{"id":16584,"date":"2026-08-13T13:13:07","date_gmt":"2026-08-13T13:13:07","guid":{"rendered":"https:\/\/schspin.stieve.com\/?p=16584"},"modified":"2026-08-26T20:42:52","modified_gmt":"2026-08-26T20:42:52","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 because You\u2019re being given Preferential Treatment?\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

\u00a0You\u2019ll find it in the second part of this text <\/a>. 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.\u00a0 <\/span><\/p>\n

The proportion of male members in the Screenwriters\u2019 Association served as a benchmark: 58.3 per cent<\/span>. I more often use the proportion of women amongst screenwriting graduates from German film schools: 48 per cent<\/span><\/strong>. This is according to the FFA\u2019s 2017 study \u2018Gender and Film\u2019 \u2013 I am not aware of any more recent official figures. Nor do I have any for the Screenwriters\u2019 Association; in 2014 (!), the proportion of women was 41.7 per cent<\/span><\/strong> out of 484<\/strong> members. Today, the DDV website lists 535<\/strong> members.<\/span><\/p>\n

Let\u2019s also take a look at the registered screenwriters in the freelancer database of crew united. Vincent Lutz<\/span> (crew united) explains:<\/span><\/p>\n

These figures refer to active members (Basic and Premium). I don\u2019t think it makes much difference whether someone has a paid profile (Premium) or a free one (Basic).
\n<\/span>Unfortunately, we don\u2019t have exact figures on film professionals in Germany, so we can only assume that perhaps around 50\u201370 per cent of them have a profile with us. It might even be more.<\/span><\/p>\n

There are currently 342<\/strong><\/span> female screenwriters and 412<\/span> male screenwriters, representing a female proportion of 45.4 per cent<\/span><\/strong> \u2013 a significant increase compared with 2014:<\/span><\/p>\n

 <\/p>\n

\"\"

data base crew-united.com. share of women of all script writers [%]<\/span><\/p><\/div>\n

Not that anyone would use this as an argument: the low number of female writers in German television is therefore not down to there being too few of them with professional experience.<\/span><\/p>\n

Female Writers Pen Letters <\/span><\/h2>\n

In 2019, I carried out a six-departments-check<\/strong> of the *TATORT* episodes from 2011 to 2018 (Crimes from a Male Perspective<\/a>), which I expanded to include an analysis of *POLIZEIRUF*. These facts in black and white \u2013 or pink and light blue on white \u2013 provided welcome arguments for a group of female screenwriters who, in early April 2019, sent a \u2018Crime Scene: Screenplay<\/strong>\u2019 letter<\/strong>, initially signed by 76<\/span><\/strong> of their colleagues, to the then ARD Programme Director Volker Herres, the directors of the regional ARD broadcasters, the broadcasters\u2019 equality officers and the broadcasting councils<\/strong>. It began as follows:\u00a0 <\/span><\/p>\n

\u201c(Public broadcaster channel one) ARD is, thankfully, making a voluntary commitment to increase the proportion of women directing fictional TV programmes. But what about the proportion of women in screenwriting? This has been declining at an alarming rate over the last three years!\u201d<\/span><\/p>\n

The female authors called for a \u201c50\/50 cross-format screenplay quota by 2021<\/strong>\u201d and announced the \u201claunch of a round-table discussion to draw up a joint action plan for 2019 to 2021<\/strong>.\u201d\u00a0 <\/span><\/p>\n

As far as I know, the round-table discussion with the ARD broadcasters never took place. As for the 50<\/span><\/strong>:50<\/span> distribution of commissions, well, I can say \u2013 at least as far as *Tatort* is concerned \u2013 that gender parity among writers was not achieved by 2021, nor by 2025. The 30 per cent mark<\/strong> was only exceeded in 2022, but by 2024 the figure had already dropped back to 25 per cent<\/strong>. In 2026<\/strong>, up until the *Tatort* summer break (during which the ARD airs old episodes), the proportion of female writers on this series stood at 37.5 per cent<\/span><\/strong>. Experience suggests that this figure is likely to fall further by the end of the year. Oh, and only four<\/span><\/strong> of the 16 new *Tatort* episodes<\/strong> in 2026 were written without any male involvement. Thanks to mixed teams, female writers were involved in half of the *Tatort* scripts. However, that does not yet amount to parity. Male writers contributed to 12<\/span> out of 16 scripts<\/strong>.<\/span><\/p>\n

\"\"<\/p>\n

Also in 2019, female screenwriters<\/span> in the UK began their open letter to UK TV drama editorial teams<\/strong> by expressing their dissatisfaction, as it were:<\/span><\/p>\n

\u201cIn recent years, a new tradition has taken hold amongst us female television writers. It begins when a broadcaster announces its drama commissions for the coming season. A list of promising projects: some will become new audience favourites, others will be flops, and still others will, for some mysterious reason, never quite make it to the screen. But there is no doubt that the vast majority of them will be written by men.\u201d <\/span><\/p>\n

