27 July 2012
Posted in TV

25 June 2012
Posted in TV

Jayne Kirkham reports from the Prix Jeunesse International Children’s Television Festival 2012

(The Amazing World of Gumball, created by Ben Bocquelet, winner of the Prix Jeunesse International award for Fiction for 7-11-year-olds)

Despite the rise of the internet and social media, in most parts of the world television is still the leading medium for children. For over 40 years the Prix Jeunesse Foundation, based in Munich, has sought to promote television that enables children to see, hear and express themselves and their culture and that enhances an awareness and appreciation of other cultures. Built on a solid foundation of academic research, Prix Jeunesse takes very seriously the idea that good children’s television is a social responsibility. Its biennial festival, the Prix Jeunesse International, awards the world’s best children’s and youth programmes and engages producers and broadcasters in hands on workshops and other partnerships for excellence.  

It is a lot of fun. And rather tiring. There were 85 shows in competition, covering fiction and non-fiction in preschool, 7-12 years and 12-16 years age ranges, plus some 400 other shows also available to view. After each category delegates discussed what they had seen before secret ballots were taken. A Prix Jeunesse is a tremendous accolade, but winning is not all that the festival is about.

Unlike markets like MIPCOM, business takes a backseat here. Instead it is an opportunity to learn more about children in different countries and cultures. It's also offers chance to see different ways of doing things and to be inspired. A selection of the very best programmes from this year’s Prix Jeunesse will be screened at the Children’s Media Conference in Sheffield 4-6 July. If you are going, don’t miss it. If you’re not going, go.

So what or who inspired me? The producer from Bhutan, who is pioneering youth television in his country; The Chalk Boy, a drama from the Philippines that made me leap out of my seat; Mina Moes, a live action story about a courageous little Dutch girl determined to wear her Minnie Mouse ears no matter what everyone else thinks; the astonishingly creative Design Ah! from Japan that uses image so perfectly and had one of the most positive depictions of women. That is probably my big ‘take away’ (if you’ll excuse the kids’ TV technical term): that worldwide, women still have a stupidly long way to go before being portrayed as anything other than mothers, bossy big sisters and love interests. Gender Representation is something that the Prix Jeunesse Foundation has recently investigated. In the largest ever children’s TV analysis they have looked at gender representation in 19,664 programmes from 24 countries. The results are published at childrens-tv-worldwide.com.

One more thing that I learnt and that is that Nordic drama series for kids are just as excellent as adult shows such as The Bridge or The Killing (although with less… killing) but here in the UK we still have some of the best children’s television in the world. Really we do. Consistently. Across all genres. Whether it’s from the BBC or independent companies, our storytelling and our understanding of our audience is second to none. There are few territories where children are served as well as the UK.  The danger is that we take it for granted and we could lose it so easily. Look at what happened when ITV shut Granada Kids. The BBC Trust says Children’s is one of its five editorial policies but it has to make cuts somewhere. Dedicating two channels to children’s content looks like content is protected but by taking children’s programmes off of BBC1 and 2, the terrestrial contracts and fee structure, will no longer be appropriate. Writers and other creators are looking at 50% drops in income. Great savings for the Corporation, but at some cost: you know the cliché, pay peanuts and you’ll get monkeys.

With the Guild having recently signed the best Television Writers’ Agreement in the world, we are in a good position to look carefully at the implications for children’s television specialists, both live action and animation.

It’s a negative thought to end on but only if we do nothing. As I said, Prix Jeunesse takes seriously the idea that good children’s television is a social responsibility. Several times during the festival I was reminded of the United Nations’ International Convention on the Rights of the Child that the UK signed up to some twenty years ago. It is a right, not a privilege, for children to enjoy and participate in cultural and artistic activities, be given news and information appropriately and educated so that their personality, talents and abilities are developed to the full. I think that gives the Writers’ Guild a good base on which to go forward when discussing children’s media matters with industry and Government.

View the full list of Prix Jenuness International 2012 winners (pdf)

01 June 2012
Posted in TV

Changes safeguard writers in the age of online viewing

(Photo: Success at last! The Writers’ Guild negotiating team celebrates the end of four years’ hard negotiations. From left: Ming Ho, Gail Renard, Bernie Corbett, J.C. Wilsher, Robert Taylor, Anne Hogben)

Major new agreements between the Writers’ Guild, the BBC and the agents’ trade body were signed yesterday (Thursday 31 May 2012), bringing the contractual terms for TV writers fully into the digital age.

