The Writers' Guild of Great Britain blog

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2011-01-16T20:33:00.003Z

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Work by Guild members in next seven days

2011-01-08T10:21:00.002Z

CAREY ANDREWS wrote the episodes of EastEnders going out on BBC1 at 7:30pm on Tuesday 11th and Thursday 13th January.

JEAN BUCHANAN'S radio play To Catch a Thief goes out on Radio 4 at 2:30pm on Saturday 8th January.

MARK BURGESS'S play 'A King's Speech' was repeated by BBC Radio 4 on Thursday 6th January 2011 at 2.15pm. Set during the afternoon & evening of Coronation Day 1937, it focuses on the relationship between King George VI & his speech therapist Lionel Logue as the King prepares for his first broadcast to the Empire that evening. Alex Jennings plays the King with Trevor Littledale as Logue. 'A King's Speech' is directed by David Blount & produced by Pier Productions Ltd.

Tynan, an adaptation of the diaries of Kenneth Tynan by Richard Nelson and Guild member COLIN CHAMBERS, is to open at the Studio Theatre, Washington DC on January 19th with Philip Goodwin (Pink Panther, Men in Black II, Law and Order) playing the celebrated theatre critic. The play was originally performed by Corin Redgrave at the Royal Shakespeare Company's Swan Theatre and Arts Theatre, London in 2004.

RICHARD CHAMBERS wrote the episode of Silent Witness going out in two parts on BBC1 at 9:00pm on Monday 10th January.

DAVID CRANE co-wrote the first episode of the new series Episodes, starring Stephen Mangan, Tamsin Greig and Matt LeBlanc, going out on BBC2 at 10:00pm on Monday 10th January.

SIMON CROWTHER wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 10th January.

MARY CUTLER wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Monday 10th till Friday 14th. Every episode is repeated at 2:00pm the day following its original broadcast.

LINDA LOUISA DELL'S new book African Nights has been published by emp3books at £8.95 and is also available as an e-book at £5.95. Available by order from Amazon.com or all good book shops.

TIM DYNEVOR wrote the episode of Emmerdale going out on ITV1 at 7:00pm Friday 14th January.

MARK EVAN'S Bleak Expectations begins a new series with the episode "Chapter the First: a Lovely Life Re-Kippered Again Once More" going out on Radio 4 at 11:30am on Friday 14th January.

BILL GALLAGHER'S Lark Rise to Candleford begins a new series on BBC1 at 8:00pm on Sunday 9th January.

TOM GREEN'S new play Talking In Bed will be at Theatre 503 in London from 10th January, starring James Holmes (from BBC Two sitcom Miranda). Full details www.theatre503.com/whatson/detail/232

PATRICK HARBINSON wrote the first episode of the new series Kidnap and Ransom, starring Trevor King as expert hostage negotiator Dominic King, going out on ITV1 at 9:00pm on Thursday 13th January.

MARTHA HILLIER wrote the episode of Holby City "China in Your Hands" going out on BBC1 at 8:00pm on Tuesday 11th January.

IAN KERSHAW wrote the episode of Shameless going out on C4 at 10:00pm on Tuesday 11th January.

ED McCARDIE wrote the episodes of Shameless going out on C4 at 10:00pm on Thursday 13th and Friday 14th January.

DAVID MORGAN took first place in the 17th Annual National Poetry Slam, winning the title of Farrago UK Slam Poetry Champion 2010.

DEBBIE OATES wrote the episode of Primeval going out on ITV1 at 7:00pm on Saturday 8th January.

ASHLEY PHAROAH wrote the first episode of the new series of Wild at Heart going out on ITV1 at 8:30pm on Sunday 9th January.

CHRISTOPHER REASON wrote the episode of EastEnders going out on BBC1 at 8:00pm on Friday 14th January.

PAUL ROUNDELL wrote the episodes of Emmerdale going out on ITV1 at 7:00pm on Tuesday 11th and Wednesday 12th January.

PATREA SMALLACOMBE co-wrote the episodes of Hollyoaks going out on C4 at 6:30pm from Monday 10th to Friday 14th January.

MARTYN WADE'S dramatisation of Miss Mackenzie goes out on Radio 4 at 3:00pm on Sunday 9th January.

PETER WHALLEY wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Friday 14th January.

JOHN WILSHER wrote the episode of Midsomer Murders "Not in My Back Yard" going out on ITV1 at 8:00pm on Wednesday 12th January.

Harry Potter plagiarism case dismissed

2011-01-07T11:11:00.001Z

From BBC News:

A US judge has dismissed a legal action accusing Harry Potter author JK Rowling of copying the work of another author.

The estate of late author Adrian Jacobs claimed that the plot of fourth Harry Potter outing Goblet of Fire plagiarised parts of his book The Adventures of Willy the Wizard.

Judge Shira Sheindlin wrote in her ruling that there were major differences between the two works.

She added they were "distinctly different in both substance and style".

Public Domain Day

2011-01-06T19:20:00.003Z

Work by numerous authors entered the public domain in various territories at the start of 2011, as listed on the Public Domain Day website.

London Councils to cull capital’s £3m arts support budget

2011-01-06T19:17:00.001Z

By Natalie Woolman in The Stage:

London Councils is to axe its entire £3 million financial support for the arts across the capital.Theatre companies that will be affected include Theatre Royal Stratford East, Tamasha Theatre Company, the Tricycle Theatre and Clean Break.

