My feeling on this is that a credit is a credit, and more importantly, you don't know how the film is going to turn out. And, even if you hate it, sometimes your own perception can be skewed by being too close to it. There have been plenty of things that I edited that I wasn't sure of, but that got good critical reception, and some things I loved that didn't get response.

The movie business isn't a place that likes pride or anyone having absolute creative control. Sometimes working on something mediocre, especially if you get along well with others, proves that you're willing to work for a living and compromise, these are traits you want to have.

I'm actually in this situation right now, poised to (hopefully) undo the bad work done by an untalented writer on my own script - so thank you, Scott, for the timely and helpful perspective.

How much leeway I get in the rewrite (from the film's first-time director) will determine what I'll ultimately do about the credit, so basically... fingers are crossed.

Go for the credit. You'll have one up on most people.

Collaboration is a fragile dance. It can be tough when people change your words... even when it's for the better (I'm not saying that's the case here).

Hopefully, the film will turn out better than you think. If not, do your best to learn from the experience. Again, think of the positive... you'll be a screenwriter with a real credit to your name.

I think this post is spot on. There's a fundamental difference between a writer is who is produced versus one that is making a comfortable living, a WGA member, and is un-produced. I think the post is spot on and you have everything to gain by just letting it go regardless of the product. (At this stage of your career).

Couple of pointed questions-
Was this work for hire? Were you the employee of the production company? (even if it is your director friend)

Or-
Is this a work to which you have full ownership of the copyright and can use the protections of the law to enforce them?

The point is you can avoid situations like this with agreements ahead of time- who has final draft? who has final cut (which is what I usually lock down as a producer when I hire a director for a piece). Contracting is important- even amongst friends.

Well, I am doing a short with a director who wanted changes that I felt would cause problems. I never thought about something as final as "erasing my name."

I made my case using the logic that made the script the way it was. He capitulated.

IOW, try talking to him about it. Don't say it sucks but that you don't understand the changes. Have him explain them. If he's doing it for the good of the project, his explanations may assuage your fears and if not carefully note where his logic is breaking the narrative - in technical terms.

Scott and All,
What is your opinion of Screenwriting contests?

@George: I'll post your question on Friday to solicit GITS reader opinions.