A Bargaining Battle Strategy

I think after a week of the WGA striking, that right now the task at hand is not how to get the writers what they want, but how to get both parties back to the bargaining table so they can come to some sort of compromise. So here's my suggestion and reasons why I propose this.

Most strikes are formed because of unfair working conditions, crappy health insurance, or just plain low pay. None of these are issues in this case. In fact, the pay writers receive on a weekly basis is not at all a problem. What is an issue is what the producer's do with the product after it's already made. This is not a production issue. It is a distribution issue. So, my question is: why has production come to a halt?

Here's my proposal to get them back to the table: For the producers, the writers will cease striking and go back to work with their usual salary. For the writers, all secondary distribution of all works will cease.

How is that fair or even making a point? Wouldn't it better to have writers stand outside the studio and refuse to work?

Well, actually no. Too many people are getting caught in the crossfire, and quite honestly, by not having production actually taking place, the producers aren't losing money, they're saving money. They already have things in the can to show. I've already pointed out what Hollywood believes—give people only shit, they take shit. The producers have a lot of shit. They will air it. And they will continue to get money as will the writers. Meanwhile, the hundreds of thousands of people who don't have jobs get nothing.

But here's a productive way to strike, and a way to prove a point—and the only people hurt are the people the writers want to hurt—the producers: If the writer's go back to work now and continue writing, they will continue to produce and the producers will continue to pay money out to the employees. But, by not allowing any distribution of any new work beyond first the run until the contract is signed (or maybe not even the first run), means the producers will now lose money. By stopping all internet shows, we also prove a point: if the producers make no money, it's no loss to them—no big deal. They should agree to it wholeheartedly. If they do take a hit, then clearly it was worth the writers fighting for a cut of that cash.

Let's face it: if no distribution can occur right when the holiday shopping season begins, what better away to put pressure on the producers? See, that's why the producers really don't care about the strike. It's not hurting them. They are still selling DVD's and getting their big piece of the pie. They are still airing shows on the internet and making a windfall (if it is true, which is still to be determined). So rather than stop production, STOP DISTRIBUTION.

Now that's a strike worth having—a trident missile, aimed right for the heart of the matter with no casualties inflicted beyond those actually fighting the war.