RT @finkennedy: Which Edinburgh Fringe venues should I be talking to for a 2014 schools show? Ideally near the Uni and not too boozy.
The next West Midlands Branch of the Writers’ Guild of Great Britain event will take place at 7.30pm on Thursday 22nd March at the Zellig Bulding, the Custard factory, Digbeth Birmingham.
Wendy Bevan-Mogg of Creative England in conversation with representatives of the screen industry in the midlands.
Creative England took over from Screen West Midlands and other regional screen development agencies in October 2011.
Creative England’s first objective is to establish a new infrastructure for film in the English regions, laying foundations for the development of a vibrant film culture outside London. As Talent Manager, Wendy Bevan-Mogg is responsible for supporting regional film making talent.
Guild President David Edgar was a speaker at the Arts Council's annual State of the Arts conference, held on 14 February at the Lowry Theatre in Salford.
(Photo: David Edgar being interviewed during the State of the Arts Conference)
The State of the Arts conference was chaired by TV presenter Kirsty Wark and began with addresses by Arts Council chair Liz Forgan, who announced a new intrernational ars development fund set up in partnership with the British Council, and Culture Minister Ed Vaizey MP, who outlined new plans for cultural education in schools.
During a panel discussion, David Edgar pointed out that the recent £40m increase in the budget for the Olympics opening and closing ceremonies is twice the amount necessary to reinstate all the arts bodies whose grants were cut off last March. He attacked a prevailing wisdom that that these cuts were inevitable or somehow beneficial.
After workshops on the relationship of the arts with audiences, the creative economy, fundraising and the environment, the BBC's Will Gompertz interviewed choreographer Arlene Phillips about the need to increase arts broadcasting on television.
David Edgar delivered the closing keynote address, which argued that the arts will need to make a stronger case for funding than ever before. However, artists shouldn't forget their oppositional role, to challenge as well as to comfort and entertain.
Andrew S. Walsh says: help the Guild help you
Have you worked in comics, cartoon strips, single panel cartoons, graphic novels, or any other form of illustrated narrative? Then the Writers' Guild would like to hear from you, whether or not you are a Guild member.
When the Guild was formed over 50 years ago, the writers involved recognised not only the need for strength in numbers, but the obvious weakness that comes from ignorance of how an industry functions. It is incredibly difficult for a writer to negotiate a fair agreement without knowing what their peers are being paid, or what standard conditions appear in other contracts. For writers new to an industry, or moving between industries, it is imperative that they learn not just how their craft can be applied to this fresh medium, but also the anatomy of the industry they have entered. Who should a writer be talking to? How should they be paid? What will this industry expect of them?
No matter the quality of the writing, many a creator has come unstuck by producing a screenplay in the wrong format. Television writers have found themselves barred from radio through a failure to understand the commissioning process. Novelists have seen their bid to write a videogame rejected because they tried to negotiate their pay in a way that industry does not understand.
Where overall agreements have not yet been put into place the Guild is, instead, able to produce guidelines aimed at lifting the veil on how an industry operates, giving those working in it and those hoping to move into it much needed visibility on how companies and writers are operating there.
This is where you can help the Guild (whether you are a member or not), by responding to a questionnaire that will help confirm or inform the conclusions they have drawn from several months of consultation with writers working across illustrative narrative.
These new guidelines are designed to tackle key areas - · Defining the medium - what work is available and what form does it take? · The writer’s role – how does a writer fit into this industry structure? · Standard terms – what should a writer expect when working in the various forms of writing that fit within this bracket of writing? · Rates and royalties – the all-important question of payment and the forms that payment takes.
In response to popular demand, the Writers' Guild of Great Britain will be holding an event to discuss BBC long-running TV series. It will be at the Free Word Centre 60 Farringdon Road, London EC1R 3GA on Monday Feb 20th from 3 - 6 PM.
This event is open to any writers who have written for a BBC long-running series in the past two years; Guild members and non-members welcome. Please note this is not an event for people who aspire to write for long-running series or last wrote one before 2009. It's also for writers only.
The event is likely to be heavily subscribed and space is limited. Please let the Guild know if you wish to attend ASAP
Actor Sam West (left), Guild President David Edgar (middle) and Equity President Malcolm Sinclair handed in a statement to the Hungarian Embassy earlier this week, protesting at the imposition of a supporter of a far-right party as director of the New Theatre in Budapest.
Gyorgy Dorner backs the anti-Roma, anti-gay and anti-semitic party Jobbik. His policy is to stop producing 'foreign garbage' and concentrate on Hungarian plays, including those by his friend and advisor Istvan Csurka, an open anti-semite and president of the Hungarian Justice and Life Party.
The imposed change at the New Theatre has provoked protests from theatre-makers throughout Europe and beyond.
The text of the Equity/Guild statement was published as a letter in the Guardian on Friday, signed by 68 actors, playwrights and directors. Actor signatories included Henry Goodman, Martin Jarvis, Antony Sher, Janet Suzman and Zoe Wanamaker; among the writers were Howard Brenton, Michael Frayn, David Hare, Mark Ravenhill and Arnold Wesker, and the letter was also signed by the artistic directors of the National Theatre, the Royal Shakespeare Company and the Royal Court.
Photo: Marcus Clackson
Stephen Wyatt wins Tinniswood Prize for best script
The winners of the first ever BBC Audio Drama Awards were announced last night at a ceremony hosted by actor David Tennant in the Radio Theatre at BBC Broadcasting House, London.
The awards aim to celebrate and recognise the cultural importance of audio drama, on air and online, and to give recognition to the actors, writers, producers, sound designers, and others who work in the genre.
In conjunction with the Society of Authors and The Writers’ Guild of Great Britain, the winners of the Imison and Tinniswood Awards were also announced and presented by playwright and Guild President, David Edgar.
The winners were:
Tinniswood Award for Best Radio Drama Script
Gerontius by Stephen Wyatt
Imison Award for Best Radio Drama Script by a writer new to radio
Amazing Grace by Michelle Lipton
Best Audio Drama
Lost Property - The Year My Mother Went Missing by Katie Hims (Producer: Jessica Dromgoole, BBC Radio Drama for Radio 4P)
Best Actor in an Audio Drama
David Tennant, Kafka: The Musical by Murray Gold (Producer: Jeremy Mortimer, BBC Radio Drama for Radio 3)
Best Actress in an Audio Drama
Rosie Cavaliero, Lost Property: A Telegram From The Queen by Katie Hims (Producer: Jessica Dromgoole, BBC Radio Drama for Radio 4)
Best Supporting Actor/Actress in an Audio Drama
Andrew Scott, Referee by Nick Perry (Producer: Sasha Yevtushenko, BBC Radio Drama for Radio 4)
Best Scripted Comedy Drama
Floating by Hugh Hughes (Producer: James Robinson, BBC Radio Drama for Radio 4)
Best Online Only Audio Drama
Rock by Tim Fountain (Producer: Iain Mackness, Made in Manchester for The Independent Online)
The History of Titus Groan dramatised by Brian Sibley (Producers: David Hunter, Gemma Jenkins and Jeremy Mortimer, BBC Radio Drama for Radio 4)
Best Use of Sound in an Audio Drama
Bad Memories by Julian Simpson (Producer: Karen Rose, Sweet Talk Productions for Radio 4)
The Unfortunates adapted by Graham White (Producer: Mary Peate, BBC Radio Drama for Radio 3)
Read the full shortlists for the Awards