The umbrella body for local authorities in the capital, London Councils raises money from individual boroughs which is then allocated to voluntary sector projects across the city.

It currently spends £3.14 million a year on provision related to culture, tourism and the 2012 Olympics.

London Councils’ new list of strategic priorities will result in the majority of the cultural services it supports losing all of their funding by the end of June 2011.

Research highlights need to improve writers' business and digital skills

2011-01-06T18:19:00.006Z

Creative & Cultural Skills, the Sector Skills Council for the creative and cultural industries, has launched the Literature Blueprint (pdf) – research highlighting an urgent need to improve the business and digital skills of creative writers and people working in other roles in the sector, such as literature development.

It also considers the need to broaden entry routes into the sector, support the development of writers working with children and young people, and ensure that creative writing qualifications reflect the reality of writing professionally.

Creative writing is at the heart of our national identity and cultural economy, and acts as a springboard for many other highly profitable industries, such as film, theatre, gaming and publishing. Meanwhile, digitisation has transformed the way the sector produces, markets and promotes literature and literature events.

Following industry consultation, the Literature Blueprint makes a number of key recommendations:

Improve professional development opportunities for writers and other literature professionals who work or aspire to work with children and young people.
Enhance the information, advice and guidance available to individuals aspiring to become writers or to enter the wider literature sector.
Ensure that entry routes are relevant and fully accessible by all.
Increase alignment between higher and further education provision and the skills needs of the sector so that courses better prepare students for work.
Ensure that the right mix of training and qualifications is available to meet current and future skills needs, and that opportunities are promoted and signposted well.
Help the sector to access relevant business support and ensure that this is communicated well.
Prioritise the development of digital skills both for individual writers and for literature organisations

Antonia Byatt, Director, Literature, Arts Council England, said: 'UK literature is a truly global force and, whilst renowned for its heritage, it is also pioneering a new generation of young and exciting writers who are making their mark. Writers, and the people who present and promote them, need to match their creative skills with appropriate business skills so that they can take advantage of new ways of reaching more readers, online and face to face.'

Caroline Felton, Chief Executive, Creative & Cultural Skills, said: 'The Literature Blueprint has identified the key areas where skills for the industry need to be developed, and now we must work with the sector to ensure the appropriate support is available and the right interventions are made. On a practical level, this will, I hope, manifest itself in the form of improved access to training opportunities that will best support writers and those in other roles in the sector throughout their careers.'

Jimmy Gardner obituary

2011-01-05T14:29:00.004Z

Multi-BAFTA winning screenwriter Jimmy Gardner died on December 14th, 2010 aged 53 of heart failure. His work was marked by an honesty and integrity which reflected his own character. Though best known for the hard hitting and highly acclaimed British television dramas The Cops and Buried, in person Jimmy was a kind, thoughtful, humorous and modest man, qualities not always associated with the television industry.

Brought up in Edinburgh, Gardner later studied at Kent University for a BA Hons in English and American Literature. Subsequently, he led a somewhat peripatetic life with an eclectic range of jobs in London, New York and Lisbon before returning to Edinburgh.

In 1992 he graduated from the screenwriting course at the Northern Film School with Borderland which won the Best British Student Short Film Award was shortlisted for the 1996 Dennis Potter Award after a recommendation from Tessa Ross, then at BBC Television. As Ross recalls 'I still remember well how exciting it was to read Jimmy's submission to the Dennis Potter Award, all those years ago - here was an honest and clear original voice, a voice with grit and humanity and a clear sense of purpose. Jimmy was quiet and serious, unshowy and very unusual - just like his writing. Working with him and the team on Buried was a great highlight and Cops remains one of the true inspirational, unforgettable pieces of television drama. I am very sad to hear of his death.'

Following a BAFTA nomination for his short film The Butterfly Man, Gardner began his television career writing episodes of The Bill. Having written for the second series of This Life Gardner, together with Robert Jones and Anita Pandolfo, developed The Cops with producer Francis Hopkinson which went on to win the BAFTA Award for Best Drama Series in 1999 and 2000 and the Royal Television Society’s Best Drama Series Award in 2000.

The Cops was described by Executive Producer Tony Garnett as a 'Trojan Horse drama', a critique of life on a northern sink estate and of the realities of policing in this milieu. Francis Hopkinson described Gardner's first script for the series as a perfect opener and launched the show that boosted many careers – so we all owe Jimmy'. On learning of his death, producer Tony Garnett said 'Jimmy was a real talent, perceptive about people and angry at injustice. It was a privilege to work with a writer of such integrity.'

Gardner went on to co-devise and write (with Robert Jones) the critically acclaimed series Buried and this uncompromising, harsh and violent portrayal of prison life won the 2004 BAFTA Award for Best Drama Series.

He also wrote the screenplay for a feature film Outlanders based on a story by Dominic Lees which was released theatrically in 2009.

Gardner created and was the lead writer for the darkly comic family saga Goldplated; a prescient tale of unsustainable avarice set around a nouveau riche family of property developers in Manchester.

More recently he had written an episode of the period cop drama George Gently starring Martin Shaw and at the time of his death was writing another episode, along with developing a number of original drama projects.

