{"id":16584,"date":"2026-08-13T13:13:07","date_gmt":"2026-08-13T13:13:07","guid":{"rendered":"https:\/\/schspin.stieve.com\/?p=16584"},"modified":"2026-08-13T15:28:43","modified_gmt":"2026-08-13T15:28:43","slug":"wo-arbeiten-autorinnen-und-autoren","status":"publish","type":"post","link":"https:\/\/schspin.stieve.com\/gb\/2026\/08\/13\/wo-arbeiten-autorinnen-und-autoren\/","title":{"rendered":"\u2018Are you Secretly Rubbing your Hands with Glee?\u2019"},"content":{"rendered":"

This is a quote from screenwriter Dorothee Sch\u00f6n (-> official website<\/a> in German), who wrote an internal letter in April to the\u2014male\u2014members of the German Screenwriters\u2019 Association (Deutscher Drehbuch Verband DDV). With her kind permission, I am publishing the letter today\u2014thank you very much!<\/span><\/p>\n

You\u2019ll find it in the second part of this text. But first, a brief look back at the dire situation regarding the participation of female writers in German film and television.<\/span><\/p>\n

Where are Male and Female Writers (not) Working? <\/span><\/h1>\n

Eleven years ago, I published an article titled It’s the Men that Write the Scripts<\/a>, in which I highlighted the strikingly male-dominated distribution of authorship in German film and television, using selected statistics and film categories. I usually focus on the percentage of women, but this time I chose to display the percentage of men\u2014which was quite overwhelming:<\/span><\/p>\n

<\/p>\n

\"\"<\/p>\n

One would think\u2014or hope\u2014that figures providing irrefutable evidence of problems would trigger reactions within the industry and help bring about change; but no, that doesn\u2019t seem to be the case, and even when it does, it happens at a snail\u2019s pace.<\/span><\/p>\n

The translation of this text is still in process and the rest will be published as soon as possibly possible. Sorry about that.<\/strong><\/span><\/p>\n

\n

I began this piece today with a reference to Dorothee Sch\u00f6n<\/strong>\u2019s internal open letter, and I\u2019m very pleased to be able to publish it\u2014even if \u201cpleased\u201d might not be the right word.<\/span><\/p>\n

Dorothee Sch\u00f6n Writes to her Colleagues in the Guild
\n<\/span><\/h2>\n

Dear Male Colleagues,\u00a0<\/span><\/p>\n

No, you didn\u2019t misread that. I\u2019m not using gender-neutral language here, because, for once, this letter is addressed only to the men. The women, after all, know what I\u2019m about to discuss from their own experience. What\u2019s this about? The DDV (German Writers’ Guild)\u2019s current fee survey shows a veritable gender pay gap of 15% in my field\u201490-minute TV programs\u2014which is greater than the gap in the automotive or construction industries.\u00a0<\/span><\/p>\n

I\u2019m going to go into a bit more detail. I hope you\u2019ll bear with me, but it\u2019s necessary to make my point.\u00a0\u00a0<\/span><\/p>\n

When I started writing screenplays as an HFF student in the 1980s, it was the heyday of auteur cinema. And anyone who didn\u2019t want to direct their own films was considered an outsider. Back then, there wasn\u2019t a single course at the HFF that dealt with film screenwriting. There were no screenwriting programs or screenwriting workshops anywhere. You had to figure it out on your own.\u00a0<\/span><\/p>\n

As a young woman, that was doubly difficult. When, at age 24, I applied for Bavarian film funding for my first feature film screenplay, *Blau\u00e4ugig* (= Blue-Eyed = naive), a committee member told me to my face: \u201cYou, a woman, are not going to write a screenplay about the military dictatorship in Argentina\u2014not with those delicate little hands.\u201d I did it anyway; it was directed by Reinhard Hauff, starring G\u00f6tz George, and was Germany\u2019s entry for the Venice Film Festival competition.\u00a0<\/span><\/p>\n

My second script, *Bumerang, Bumerang*, about the anti-nuclear protests in Wackersdorf (North Germany), was adapted into a film by Hans Geissend\u00f6rfer, starring J\u00fcrgen Vogel in his first role. The TAZ published a review at the time that I only recently came across again: <\/span><\/p>\n