The signing ceremony took place in the brand new rebuilt Broadcasting House in central London – the culmination of more than four years’ negotiations that started before the builders even moved in.

Guild General Secretary Bernie Corbett said: 'This is a hugely significant day for writers, safeguarding their interests – and their incomes – whether future viewers stick with broadcast systems or increasingly use online on-demand services. And it gives the BBC the ability to commit fully to an online future, continually increasing the ways in which both current and archive programming can be made available. These negotiations have been an incredibly long-haul, and I congratulate Guild Chair Robert Taylor, whose vision and clarity throughout his three-year term of office have been a major factor in bringing these talks to a successful conclusion.'

The agreements, as foreshadowed at the Guild AGMs in 2010 and 2011, introduce a completely new system to pay writers for the use of their work on the iPlayer online system. A new company called Writers' Digital Payments, jointly controlled by the Guild and the Personal Managers’ Association, will organise payments in proportion to the number of viewers who click to watch each individual programme. The same system can be extended in future to cover payments for possible online archive projects.

In addition the new agreements massively extend the programming covered by collective bargaining, bringing in for the first time drama and comedy commissions below 15 minutes, dramatic material in documentaries, and reforming the way sketch material is commissioned and re-used. In another important change, programmes repeated on secondary channels such as BBC3/4 and the children’s channels will earn residual fees based on a percentage of the original fee, instead of the much-criticised standard fees paid up to now.

To pay for these improvements most writers will lose the 15% additional fee paid upfront for a five-year iPlayer and secondary channels licence. The new agreements mean that this money will now find its way much more accurately to the writers of the most-downloaded and most-repeated shows. Another important change is a reduction in repeat fees, which it is hoped will enable the BBC to repeat many more shows, thus spreading the payments to a wider range of writers. But to avoid a disproportionate pay cut, current EastEnders writers have their fees system ring-fenced and there will be a two-year transition period for writers already working on other long-running series.

The new system will come into force on 1 July 2012 for new commissions, and all programmes commissioned since November 2002 will automatically switch to the new terms as and when they are repeated and/or made available online. Writers of material commissioned before November 2002 will have the option of switching to the new system – as recommended by the Guild and the other parties to the agreements – or remaining on their original terms.

More details about the new agreements and how they will affect writers in practice will be issued within the next few weeks, including a special website with answers to frequently-asked questions and other information. Almost 11,000 writers (or their estates) who have worked for the BBC over its entire history will be contacted by post with an explanation of the new agreements and an invitation to sign up. Look out for more information on the Guild website.

28 May 2012
Posted in TV

Applications are now open for Coming Up 2013, the scheme for emerging screenwriters and directors run by Channel 4 and Touchpaper Television

Now in its 11th year, Coming Up is currently the only talent scheme in the UK where emerging filmmakers have the opportunity to make an authored drama with a guaranteed half-hour network broadcast.

They are looking for: 'Bold, original and surprising ideas with strong voices – unafraid of ambition, wit, urgency and fearless entertainment.' Films will need to be shot in four days on a limited budget

Who can apply? 

• Writers who have not had an original single, series or serial broadcast on UK television. Writers who have contributed episodes or series and serials (eg a long-running soap) are eligible to apply.
  
• Directors without a primetime TV drama credit.
  
• Writer/Directors: They will accept submissions from writer/directors who meet the criteria for writers and directors as per above, but excellence in both disciplines must be shown to be considered in this category.
  
• Submissions from multi-cultural and regionally-based filmmakers are encouraged.

Full details and application forms are on the Coming Up web pages

The closing date for applications is 2 July 2012.

24 May 2012
Posted in TV

Booking is now open for this year's BBC TV Drama Writers' Festival

When: Wednesday 11th and Thursday 12th July 2012

Where: Leeds College of Music, Leeds

The TV Drama Writers' Festival is the festival for professional television writers. Providing a unique opportunity to mix with BBC drama commissioners and producers, and writers who are at the top of their field, the festival is a mix of masterclasses, conversation and debate - led by writers for writers. It is an opportunity to be inspired, challenged, and to have your say. The theme of this year's festival is 'Ambition'.

