Number of writers reporting earnings: 1,562 Number of writers trying to get earnings: 58,382 Does a change of a few hundred employed writers make that much difference? No matter how you slice it, it's a pretty stupid business to try and get into. Basically, there are 1,562 very lucky people in the world.

Bryan, that was one of my points: Regardless of the ebb and flow of actual employed screenwriters, it's a competitive business. Period. So if you feel the call to pursue screenwriting, it really doesn't matter all that much, these numbers. The odds are against you no matter what. You have to pursue your creative aspiration or else you won't be happy or have the chance to be fulfilled on a personal and potentially professional level. That said, you have to be smart. Watch movies. Reads scripts. Write pages. Be productive. Study the market. Pursue it both like an art and a business, which is what it is. Also find mentors you can trust and learn from them. Whether it's free sources like this blog or experienced professional Hollywood screenwriters who teach (but make sure they're good teachers, just because you can write, doesn't mean you can teach effectively). While it is possible to learn everything you need to know for free on your own, you may be able to avoid pitfalls, speed your learning process and discover proven theory and practices that can maximize your chances, not only breaking into the business, but building a career. One other thing: These numbers reflect screenwriters working with Guild signatories in Hollywood. But this is THE era of content creators. And there is this thing known as the internet which is, in effect, a distribution network. There is no reason in the world you can't write and produce content that goes onto YouTube which, if it pops and finds an audience, can generate income. And you OWN that content. Granted, a long shot, but still, it happens. Just see what Felicia Day has done. Which is to say Hollywood is NOT our own option as writers.

When the report talks about screenwriters, I presume it include non-theatrical releases (i.e direct to DVD projects). Since we can see that the theatrical market is as healthy as ever, my guess then is that the report basically reflects the collapse of the DVD market and the fact that direct to DVD projects are becoming extinct. The good news, I guess, even if it takes a while, is that we're starting to see direct to stream movie projects establish themselves in addition to greater opportunities in streaming TV projects.

Thanks for a great breakdown, as always, your website is phenom. I think many writers need to re-think their career decisions. It's fine to do it for a passion but it basically is becoming close to impossible. There's love of something and there's practical reality. Many writers I know, professionals included, lament the state of the industry these days. This means that you still must pursue your passion but you must adjust to the reality in front of you. There are lots of implications and things this can mean. As an "emerging" screenwriter, even getting a rep doesn't mean much sometimes, I can tell you that. I still believe in the "great script will open doors" for sure. But it's super, super tough. Isn't everything, though? We live in a hyper-competitive world, a global marketplace. My analysis, however, is that the landscape of Hollywood filmmaking has changed. Not everyone has caught up to this change. For example, marketers and numbers-crunchers have control over things like Final Cut. (Recent NYT article on this). Pursue your passion but don't pursue it blindly. There's so many implications, I feel an article coming I might write! For example, FilmCourage just did a piece on YouTube etc. taking about the whole "write a spec, get a rep" strategy; that strategy is now considered old fashioned. I think it's all a double-edged sword because if you have connections but no knock-out material, you're screwed. On the other hand, I've seen people with major connections get lucky too. Then again, I've seen people with real talent have to struggle in day jobs for years. I personally feel that studios could do a lot more to encourage innovation and new writing. The take-away, I think, is the new young writer has to try EVERYTHING.

Point taken. Although what I get out of this is that you're just as likely to succeed by writing and producing and distributing your own work rather than trying to get into the Hollywood game, where you're basically being told what to write (cartoony movies) and you don't own the work when you're done.

I've spent the past two years shifting my daily scribblings over to prose with only the occasional foray in scriptwriting (a 'when the mood moves me' approach). I'm awfully passionate about short fiction of late and have spent an inordinate amount of time reading piles of short story collections, all shapes, forms, genres. By summer's end, I will have probably 5 relatively polished pieces of short fiction. While I would be remiss if I didn't at least attempt to find these tales a home in some sort of printed or online forum, monetary gain via publication was not the fire which fueled their creation. And while outlets continue to exist for fiction in its short form, is there anyone on this Earth who actually MAKES A LIVING off it? I think not. Kinda' sounds like Screenwriting in the modern world, doesn't it? A paltry handful make it their 9 to 5 while the rest of us cram in some notecards and paradigms during lunchbreaks and commutes. The thing is, if you have to do it, if you've heard the song, the Call of Cinema Cthulhu, as it were, if Final Draft is the first program you open every morning and last one you close at night... ...then these numbers are meaningless anyway. I would additionally submit that you are not 'wasting your time' nor 'leading a life folly'...those of us who have writing in our craw attain levels of existence others only wish they had. I mean, c'mon, you're walking around with entire worlds and galaxies and universes in your head, dripping with conflicts between brothers and wives and parents and love sometimes even conquers all. Either way, friends, we win.

Hi Scott, Is there a reason you linked the 2012 report? The 2013 report is now available and shows a similar downtrend for feature screenwriting. 2011 actually ended up being only a 3% dropoff after late reporting was included but still a downturn. So far looking like a 6.7% drop from 2012 in 2013 which is still rather depressing. http://www.wga.org/uploadedFiles/who_we_are/annual_reports/annualreport13.pdf TV on the other hand continues to grow with earnings up 10% and jobs up 2.3%.

Well said, Jeff. I'd like to see a report comparing how many people are earning a living as pro golfers to duffers who wish they could golf all day long. How many are out there practicing daily for 8 - 12 hours. Every competitive field has their wishers and wannabes and their do-or-die types, and the plain old lucky ones. Go with your gut, but don't empty your pockets thinking it will make the journey any easier. I really believe writers need satisfying day jobs they enjoy and find value in doing. If you can't find well-being in a day job, you probably won't find it striking gold in Hollywood. Get straight with yourself and those closest to you first. If you don't, that will be the last regret you have on your way out the door of this life. There's a plenty big market for short stories right now. You just have to know where to look. If you spread them around enough, there is a living to be made on the lecture circuit and in teaching. That holds true for some of our best literary writers. My prose mentor has taught me more than I thought possible with just a few lines here and there. He's at the top of the literary heat but constantly on the road making a living. And who knows, one of those short stories could be picked up and made into a smash TV series. Justified, considered by some to be the best writing in TV, is based on just one of Elmore Leonard's shorts. Whether it's prose or poetry or plays (those are making a comeback) or screenplays, I think this is the very best time to be following your bliss. The higher the odds are stacked against you, the more freedom you have to write from the place you enjoy the most, take risks, and relax into what you're doing. Like the song says, freedom is just another word for nothing left to lose. Score a big one for writers who just can't help themselves!

Cyd, comments such as yours and others in this thread have got me thinking I should do a blog post featuring them because the general gist of them is much in line with my attitude. We have to be aware of the basic facts: It is intensely challenging to break into the business as a screenwriter or TV writer, let alone carve out a career that can sustain us over any significant length of time. And yet if you hear the siren's call and you have writing talent, persistence and courage, what else can you do but write? Obviously you need some way to sustain yourself as movies don't owe anybody a living, but do it because you love it and experience a sense of joy and/or authenticity by doing it. Or as you say, because they "just can't help themselves." That's it, I've just decided I WILL do a blog post. Folks who have commented in this thread, do you mind if I quote from you?

Of course Scott, if you ever find anything particularly pithy in my unsolicited blatherings, feel free to share, clip, rearrange, or sell to the highest bidder. :)