Rocliffe want film scripts. Must include a scene w/2 women, having a plot-significant chat, not about a man or men http://t.co/2p3w6lJCCR
Open letter calls for recognition for writers
Writers' Guild President Olivia Hetreed has written an open letter to the Guardian calling on it to recognise the work of writers in their new film awards. The letter, also signed by Andrea Gibb amd Line Langebek (Co-Chairs of the WGGB Film Committee), comes after Guild member Lisa Holdsworth identified the omission earlier this week.
The letter is reproduced below:
The Writers’ Guild was delighted to read that the Guardian had decided to launch its own film awards, particularly as they seem to be offered in a spirit of fun and celebration, aimed at engaging readers with film. However, we are dismayed at the decision to leave out the names of the screenwriters who actually wrote the material in the Best Scene and Best Line Of Dialogue categories. It seems perverse to recognise and applaud screenwriting yet ignore writers.
We've been in touch with one of your reviewers, who explained that the writers’ names 'just didn’t seem like crucial information at the longlist or blog stage.' The reviewer also pointed out that the Guardian has not credited the nominated marketing teams either. This seems a somewhat bizarre justification: does she really mean to equate the marketing campaign and the film script?
We appreciate that this is an attempt to engage your readers but fail to understand how adding the names of the writers would prevent this process. Guardian readers seem highly knowledgeable about film and deserve better information than being given an actor's name alongside a line of dialogue. Film is a supremely collaborative medium and while it may not suit the word count of film reviewers to acknowledge this, there seems no reason for the Guardian Awards to compound their error.
It is hardly difficult to find the names of the short-listed writers. They are as follows:
BEST SCENE: Peter Baynam, Steve Coogan, Neil Gibbons, Rob Gibbons, Armando Ianucci; Alfonso Cuaron, Jonas Cuaron; Paolo Sorrentino, Umberto Contarello; John Ridley; Woody Allen; Richard Linklater, Julie Delpy, Ethan Hawke; Carlos Reygadas; Abdellatif Kechiche, Ghalia Lacroix; Terence Winter.
BEST LINE OF DIALOGUE: Joel Coen, Ethan Coen; Bob Nelson; Eric Warren Singer, David O.Russell; John Ridley; Woody Allen; Bob Nelson; Jeff Pope, Steve Coogan; Paolo Sorrentino, Umberto Contarello; Christopher Ford; Spike Jonze.
The most disheartening thing about this omission and your reviewer’s response to our query is that it is part of a much larger problem, whereby the media consistently and carelessly attribute the work of writers to directors and actors, thereby misinforming their audience. What a shame that the Guardian’s attempt to do something “new and innovative” should fall prey to such old fashioned, lazy or ignorant thinking.
Andrea Gibb & Line Langebek
Co-Chairs, WGGB Film Committee
The Performers' Alliance All-Party Parliamentary Group will today host the launch of expert consultation on ways to protect risk-taking on new work in British theatre
The authors of the influential In Battalions report, examining how government cuts to the Arts Council are affecting new play development in England, have secured a launch event in the Houses of Parliament for their follow-up study, on ways to protect risk-taking on new work for the stage, despite austerity.
The original In Battalions report was published in February 2013 after one its authors, playwright Fin Kennedy, had a chance encounter with UK Culture Minister Ed Vaizey in which Mr Vaizey said that Arts Council cuts were having "no effect". Kennedy's response, a research-led report co-authored with Oxford University doctoral student Helen Campbell Pickford, found theatres across the country cancelling new plays, commissioning fewer writers, and curtailing a whole host of creative research and development such as young writers' groups and education work. It has been downloaded over 24,000 times and had questions tabled in Parliament.
Their follow-up Delphi study, a form of expert consultation, can now be downloaded for free, and will be launched at a meeting in the House of Commons of the Performers' Alliance All-Party Parliamentary Group on 29 January, sponsored by the Group's chair Kerry McCarthy MP. The event will be attended by around 70 theatremakers and politicians, including playwrights David Edgar and Dennis Kelly, artistic directors Giles Croft, Kerry Michael and Ramin Gray, the Principal of RADA Edward Kemp, Ben Bradshaw MP – a member of the Culture Select Committee - and Shadow Culture Minister Helen Goodman MP.
