Novelist and screenwriter Brendan Foley reads from his work and discusses aspects of being a professional writer in different forms. Recorded at the Guild's Off the Shelf at Black's Event, January 2012
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Also available as a podcast on iTunes, or via the Writers' Guild app for iPhone and iPad.

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Tinniswood Award winner Murray Gold at the BBC Audio Drama Awards (pic: Anne Hogben/WGGB)

Kafka the Musical by Murray Gold has won the 2012 Tinniswood Award for the the best original radio drama script by any writer broadcast in the period 1 January 2011 – 30 June 2012. The Award is jointly administered by the Writers’ Guild of Great Britain and the Society of Authors. The prize of £1,500 to the winner is generously sponsored by the ALCS (the Authors’ Licencing and Collecting Society). The judges are Meg Davis, Jonathan Myerson and Tim Stimpson.

Readings from poets Alan Brownjohn (right) and Leo Aylen, and a discussion with the audience about aspects of poetry writing and performance. Recorded at the Guild's Off the Shelf at Black's Event, December 2012
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Also available as a podcast on iTunes, or via the Writers' Guild app for iPhone and iPad.

Rachel Murrell on the opportunities for children's animation writers overseas
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Photo: What's The Big Idea? by Planet Nemo Animation

It happened again this morning. The postman delivered a DVD of a new pre-school animation I’ve written. I ripped open the envelope, put the disc in the DVD player, hit ‘play’ – and couldn’t understand a word anybody was saying.

It’s not the result of early-onset senility – not yet, anyway – but of a sustained campaign of pitching producers outside the UK. And while I’ve been able to get work from France, Spain, Belgium, Norway and Germany, sadly, I don’t have the language skills to match.

It all started in 2006 when I was un-agented and short of work, and I emailed dozens of companies in the UK and abroad offering my services as a scriptwriter. Most ignored me, but one or two of the Europeans wrote back politely asking for a CV. Producer Frederic Puech of Planet Nemo Animation in Paris was one, and he suggested we meet when he was next in London.

We met for tea in the British Library – I like to set the right tone! – and soon afterwards, he hired me to write 10 episodes of his new show Silly Bitty Bunny. My schoolgirl French, while embarrassing, turned out to be no barrier to me working with Fred, or his then script editor Diane Morel. Both speak excellent English, and got every joke.

As time went on, I found more doors open to me than I’d expected. Of course I wasn’t the first to knock on them: several of my fellow British animation writers work for producers in France, Germany and elsewhere in Northern Europe. The reason is simple. Many European territories have subsidies available that see a lot of shows go into development. But that’s not enough to make them work internationally. Animation is a global business. Shows have to sell. And many European producers are open to hiring British writers because we’re seen as good at the character, tone and humour that will make a show a global success.

The first event of 2013 for the Writers' Guild West Midlands Branch will be a get-together with Equity on Thursday 21 February. It will also be the official launch of the Campaign for Regional Broadcasting (CRB). 

CRB is demanding that when Tony Hall becomes Director-General of the BBC he enters into substantive discussions about increasing production at BBC Birmingham. 

The event will be a great opportunity to show your support as well as a chance to get to know local Equity members. 

The meeting will take place in the function room at the Old Royal on Church Street in Birmingham city centre (B3 2DP) at 7:30pm, followed by socialising in the bar afterwards. 

More information: http://www.crbmidlands.org.uk/launch-meeting

 
Rachel Flowerday on her experience co-creating a new BBC drama series, Father Brown, based on the short stories by GK Chesterton

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Photo (BBC): Mark Williams as Father Brown 

On Tuesday morning I found myself standing in the Sainsbury’s magazine aisle. Mouth dry. Palms slightly sweaty. Because the following week’s TV listings magazines had just arrived, replete with reviews, interviews, articles… How had I ended up here, with the TX date of my first original series (co-developed with Tahsin Guner, another BBC Writers’ Academy alumnus) less than a week away?

It was all down to Ann Widdecombe. Thanks, Ann.

Back in 2011, Tahsin and I (at this stage, barely acquaintances, much less creative collaborators) were at the end of the road with a pair of original detective dramas we’d independently pitched to BBC Daytime through John Yorke and Will Trotter. Much as the Beeb liked what we’d invented, in order to risk their limited cash, they wanted something a little more bankable.

Roll up, Ms. Widdecombe. She had just put out a Radio 4 show discussing her favourite novelist – GK Chesterton – and his Father Brown short stories, about an unassuming Catholic priest who moonlights as an amateur detective. John pitched the stories straight-off to Liam Keelan (then BBC Head of Daytime), and within days, Tahsin and I were asked – independently – to create treatments, building a precinct and supporting characters around the central priest. Parish secretary Mrs. McCarthy first drew breath in an email to Ceri Meyrick, our producer, in which I pitched a 'doughty, no-nonsense 60-something lay second-in-command who’s kind of a mother-figure but who probably also slightly fancies him/dotes on him… someone to check facts for him, to protect him from the wrath of the diocese, to make sure he eats…' Some of that original email is now on the BBC Father Brown website in her character biog. That’ll learn me.

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Lost Arts campaign

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The Writers’ Guild, along with other unions in the arts and culture sector, supports the Lost Arts campaign to monitor and restore Government spending cuts. Visit lost-arts.org to submit information, and follow on Twitter and Facebook.