...the majority of WGA writers working in animation are hacks...
Sorry, but I can't let this comment pass without, you know, comment.
That snotty genius Mark Twain notwithstanding ("Writing is like billiards to me ...") creating halfway decent sentences out of thin air isn't easy for most people.
And it never has been.
While it's true that there are bad writers who make good livings turning out ho-hum scripts, I don't think it's fair or accurate to label animation writers who hold WGA cards as hacks.
And understand I don't have any skin in this snark fest, because I've never been in the WGA.
I won't even deny that animation producers often have a bad habit of letting the WGA do their vetting of qualified animation writers for them. In too many cases, they overlook the actual work, and hire the writer who's gotten his passport stamped by the Writers Guild over the talented writer/board artist who hasn't. Sometimes it's due to laziness. Often it's because of fear. Hiring a WGA member is a "safe" decision in today's management culture. Didn't used to be this way, but it is now ...
But don't kid yourself. When I worked in TV animation twenty years ago, at a time when there were minimal WGA writers in that business, most of the scripts churned out weren't very good. I once went to an animation producer at Marvel and moaned: "I've just read twenty damn scripts! And three quarters of them are lousy!"
He squinted into the middle distance and said, "Yeah, that ratio sounds about right."
So are we getting the big picture here? Writing is not easy. Good writing, really good writing, is often damn near impossible. No matter what union card you might hold.
So let's not sneer at the writers. Please lay the blame where it belongs: on production execs who are spineless and lazy.