “Made in NY Writers Room” initiative will empower writers and hopefully elevate scripts that will diversify this industry,” said Council Member Ritchie Torres.

“The shows that are written and shot in New York City are seen all over the world. When the television industry promotes diversity, it makes their content better and it has a positive, far-reaching influence on workplaces across the country. I thank the Mayor’s Office of Media and Entertainment, the New York City Department of Small Business Services and the Writers Guild of America, East for strengthening a culture of diversity in our entertainment industry with this fellowship program,” said Council Member Corey Johnson.

“The Greater Harlem Chamber of Commerce congratulates the Mayor’s Office of Media and Entertainment and the New York City Department of Small Business Services for joining with the Writers Guild of America, East to establish the Made in NY Writers Room,” said Greater Harlem Chamber of Commerce President Lloyd Williams. “We applaud the collective effort to provide increased opportunities to twelve writers of diverse backgrounds in New York City, and to promote strengthening their presence in the entertainment industry.”

The submission period for applications to the Made in NY Writers Room program will open on September 15, 2016 and close at 11:59 p.m. ET on October 20, 2016.  No more than 500 applications will be reviewed for the fellowship, and the submission period will close at either the 500-application capacity or at the submission deadline, whichever occurs first.

The 6-month fellowship is expected to begin in June 2017 and continue through December 2017. Final dates will be dependent on various factors including mentor schedules.

For more information on the Made in NY Writers Room, including program and eligibility guidelines, please visit:


About the Mayor’s Office of Media and Entertainment
The Mayor’s Office of Media and Entertainment (MOME) is comprised of two divisions. The Office of Film, Theatre and Broadcasting encompasses film, television, radio, theatre, music, advertising, publishing, digital content and real estate as it relates to the creation of creative content. It serves as a one-stop shop for the entertainment industry. The Office promotes New York City as a thriving center of creativity, issuing permits for productions filming on public property, and facilitating production throughout the five boroughs. The Agency also oversees NYC Media, the City’s official broadcast network and media production group, which has a reach of over 18 million people and provides programming for six local cable stations, including award-winning programs on the popular NYC Life (channel 25), as well as one radio station.  For more information, please visit:

About the NYC Department of Small Business Services
The Department of Small Business Services (SBS) helps unlock economic potential and create economic security for all New Yorkers by connecting New Yorkers to good jobs, creating stronger businesses and building a fairer economy in neighborhoods across the five boroughs. For more information, please visit:

About the Writers Guild of America, East
The Writers Guild of America, East, (WGAE) is a labor union of thousands of professionals who are the primary creators of what is seen or heard on television and film in the U.S., as well as the writers of a growing portion of original digital media content. Our members write everything from big budget movies to independent films, late night comedy/variety shows to daytime serials, broadcast and radio news, web series, documentaries, and animation. The WGAE works on their behalf to promote and protect the professional and artistic interests of this diverse community. On joining the Guild, writers from an extraordinarily vast range of backgrounds and abilities unite to promote, protect, and maintain important artistic and professional principles. The Guild’s assistance is provided regardless of the writers’ degree of success.  For more information, please visit:

RIP Arthur Daley

Writers Guild of America, East is sad to announce the passing of long time council member Arthur Daley.

Daley served on the WGAE council since 2008. He joined the Guild in 1997 after he became a writer and producer for WCBS-TV in New York City. He also wrote for CNN and WABC, among other broadcasters.

“Art Daley was a great friend and a consummate professional.  I am proud to have known him, worked beside him and served with him on the WGA East Council,” said Ted Schreiber, a fellow council member of Writers Guild of America, East. “Earning Art’s respect as a writer was the most important badge of honor that I will ever earn in the news business.   As a colleague he made a point of looking out for his co-workers.  He wasn’t going to let anyone on his team step into the path of an oncoming train.  He was the guy you checked with to make sure you were doing things the right way.  Art was also a badass.  We loved to trade mp3’s – I’d give him reggae and classic rock – and he’d give me the most obnoxious punk rock ever recorded.  He loved his family, loved his co-workers – and he loved music.”

Pattern of Demands Voting Results

Last month, in preparation for our upcoming negotiations with the AMPTP for a new Minimum Basic Agreement, members of the WGAE and WGAW were asked to vote on a Pattern of Demands. Recommended unanimously by the WGA Negotiating Committee and by the governing bodies of both Guilds, the Pattern of Demands outlined the general objectives to be pursued during our contract talks. This year, for the first time, voting was conducted online, and an overwhelming 98% voted to approve the Pattern.