\u201c\u2026The political action superimposed on teenage romance is pure fabrication. Or is \u2018Boomerang, Boomerang\u2019 supposed to be a fairy tale? At any rate, this is how little Erna imagines a hostage situation. But her name isn\u2019t Erna\u2014it\u2019s Dorothee Sch\u00f6n\u2014and she co-wrote the screenplay with Irene Fischer. Dorothee Sch\u00f6n has been known, at the very least, since the no less unsuccessful Reinhard Hauff film *Blau\u00e4ugig*\u2014she wrote the screenplay for that one, too. Apparently, she\u2019s unwittingly making a name for herself as an expert on plots she knows only from hearsay. At the same time, she\u2019s emphasizing her own personal connection to the subject: as the mother of a young child, she was particularly affected by Chernobyl, as was her co-writer. Perhaps it doesn\u2019t take a major catastrophe to save German cinema, but simply enough young mothers who, on Schwabing\u2019s playgrounds, channel their creative energy not into knitting onesies but into writing screenplays.\u201d<\/span><\/p>\n

I was 27 years old at the time. Back then, a review like that was tantamount to a public execution, since film criticism took place exclusively in print media. Still, looking back, I consider myself lucky that so-called social media\u2014with its misogynistic shitstorms\u2014didn\u2019t exist back then. I would certainly have been an easy target. Shortly afterward, when I submitted a proposal to Bayerischer Rundfunk \/ Bavarian Public Broadcasters, for some new \u201cTatort\u201d coppers, I at least made it to the office of the then-head of television drama, who told me that while he liked my work, he unfortunately had to reject it because I\u2019d conceived of an investigative duo consisting of a man and a woman. A female detective, he said, was simply not something the audience could accept. BR then opted for Batic and Leitmayr (two men)\u2026\u00a0<\/span><\/p>\n

And so it went on. As my career progressed, the reservations about me were directed less at me as a person\u2014after all, I had by then proven that I could write\u2014and more at the topics I chose. \u201cFrau B\u00f6hm Says No,\u201d the story of an older female accountant during the Mannesmann takeover, was rejected: A woman over 50? No love interest? No happy ending? And something political on top of that?\u2014No, thanks! Without actress Senta Berger\u2019s commitment\u2014based solely on the treatment (!)\u2014the film, which later won a Grimme Prize, would never have been made.<\/span><\/p>\n

Despite all those frustrating experiences, I never felt that I was at a disadvantage simply because I was a woman, since I had stoically and successfully fought my way to where I was. It wasn\u2019t until Pro Quote collected data in 2014 on the state of contract awards and fees for women at broadcasters and funding committees that I woke up to the reality. In response to the Malisa Foundation\u2019s figures on women\u2019s representation in the media, Bettina Reiz, head of television drama at BR, simply remarked during a panel discussion at the time that she would gladly hire more female writers, but unfortunately they weren\u2019t interested in crime dramas\u2014the genre preferred by German audiences. I, who by then had already written several episodes of *Tatort*, was sitting in the audience, gasping for breath.<\/span><\/p>\n

(translation to be continued)<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Dieses Zitat stammt von Autorin Dorothee Sch\u00f6n (-> offizielle Webseite), die im April verbandsintern an die – m\u00e4nnlichen – Mitglieder des Drehbuchverbands DDV schrieb. Den Brief darf ich heute mit ihrer freundlichen Erlaubnis ver\u00f6ffentlichen, herzlichen Dank! Ihr findet ihn im … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[697,8],"tags":[916,187,252,299,837],"class_list":["post-16584","post","type-post","status-publish","format-standard","hentry","category-filmpolitik-film-politics","category-stab-crew","tag-dorothee-schoen","tag-drehbuch","tag-frauenanteil","tag-gleichberechtigung","tag-serienstudie-2022"],"translation":{"provider":"WPGlobus","version":"3.0.5","language":"gb","enabled_languages":["de","gb"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"gb":{"title":true,"content":true,"excerpt":false}}},"yoast_head":"\n\u2018Are you Secretly Rubbing your Hands with Glee?\u2019 – SchspIN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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