The 2012 festival will be chaired by Peter Bowker - with Stephen Butchard, Danny Brocklehurst, Toby Whithouse, Emma Frost, Ashley Pharoah and Jack Thorne helping to put the sessions and masterclasses together.

The closing date for bookings is 20 June 2012.

Full details are on the BBC Writersroom website.

16 May 2012
Posted in TV

A statement from the Writers' Guild

The Guild has been aware for some while that the BBC will moving their children's programmes from BBC One and BBC Two to CBBC and CBeebies. No date has yet been set for the move.

The BBC has stated that spending on children's programmes won't be affected. The Guild has also received an undertaking that no changes will be made until fully agreed with the BBC Writers' Forum, which consists of the WGGB, PMA (a.k.a. agents) and the BBC. 

As ever, the Guild will protect its members.

27 April 2012
Posted in TV

Frances Greenwood is fed up with being considered too old to write TV drama

‘“I work in TV”; just saying it gave him satisfaction……Secretly, he liked the fact that it was one of the better-looking industries, and one that valued youth. No chance, in this brave new world of TV, of walking into a conference room to find a group of sixty-two-year-olds brainstorming. What happened to TV people when they reached a certain age? Where did they go?’

(from One Day, by David Nicholls, Hodder and Stoughton, 2009)

Sixty-two years old? That’s me. And I didn’t go anywhere. In fact, I spend a lot of my time brainstorming ideas for TV. OK, so I’m usually doing it alone in my study, but I still have a brain and it still storms.

All over the UK, there are older writers like me who, once the brainstorming is over, struggle to be heard. Of course, there are some older writers in TV, but they are in a tiny minority of an industry increasingly dominated by two main groups.

First, there are The Heavyweights - not many of them, but they’re pretty much guaranteed a slot somewhere on TV. They start with one successful TV series, and now there’s no stopping them. And good on them, I say! These are our top-notch writers, who are rightfully occupying their thrones at the peak of the scriptwriting Parnassus. They are there because they’re good -- bloody good. They’re also lucky. And I use that word advisedly, not in some mealy-mouthed, bile-spitting way. They’re lucky because, having written that one breakout series, there will be no stopping them – for the moment. (I will come back to them when they’re 62.)

Next on the pile are The Young Turks. They are aged somewhere between 20 and 35 – or even 40, if they can sell themselves as younger than they actually are. Basically, the younger the better. They swarm all over television drama, eager, energetic, confident, full of ideas. They write Hollyoaks, Skins, telly for Young People. Now, however, they also write Holby, Casualty, Doctors - telly for the not-so-young. Why? What has happened here? Well, as far as the BBC is concerned, some of the flak has to be directed at its Writers’ Academy. Again, this is not a personal attack on its creators, for whom the idea must have seemed to tick a vast array of boxes marked compliance. But, just to give you a flavour of its intentions, here is part of the Academy’s call to writers put out last year:

‘The Writers’ Academy is a major initiative aimed at discovering and training the next generation of writers for BBC 1’s flagship shows: EastEnders, Casualty, Holby City, and Doctors. The scheme works as an apprenticeship for writers.’ This call for applicants also included a quote from a writer, who says: ‘Writing for television can feel like running across a muddy field at night being pursued by man-eating pigs - the Academy gives you a torch.’ Well, I have news for him: those are not man-eating pigs, they are grey-haired writers. As one agent recently told me: ‘You just have to do the maths. Seven years of the Academy. Eight graduate writers getting an episode each of Doctors, Holby and Casualty. If they keep on getting employed by these shows, that’s a total of 56 new writers pushing out 56 writers who were already there.’ Although the Writers’ Academy is open to people of all ages, and some of more mature years do get in, the emphasis is inevitably on youth. Another TV agent told me that he has difficulty selling even his 30-year-old writers, such is the demand for the ‘next new bright young thing’.

29 February 2012
Posted in TV

Richard Carpenter, a Life Member of the Writers' Guild who created Catweazle and Robin of Sherwood and wrote numerous other TV scripts for children and adults, died earlier this week.

Having started his professional life as an actor for stage an TV, Carpenter created Catweazle, a comedy-drama about an 11th century wizard transported to the present day. First broadcast in 1970, it ran for 26 episodes and became one of the best-loved children's shows of the decade.

