There are talented writers working in the anime industry, but it doesn't appear that the industry can support a writer only interested in working good material in the long term. There's a lot of work, but most of it is kinda bad. As a writer, if you want to survive, it looks to me that you either have to have another real job (writing novels, being a playwright, writing for games/VN, officer worker, Lawsons clerk, etc
) or you have to take on a bunch of work where you will have to compromise on quality/subject matter, and just basically work for hire.
I think that Kuroda, Aikawa, Enokido, Ohnogi, Yoshida, Sato, etc are all capable writers. Capable as in, they understand literature, have good foundations in screenwriting, and are able to do good work if they are matched with a capable director and work on the right subject matter. But to make ends meet, it is unrealistic to expect a writer to pick and choose only projects which they're good at or which interests them. So they "turn into shit" being forced to work on stuff outside their comfort zone, and just writing stuff which pay the bills, or being forced into production schedules which don't result in the best outcome.
Urobuchi is a very interesting writer. I like him a lot, and I'm a huge fan of his works. But it has come to my attention that some people consider him a bad writer. Looking into these opinions and considering the facts have led me to a conclusion. Urobuchi is a writer who does not aim higher than what he deems necessary for a given topic. He is a pulp writer who is more interested in delivering a tight and coherent experience that fits nicely into the concept being sold to an audience, and he is more interested in "pandering" to the satisfaction of the audience and managing expectations very neatly, rather than having something particularly profound or meaningful to say.
And thinking about this led me to realize that the reason I like his form of writing is that for mainstream anime these days, I feel this is exactly what I want and need from it. When there is a solid production behind a concept which I find appealing, the last thing I want is for the creators to be "too smart" and try to out-think the audience, or make their characters so philosophical that they become parodies of themselves. I just want what I was promised, and if there is foreshadowing and teasing of stuff, I expect those to be deliver in the proper proportion that the show is suggesting.
Saya no Uta, Madoka, Fate/Zero, these all fall perfectly under this category. Nothing is promised but under-delivered, if you expect the story to "go there", it will, because if it hints at it, it will deliver. If it isn't going to "go there", it will not suggest it to begin with. The endings are also major game changing events, which walks the fine line between feeling conclusive, and also being bittersweet. Urobuchi also tends to specifically write in moments in the endings which show that the characters who survived or won something "earned" it in some way. This reinforces the audience's satisfaction with how "watertight" the entire story is, and it feels more conclusive and cohesive as a whole.
My point is that I don't think it matters to me that Urobuchi doesn't "aim high" because the important thing for me is that so far when he has been seriously involved with a project, he doesn't "miss the goal". And while he doesn't aim high, he also tends to write in very interesting genres which don't really exist much anywhere else these days. Even something like Blassreiter isn't common at all, and in the hands of a better studio and director, it could have been something really special. His most "generic" work to speak of would be Phantom of the Inferno, and only because Bee Train went out of their way to water the entire "girls with guns" genre down year after year from Noir onwards. When Bee Train stopped, so did that genre.
tl;dr: I dunno... if you didn't bother to read all that text I spent time typing... FUCK YOU!!! Lol.