NONE OF IT would have been possible, if not for the things I learned on TWILIGHT ZONE as a Staff Writer and Story Editor. I was the most junior of junior writers, maybe a hot(ish) young writer in the world of SF, but in TV I was so green that I would have been invisible against a green screen. And that, in my opinion, is the most important of the things that the Guild is fighting for. The right to have that kind of career path. To enable new writers, young writers, and yes, prose writers, to climb the same ladder.
Right now, they can’t. Streamers and shortened seasons have blown the ladder to splinters. The way it works now, a show gets put in development, the showrunner assembles a “mini-room,” made up of a couple of senior writers and a couple newcomers, they meet for a month or two, beat out the season, break down the episodes, go off and write scripts, reassemble, get notes, give notes, rewrite, rinse and repeat… and finally turn into the scripts. And show is greenlit (or not, some shows never get past the room) and sent into production. The showrunner and his second, maybe his second and his third, take it from there. The writer producers. The ones who already know all the things that I learned on TWILIGHT ZONE.