Carpenter went on to write for children's drama series such as Black Beauty, The Ghosts of Motley Hall, Famous Five and Doctor Snuggles.

His best known show for adults was Robin of Sherwood, first broadcast in 1984, which ran for three series. His most recent screen credit was a TV adaptation of Philip Pullman's novel, I Was A Rat.

Carpenter, a one-time member of the Writers' Guild's Children's Committee, was a tireless campaigner for writers.

Lucy Daniel Raby writes:

Richard was an inspiring mentor for new writers in children's TV, books and film, always willing to listen and advise. His storytelling abilities were legendary and he was one of those rare writers who could produce a near perfect 1st draft! His humour was also legendary, and he kept us all entertained on the Children's Committee at the WGGB, at the same time keeping us all focussed. He was a tireless campaigner for children's TV and for writers' rights, and he never lost his enthusiasm or sense of fun. He will be sorely missed by all his fellow writers.

03 February 2012
Posted in TV

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

Please contact erik@writersguild.org.uk

19 January 2012
Posted in TV

Due to current demand, the Guild thought it timely to feature our Television Good Practice Guide, Working With Writers, once again. The Guild recommends that everyone in the industry, both writers and production personnel, read it and abide by it. The WGGB exists to protect writers' rights and working conditions.

Download Working With Writers (pdf)

19 January 2012
Posted in TV

Gail Renard pays tribute to a long-standing Guild member who died last month

Ronnie Wolfe, co-creator of sitcoms On The Buses and The Rag Trade died at the age of 89 following a fall. His career reads like the history of radio and television comedy.

Ronnie started in the early 1950s, writing Beryl Reid’s material for the BBC radio comedy, Educating Archie. He quickly worked his way up and, when lead writer Erik Sykes left, Ronnie took his place. It was also where Ronnie met his future writing partner, the resident harmonica player, Ronnie Chesney. Ronnie W persuaded Ronnie C to give up his successful act so they could write together. Their partnership, known as 'The Other Two Ronnies', lasted harmoniously for 50 years.

Ronnie C excelled at writing the plots and technical bits; whereas Ronnie W was a master of comic dialogue. He was also good at acknowledging the talents of others; including a young Marty Feldman who joined his series as a junior writer.

Growing in fame, Ronnie wed Rose Krieger in 1953. The headline of the now defunct Evening Star newspaper read: “Ronnie Married His Secretary Because He Knew A Good Thing When He Saw It'. Quite right. As a labour of love, as Rose typed and collated 95% of his work.

Ronnie was a kind, warm, family man and staunch Writers' Guild member for half a century. Until his health prevented, he was a regular at Guild AGMs. 'The Other Two Ronnies’ work is still appreciated on telly and DVDs. His latest book, My Life In Memoirs, was brought out by Kaleidoscope Publishing just over a year ago.

My sincere condolences to his wife, Rose, his two daughters and also to Ronnie Chesney. He’ll be very missed.

Gail Renard is Chair of the Guild's TV Committee

More obituaries for Ronnie Wolfe:

• The Telegraph
• The Guardian
• The Independent
• The Stage

19 December 2011
Posted in TV

The Writers’ Guild has agreed an increase of 2% in minimum fees for drama and comedy writers, in line with pay rises for BBC staff. This brings the flagship minimum fee for a 60-minute original drama to £10,680 – although many established and in-demand writers will earn much higher amounts. The minimum rates for series, soaps and other genres all go up by the same percentage. The new rates cover all contracts from 1 November 2011 - download a full list of minimum rates (pdf).

The Guild, along with the agents’ trade body the Personal Managers’ Association has now concluded all substantive negotiations on a new suite of agreements that will introduce a new system of paying writers for the use of their work on the iPlayer and other online on-demand services including the planned BBC online archive. The deal also expands the coverage of the agreements to scripts shorter than 15 minutes, including comedy sketches, material commissioned for online use only, and some material for animations and documentaries. We expect to make a major announcement about the new agreements early in the New Year.

The negotiations and increased fees come against a background of yet more BBC cuts under the slogan 'Delivering Quality First'. The latest plans identify 'Ambitious original British drama and comedy' among the 'five pillars of the BBC’s future strategy' and the Guild intends to monitor commissions and output closely to ensure this pledge is honoured.