Are You a Victim of Wage Theft?

When an employer refuses to pay you all of the money you are legally owed under US Labor Law, that employer is stealing your wages.Common forms of wage theft in non-fiction TV are   *non-payment of overtime,   *not paying for all the hours worked,   *and misclassifying of employees.

While wage theft occurs in every income-tax bracket, and in many industries, it is the norm in non-fiction TV production.Take action here!

Executive Director’s Update

As I set out to describe the state of the union, I find myself reflecting on the State of the Union, and what that means for writers.  As important as it is for the Writers Guild of America, East to do well at our basic tasks (negotiating and enforcing contracts, administering residuals and credits, collecting dues, etc.), it is increasingly clear that broader economic and political forces affect our work and our members.

I don’t think it is enough to blame President Obama or Speaker Boehner for the strange stalemate in Washington, or to wring our hands at the full-bore attacks on teachers, pensions, and unions taking place in state capitals around the country.  Even though corporate profits are up and mega-companies are sitting on huge piles of cash, unemployment remains high and that affects American politics.  What is missing is the countervailing force of people like us.  We need to put the “movement” back in the labor movement.

Which is not to say that your hard-earned dues money should be redirected to abstract or tangential causes.  It is precisely by doing our work efficiently and effectively that the WGAE can help revitalize the American conversation.  By making a real difference in the professional and creative lives of writers, we demonstrate that it is not necessary to surrender our economic and political fates to a handful of powerful financiers whose loyalty is to their own bank accounts and not to the common good.

Concretely, here are some of the things we are doing this autumn and winter:


We have devoted a lot of effort and resources to organizing, to bringing Guild coverage to more writers and projects.  Recently, the writers at the Onion News Network stood together and won a first-ever Guild contract.  Writers and writer-producers at four nonfiction basic cable production companies voted for Guild representation, and we have started negotiations at two of those shops.  These folks have labored for years without health or pension benefits, working long hours with no protections.  The struggle to win good contracts will be long and hard, and we will call upon all Guild members to support their colleagues in this historically non-union world.  We continue to sign up digital media entities and to participate in the development of that part of the industry; at some point, perhaps very soon, significant amounts of money will flow into this space, and it is important that the Guild and its members be there when it does.

Collective bargaining

Negotiations for a new Minimum Basic Agreement concluded in March.  The producers agreed to increase minimum compensation and to bolster the economic health of the Producers-Writers Guild of America Pension Plan by increasing the contribution rate.  We are currently negotiating agreements with Hello Doggie (producers of The Daily Show with Jon Stewart and The Colbert Report), 1010 WINS, and the web operations at WBBM in Chicago.   

Training, programs, and events

We have designed another series of classes, panel discussions, and seminars on digital media, which we hope will be funded by the Consortium for Worker Education.  These programs will offer hands-on skills training in Final Cut Pro, digital journalism, transmedia production, web TV, and social media.  We continue to present screenings, screenplay readings, panel discussions, and other programs relevant to members in film, television, and broadcast news, and we are putting together a revamped WGA Awards program for February 2012.

Political work

We have mobilized members to advocate funding for public broadcasting, improved election procedures at the National Labor Relations Board, financial support for television writing, net neutrality, and other issues directly relevant to the interests of writers and other creators.  Members recently participated in rallies and protests called by the AFL-CIO, the Communications Workers of America, and other labor groups; solidarity is alive and well at the WGAE.


We continuously evaluate Guild operations to make them as efficient as possible.  The reality is that we are spending more on operations than we collect in dues.  We are fortunate to have a rainy day fund in the form of long-accumulated savings.  We believe now is the time to build and grow the union through organizing and through events and programs that bring members together and enhance their skills as our industries continue to transform.  Lowell PetersonExecutive Director

Writers March in Labor Day Parade


Members gave many reasons for marching in NYC’s annual Labor Day Parade “Unions built the middle class and they are the only hope of preserving it” said David Auburn (pictured below left with John Yarbrough). “People fought long and hard for our rights” said Tom Kemnitz (pictured above left with Marygrace O’Shea). Members offered suggestions for Guild appropriate chants– movie quotes including  “May the Schwartz be with you!” and “We’re mad as hell and we’re not going to take this anymore!”.View more pictures from the parade.

Report to Council and Members May 2011

    The last twelve months at the WGAE were extraordinary.  We negotiated three major collective bargaining agreements, moved the entire operation to new space, presented a wide range of programs for members’ education and entertainment, presented our annual Awards with panache, organized many new companies, and extended our political work.  We have worked closely with our members in feature film, prime time and comedy-variety television, and news, and have continued to strengthen ourselves in digital, cable, and public television.  