Gardner was born with a congenital heart defect, which required surgery at different stages of his life, together with ongoing treatment, all of which he bore with characteristic good grace and wry humour. He is survived by his wife, Claire Russell, three brothers, his son, Eugene, and his parents.

The future of S4C

2010-12-21T19:20:00.003Z

On the Click on Wales website, Guild member Roger Williams argues that Welsh language channel S4C should reinvent itself as mainstream service after the 7pm watershed.

S4C should demand the time and space to decide how best it can serve the needs of its audience. It should focus its resources on making vital programming that reflects Wales culturally, socially and politically. Since 1982 ITV has abandoned its role as a regional broadcaster and BBC Wales makes fewer programmes that represent Wales and its people in the authentic way that used to be the case.

Work by Guild members in the next seven days

2010-12-17T18:32:00.002Z

JESSE ARMSTRONG and SAM BAIN wrote the episode of Peep Show going out on C4 at 10:05pm on Friday 24th December. The series concludes on C4 at 10:00pm on Wednesday 29th December.

SIMON ASHDOWN wrote the episode of EastEnders going out on BBC1 at 8:00pm on Saturday 25th December.

RAY BROOKING wrote the episode of Doctors " Signs and Wonders" going out on BBC1 on Tuesday January 4th.

JEAN BUCHANAN'S adaptation of To Catch a Thief by David Dodge goes out on Radio 4 as the Afternoon Play on Saturday 8th January. This is preceded by a tie in Radio 4 Arts Feature at 11:30am on Thursday 6th January called In Search of the Villa Noel Fleuri, in which Jean attempts to find the villa in the South of France where David Dodge and his family lived when he was writing To Catch a Thief, the best-selling novel on which Hitchcock's Oscar-winning film was based.

DAVE COHEN, David Quantick and Richie Webb have written a new series of 15-Minute Musicals for Radio 4. Friday 24 December: Dr. Bruce - Brucie saves the BBC. Monday 27 December: The Lying King - Cleggba is taken under Scarmeron's wing, and disappears. Tuesday 28 December: Mary Poppinthebackofthenet - Fabio gets a nanny to sort his wayward footballing youngsters. Wed 29: Sweary Todd (the Writers' Guild Award-winning episode from 2008 gets another airing) - Gordon Ramsay the demon cook of Grub St. Thursday 30 December: Just The Two Tone Of Us - Ant & Dec look into life as Dec & Ant. Friday 31 December: Quadroqueenia - The Queen looks back on her miserable year. Monday 3 Jan: Thoroughly Modern Miliband - a musical for the new depression.

DAVID CROFT and JIMMY PERRY wrote the episodes of Dad's Army "My Brother and I" going out on BBC2 at 8:00pm on Saturday 18th, "Turkey Dinner" going out on BBC2 at 6:15pm on Friday 24th and "For the Love of Three Oranges" going out on BBC2 at 8:00pm on Saturday 25th December.

RICHARD CURTIS co-wrote the episode of Blackadder "Bells" going out on BBC2 at 8:40pm on Saturday 18th December. He also co-wrote the Christmas special Blackadder's Christmas Carol going out on BBC2 at 8:35pm on Saturday 25th December.

On Sunday January 2nd the 60th Anniversary episode of the Archers will be broadcast on Radio 4. To mark the occasion, it will be half an hour and run from 7pm to 7.30 pm. The anniversary week January 2nd to January 7th willair at their usual time of 7pm repeated next day at 2pm with the Omnibus on Sunday January 9th at 10 am. MARY CUTLER wrote the whole week's episodes, including the anniversary episode. Mary also wrote the episodes from January 9th-16th.

TIM DYNEVOR wrote the episodes of Emmerdale going out on ITV1 at 7:00pm on Monday 20th and Tuesday 21st December.

MATT EVANS wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 30th December.

STEVE FAY wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Tuesday 21st and Wednesday 22nd December.

JONATHAN HARVEY wrote the episode of Coronation Street going out on ITV1 at 7:00pm on Saturday 25th December.

MARTHA HILLIER wrote the episode of Holby City "Snow Queens" going out on BBC1 at 8:00pm on Tuesday 28th December.

JAYNE HOLLINSON wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 27th December.

MARTIN JAMESON'S radio play in two parts, Devil in the Fog, goes out on Radio 4 at 2:15pm on Thursday 23rd and Friday 24th December.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 27th December.

TONY JORDAN'S adaptation of the story of Jesus's birth, The Nativity, goes out in four parts on BBC1 starting at 7:00pm on Monday 20th, Tuesday 21st and Wednesday 22nd December.

PETER KERRY wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 24th December.

DAVID LANE wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 23rd December.

Following excellent reviews and high demand for tickets to this year's Christmas show at Liverpool's Royal Court Theatre, Scouse Pacific, written by FRED LAWLESS, has been extended and will now run until Saturday 15th January. '...a surreal play that is cleverly written, brilliantly acted and totally crazy... Lawless has the ability to make even the most ridiculous plot work' - The Stage. http://nwtheatre.info/events/743

DARAN LITTLE wrote the episode of EastEnders going out on BBC1 at 8:30pm on Sunday 26th December.

JANE MARLOW wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 23rd December.

JIMMY McGOVERN wrote the concluding episode of Accused "Alison's Story" going out on BBC1 at 9:00pm on Monday 20th December.

