I'm totally in support of the writers in theory but I'm trying to understand more of what you're fighting for because I've seen some people on twitter claim writers make more money a week than most of us make in a month so I'm trying to understand what the issue is. Also if that info is accurate. This is a genuine question. Not trying to have a "gotcha moment". I really want to hear from a writer.
people have always had wild misconceptions about how much a writer earns because of their lack of understanding of how the industry actually works. there's so many posts about how "you guys make 5k a week. what more do you want?!" yeah...let's do some math on that.
5k a week for 14 weeks (and that's a long room. a lot of rooms these days are 8-10 weeks. those are the dreaded mini-rooms we're trying to kill) is $70,000. for roughly three months of work. you'd think we're cooking with gas...BUT HOLD UP. that's gross! let's see everything that has to come out of that check:
10% to our agent
10% to our manager
5% to our entertainment attorney
5% to our business manager (not everyone has one but a lot of us do. i do, so that's literally 30% immediately off the top of every check)
most of these breakdowns ive seen downplay taxes severely. someone made one that says writers pay 5% in taxes and i would like to ask them "in what universe?". that doesn't even cover state taxes. the way taxes work in the industry is really complicated, but the short of it is most of us have companies for tax reasons so we aren't taxed like people on w2s/1099. if we did we'd be even more fucked. basically every production hires a writer's company instead of the writer as an individual. so they engage our companies for our services and then at the end of the year we (the company) pay taxes as corporations or llcs (depending on what the writer chose to go with). my company is registered as a "corporation" so let's go with those rates. california's corporate rate is 9% and the federal corporate tax rate is 21%. there's other expenses with running a business like fees and other shit so my business managers/accountants/bookkeepers have recommended i save between 35-40% of everything i make for when tax season comes.
you see where the math is at already??? 25-30% in commissions and then 35-40% in taxes. on the lower end you're at THE VERY LEAST looking at 60% of that check gone. 70% worst case scenario. suddenly those $70,000 people claim we make are actually down to $28,000 as the take home pay. and that's if you're only losing 60%. it goes down to $21,000 if it's 70%.
lets pretend you worked a long 14 week room (that's the longest room ive ever worked btw) and let's also be generous and say you only have 60% in expenses so the take home is $28,000. average rent in los angeles is around $2,800-$3,000. if you're paying $2,800 in rent that means you need AT LEAST $4,000 a month to have a semi decent life since you need to also cover groceries, gas, medical expenses, toiletries, phone, internet, utilities, rental and car insurances, car payments, student loan payments, etc etc etc. and again, this is los angeles. everything is more expensive so you're living BARE BONES on 4k. and these are numbers as a single person. im not even taking having children into account. so those $28,000 you take home might cover your life for 6-7 months. 3 of which you're in the room working. the reality is that once that room ends, you might not work in a room again for 6-9-12 months (i have friends whose last jobs were over 18 months ago) and you now only have about 3 months left of savings to hold you over. we have to make that money stretch while we do all the endless free development we do for studios and until we get our next paying job. so...3 months left of enough money to cover your expenses -> possible 9 months of not having a job. this is how writers end up on food stamps or applying to work at target.
this is why we're fighting for better rates and better residuals. residuals were a thing writers used to rely on to get them through the unemployment periods. residual checks have gone down from 20k to $0.03 cents. im not joking.
they've decimated our regular pay and then destroyed residuals. we have nothing left. so don't believe it when they tell you writers are being greedy. writers are simply fighting to be able to make a middle class living. we're not asking them to become poor for our sake. we're asking for raises that amount to 2% of their profit. TWO PERCENT. this is a fight for writing even being a career in five years instead of something you do on the side while you work retail to pay your bills. if you think shows are bad now imagine when your writer has to do it as a hobby because they need a real job to pay their bills and support a family. (which none of us can currently afford to have btw)
support writers. stop being bootlickers for billion dollar corporations. stop caring about fictional people more than you care about the real people that write them. if we don't win this fight it truly is game over. the industry as you know it is gone.
how it feels being the only lesbian
Me when I actually try and practice to improve my drawing so my art looks like what I imagine in my head??! No way. On a more serious note tho, I do want to do stuff like this more often so it gets to be a bit of a faster process. That way I can do silly stuff that also looks cool >:)
I don't tend to do a ton of digital art with full backgrounds, but I wanted to try my hand at some more figurative and environmental work with this one :3. Not a ton of narrative behind it, just a unicorn girl in a pretty forest, with some blue ambient lighting.
