The Writers' Guild has joined forces with The Black List to help raise the prominence of UK-based writers in the worldwide film industry. The Black List began as a survey in 2005, when American film executive Franklin Leonard surveyed almost 100 film industry development executives about their favourite scripts from that year that had not yet been made. The results were compiled and sent out to all who responded, and the process has been repeated every year ever since.
More than 225 Black List screenplays have since been made as feature films. Those films have earned over $19 billion in worldwide box-office, have been nominated for more than 175 Academy Awards, and have won 30 (including Best Pictures Slumdog Millionaire, The King’s Speech and Argo) and seven of the last 14 screenwriting Oscars.
The Black List also offers a membership site for industry professionals that functions as a real-time screenplay recommendation engine, allowing executives across the world to find the scripts that they want to make.
The Guild partnership with The Black List allows members to list their scripts on The Black List site for free, raising their profile and helping more of their films to make it into production. The Black List site will also contain information about support and resources available for Guild members.
'Great stories have no borders and the ability to access them shouldn’t either. We’re thrilled that this alliance with the WGGB will allow us to further make that the case,' said Black List founder Franklin Leonard.
As part of the newly formed alliance between the Writers Guild of America West and the Black List, all WGGB members will be able to add their script titles, loglines, tags and representative information, as well as monitor their work’s ratings and user traffic, free of charge. They will also receive a 20% discount on paid Black List services to host their scripts and obtain reader evaluations of their screenplays.
Since its launch, the Black List’s script-hosting website has been responsible for dozens of writers finding representation with major agencies and management companies, as well as more than a dozen script sales.
Visit The Black List website
Creative England is launching a series of talks, masterclasses, networking events and talent showcase for emerging filmmakers at the Lighthouse, in Brighton.
Open to any Southern based writer / director / producer yet to make their first film who would benefit from attending those events – in particular our overview module covering the filmmaking process from development to distribution.
All the details are to be found here:http://www.creativeengland.co.uk/index.php/brighton-talent-centre-programme/
To apply, send a CV and a Cover Letter (deadline is 28th March) - all are welcome no matter where they are based. The module is completely free, and the aim is to help the next generation of British filmmakers work together rather than in isolation.
Writers, actors and crews are campaigning against swingeing cuts to Pobol y Cwm, the soap produced by BBC Wales in Cardiff and screened on the Welsh-language channel S4C.
In a surprise move the BBC and S4C announced that the show would be cut from five to four episodes a week, would take an annual two-week holiday, and would have its omnibus edition scrapped.
The broadcasters blamed a 36% cut in S4C’s funding – a loss of £40 million over four years, which has already led to staff redundancies. They also cited a “change in viewing habits”, and scheduling changes following S4C’s loss of a contract to televise rugby matches.
Following an angry meeting attended by Pobol workers, at which executives sought to explain the changes, the unions representing them have organised talks with the BBC and S4C. The Writers’ Guild will be in talks in Cardiff on 31 March.
Guild general secretary Bernie Corbett said the combined cuts would result in 60 fewer episodes a year. “This has impacts on all areas – on writers, performers and crew, as well as the whole status of the Welsh language. We will meet with the BBC and S4C, and we will express our concerns and ask them to reconsider their decisions.”
Corbett also said the cuts were the result of the BBC licence-fee settlement agreed between the BBC and the government in 2010, which saw the BBC take responsibility for funding S4C: “Pobol y Cwm is the victim of the ridiculous decision to make the BBC fund S4C, which we were very much against at the time. This has proved us right, as we said at the time it would be the start of a slippery slope for Welsh-language broadcasting.”
In a more positive development, S4C has suggested that it would like to screen more varied drama – when the channel opened there were two new drama nights a week.
The Writers’ Guild deplores the latest cuts announced by the BBC and the impact they could have on writers’ livelihoods.
There has been a double-whammy this week with the announcement that BBC3 is to move online and that the long-established Welsh soap Pobol y Cwm is to suffer a big reduction in the number of episodes commissioned and the scrapping of the weekly omnibus edition .
All these developments could have a devastating effect on writers’ earnings.
Guild negotiators and committee members will be in key meetings with the BBC in London and Cardiff over the next few days to establish the facts about the cuts and to discuss the impact on writers.
Writers’ Guild general secretary Bernie Corbett said: 'This is the fallout from the terrible deal former BBC director-general Mark Thompson made with the incoming coalition government in 2010, to freeze licence fees for six years. Of course he is now an ocean away and doesn’t have to deal with the consequences of his crazy secret pact with the coalition.
'We welcome the new D-G’s statement that he will abandon "salami-slicing" cuts that only deliver equality of misery on all parts of the BBC. Instead, bold and difficult cuts will be made. But the end of BBC3 is a shock to the system. We will be meeting BBC executives over the next few days and weeks, and we will try to ensure that the pledge to reinvest £30 million of savings in BBC1 and BBC2 drama actually comes about.'
Guild negotiators will be meeting BBC Wales in the next few days to discuss the implications of the drastic cuts to Pobol y Cwm.
Do you want to know what an agent can do for your writing?
The Writers' Guild of Great Britain (WGGB) is hosting an event in London on 14 April from 7pm where you can find out about the role of agents in a writer's career.
A panel of agents from different agencies will speak about
- The role of an agent
- Whether an agent is essential for your career as a writer
- When you should start looking for an agent
- The best way to approach an agent when you're ready
The panel discussion will close with an audience Q&A.
The following agents will be attending:
- Jean Kitson - Kitson Management
- Meg Davis - Ki Agency
- Matthew Bates - Sayle Screen
Tickets are free to members of the WGGB, and for non-members will cost £10 (£5 concessions). Entry to the event includes a free drink afterwards.
Full details and booking: https://www.eventbrite.co.uk/e/meet-the-agents-tickets-9359563707
Dean M Drinkel on writing and editing horror
“I’ve seen horrors, horrors that you’ve seen..it’s impossible for words to describe what is necessary to those who do not know what horror means. Horror, horror has a face and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies!” – Colonel Kurtz, Apocalypse Now
My love of horror began at an early age. My dad loved thrillers and westerns, my mother loved Stephen King – I was into the old gothic stuff (Poe, Shelley, Walpole, Le Fanu to name but a few) and as I grew older I floundered a bit until I came across Clive Barker and his film Hellraiser. I didn’t realise he was a writer as well as a director, it was only as I’d watched the end-credits and I read ‘based on the book by’ that I sat up and thought hello, that could be interesting.
The next day I visited the local bookshop where I lived in Kent and began devouring Barker’s work as greedily as I could get my hands on it: The Books Of Blood, The Damnation Game, The Great & Secret Show, Weaveworld etc etc, until eventually I was able to find The Hellbound Heart which Hellraiser was based upon. (As a side note, I recently read the French version - confusingly called Hellraiser - which was like discovering the story all over again!) From those first words I read of Clive’s I knew what I wanted to do for the rest of my life.
Whilst at University, I wrote for the college magazine and by the time I graduated I had enough stories for a collection, which was subsequently published by a small press (the book was called The Burial, and will be re-released later in 2014 as a redux edition). Once the book had been released, I sat in my hallway waiting for both the phone to ring and for the door to knock in the firm belief that either a major publisher or film producer would get in touch wanting to publish everything that I would ever write or make films of them.