TONY McHALE wrote the episode of Holby City "The Most Wonderful Time of the Year" going out on BBC1 at 8:00pm on Tuesday 21st December.

JAN McVERRY wrote the episode of Coronation Street going out on ITV1 at 8:40pm on Friday 31st December.

STEVEN MOFFAT wrote the Doctor Who Christmas special, "A Christmas Carol" going out on Saturday 25th December.

SUE MOONEY wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 23rd December.

ALICE NUTTER recently wrote Helen's Story as part of Jimmy McGovern's BBC TV series the Accused. Each episode stands alone and starts with a character in the dock, the ensuing hour tells how they got there. A copy of the script can be downloaded free on the BBC Writersroom website: http://www.bbc.co.uk/blogs/writersroom/2010/12/accused_helens_story.shtml

JANE PEARSON wrote the episode of Emmerdale going out on ITV1 at 6:00pm on Saturday 25th December.

GAIL RENARD'S new book, Give Me A Chance, about her teenage experiences with John and Yoko at the Bed-In, is out, published by Walker Books.

DAVID RENWICK wrote the episode of Jonathan Creek "The Judas Tree" going out on BBC1 at 8:40pm on Friday 31st December.

DAMON ROCHEFORT wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 31st December.

ALISTAIR RUTHERFORD's half hour comedy drama Happy New Year will go out on BBC Radio Scotland on 31st December at 8:00pm.

KATHRINE SMITH wrote the episode of Hollyoaks going out on C4 at 6:30pm on Monday 20th December.

Congratulation to SAM SNAPE, who won "Best International Short Film" at the Foyle Film Festival in Ireland last week with 3 Hours. http://www.northernirelandscreen.co.uk/newspage.asp?id=100&storyID=2866

RICHARD STONEMAN'S adaptation of Rumpole and the Penge Bungalow Murders goes out in two parts on Radio 4 at 2:15pm on Thursday 30th and Friday 31st December.

JOHN SULLIVAN special, Rock & Chips goes out on BBC1 at 9:00pm on Wednesday 29th December.

BILL TAYLOR wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 30th December.

ELLEN TAYLOR wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 20th December.

HEIDI THOMAS'S new three-part series of Upstairs Downstairs goes out on BBC1 at 9:00pm on Sunday 26th, Monday 27th and Tuesday 28th December.

CHRIS THOMPSON wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 28th December.

JOANNA TOYE wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 26th till Friday 31st December. Each episode is repeated at 2:00pm the day following its original broadcast.

NICK WARBURTON'S radio play On Mardle Fen continues with part 3/4 "Pitiless Storm" going out on Radio 4 at 2:15pm on Monday 20th December. It concludes with "The Dancing Stone" going out on Radio 4 at 2:15pm on Monday 27th December.

Writing comedy for TV

2010-12-17T09:51:00.002Z

In a new Writers' Guild podcast, comedy writers Jane Bussmann and Andrew Ellard discuss sitcom, gag writing and how to get your first break as a TV comedy writer.

You can listen online at http://writersguild.libsyn.com, or download the podcast from iTunes.

Upcoming work by Guild members

2010-12-10T18:44:00.002Z

JESSE ARMSTRONG and SAM BAIN wrote the episode of Peep Show going out on C4 at 10:00pm on Friday 17th December.

PIERS BECKLEY is producing The Just So Stories at The King's Head Theatre (http://redtabletheatre.com/the-just-so-stories/) from 15th December to 3rd January and he wrote the adaptation of A Christmas Carol at The Lion and Unicorn Theatre (http://www.giantolive.com/) running from 7th December to 15th January.

DAVID CROFT and JIMMY PERRY wrote the episodes of Dad's Army "Sergeant, Save My Boy!" going out on BBC2 at 5:30pm on Saturday 11th and "Don't Fence Me In" going out at 7:30pm on Sunday 12th December.

MARK EVANS'S Bleak Expectations concludes on Radio 4 at 6:30pm on Thursday 16th December.

DARREN FAIRHURST wrote the episode of Hollyoaks going out on C4 at 6:30pm on Tuesday 14th December.

JEREMY FRONT'S adaptation of A Charles Paris Mystery: Murder in the Title going out on Radio 4 at 11:30am on Monday 13th December.

ROB GITTINS wrote the episode of EastEnders going out on BBC1 at 7:30pm on Tuesday 14th December.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 17th December.

JOHN KERR wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 16th December.

JIMMY McGOVERN and ESTHER WILSON wrote the episode of Accused "Kenny's Story" going out on BBC1 at 9:00pm on Monday 13th December.

DAVMON ROCHEFORT wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 13th December.

KATHRINE SMITH wrote the episode of Hollyoaks going out on C4 at 6:30pm on Friday 17th December.

CHRIS THOMPSON wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 16th December.

NICK WARBURTON'S comedy drama On Mardle Fen "The Dream Insists" goes out on Radio 4 at 2:15pm on Monday 13th December.

NICOLA WILSON wrote the episode of Holby City "The Lying Kind" going out on BBC1 at 8:00pm on Tuesday 14th December.

In defence of arts funding

2010-12-07T18:55:00.002Z

On the Guardian theatre blog, Guild member Sarah Grochala urges people to join the campaign against arts funding cuts.

