carol topolskiOff the Shelf at Black’s is a literature collaboration between Black’s members’ club and the Writers’ Guild of Great Britain books committee that organises a series of monthly, one-day residencies for fiction writers, held on the last Monday of the month.

The next writer-in-residence 0n Monday 30 January is Carol Topolski (pictured left, and author of Monster Love and  Do No Harm) and will be followed by:

  • Lucinda Hawksley (Lizzie Siddal, 50 British Artists You Should Know), 27 February
  • Owen Sheers (Resistance – from novel to movie), 19 March
  • Alan Franks (Going Over, The Sins Of The Sons), 30 April

The writer will read from published work as well as works in progress. The audience will then discuss the work and writing processes, chaired by Jan Woolf of the WGGB books committee. After lunch, there will be an open mic session during which participants can read short extracts from their own work. This is an opportunity for established authors to receive mature critical feedback and for the audience to get some guidance.

The event will run from 11am-4pm. The cost is £25. This includes coffee, two-course lunch, and all-day and evening membership of Black’s. You will also get an automatic reference for club membership.

To book a place at the latest event, email daisy@blacksclub.com. For more information, email Jan Wolf (janwoolf@hotmail.com) but hurry – there are only 23 places for the event.

A statement from the Writers' Guild of Great Britain

The Writers' Guild is alarmed by the Hungarian government's imposition of a far-right director on one of Budapest's leading theatres, and supports the campaign for a statement to be made in support of tolerance in theatre on 1 February, the day when the theatre changes hands.

Following the election of the right-wing Fidesz Party, the Mayor of Budapest sacked the director of the New Theatre, and appointed actor Gyorgy Dorner in his place. Dorner is a supporter of the anti-Roma, anti-gay and anti-semitic party Jobbik. Jobbik's militia, the Hungarian Guard, was recently forced to disband but its presidential candidate recently stated that Jews were 'liice-infested dirty murderers'. The party has 47 members of the Hungarian parliamentn and one of its members is president of the Cultural and Media Committee.

The New Theatre presents both Hungarian plays and the international canon, from Schiller to Shakespeare. Dorner's policy is to stop the production of 'foreign garbage'entirely and present only Hungarian work. He is proposing presenting the plays of his friend and advisor Istvan Csurka, of the Hungarian Truth and Life Party. A number of Hungarian writers have withdrawn their plays from the theatre in protest.

The change imposed on the New Theatre may not be the last. Jobbik is campaigning and demonstrating against the Hungarian National Theatre, calling its work "obscene, pornographic, gay, anti-national and anti-Hungarian".

There is an international campaign for actors to read out a statement condemning the appointment and resserting the importance of tolerance and diversity in the arts, which the Writers' Guild supports.

Guild President David Edgar commented: 'The forced imposition of a far-right nationalist as director of a major theatre in a contemporary European capital is a highly sinister development. We stand shoulder-to-shoulder with Hungarian theatre-makers in opposing this decision and calling for it to be reversed'.

See also a letter in The Guardian from a wide range ofUK theatre-practitioners.

Kirsten Ellis explains how her book Star of the Morning, The Extraordinary Life Of Lady Hester Stanhope came to be adapted by Oscar-winner David Seidler

Writers often feel that their books are their mythical, and in some cases actual, children; creations that spring from and are woven into their DNA. Whatever you might, in hindsight, wish to have written differently, there is no way to relinquish your progeny’s claim on you. For better or worse, your book, like your child, is part of you, and always will be. 

So when your book is optioned for adaptation to the screen, it creates an immediate form of separation anxiety. Suddenly your child is no longer yours, but a creature that belongs to other people too. You hope they will do well out there in the world, but you can’t control the outcome. You have to trust and let go, always remembering that, unlike a child, your book will always remain the way it was when it finally saw life; movies or television may well transmute your story into something you barely recognise, but your book will always be your book.

It was always hard not to imagine that the subject of my book, Lady Hester Stanhope, was obvious material for a film. Her life was packed with more drama, adventure, romance and exoticism than that experienced by most mortals. Noted equally for being headstrong, witty and beautiful, Hester went from living at 10 Downing Street with her uncle, the unmarried Prime Minister William Pitt (for whom she acted as both unofficial hostess and confidante), to a life in Syria so remarkable that it might have been invented by Rider Haggard. Her charisma and horsemanship so impressed the Bedouin that they made her an honorary emir, naming her for the Arab goddess, ul-Huzza, ‘Star of the Morning.’ A hundred years before T.E. Lawrence, she hoped to help unite the Arabs against the Ottomans, backed by the British, but her dream – and her hope to be a power-broker in the Middle East – put her too far ahead of her time.

