Fitzgerald and the Writers’ Strike: A Cautionary Tale
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Chapter 1: The Writer's Identity
- Scott Fitzgerald once remarked, “Most writers look like writers whether they want to or not. It is hard to say why.” Recently, as the Writers Guild of America declared another strike against studio executives, this thought resonated with me. Reflecting on my experience on the picket line in 2007, I was struck by the truth of Fitzgerald's observation. I witnessed Tom Fontana, the creator of HBO's “Oz,” standing there with his hands shoved in his pockets, embodying the essence of a writer. To my side, a witty friend known for his educational cartoons stroked his beard thoughtfully, a true writer's demeanor. Even a captivating former colleague from “Sex and the City,” who once caught my attention, now seemed to radiate the quintessential writer's aura.
However, the motivation behind the writers' strike transcends notions of integrity or fairness; it fundamentally stems from fear.
Section 1.1: Anomalies Among Writers
Not every writer conforms to the stereotype. Fitzgerald highlighted one notable exception, a writer with an impressive 30 credits in Hollywood who defied the typical appearance of a writer. This individual was once praised for his structural prowess, yet a technological shift in the film industry altered his fate. Once a promising talent, he faced severe adversity, leading him to appear more like a struggling extra than a successful screenwriter. This character was Pat Hobby, Fitzgerald's final published creation, and the sole source of income during his last, difficult months.
Subsection 1.1.1: Pat Hobby's Struggles
Pat Hobby, the protagonist of a 17-story series published in Esquire from 1939 to 1941, embodies the complexities of a writer navigating a tumultuous industry. During the creation of these stories, Fitzgerald grappled with significant financial burdens, including a staggering $40,000 debt (equivalent to over $860,000 today), alongside mounting costs for his daughter's education, his wife's mental health care, and his own medical expenses. Living in a dilapidated residence he dubbed "Belly Acres," Fitzgerald found himself working on numerous films, facing the indignity of being dismissed from projects like "Gone With the Wind." Each experience seemed to amplify his sense of humiliation.
Chapter 2: Pat Hobby's World
Out of Fitzgerald's tumult emerged Pat Hobby, a character who, despite his misadventures, never truly writes. Instead, he stumbles through the absurdities of the Hollywood system, posing nude for a producer’s friend and even attempting to become a producer himself. The essence of Hobby's character encapsulates Fitzgerald's own self-loathing and tumultuous relationship with the film industry.
The first video titled "Why Writers Are On Strike | FACTUALLY with David A. Goodman and Danielle Sanchez-Witzel" discusses the motivations behind the recent writers' strike and draws parallels to historical precedents.
The second video, "2023 Writers Strike OVER, But What Did They Get? EXPLAINED & BREAKDOWN," provides a detailed analysis of the outcomes of the strike, exploring what writers achieved and what challenges remain.
Section 2.1: The Consequences of Adaptation
While the Pat Hobby stories are not Fitzgerald's finest work, they reveal layers of insight into Hollywood's management of creativity. Pat, characterized by his corruption and despair, reflects a writer who has been stripped of direction and purpose. After years of navigating the unpredictable whims of the industry, he becomes a mere shell of a writer, lacking both ideas and inspiration. When he proposes a "Jewish touch" to a Civil War narrative, it underscores his complete disconnection from authentic storytelling.
Pat's interactions with Jack Berners, the sole producer willing to consider him, highlight the struggle for creative integrity within a commercial framework. Pat's quip, “How can you get ideas off salary?” subtly critiques the constraints imposed by the industry.
Section 2.2: The Relevance of Pat Hobby Today
What would Pat Hobby think of the current writers' strike? Fitzgerald’s interest in labor issues in the film industry is mirrored in Hobby's character, who often seeks comfort in the status quo. During a poorly planned tour of Ronald Colman's house, Pat's attempt to justify his lack of writing—claiming to be on strike for "better living conditions"—reveals his disconnection from the true motivations behind such movements.
The tragedy of Pat Hobby extends beyond fiction. As Fitzgerald worked on what would become his last novel, "The Last Tycoon," he faced a constant struggle for financial stability. Unable to focus on his masterpiece due to a lack of residual income, he turned to the limited opportunities available, mirroring the plight of many writers today.
In essence, the current writers' strike is not merely a fight for fairness or integrity; it is rooted in a profound fear of becoming like Pat Hobby—a fate that looms larger in an industry fraught with uncertainty. Writers, once full of creative potential, may find their identities eroded by the relentless demands of Hollywood, leading them to resemble something far less recognizable.
Make no mistake: Without the financial security of their earlier successes, writers risk losing their essence. They cease to embody the archetype of the writer and instead may appear as mere shadows of their former selves.