     Our aspiration is to make the Writers Guild is the center of writers’ professional and creative lives.  This means negotiating and enforcing collective bargaining agreements that ensure good pay, benefits, residuals, and other important financial and creative terms.  It means providing opportunities for members, and potential members, to socialize and network, to learn and have fun together.  It means educating ourselves – staff, leaders, and rank and file – about the changing realities of our industries.  Increasingly, it means trying to enhance members’ employment opportunities in digital media, public media, independent film, and commercial television and film.

       This last piece (enhancing employment opportunities) has not historically been a focus of the Guild, and we are still exploring ways to accomplish it.  We have approached foundations about funding short-form public affairs programs made for the internet.  We have lobbied Congress to increase appropriations for public television programs.  We are trying to create tax incentives for writing work.  And we have presented Final Cut Pro training so members can offer more skills to potential employers.  We are still learning how to do this work, but I think it will be an important part of our efforts to ensure that the Guild remains vital to writers in the years ahead.   

The Move Downtown    One of the more concrete manifestations of the WGAE’s transformation is our move to new space on 250 Hudson Street in Manhattan.  We took advantage of a soft real estate market to negotiate a 15-year lease with reasonable rent and significant landlord contributions to the cost of a build-out.  Assistant Executive Director Marsha Seeman led this effort.  Our new offices are much more convenient to public transportation and are in a neighborhood full of media companies.  We worked closely with our architects to create a space that is open and full of light.  The layout encourages collaboration among Guild staffers, demonstrates our commitment to transparency, and invites members in.  Two of the conference rooms can be opened into a large event space, and there is a writers’ room that members can sign up to use, free of charge.  Many hundreds of members have attended seminars, committee meetings, training sessions, receptions, and social gatherings at the new location; with better weather, we will also host some events on the spectacular rooftop deck we share with other tenants.  

Political Work    Director of Communications Elana Levin implemented our first comprehensive online activism program, including online action pages to campaigns on social networking sites like twitter.  Using this new advocacy platform, we asked members and other supporters to email regulators and elected representatives about issues that are vital to writers and other creators.  Members strongly encouraged Commissioners and staffers of the Federal Communications Commission and White House executives to support net neutrality.   Approximately 600 members and supporters used our webpage to send a message to their Congress people not to reduce federal funding for the Corporation for Public Broadcasting.  These activities were important because they developed our capacity to communicate about substantive issues that affect Guild members and the public, they energized broad cross-sections of the membership, they developed a community of activists ready to support the Guild, and they increased our profile in our nation’s capital.  The more that elected and appointed officials hear from the Guild and its members, the more they will listen to us in the future.

    Of course, e-activism is not a substitute for in-person conversation.  Our lobbyist Richard Winsten and I held meetings with state senators and assembly persons in Albany, the Bronx, Long Island, Staten Island, and Manhattan to discuss how the state tax credits for film and television production affect writers.  Councilmember Marta Gibbons and WGAE business representative Jeff Schioppa journeyed to Albany for another round of meetings, joined by Richard and his colleague Deanne Braveman.  A contingent of public television writers went to Washington with Lead Strategic Organizer Ursula Lawrence to meet with members of the House of Representatives, encouraging them to support continued funding for public media.

Collective Bargaining Agreements        CBS News    After long and difficult negotiations and a number of shop-floor actions by members, we reached agreement with CBS on a new three-year contract covering full- and part-time news employees.  I was the lead negotiator, with enormous contributions from the East and West Guild members on the bargaining committee and from Assistant Executive Director Ruth Gallo and Business Agent Jeff Schioppa.  We made some major gains:  For the first time, full-time staffers participate in the WGA pension fund; there was a 2% increase in salary scales in the first year of the contract (while most other unions at CBS faced wage freezes); there is another 2% increase in April 2012;  part-time “temps” will get an additional 2 % over the life of the contract; the acting editor fee was bumped up; assistant producers and production assistants in Chicago will get an extra pay hike; and many producers will be offered significant wage increases while others will have their overscale salaries protected for two years.  We won minimum representation percentages at the local television stations.  We staved off most of the company’s proposed rollbacks, but the agreement did include concessions:  the paid lunch will be reduced from an hour to a half-hour and staffers who work between 5 a.m. and 7 a.m. will lose night shift differential for those hours.

     It was a very challenging time to negotiate for broadcast news employees.  Despite that, we achieved our main goals of realizing economic gains and ensuring that the Guild and our members have a meaningful presence at CBS as the broadcast news business is transformed in coming years.  The agreement was ratified by 83% of the voting CBS members, East and West.