We are all busy, but if we focus too exclusively on individual battles, there is a danger we will lose the overall war. The DCMS's four-year plan implies a slow death for the Arts Council. As much as we might grumble about ACE from time to time, surely none of us want to see its demise. Events such as Cut Off might not offer any new perspective on the current situation but they serve to remind us that our voices are strongest when we speak out as a community. Together we should be able to collect enough signatures to instigate a Commons debate on the arts. It may not change anything, but it's worth a shot.

You can sign the Save the Arts petition here.

In bed with John and Yoko

2010-12-07T18:46:00.006Z

For BBC News, Guild member and TV Committee Chair, Gail Renard, shares memories of meeting John Lennon and Yoko Ono in 1969.

Gail's new book about her week with John and Yoko, Give Me A Chance, is published by Walker Books.

Google ebooks launches in America

2010-12-06T18:48:00.004Z

By Charles Arthur in The Guardian

Google is launching its long-expected web-based ebook offering, now renamed Google eBooks, in the US from today and says it aims to bring it to other countries next year.

The launch means that there are now three big players – Amazon, Apple and Google – in the ebook market, with the latter two having only just joined this year. Apple launched into the market with its iBooks offering for its iPad tablet in April.

Previously known as Google Editions, the new platform will be web-based but incorporate various technologies to prevent piracy.

Google says that it will "make it easier for writers to find new audiences for their books, and for readers to find, buy, and read books on most devices."

Here's the story on the Official Google Blog, with the video below.

Adrienne Benham Award

2010-12-06T18:11:00.001Z

From the Theatre Centre (TC) website:

TC is proud to announce TC Adrienne Benham Award 2011.

In its 3rd year, this writing Award is intended to spotlight promising writing talent and steer gifted writers towards young audiences.
The Award is a £2,000 Seed Commission/Attachment.

The award is made to a writer who satisfies the following criteria:
an interest and enthusiasm for young people’s theatre
a professional commitment to playwriting
imagination, skill, personality and adventure in his/her writing to date
TC’s Artistic Director and independent advisers will select, short list and choose the winner.

Deadline for submissions: 11 January 2011.

Full details are on the Theatre Centre website.

Work by Guild members in next seven days

2010-12-04T14:43:00.002Z

MARTIN ALLEN wrote the episode of Coronation Street going out on ITV1 at 7:00pm on Wednesday 8th December.

SARAH BAGSHAW wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Tuesday 7th December.

SIMON BRETT'S comedy murder mystery A Charles Paris Mystery: Murder in the Title, adapted by JEREMY FRONT goes out on Radio 4 at 11:30pm on Monday 6th December.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "Boots, Boots, Boots" going out on BBC2 at 6:55pm on Saturday 4th December.

SIMON CROWTHER wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 10th December.

MARK EVANS'S Bleak Expectations continues on Radio 4 at 6:30pm on Thursday 9th December.

CHRIS FEWTRELL wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Tuesday 7th December.

ROSEMARY FRIEDMAN'S memoir Life is a Joke - A Writer's Memoir was published by Arcadia Books on 11th November. It is a thoughtful, inspiring and often very funny account of how creativity can banish the everyday "disagreeables", not least of which is ageism. As she tries to make sense of everything life has thrown at her, Rosemary Friedman takes us behind the scenes of playwriting and publishing and gives us her insights into a wide variety of topics, from serious illness to food, friends, families, religion and travel.

DAVID GOODERSON's 60-minute stage adaptation of The Wind in the Willows opens at the Maltings Arts Centre, Farnham on Wednesday 8th December and runs until 12th December. More details and Booking: www.farnhammaltings.com

MARK ILLIS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 10th December.

JULIAN JONES wrote the episode of Merlin "The Coming of Arthur" going out on BBC1 at 7:40pm on Saturday 4th December.

JESSICA LEA wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Thursday 9th and Friday 10th December.

DARAN LITTLE wrote the episodes of EastEnders going out on BBC1 at 7:30pm on Thursday 9th and at 8:00pm on Friday 10thDecember.

JIMMY McGOVERN co-wrote the episode of Accused "Liam's Story" going out on BBC1 at 9:00pm on Monday 6th December.

JAN McVERRY wrote the episode of Coronation Street going out on ITV1 at 8:00pm on Thursday 9th December.

GUY MEREDITH'S radio play Sky High goes out on Radio 4 at 2:15pm on Friday 10th December.

CAROLINE MITCHELL wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Thursday 9th December.

CARMEL MORGAN wrote the episode of Coronation Street going out on ITV1 at 7:30pm Friday 10th December.

DAVID STAFFORD co-wrote the episode of Hazelbeach going out on Radio 4 at 11:30pm on Wednesday 8th December.

JOE TURNER wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 6th December.

NICK WARBURTON'S radio play On Mardle Fen begins a new series with the episode Bird in Hand going out on Radio 4 at 2:15pm on Monday 6th December.

PETER WHALLEY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 6th December.

KARIN YOUNG wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 6th December.

Children's Bafta Awards 2010

2010-11-29T18:35:00.003Z

The Children's Bafta Awards 2010 were presented in London last night. Among the winners were:

The writing team of Horrible Histories (Best Writer and Best Comedy)
Tracey Beaker Returns (Best Drama)
Timmy Time (Best Pre-School Animation)
Shaun The Sheep (Best Animation)

Emmerdale producer Gavin Blyth dies

2010-11-29T18:34:00.001Z

From BBC News:

Gavin Blyth, the TV producer in charge of Emmerdale for the last two years, has died at the age of 41.