The invitation to launch the study in Parliament comes after Culture Minister Ed Vaizey acknowledged in a speech last month that the first report had been an influence on the Chancellor's Autumn Statement. It contained a pledge to hold a consultation on a tax breaks for new plays and regional touring.
The winners of the BBC Audio Drama Awards were announced last night in London
The Tinniswood Award
The Tinniswood Award 2013 is presented to the best original radio drama script by any writer broadcast in the UK over 1 July 2012-31 October 2013. The Award is jointly administered by the Writers’ Guild of Great Britain and the Society of Authors with the prize of £1,500 sponsored by the Authors’ Licencing and Collecting Society.
Winner: Marathon Tales by Colin Teevan and Hannah Silva (pictured, above, with Fiona Shaw)
Imison Award 2013
The Imison Award honours the best original script by a writer new to radio broadcast in the UK over 1 July 2012-31 October 2013. The Award is administered by the Society of Authors, and judged by members of its’ Broadcasting Committee. The prize of £1,500 donated by The Peggy Ramsay Foundation. The following writers have been shortlisted:
Winner: The Loving Ballad of Captain Bateman by Joseph Wilde with Tim van Eyken.
Best original audio drama (single play): Billions by Ed Harris, produced by Jonquil Panting, BBC Radio Drama for Radio 4
Best audio drama (series or serial): An Angel at My Table, written by Janet Frame, adapted by Anita Sullivan, produced by Karen Rose, Sweet Talk for Radio 4
Best audio drama (adaptation): Sword of Honour by Evelyn Waugh and dramatised by Jeremy Front, produced by Sally Avens, BBC Radio Drama for Radio 4
Best scripted comedy drama: Love and Sweets 3: Grand Canyon by Richard Marsh, produced by Ben Worsfield, Lucky Giant for Radio 4
Best scripted comedy (studio audience): Sketchorama: Absolutely Special, written by Pete Baikie, Morwenna Banks, Moray Hunter, Gordon Kennedy and John Sparkes, produced by Gus Beattie, Comedy Unit for BBC Radio 4
Best online or non-broadcast audio drama: Doctor Who: Dark Eyes, written by Nicholas Briggs, produced by David Richardson for Big Finish
Writers owed £250,000 for series screened in Europe
The Writers’ Guild has accused two European broadcasters of 'effectively rewarding criminal behaviour' after they screened a major children’s TV drama series for which the writers are still owed £250,000.
The writers, who are all Guild members, claim the move sets a 'bizarre precedent' that could have wider ramifications for creatives across the entertainment industry.
The five UK-based writers of the 26-part series Which is Witch (dubbed into French and broadcast under the title Sorcières Mais Pas Trop!) say producer Phil Ox, of company I Love Television, owes them £250,000 collectively, despite the fact the scripts were completed around a year ago and the series is now being broadcast in France and Belgium.
The writers have spent the last year requesting the money owed to them, and had hoped broadcasters Radio Television Belge Francophone (RTBF) in Belgium and Canal J in France would agree not to broadcast the series until they had been paid for their work. The writers believe they were duped into signing contracts based on Ox’s promises that all the finance for the series was in place.
However, both broadcasters have started showing the drama, with the writers claiming this sets an unwelcome precedent that could see other TV channels follow the broadcasters’ example.
The Writers’ Guild has made a formal protest to both broadcasters, but despite this the drama is still being screened. Requests for the broadcasters’ assistance in obtaining payment from the producer have also been ignored. The broadcasters claim that the producer has supplied them with all the necessary paperwork to enable them to have the legal right to broadcast the show, regarding the situation as a dispute among 'suppliers' and not their concern.
The Guild’s lawyer said: 'Both broadcasters are content to exploit the writers work in full knowledge that they have not been paid while washing their hands of any responsibility. From the writers’ point of view it is little better than theft'.
