Dickens: a writers’ contemporary

on Friday, 30 November 2012 19:50. Posted in Events

Liverpool event asks: How influential is the work of Charles Dickens on contemporary writers? 

As we celebrate the bicentenary of his birth, a panel of leading established and emerging writers will discuss the relevance of Charles Dickens to their own work and why his work remains relevant to readers and writers.

The event, organised by the Guild, is chaired by the Reader Organisation’s Amanda Brown. Panellists include: screenwriter and novelist Frank Cottrell-Boyce; playwright David Edgar; screenwriter Gwyneth Hughes; film and radio scriptwriter Ayeesha Menon, and novelist and playwright Deborah Morgan.

7-9pm, 4 December 

St George’s Hall, Small Concert Room, St George’s Place, Liverpool L1 

Tickets: £10 (£5 concessions)

For more information and bookings visit the Eventbrite page

Second World Conference of Screenwriters

on Friday, 23 November 2012 14:16. Posted in Events

 A report by Gail Renard, Chair of the Writers' Guild Television Committee

world-conference-logo 

Following the success of the first World Conference of Screenwriters in Athens in 2009, the second convened in Barcelona on 9 and 10 November 2012. Writers from all over the world met to discuss how we could continue to create for a living.

Andrea Gibb, from the WGGB Film Committee, reported on the Written Into The Picture project. The brainchild of Guy Hibbert, it researched the visibility of writers at film festivals, for which you’d need a Hubble space telescope. Writers often aren’t given invitations to festivals where their films are being shown; nor are they asked to sit on panels or Q & A’s. At one event, Andrea told us, the writer took the coats. But these festivals are vital to our business and writers need to see and be seen.

Of the 271 film festivals approached to fill out the Written Into The Picture questionnaire, only 50 responded. The Writers Guild of America pressed the most influential of all, Sundance, who agreed that writers should be present and credited at their festival . And if the production company doesn’t invite the writer, Sundance will give them two tickets. Now we have to get other festivals to follow suit. As Andrea said, 'You shouldn’t of afraid of saying "I want to go". It’s your film!'

Introducing The Writers Foundation (UK)

on Tuesday, 20 November 2012 13:04. Posted in General

By Rupert Creed

The Writers Foundation (UK) is a new company and registered charity established by the Writers’ Guild. Its aims are to promote the craft of writing across all disciplines, to advance writer education & training, and to offer welfare support for the writing community. 

The Writers Foundation (UK) has secured seed funding via donations from The Services Sound and Vision Corporation (SSVC) and is now open to applications for events and programmes of work from Guild and non-Guild members alike. 

Writers' Guild Awards 2012 winners

on Wednesday, 14 November 2012 21:16. Posted in Events

The winners of the 2012 Writers’ Guild Awards were announced on Wednesday November 14 at the Tabernacle in Notting Hill. View the full shortlists

Steven-Moffat

(Steven Moffat, winner of the Special Writers' Guild Award for Outstanding Writing - Photo by Simon Denton. A full set of photos from the Awards can be found on our Facebook page: www.facebook.com/thewritersguild)

World Conference of Screenwriters

on Friday, 09 November 2012 08:48. Posted in Film

WCOS 2.0 takes place in Barcelona 9-10 November

Building on the success of its 2009 event in Athens, Greece, screenwriters from around the globe will meet in Barcelona, Spain on November 9 and 10, 2012 to discuss changes to their craft and the business of film and television.

Organized by the Federation of Screenwriters in Europe (FSE), in conjunction with the International Affiliation of Writers Guilds (IAWG) and Foro de Asociaciones de Guionistas del Audiovisual (FAGA), the Second World Conference of Screenwriters will feature speakers on the cutting edge of new technologies and some of the most creative minds working in film and television, online and branded content, immersive and transmedia entertainment.

'The new global space holds exciting opportunities for creators and, admittedly, many challenges too,' says FSE president, screenwriter Christina Kallas. 'The second World Conference of Screenwriters will bring leading figures from around the world to discuss all aspects that play a role in defining the way professional writers and their organizations can position themselves in relation to our changing world. WCOS2.0 will formulate a vision.'

'In a market more and more dependent on international co-productions, and a borderless internet, it’s essential for writers to share information on what is happening in each other’s jurisdiction,' says Sylvie Lussier, screenwriter and IAWG policy and research group chair.

Together, the three groups represent approximately 50,000 writers from Europe, North America, Mexico, India, Israel and New Zealand. The organizers also hope to attract delegates from emerging film industries in South America, Asia and Africa.

The conference is sponsored by generous donations from the Spanish collecting societies Derechos
 de
 Autor
 de
 Medios
 Audiovisuales
 (DAMA)
 and
 Sociedad
 General
 de
 Autores
 y
 Editores
 (SGAE).

Return of the epic

on Monday, 05 November 2012 21:17. Posted in Theatre

Robin Soans on the benefits for playwrights of working with drama schools

One-turbulent-ambassador

(The RADA production of Craig Murray's One Turbulent Ambassador - photo by John Haynes, courtesy LAMDA Ltd)

One Turbulent Ambassador, the story of Craig Murray and his strife with the Foreign Office over Human Rights issues in Uzbekistan, is the second Long Project I have written for the three-year acting course at LAMDA. The first, Mixed Up North, became a professional production for the Octagon Theatre in Bolton and Out-of-Joint who toured it and brought it to Wilton’s Music Hall in London, and, wherever possible, it used the original LAMDA actors.

I think drama schools can be even more intensive than universities. Places where you have to work so hard and concentrate so deeply on the various technical skills – voice, diction, dialect, stage-fighting, movement, dance, singing, film, radio and television technique, not to mention successive productions of plays from Classical Greece, through the Restoration to modern drama – that it can be easy to forget the sort of world you are going to be an actor, or stage manager, or a director in. You are not going to be practising your skills in a vacuum, and it seems to me entirely beneficial to give the students an insight into the political and social dilemmas of the day.