The co-founders of Inevitable Foundation write that hiring writers as disability consultants means 'rock-bottom pay' and no WGA credits, 'widening a yawning representation gap.'
“Erica” is not a real person, but rather a composite of the all-too-common experiences of over a dozen disabled film and television writers who spoke to us anonymously over the last six months.
By relying on one-off “disability consultants,” rather than by hiring disabled writers as fully integrated members of their creative teams, Hollywood executives, showrunners, and producers are only widening a yawning disability representation gap that sets this community back both off-screen, on-screen and in the real world.
But disability is not technical or purely medical. It’s a deeply felt, fully lived experience — an ingrained identity similar to that of race, gender, or sexual orientation. There’s a simple solution to all of the aforementioned challenges: Hire disabled writers at a project’s inception. Recognize them not as one-off consultants but as valuable and collaborative creators and problem-solvers. This applies to both film and television, for when disabled characters are part of a narrative and when they are not.
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