Hester was an almost exact contemporary of Jane Austen – born three months apart - and the two could not be more opposite creatures of the same age.

Bedlam Productions optioned the film rights to my book part-way through filming their feature The King’s Speech, and well in advance of that film’s spectacular critical and commercial success. Indeed, I first met producer Gareth Unwin between takes on set in Portland Place on the day Colin Firth and Geoffrey Rush filmed their famous f-word scene. I came away with a strong feeling that something truly magic was happening and with (The King’s Speech screenwriter) David Seidler writing the screenplay, I trusted that my book, which would now become The Lady Who Went Too Far, was most definitely in the best hands possible. The Bedlam team continue to impress me at every step with their commitment to remain true to the spirit of the book, and most importantly, to Hester herself.

Due to current demand, the Guild thought it timely to feature our Television Good Practice Guide, Working With Writers, once again. The Guild recommends that everyone in the industry, both writers and production personnel, read it and abide by it. The WGGB exists to protect writers' rights and working conditions.

Download Working With Writers (pdf)

A Writers' Guild of Great Britain Event in association with Derby Theatre Arts - Friday 27 January, 7-9pm at Derby Theatre Studio

Do Facts Get In The Way Of A Good Story?


An evening with David Edgar, Judith Allnatt & William Ivory.

From their different perspectives - as playwright, novelist and screenwriter - these three distinguished authors will discuss how they approached the challenge of writing about a recent or distant historical event bound, to a degree, by the facts of the story.

David Edgar's new play about the King James Bible, Written On The Heart, is currently in repertoire at the Royal Shakespeare Company, Stratford. David is also the President of the Writers' Guild.

Judith Allnatt is the author of A Mile Of River and The Poet's Wife, the highly acclaimed novel based on the 19th Century Northamptonshire poet John Clare.

William Ivory has written for stage and screen, with work including Faith, his BBC adaptation of Women In Love’ rooted in his home county of Nottinghamshire and his recent big-screen success Made In Dagenham.

The event will be chaired by dramatist and Writers' Guild Theatre Committee Chair Amanda Whittington, inviting the audience to ask questions and join the discussion. And there will be an informal book signing,with drinks and light refreshments, at the end of the evening.

Tickets are £5, (£2.50 concessions). FREE for Writers' Guild members.

For WGGB reservations/ enquiries, contact richard.pinner@btopenworld.com

Box office: 01332 255800 or visit www.derbytheatre.co.uk

Gail Renard pays tribute to a long-standing Guild member who died last month

ronnie-wolfe

Ronnie Wolfe, co-creator of sitcoms On The Buses and The Rag Trade died at the age of 89 following a fall. His career reads like the history of radio and television comedy.

Ronnie started in the early 1950s, writing Beryl Reid’s material for the BBC radio comedy, Educating Archie. He quickly worked his way up and, when lead writer Erik Sykes left, Ronnie took his place. It was also where Ronnie met his future writing partner, the resident harmonica player, Ronnie Chesney. Ronnie W persuaded Ronnie C to give up his successful act so they could write together. Their partnership, known as 'The Other Two Ronnies', lasted harmoniously for 50 years.

Ronnie C excelled at writing the plots and technical bits; whereas Ronnie W was a master of comic dialogue. He was also good at acknowledging the talents of others; including a young Marty Feldman who joined his series as a junior writer.

Growing in fame, Ronnie wed Rose Krieger in 1953. The headline of the now defunct Evening Star newspaper read: “Ronnie Married His Secretary Because He Knew A Good Thing When He Saw It'. Quite right. As a labour of love, as Rose typed and collated 95% of his work.

Ronnie was a kind, warm, family man and staunch Writers' Guild member for half a century. Until his health prevented, he was a regular at Guild AGMs. 'The Other Two Ronnies’ work is still appreciated on telly and DVDs. His latest book, My Life In Memoirs, was brought out by Kaleidoscope Publishing just over a year ago.

My sincere condolences to his wife, Rose, his two daughters and also to Ronnie Chesney. He’ll be very missed.

Gail Renard is Chair of the Guild's TV Committee

More obituaries for Ronnie Wolfe:

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