Mr Blyth, who was Emmerdale's series producer and had previously worked on Coronation Street, suffered a short illness, ITV said.

Emmerdale executive producer Steve November said he had "made an immense contribution" to the show.

BFI to take on Film Council role

2010-11-29T12:55:00.007Z

Ed Vaizey, minister for Culture and the Creative Industries, has announced that the British Film Institute (BFI) will take on the work previously done by the UK Film Council (UKFC) which will be abolished by 2012.

Olivia Hetreed, Chair of the Writers' Guild Film Committee, reports.

Ed Vaizey spoke to industry this morning at Bafta. He talked of the success of the film industry and of the consultation so far. He namechecked a number of organisations, including producers' organisation PACT and their 'lock box' idea of giving producers funding control. He confirmed what everyone seemed to know, that BFI will take over most functions of the UKFC.

These include: distribution of Lottery funds, which will rise to £43 mill in 2014 (for all outbound not prod fund); certification of British films; media desk and funds for nations and regions. There will be no gap in Lottery funding. Skillset and First Light to continue. Film tax credit will also continue.

The regional screen agencies will be reorganised as Creative England with hubs in the north of England the midlands and the south.

Film London will take on film commission role of selling UK film facilities and personnel abroad.

Bafta, BFI and BBC Worldwide will work together to sell British films abroad.

Ed Vaizey said that he wants a ministerial film forum to meet every six months or so comp of the trade bodies and 'interesting personalities with something to say'. The first step will be an open process to appoint new board members then consultation on the detail.

No specifics were given on what is going from UKFC or how much they plan to save but all done and dusted by spring 2012.

I asked how Creative England would avoid the problems currently besetting Creative Scotland. Vaizey said Creative England will not take on Arts Council functions but be focused on the creative side of film, TV, games, the internet and publishing rather than taking on wider artistic admin.

In a BFI statement its chair, Greg Dyke, said that the production fund will increase from £15m to £18m in 2011/12 thanks to significant savings in overheads.

The UK Film Council has also issued a statement in response to Ed Vaizey's annoucement this morning.

Update: The Department for Culture Media and Sport website now has a report, Vaizey's full speech and full details of the reforms.

Minimum rates for BBC TV drama writers increase

2010-11-27T10:29:00.001Z

Following negotiations under the WGGB / PMA / BBC TV drama agreement minimum rates for BBC TV writers have increased.

Full details can be found on the Writers' Guild website.

Work by Guild members in next seven days

2010-11-27T10:09:00.000Z

RICHARD BURKE wrote the episode of Hollyoaks going out on C4 at 6:30pm on Monday 29th November.

ANNA CLEMENTS wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Thursday 2nd and Friday 3rd December.

DAVID CROFT and JIMMY PERRY co-wrote the episode of Dad's Army "Don't Forget the Diver" going out on BBC2 at 8:00pm on Saturday 27th November.

HELEN CROSS'S documentary drama Blue Eyed Boy goes out on Radio 4 at 2:15pm on Monday 2th November.

SIMON CROWTHER wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 3rd December.

MATT EVANS wrote the episodes of EastEnders going out on BBC1 at 8:00pm on Monday 29th and at 7:30pm on Tuesday 30th November.

Congratulations to MICHAEL FRAYN who received a nomination for the Costa Biography Award for his memoir of his father and his childhood, My Father's Fortune. Michael Frayn also was awarded the Writers' Guild Lifetime Achievement Award on Sunday.

JEREMY FRONT'S adaptation of A Charles Paris Mystery: Murder in the Title continues on Radio 4 at 11:30am on Monday 29th November.

ROB GITTINS wrote the episode of EastEnders going out on BBC1 at 8:00pm on Friday 3rd December.

CAROLINE HARRINGTON wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 28th November till Friday 3rd December. Each episode is repeated at 2:00pm the day after its original broadcast.

JOHN KERR wrote the episode of Coronation Street going out on ITV1 at 8:00pm on Thursday 2nd December.

ROB KINSMAN wrote the episode of Doctors "Fault Lines" going out on BBC1 at 1:45pm on Friday 3rd December.

FRED LAWLESS has written this year's Christmas show for the Royal Court Theatre, Liverpool. Scouse Pacific open on Friday 26th November and runs until Saturday 8th January. More details at http://www.royalcourtliverpool.co.uk

PENNY LEICESTER'S abridgment of The End of the Alphabet goes out on Radio 4 at 2:15pm on Wednesday 1st December.

BILL LYONS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Wednesday 1st December.

Congratulations to JIMMY McGOVERN who won an International Emmy at a ceremony in New York this week for his drama series, The Street. The show also received a Best Actor award for Bob Hoskins for his role as a reformed alcoholic pub landlord who took a stand against a local gangster. In July 2009, Jimmy McGovern announced the programme was ending because of cuts to the Manchester drama department of ITV Studios, which made The Street for the BBC. He told BBC Radio 4's Front Row he would not take the drama to another producer.

GRAHAM MITCHELL wrote the episode of Holby City "Future Shock" going out on BBC1 at 8:00pm on Tuesday 30th November.

