23 February 2012
Posted in General

Guild President David Edgar speaking at the Arts Council's annual State of the Arts conference, held on 14 February at the Lowry Theatre in Salford 

Read more about the State of the Arts conference

17 January 2012
Posted in General

Most Writers’ Guild members have to submit an annual self-assessment tax return, and the final deadline for doing so is only a few days away – Tuesday 31 January 2012

You must file your return online by midnight on 31 January (you are already too late to send in a paper return). If you miss the deadline you will have to pay a £100 penalty even if you are only a day late and you have no tax to pay.

If you discover a last-minute tax query, as a Writers’ Guild member you have access to a free tax helpline operated by the Authors and Journalists Team at accountants HW Fisher & Company, who have many years’ experience of helping writers to minimise their tax liability.

Simply call 020 7874 7876 and quote “The Writers’ Guild”, or email your query (quoting “The Writers’ Guild” in the subject line) to Andrew Subramaniam on asubramaniam@hwfisher.co.uk or Barry Kernon bkernon@hwfisher.co.uk.

09 January 2012
Posted in General

An interview with Christina Kallas, President of the Federation of Screenwriters in Europe (FSE)

How did you come to be involved with the FSE?

I was a member of the presiding board of the German Writers’ Guild for many years and one of my fields of action was international collaboration. As a Greek living in Germany and making films all over the world, being engaged in talks with writers from other countries felt like home. When I was asked to also be the FSE delegate for my guild, I said yes. A month later I visited my first FSE General Assembly.

Why do you believe that the work of the FSE is so important for writers?

Because we live in an international world. And it is becoming more and more international. If we think that national legislation is going to protect our rights, then we should think again. Nowadays I even doubt whether lobbying for good European legislation is even enough, which is why I am so passionately engaged in establishing close and continuous collaboration on a global level.

How similar are the concerns of professional writers across Europe?

Very. There are countries which have less problems on one level but more on another. Our biggest common problem is the buy-out contract which seems to have established itself permanently in most of the countries, as well as acceptable minimum conditions for fees and credits. There are other issues: the way state aid is being distributed and accounted for, the transparency and monopoly of collecting societies, the ignorance of festivals, critics and academics in relation to our profession. And now we have the internet - a new ecosystem which is still in evolution and which may soon be the most important market for us writers.

Could you outline the main work of the FSE?

Among other things: we engage in common campaigns, information exchange and we formulate goals for Europe's writers and pursue them. We lobby at European Union level, we support national guilds where needed or when a problem arises, and we organise conferences to discuss our issues on an international level and decide on common actions.

07 December 2011
Posted in General

Bill Morrison – playwright, director, producer, actor, screenwriter and former Chair of the Writers’ Guild – died in Liverpool this morning after a sudden illness. He was 71. Many people in the Guild and the wider world of writing and the theatre will mourn his loss.

Bill was widely known for his work, much of which dealt with the troubles of his native Northern Ireland, and for his involvement with the Everyman in Liverpool, among other theatres. But the Guild also knew him as a strong leader, able to focus his experience and intellect on guiding his union through some troubles of its own.

Guild President David Edgar writes:

Bill Morrison's death is a loss to the theatre (for which he not only wrote but also acted and directed), to television and radio, to the Writers' Guild and indeed to the principle of writers' unionisation.

I met him in the late 1970s when we were both founder members of the Theatre Writers' Union, which collaborated with the Guild in negotiating the first minimum-terms agreements for writers in the British theatre. Bill remained a stalwart TWU activist, and was a key figure - firm but wise - in the sometimes tortuous and occasionally tempestuous negotiations for the TWU to join the Guild. Following a successful merging in 1997, Bill went on to the Guild executive and was its chair from 2001 to 2003.

His career as a writer began in the late 1960s. Abandoning his university subject of law in order to go on the stage, Bill quickly refocussed his attention on to writing, undertaking writing residencies at the Victoria Theatre, Stoke-on-Trent and the Liverpool Everyman, for which he wrote his hugely successful black farce about the Northern Ireland troubles, Flying Blind, which was revived at the Royal Court in London, produced off-Broadway and then around the world.

Another comedy about the land of his birth (though in this case set in Liverpool), Scrap!, was one of the plays produced under a rare period of writer power in the theatre. Facing closure in 1981, the Liverpool Playhouse Board appointed Willy Russell, Alan Bleasdale, Chris Bond and Bill as joint artistic directors. A not always easy collaboration nonetheless saved the theatre, produced premiere productions of plays by Jimmy McGovern, Claire Luckham, Nell Dunn and Adrian Henri, and Willy Russell's legendarily successful Blood Brothers. After Russell and Bleasdale left, Bill carried on as joint artistic director until 1985, and as a board member till 1991. In 1993 he returned to the theme of the Irish troubles with his most considerable stage project, a three-play family drama beginning with partition in the 1920s and ending in the present, directed by Nick Kent at the Tricycle.

Bill also wrote widely for television, his best-known single plays being Shergar, Force of Duty and A Safe House, a play about the wrongful imprisonment of the Maguire family in the 1970s. His radio work, much of it produced by the formidable John Tydeman, includes an innovative two-part adaptation of Crime and Punishment and a series of five Raymond Chandler novels, as well as many original plays.

Bill will also be remembered as a staunch defender of the theatre (particularly in Liverpool), as a community writer (bringing victims of IRA bombings together on both sides of the Irish sea) and as a trade unionist. His period as chair of the Guild saw difficult negotiations with the BBC and conflict with the Guild's partners, as well as the appointment of Bernie Corbett as General Secretary. His role in the expansion of the Guild's remit to cover all theatre writers is also a lasting legacy.

Bill had been combatting illness for some years, but had been improving over the last two, before a sudden rupture of the oesophagus caused his death last Wednesday. His final public engagement was the launch of a book about the first 100 years of the Liverpool Playhouse, to which he made such an important contribution. His partner, Ann Bates, is a drama teacher with whom Bill worked in his latter years, and he also leaves a daughter (Tilly) and a son (Patrick). He will be missed by them, but also by us.