Nic Pizzolatto makes more in a year than you'll earn in your lifetime.
If so, he's a rare exception to the rule.
https://www.nytimes.com/2023/04/30/opinion/hollywood-writers-guild-strike.html
Luckily, the W.G.A.’s health insurance plan is structured so writers bank points that let us keep coverage between jobs, or else my family’s financial solvency would have been in serious doubt. The W.G.A.’s members make on average around $250,000 a year — and that’s before taxes, union dues and commissions to agents, managers and lawyers. The reality is that the seemingly big paychecks of Hollywood have to last through the lean periods that nearly every writer experiences.
Traditionally, one of the biggest buffers against that volatility is residuals: the money that writers earn from the reuse of our work, encompassing everything from cable and syndicated reruns of old television episodes to airlines licensing movies for in-flight viewing. The formulas used to calculate the money owed for various forms of reuse are complicated and vary widely across platforms. As a result, the payments can be relatively tiny or very large — and one of the more delightful parts of being a working screenwriter is opening your mailbox and seeing the distinctive green envelope that residuals come in, not knowing if the check inside will cover an In-N-Out burger or your mortgage payment.
But the odds of a big check that bails out a writer in dire financial straits are growing ever longer. Programming is moving increasingly away from theatrical, broadcast and cable to streaming platforms, which typically pay residuals at a far lower rate. This is why one of the major areas in our current negotiation is bringing streaming residuals more in line with broadcast and cable rates.
The issues being hashed out at the bargaining table include increasing the minimum compensation for writers and strengthening so-called span protection, which ensures that writers are paid fairly if the time spent creating a TV episode extends beyond two and a half weeks, as the industry shifts from the 22-episodes-a-year world of network television to the eight-episodes-every-18-months-if-you’re-lucky model embraced by streaming companies. The W.G.A. is also pushing to address the proliferation in streaming television of so-called mini rooms — writing staffs that are smaller in size and active for a shorter duration than a traditional writers’ room.