As I wrote in the blog post \u2018Why aren\u2019t You working with Female Screenwriters?<\/a>\u2019 dated 17 April 19, in which you can also find the full letters from the female screenwriters:<\/span><\/p>\n

At first glance, the British women screenwriters\u2019 letter seems very restrained compared to the \u2018Crime Scene: Screenplay\u2019 letter, but thanks to its multi-stage approach, the supportive involvement of the screenwriters\u2019 association WGGB, and the subsequent direct discussions with editors and others in smaller or larger groups, it really gained momentum after a short time.<\/span><\/p>\n

I have enquired with the WGGB about the current status. As soon as I have a reply, I will add it here.\u00a0<\/span><\/p>\n

Edit<\/span> 14.8.20: \u201eWe need to Keep Working!\u201c <\/span><\/h3>\n

Lisa Holdsworth<\/strong><\/span>, who is now Chair of the TV Committee for the WGGB<\/a> replied to me today: <\/span><\/p>\n

We’re about to launch a follow-up to our Equality Writes campaign. We’ve found that after promises and assurances about better opportunities for female writers in drama and comedy, very little changed. And as the industry has contracted the same white male writers are being commissioned over and over. <\/span><\/p>\n

Indeed, it’s a standing joke that the WGGB’s president – Jack Thorne – only has to sneeze and he gets a commission! However, he is a great supporter of our campaigning – so we try not make him feel too bad. <\/span><\/p>\n

Things came to a head when the BBC announced they had commissioned a factual drama about the murder of Sarah Everard by a serving UK policeman. It was a significant case because it brought the scale of violence against women into the spotlight. So, when the BBC announced that a man -Jeff Pope – would be writing it, there was some disquiet amongst female writers. That turned into anger and in 24 hours 400 writers had signed a letter<\/a> asking for the BBC to look at how they commission drama about women’s issues.<\/span><\/p>\n

The WGGB were involved in discussions with the BBC but it reinvigorated our determination to relaunch the campaign. This time we’re going back to the commissioners with a checklist of things they promised to do for equality and other actions we feel they could take. <\/span><\/p>\n

So, in short, I think there was some progress initially but we need to keep working!\u00a0\u00a0<\/span><\/p>\n

Female Writers Launch a Report<\/span><\/h2>\n

A few years after the *Crime Scene: Screenplay-Letter\u2026 we had Covid, yes, but that\u2019s not what I\u2019m referring to here; rather, I was commissioned by the writers Kristin Derfler<\/span> <\/strong>and Annette Hess<\/span><\/strong> to carry out an analysis of German TV series productions (which they funded out of their own pockets). The study was published on 16 May 2022, <\/span><\/p>\n

\"\"<\/p>\n

as a \u201cstudy on the participation of female writers in the creative fields of screenwriting, creation, showrunning and head roles in funded and unfunded German series produced by streaming services and VOD providers, commercial broadcasters and public service television\u201d. To give just one example of the findings: the proportion of female writers in the German TV series industry stands at only one-third<\/span>, whilst that of female creators and showrunners is even below 20 per cent<\/span>.<\/strong><\/span><\/p>\n

The study was publicised, and I presented the findings at, amongst other events, a WIFT Germany online event and at RTL in Cologne. Kristin Derfler<\/strong> and Annette Hess<\/strong> held discussions with media representatives and decision-makers from the television industry.<\/span><\/p>\n

All in all, I have to say that the media response was surprisingly weak and there were no appropriate reactions from the industry either. But based on my experience since 2013 (when I started my blog SchspIN), filmmakers are not imbued with a great sense of solidarity, either within their own unions or across the board.<\/span><\/p>\n

I asked the initiators for their assessment, four years after the publication of the series study. Kristin Derfler<\/strong> writes:\u00a0 <\/span><\/p>\n

As far as I can see, our report on TV series has so far had little impact. This is particularly true in the areas where key creative decisions are made. Female creators of high-end series remain significantly outnumbered, and the dominant narrative perspective remains predominantly male. Whilst it is now considered good form to include at least one female writer in a writers\u2019 room, these staff writers are rarely in the creative lead. And that is precisely what makes the difference.
\nNor has the German Screenwriters\u2019 Association (DDV) taken up the findings carefully researched by Belinde Ruth Stieve in 2022, nor has it consistently pursued the debate that was initiated. The DDV now does have an all-female working group addressing the existing gender gap, which is both right and important. However, the continued lack of equality is not a task for women alone, but should be the responsibility of the entire association.
\nAfter all, It is not just a question of who tells which stories, but also of the economic consequences of a precarious market situation. Female authors generally have lower incomes and, as a result, receive correspondingly lower royalties, for example through VG Wort. The massive slump in the industry is further exacerbating this imbalance. \u201cSince the Covid years, significantly fewer series have been commissioned, and the scarcer the commissions become, the greater the risk that existing power structures will become further entrenched.\u201d The debate sparked by this has been taken up and continued.<\/span><\/p>\n