     Public Television     We bargained a new agreement between the WGA and the three major producers of public television programming:  WGBH, WNET, and KCET.  I was the lead negotiator, with extraordinarily helpful work by the many Guild members on the negotiating committee and by Assistant Executive Director Ruth Gallo and Business Agent Geoff Betts.  WGAE President Michael Winship, himself a long-time public television writer, was also an active participant.

     Negotiating this agreement was a long and difficult process.  The producers started with a very aggressive set of demands which would have gutted the entire contract.  Our members got active quickly and effectively – reaching out to their peers, meeting with members of Congress, and participating at the bargaining table.  The result was a contract that we can be proud of, particularly since public television budgets have been hard hit by declines in corporate and charitable giving.

    The agreement brought three annual increases of 2%, 2.75%, and 2.75%.  Most importantly, we achieved our main goal: to ensure that Guild members continue to be the folks who write the best public programs as distribution shifts from television to the Internet.  The new media jurisdiction provisions we gained were carefully negotiated over the course of many months and they will preserve the Guild’s place in the new world of “public media”.  We also preserved payments for digital reuse that remain significantly more generous, in practice, than those set forth in the MBA; this is because they are based on minimums, not on revenues.

     There were a number of other changes, as well, including reductions in payments for reuse of programs after the first three-year “use period.”  Our members told us they anticipated earning more money, on average, with these changes because the current rates often serve as barrier to reuse of library material. In practice, only the most popular shows have been reused while the rest remain on the shelf.  This agreement was ratified unanimously by the voting public television members, East and West.

     Minimum Basic Agreement     The collective bargaining agreement between the Writers Guild and the Association of Motion Picture and Television Producers (the “AMPTP”) was set to expire on May 1, 2011, and we negotiated a tentative agreement on new terms in mid-March.  Negotiations took place against the backdrop of the long and successful Writers Guild strike in 2007-2008 and of contracts negotiated in the Fall of 2010 by the Screen Actors Guild, the American Federation of Radio and Television Employees, and the Directors Guild of America.  WGAW Executive Director David Young was the lead negotiator and the negotiating committee was comprised of screen and television writers from both the WGAW and the WGAE.

     The most important feature of the new contract is an increase in the rate of contributions to the Producer-Writers Guild of America Pension Plan of at least 1.5%, which became necessary to the plan’s long-term financial health after the recent meltdown in capital markets.  Most minimums (e.g., script fees) will increase by 2% in each of the contract’s three years, and we made gains in residuals for pay television programs.  We agreed to freeze network television residuals.  More details of the agreement are available to members on the WGAE web site.

     The agreement was ratified by more than 90% of the voting members, and took effect on May 1.

Nonfiction Basic Cable     For years there has been an active community of writers and writer-producers working on nonfiction basic cable programs, without Writers Guild representation.  Hundreds of talented, experienced people toil long hours for mediocre pay and no benefits, making shows for networks such as Discovery, National Geographic, The History Channel, and others.  The WGAE organizing department started meeting with these folks more than a year ago and patiently built support for Guild representation.  Rather than trying to organize one small shop at a time we decided to file election petitions at the National Labor Relations Board at a number of companies at the same time, to build a critical mass of Guild representation.  The NLRB has already certified the WGAE as the representative of employees at Atlas Media and Lion Television.  We won majority votes at ITV Studios and anticipate a majority of ballots at Optomen Productions, although those employers have tied up certification with meritless challenges and objections. 

    We expect to begin negotiations with Atlas, Lion, and the other companies soon.  We recognize the importance of improving conditions at a number of shops at the same time, and our strategy involves mobilization of employees, conversations with government agencies that enforce wage and hour laws, and other creative approaches.  Director of Organizing Justin Molito and Organizer Tim Tharp have devoted countless hours to this work.Digital Media    At this point the financial and creative models for digital media are mostly unformed.  Some money is flowing to some projects but the structure of distribution and compensation, the ways that viewers find content they enjoy and pay for it, the methods of developing programs, the career paths and narrative devices – all are in flux.  This is the opportune time for the WGAE and its members to be active, to help develop the models, and to ensure that the creators’ interests are articulated and advanced.

