In late 2026–2027, I plan to hire screenwriters for an animated series I’m producing. Writers will be engaged under non-union contracts, with compensation ranging from $250–$400 per 7–10 minute episode, and occasional higher pay for standout contributors.
Payment will be processed through a production payroll company (such as Entertainment Partners or Cast & Crew). The payroll company will serve as the employer of record and will provide all required tax documentation.
This will be my first time hiring freelance/gig screenwriters, and my goal is to create a fair, transparent, and positive working environment. I’d really appreciate insight from working writers:
What additional considerations should I be thinking about?
What do you typically expect or require from an independent producer looking to hire you?
What helps make a short-form writing job feel respectful and worthwhile?
Any guidance or perspective you’re willing to share would be incredibly valuable. Thank you!
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That's great, Matthew Gross! I suggest making sure the writers are on the same page with you on the contracts and scripts (including letting them know they can contact you with any questions about the story/problems that come up), and I suggest making sure the writers are clear on update dates (every few days, every week, etc.) and deadlines.
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Sounds like cool work!
I recommend considering what payment schedules look like, what mandatory rewrites there are (if any), and if you'll have a showrunner in charge of the writing quality, or if you're doing that work yourself, and what that looks like.
What I'm trying to say is, imagine you accidentally hire a turd, and what does your contract ensure to protect you from them, and vice versa. :) It's admirable to think of the writers you'll be working with, but you'll also want to consider "what if something goes wrong" and have that laid out.
That, and deadlines! All the deadlines! :)
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Maurice Vaughan The contract will clearly define what the job entails. In fact, I might post a copy of the contract for community review before I begin engaging writers. Thank you!
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You're welcome, Matthew Gross. I'm looking forward to seeing your animated series!
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What Should a First-Time Producer Get Right? To actually get the damn movie made!
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YOOOO SCREENWRITER HERE! INTERESTED!!! Please let us connect! I have an award winning live action feature and an animated pilot I am trying to get made!
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I would be very excited to work in a team like this! I enjoy collaborating, learning, and constantly improving my skills. I take my work very seriously, and I am fully committed to meeting deadlines. Currently, I am able to work remotely, and I always approach projects with dedication and professionalism.
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Michael David I'm not producing a movie. I'm producing an animated series. I have funding in place. Considering your comment, I don't think I will be working with you. You seem a bit combative and I desire positive work environments.Thank you for your comment though.
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I have produced 22 hours of no-budget projects, shorts, TV mini series and TV movies for public access television stations. Good screenplay and good acting are prime priorities for your audience. To avoid problems, choose a script which is easy to film, because disasters happen when you least expect it.
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Hire good craft services and caterers. A well-fed crew is a happy crew.
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Pick me! Pick me! I can write animation concepts for you know like, which non-pilot episode I can work on and hopefully it's a positive tone concept.
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Chase Carmichael Right now, I'm only looking for insight into professional writing collaborations. If you have any insights based on the questions above, please share them here.
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Matthew Gross. Sadly, I don't. But sorry to bug you that I want to join. I'm not even a professional writer yet. But with studying and training on how it works, I would be able to write an episode on act one or act three. Right now, I'm just feeling stuck. Wish your work the absolute best.
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Chase Carmichael Stage32 is a great place to build experience through connections and the offered classes. I also highly recommend submitting your work to literary contests (e.g. FilmFreeway).
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Hi Matthew, thanks for asking this so openly. That mindset already says a lot.
From a writer’s perspective, what often matters most (especially on short-form projects) isn’t only compensation, but clarity and respect:
-a clear creative vision and tone.
-transparent expectations around revisions and scope
knowing how much creative voice the writer is allowed to have.
-and feeling that their contribution is genuinely valued, not treated as disposable labor.
Even on short episodes, being included in the larger intent of the series, thematically and emotionally, makes the work feel meaningful.
I’m developing a few animated and experimental projects myself, and I’ve found that when producers communicate why something exists, not just what needs to be written, the collaboration becomes much stronger.
If you’re interested, feel free to check out my work here on Stage 32, always happy to connect and exchange perspectives.
Wishing you the best with the series.
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I once wrote a five minute piece for a business, it was a historic drama, without ANY historic shooting bits in it except a character’s clothes,, off screen dialogue and some sound effects. It was set ONLY in a modern day American family home, lounge and my twelve year old’s bedroom - the main character. The other character seen was her mom. I could have made it for 50k or a lot less. When I sent it, I got an abusive email back, calling me an idiot and the woman ‘Producer’ said - and I quote - “ I told you it was low budget, I don’t have two million dollars to make a historic film like this”.