Annette Hess<\/strong> adds:<\/span><\/p>\n

I can only agree with Kristin\u2019s response. The study has received little attention; the backlash is hitting hard everywhere; gender equality is an unwelcome topic; and, unfortunately, the AfD poll results are increasingly supporting this attitude.<\/span>
\nPersonally, I\u2019m constantly confronted with the pay gap. For my latest production in a series, I had to negotiate hard to end up with a 6 per cent higher fee compared to the series eight years earlier. On set, I learnt from two male HoD crew members, who\u2019ve also been there from the start, that they\u2019d negotiated a 10 per cent increase.<\/span>
\nThe same goes for funding: productions by female creatives receive at least a third less funding than those by men. For my new historical series, I actually need a budget of 18 million. I\u2019ll never get it. It\u2019s just a women\u2019s story, after all\u2026<\/span><\/p>\n

(The AfD is a far right populist party in Germany.) <\/span><\/p>\n

One might think, or hope, that figures providing irrefutable evidence of shortcomings would trigger a response within the industry and help bring about change; but no, that does not seem to be the case, and even when it does happen, it\u2019s at a snail\u2019s pace.\u00a0<\/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

<\/a><\/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.Although everyone promised to do better, four years later the percentage of female writers on ARD\u2019s (TV top cop dramas) *Tatort* and *Polizeiruf* series was still only 6.1%\u2014despite the fact that 48% of screenwriting program graduates are women. So it certainly couldn\u2019t be due to a lack of new talent. Women are now catching up. Yet currently, the first woman on the list of the most frequently hired *Tatort* writers appears at number 10 (namely, myself), and the next female colleague isn\u2019t found until number 28.<\/span><\/p>\n

So among the top 28 are 26 male colleagues whom I hold in high regard. Despite all that has been achieved since the founding of Pro Quote to combat discrimination against female writers, I must conclude\u2014in light of the current fee structure and the reality of how commissions are awarded\u2014that equality is still a long way off. The practices have simply become more subtle. They no longer tell us women to our faces as bluntly as they used to that we\u2019re not wanted, but they continue to overlook us and our material. Except, of course, for the token women\u2014among whom I, unfortunately, must also count myself.<\/span><\/p>\n

And that brings me to you, dear male colleagues. What do you make of this? Are you secretly rubbing your hands with glee because you\u2019re being given preferential treatment? Or is it dawning on you that a world where women are discriminated against isn\u2019t actually the one you want to live in yourselves? And isn\u2019t the one you\u2019d wish for your partners and daughters either? Are you horrified by the state of the world, where we\u2019re experiencing a reactionary patriarchal backlash, but don\u2019t feel personally affected? Are you repulsed by the Weinsteins and Epsteins of this world and feel sympathy for the Pelicots and Fernandes\u2019, but don\u2019t see what this has to do with you?<\/span><\/p>\n

I\u2019m asking you these provocative questions because we women are slowly growing tired of standing alone at this Wailing Wall time and time again. In fact, I feel as though I\u2019ve spent my entire professional life fighting my way through this jungle of resistance with a machete, only to realize now that everything behind me is threatening to grow over again\u2026<\/span><\/p>\n

We need the support of all men of good will.<\/span><\/p>\n

Screenplays reflect society\u2014so take a critical look at your storylines and characters. Ensure that women are visible in films, including those over 40. Speak up when women are being disparaged in your presence. Fight for quotas and for equal pay. Combat misogyny online. This is in your interest as well, because just like us, you want to live in a fair and just society. At least, I hope so\u2026 That\u2019s why I\u2019d like to conclude with a quote from Vaclav Havel:<\/span><\/p>\n

\u201cHope is not the conviction that things will turn out well, but the certainty that they have meaning, no matter how they turn out.\u201d<\/span><\/p>\n

Dorothee Sch\u00f6n<\/span><\/p>\n

\"\"

Dorothee Sch\u00f6n. Photo: private<\/span><\/p><\/div>\n

When Dorothee Sch\u00f6n gave me the letter to read a while ago, I was quite shaken \u2013 not least because of the \u2018film reviews\u2019, but also because I wasn\u2019t that familiar with the darker sides of a successful screenwriting career. I asked her if I could publish it on SchspIN \u2013 partly to raise awareness of it outside the DDV writers’ guild and, perhaps, to spark a wider discussion within the industry \u2013 hope springs eternal! She kindly agreed straight away.
\n<\/span><\/p>\n

Incidentally, I also asked her about the reactions to her letter from within the DDV so far. She told me:<\/span><\/p>\n

“I have indeed received some feedback, though only from a few women and one man.”<\/span><\/p>\n

 <\/p>\n

\n

Some more blogtexts on the topic:
\nWhen is it a Good Story?<\/a> 25.7.22
\nFair Participation? Yes it is Possible. <\/a>16.4.21<\/span><\/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 because You\u2019re being given Preferential Treatment?\u2019 – SchspIN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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