ALICE NUTTER and JIMMY McGOVERN co-wrote the episode of Accused "Helen's Story" going out on BBC1 at 9:00pm on Monday 29th November

TIM PRICE wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 2nd December.

DAMON ROCHEFORT wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 29th November.

DAVID STAFFORD co-wrote the episode of Hazelbeach going out on Radio 4 at 11:30am on Wednesday 1st December.

AMANDA WHITTINGTON's Paradise Place concludes this evening at 7.45 pm on BBC Radio 4. Paradise Place is a series of five linked plays, broadcasted every day this week in the Woman's Hour drama slot at 10.45 am and repeated at 7.45 pm. The five plays can be heard on the Listen Again part of the BBC website for up to seven days after the original broadcast: http://www.bbc.co.uk/programmes/b00w5cwv

Lean times for children's theatre

2010-11-24T10:50:00.002Z

On The Guardian Theatre Blog, Mike Kenny argues that there is a desperate need for more original plays for children to be commissioned and performed.

Be honest, can you name a person working consistently as a children's playwright? If you can, have you ever seen one of their plays? In such a landscape, you might wonder why I still plug away. Funnily enough, I entered the business in a boom time. For a while, from the late 60s till the 80s, theatre in education flourished. Every major city had an ensemble creating original work for children. Coventry Belgrade's Rare Earth Trilogy, and Killed, Theatre Centre's 1985, Leeds TIE's Raj, Cockpit's The First Casualty, Ludus's Power – all great lost pieces from companies cut in the 80s. We haven't got near to that quality and output, and now we're facing cuts again.

International Emmy success for British writers

2010-11-23T09:19:00.002Z

British writers had a successful night at the International Emmy Awards last night.

Jimmy McGovern's The Street won best drama series, Shaun The Sheep won the best children's series and Small Island (by Paula Milne and Sarah Williams based on the novel by Andrea Levy) was named best TV movie/mini-series.

Amazon Studios

2010-11-23T09:04:00.004Z

Olivia Hetreed, Chair of the Writers' Guild's Film Committee, responds to the launch of Amazon Studios.

This seems tempting - free entry with the potential to have your script seen by many and maybe picked up by Warner Bros; the harnessing of a wide open talent pool of perhaps previously unheard voices - but the terms and conditions are not good.

The Guild does not approve of free options and 18 months exclusive while anyone can read, rewrite, rip off and variously mess about with your script in any way is particularly unattractive.

The idea that the collective creativity of the web will come up with a good screenplay looks both a) completely untenable and b) frankly insulting to professional screenwriters. Monkeys and typewriters comes to mind.

If a) then the whole project will wither and die under the weight of appalling writing and outraged squawking. If a good script does make it through this process and get made (or a bad script, which is just as likely) then the insult b) will become more serious.

A judgement process based on internet 'popularity' without any filtering seems both open to abuse and most unlikely to produce good or interesting results.

See more comment on Amazon Studios from:

Writers' Guild Award winners

2010-11-22T08:47:00.004Z

The winners have been announced of the 2010 Writers' Guild of Great Britain Awards (view full shortlists here).

Best Screenplay

Kick-Ass - Jane Goldman, Matthew Vaughn

Best First Feature-Length Screenplay

Moon - Duncan Jones, Nathan Parker

Best Television Drama Series

Being Human - Toby Whithouse

Best Television Comedy/ Light Entertainment

Getting On - Jo Brand, Joanna Scanlan, Vicki Pepperdine

Best Television Short-Form Drama

Occupation - Peter Bowker

Best Television Continuing Drama

Coronation Street - Peter Whalley, Carmel Morgan, David Lane, Mark Wadlow, Chris Fewtrell, Jayne Hollinson, Martin Allen, Lucy Gannon, Mark Burt, John Kerr, Damon Rochefort, Julie Jones, Jonathan Harvey, Simon Crowther, Joe Turner, Debbie Oates, Daran Little, Stephen Russell, Jan McVerry

Best Children’s Television Drama/Comedy - live action or animation

Shaun the Sheep - Richard Goleszowski, Rob Dudley, Glenn Dakin, Lucy Daniel Raby, Elly Brewer, Jimmy Hibbert, Will MacLean, John Camm, Lee Pressman, Julie Jones, Dan Berlinka, Andy Williams, David Ingham, Richard Vincent, Patrick Makin, Chris Sadler, Kieron Self, Giles New, James Henry, Nick Park, Kay Stonham, Sarah Ball, Ian Carney, Mark Daydy, Craig Ferguson, Patrick Gallagher

Best Theatre Play

Jerusalem - Jez Butterworth

Best Play for Children and Young People

The Monster Under The Bed - Kevin Dyer

Best Radio Drama

Number 10 - Jonathan Myerson

Best Radio Comedy/Light Entertainment

Mark Steel’s In Town - Mark Steel

Best Videogame Script

Red Dead Redemption - Dan Houser, Mike Unsworth

Best Non-Fiction Book

This Party’s Got To Stop - Rupert Thomson

Best Fiction Book

A Life Apart - Neel Mukherjee

Lifetime Achievement

Michael Frayn

Work by Guild members in the next week

2010-11-20T20:49:00.002Z

JESSE ARMSTRONG and SAM BAIN'S Peep Show starts it's seventh series at 10:00pm on C4 on Friday 26th November.