     We continue to organize and to educate ourselves.  As of April 2011 we had signed about 70 digital media production entities.  We inaugurated two new media awards at the 2011 Writers Guild Awards ceremony.  Our ongoing Digital Media Education Program featured more than a dozen seminars, panels, roundtables, hands-on skills courses, and so forth.  We trained many members to use Final Cut Pro and presented a Digital Day Camp at which nearly 150 members learned digital skills and discussed the business.  We presented panels and seminars on how intellectual property law works in the digital world and on branded content.   We recently received a funding commitment from the Consortium for Worker Education for more digital training programs, and we are designing the courses now.

      In January we relaunched the WGAE’s publication on the craft of writing in a new digital format; OnWriting ONLINE will be a series of interviews with prominent writers.  In the first edition Jamal Joseph interviewed Tony Gilroy and Terry George, and the result (which is viewable on our website) was informative and entertaining.

     In February we organized a Digital Roundtable at which members from both the digital and traditional worlds talked with people who commission, produce, and distribute digital content.  Members got practical advice about how to get paid for digital work, and business folks heard why it is important to use skilled story-tellers: viewers will be attracted to compelling content, which is what our members create.  In March we invited members to practice pitching their ideas for web television programs to a panel of digital media experts.

     We do not yet know exactly how digital technology will transform our industries, but we know that this future will arrive whether we are prepared for it or not.  I hope, and believe, that ten years from now members will look back on this era and conclude that the WGAE made the right moves at the right time to ensure that writers have more creative options than ever, and are fairly compensated for their work.  Lowell PetersonExecutive Director

Council Nominations Open, 2011 Annual Meeting Announced

Dear Member:The Annual Meeting and election of Council Members, including the offices of President, Vice President, and Secretary-Treasurer, will be held on Thursday, September 15, 2011.Enclosed you will find a nomination form and directions.  Any current member is entitled to nominate candidates for the Council and for the officer positions. Nine Council seats expire this year: six freelance and three staff.  The terms of the President, Vice President, and Secretary-Treasurer expire as well.  The terms of office will run for two years beginning September 16, 2011.  Any current member in good standing for one year preceding the election is qualified to run.The following Council members’ seats do not expire this year, so they should not be nominated for Council:Freelance:  John Auerbach, Andrew Bergman, Walter Bernstein, Terry George, Gina Gionfriddo, Jeremy PikserStaff:  Art Daley, Marta Gibbons, Ted Schreiber, Catherine TwohillIf you would like to nominate and candidates, please return your nomination form to the Guild in the enclosed envelope.  It must be received no later than May 12, 2011.  You must print and sign your name on the form in order for it to be valid.If you have any questions about the election procedures, please contact Rebecca Olerich at 212-767-7835 or Sincerely, Lowell Peterson,Executive Director

Unions Must Change as American Workers Move from the Factory to the ‘Information Economy’

Executive Director Lowell Peterson explains to Alternet how the WGAE is able to build professional and economic solidarity even in the absence of large worksites where people have daily contact with each other. Read his article.

Writers Guild of America, East Supports Public Employees in Wisconsin

The Writers Guild of America, East (WGAE) supports the efforts of public employee unions in the state of Wisconsin to retain their right to engage in collective bargaining. The WGAE opposes legislation pushed by Wisconsin Governor Scott Walker which would remove almost all workplace issues from the bargaining table and would force every public employee union to fight for its survival, year in and year out.

“Just as the labor movement speaks truth to power, we think it is important for people in power to speak the truth,” said WGAE Executive Director Lowell Peterson. “Governor Walker proclaims that all he wants is to slash costs and save money for Wisconsin taxpayers, but the inconvenient truth is that the public employee unions he seeks to destroy have already agreed to the givebacks he has proposed. His bluff has been called – what he really wants is to wipe out the voice of the hundreds of thousands of hard-working Wisconsin public employees who have exercised their right to form unions.”

“Governor Walker’s attempt to wipe out collective bargaining for public employees in his state is part of a national campaign to destroy unions as the most effective and powerful progressive force in America,” said WGAE President Michael Winship. “Public employees – in fact, all Americans – have a fundamental right to join unions and to engage in collective bargaining over the full range of issues they face on the job. That right has not only created and upheld the American middle class, but also offered hope and possibility to anyone anywhere who seeks fairness and equality.”

Peterson and Winship added, “We urge our members and all concerned Americans to join the solidarity actions that have been scheduled across the country, including tomorrow’s rally at noon in front of City Hall in New York.”

The Writers Guild of America, East, AFL-CIO, is a labor union representing writers in motion pictures, television, cable, digital media, and broadcast news. The WGAE conducts programs, seminars, and events on issues of interest to, and on behalf of, writers. In addition, it represents writers’ interests on the legislative level.  For more information on the Writers Guild of America, East, visit