May’s prize squid, who can be won through a naming contest over on my patreon rn (open to all new and current ‘’Jester Jackpot’’ tier supporters)
You can submit up to two names suggestions for them in the comment section of my most recently pinned patreon post (here)
The deadline is May 30th 23:00 GMT. The winning name will be revealed on May 31st, at 23:00 GMT. I ship worldwide from Ireland!
Instagram / Patreon
Time for another headcanon!
(More headcanons)
So. You know the tunnel over Zelda’s room, the one you get to with the Clawshots?
Well, seeing as how Karane gets offended whenever Link goes in her room at night, and how the guys and girls are separated by floors, I’m sure the academy has pretty strict rules on visiting the opposite floor at night. So what if Link and Zelda figured out a way to make the tunnel so Link could easily get to Zelda’s room and they could hang out? So instead of creeping through the hallways at risk of being discovered by a patrolling knight or worse, a teacher, he just opens his window, climbs up to the roof, and then crawls up into the tunnel entrance and then into Zelda’s room. There they hang out, play games, talk, draw each other in ridiculous ways, and usually fall asleep on a pile of cushions they stack in the center of the room.
Sometimes Zelda attempts to show Link how to knit, but he just can’t quite grasp the concept, same as how Zelda has never been extremely skilled at woodworking. Other times Zelda drags out her old trunk full of dress-up clothes, and they have a fabulous time being silly. “Check out these muscles,” Zelda says in a mockingly deep voice, skein of bright red yarn tied to her head as Link rolls on the floor wheezing with laughter. “Everyone knows I’ve got the slickest pompadour in town.” “Oh, Groose,” Link adds in an extremely high-pitched imitation of Zelda, draping a yellow scarf over his head and batting his eyelashes. “How could anyone want to hang out with Link instead of your stunning hair?”
“I don’t sound like that!” Zelda yelps in reply, smacking his arm as Link bursts into giggles. “And the mere thought of complimenting Gross’s hair makes me sick.”
Usually if they get too loud, Karane knocks on the partition between her and Zelda’s room and whispers, “Can you two lovebirds keep it down? Some of us are actually trying to sleep.” This always results in the two of them scrambling to opposite ends of the room, red-faced and avoiding each other’s gaze. “We’re not—!” Zelda says, and Karane just smirks. “Sure, Zel.” Then for the rest of the night Link and Zelda barely look at each other, embarrassed and making sure not to sit too close.
Whenever they end up falling asleep, it’s always curled up together on the stack of pillows on the floor, Link with one arm draped over Zelda, head tipped back, snoring softly; and Zelda with her arms wrapped around Link and face buried in his chest. Whenever morning comes, Link waits for everyone else to go off to breakfast, then sneaks off to his own room to get dressed. He’s always late for breakfast, anyway— no one will suspect anything.
And when he slides into his seat across from Zelda in the dining room, and she gives him a wink and nudges his boot with hers under the table, so what if the adults look at them suspiciously? So what if Karane can’t stop snickering into her casserole and shooting them glances that make Groose’s scowl grow? They don’t care. And the secret smile they exchange across the table, which may or may not earn Link a beating later from a certain redhead, says one thing only.
Let’s do it again tonight.
From Stardust to Stardust
Smilodon
Was thinking of that Homotherium latidens cub they found recently...;-;
Prints:
Ooh? Ohoho? This sounds fun
Wanna try something.
girl before watching a movie: -_-
girl after watching a movie: o_O omg
roller coasters could kill us so easily if they wanted but they choose not to because by nature they’re gentle beasts and they love us. like horses