Nick Wood explains how he became a writer-actor to perform his latest play
Nick Wood in A Girl With A Book (photo by Alex Esden)
There’s a knock on the dressing room door. I follow James the duty manager up the stairs to the back of the stage. I bend to put my keys down under the second step. Before I can straighten up the house lights are coming down. I take a breath. The pre-set is brought up and I walk on to the stage at Square Chapel Halifax for the first night of the tour of my new play A Girl With A Book.
One third of the way through. The words are coming out in the right order. I haven’t tripped over the scenery. Then I cut the last three words of a paragraph. I’ve lost the rhythm. I’ve no idea what to say next. I suddenly realise sweat breaking out your forehead is not a cliché – I can feel it. I look at the chair where I’ve established Malala is sitting. I walk back to the desk, look at my notebook. Look at the spot where her father stands. I have been silent now for at least an hour and a half. I’m thinking do I say ‘Ladies and Gentlemen I have no idea what happens next’ or just walk off the stage. From nowhere the word Ziauddin comes out of my mouth and we’re off again.
Afterwards I’m complemented how I had the nerve to pause and let my character, the writer, think about the implications of what her father asked Malala to do. On my own I walk it through to see how long it really lasted. Top estimate? Four seconds. Let’s get things into proportion – it’s not coal mining and nobody died, but, at that moment, it did feel pretty scary.
I wrote the play for another actor. I said. But I didn’t really. I would have been happy if we’d found another actor after the showcase at Nottingham Playhouse. I was overjoyed when it was suggested by my director Andrew Breakwell that I do it myself. I knew what I was trying to do from the start. Use the story, not tell it. But I could see the problems. In one try out where I only did an extract I was asked what did I think I, a white, middle aged, male, had to contribute to the debate? I was able to tell my questioner she had almost quoted one of the lines from the play. ‘What have I a white middle class middle aged playwright of no fixed belief living safely in the West got to say on a subject he knows nothing about?’
At the top of the playtext it says: ‘The writer can be played by an actor of any age, gender, or ethnicity.’
I wanted to do it because I wanted to react to this event. The play isn’t ‘about’ Malala. I wanted the disjoint that would come from seeing a middle aged man wrestling with attitudes and prejudices he finds far too near the surface as he researches the event. Tying himself in knots, making a fool of himself, venting his anger at the evils religious differences have brought on the world, wondering how a father could let a daughter run such risks, before arriving at the one quality that undercuts all our fears of the different – empathy.
Tom Green introduces a case study from a new book he has co-written with Kevin McCann about authors doing it for themselves
In the time that I have been editing writersguild.org.uk and the Writers’ Guild magazine, one of the biggest changes has been the new technology enabling writers to become increasingly independent. The rise of self-publishing has come on the back of a range of innovations, most notably relating to digital printing, e-books and social media. Whereas once an author’s options outside mainstream publishing houses were almost non-existent, now it’s possible to publish and promote a book with little or no outside assistance.
In writing Getting Started In Self-Publishing (Hodder 2013), Kevin McCann and I have sought to provide practical advice on all aspects of the process. The book also contains a number of case studies; an extract of one, by Guild member Martin Cloake, follows below.
Martin Cloake has self-published two mini-books in a series called Spurs Shorts that he launched with his writing partner Adam Powley. One is about Danny Blanchflower, the other concerns Arthur Rowe. They have also republished the first full-length book they wrote, We Are Tottenham, as an e-book after the rights reverted back to them.
Why did you choose to self-publish?
I'm a journalist and I've worked in production for years. I'm also interested in technology and the media business, an area I covered as a journalist. So I've been interested in and involved with new publishing platforms and methods for years. Digital publishing has changed the game in so many ways, one of which is to change the view of, and the opportunities offered by, the self-publishing route. Essentially, digital makes the whole process more nimble. The idea for the ‘Shorts’ series came from the kind of thing The Atlantic Review was doing in the US, and The Guardian in the UK. Those publications are mining their archives to produce collated volumes on particular subjects.