RICHARD BURKE wrote the episode of Hollyoaks going out on C4 at 6:30pm on Friday 26th November.

JANE BUSSMANN is performing Bussmann's Holiday: The Worst Date Ever at the Tabernacle, Notting Hill, London on 7th and 8th December and on 14th December at The Houses of Parliament, Grand Committee Room, Westminster, London.

SONIA CASTANG'S short film Ashes has been selected for the UnderWire Festival, a new festival to discover new female film-making talent. It has been shortlisted in the Best Director category and it is showing on Saturday 20th November at 2:00pm ().

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "The Big Parade" going out on BBC2 at 7:30pm on Saturday 20th November.

RICHARD BEVAN'S play Trading Faces has been nominated for "Best Play" by the Offie Awards (Off West End).

JEREMY FRONT'S adaptation of Simon Brett's comedy murder mystery A Charles Paris Mystery: Murder in the Title goes out on Radio 4 at 11:30am on Monday 22nd November.

JULIAN JONES wrote the episode of Merlin "The Sorcerer's Shadow" going out on BBC1 at 7:45pm on Saturday 20th November.

KIKI KENDRICK'S play Next! is on at the Etcetera Theatre in Camden, London at 7:30pm until 28th November (Sunday at 6:30pm). Tickets cost £9 and can be booked at the box office on 02074824857.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 22nd November.

DAVID LANE wrote the episode of Coronation Street going out on ITV1 at 9:00pm on Thursday 25th November.

DARAN LITTLE wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 25th November.

GARRY LYONS wrote Amazonia, featuring Rory Kinnear and Michelle Dockery, which can be heard on Radio 3 on Sunday 21st November. Garry's adaptation of The Secret Garden runs at Birmingham Rep Theatre from November 25th to January 8th.

JIMMY McGOVERN wrote the episode of Accused "Frankie's Story" going out on BBC1 at 9:00pm on Monday 22nd November.

JAN McVERRY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 22nd November.

JONATHAN MYERSON'S radio series Number Ten concludes on Radio 4 at 2:15pm on Monday 22nd November.

Congratulations to DAVID NICHOLLS, who last week won the Galaxy Popular Book of the Year Award for his novel One Day. The film version, scripted by Nicholls himself, and starring the American actress Anne Hathaway in the lead is due for release in autumn 2011.

LESLEY CLARE O'NEILL co-wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Thursday 25th November. She also wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 26th November.

CHRISTOPHER REASON wrote the episode of EastEnders going out on BBC1 at 8:00pm on Monday 22nd November.

DAVID STAFFORD co-wrote the episode of Hazelbeach going out on Radio 4 at 11:30pm on Wednesday 24th November.

DANNY STACK wrote this week's episode of CBBC's Roy on Saturday 20th November at 11:00am on BBC2. The show has recently been nominated for two Baftas, including Best Children's Drama, and earlier this year won the RTS Award for Best Children's Drama.

BILL TAYLOR wrote the episodes of Emmerdale going out on ITV1 a 7:00pm on Tuesday 23rd and 24th November.

MARTYN WADE'S dramatisation of the final weeks in the life of English composer EJ Moeran goes out on Radio 4 at 2:15pm on Friday 26th November.

PETER WHALLEY wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Friday 26th November.

AMANDA WHITTINGTON has five linked plays, Paradise Place, going out on Radio 4 at 7:45pm from Monday 22nd till Friday 26th November.

KARIN YOUNG wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 22nd November.

PLR gets off lightly - so far

2010-11-20T20:29:00.002Z

Fears over the future of the Public Lending Right scheme appear to have been exaggerated in the aftermath of the recent Comprehensive Spending Review. Compared to university fees, housing benefit and community work for claimants, the modest but effective PLR scheme has got off pretty lightly.

The amount paid to authors for each book lent by a public library will drop fractionally from 6.29p to 6.25p for the annual payout in February 2011. The change will be barely noticeable, although there are likely to be further cuts in future years as the public spending curbs continue to roll out.

The Writers’ Guild believes that if the rate per loan falls below 6p the current cap on payouts of £6,600 should also be lowered. The cap exists to avoid a handful of hugely popular authors from scooping the pool of the PLR fund.

Meanwhile there is silence from the Department of Culture, Media and Sport on the future administration of the scheme. The PLR admin team was included in the recent bonfire of quangos despite being one of the most efficient and highly-admired public services there is. However, the Guild has been assured that no change will affect the scheme until after the February 2012 payout at the earliest.

It has been suggested that the task of running the scheme could come under Arts Council England or the British Library. Writers’ organisations do not think these ideas have any chance of saving money and are lobbying hard for the existing team based in Stockton-on-Tees not to be broken up, whatever organisation has its brass plate on the entrance.

The Digital Economy Act, passed in the dying days of the Labour Government, contained provisions to extend PLR to ebooks and audiobooks. As this would require substantial additional funding, the incoming coalition has placed this on the back burner, where it will remain for several years – in the Guild’s view, regrettable but sensible.

There is a shadow over PLR, which is the threat of closure to many public libraries across the country as local councils struggle to cut their budgets. Unlike social services or refuse collection, libraries are not a statutory part of local authority services, so closures are relatively easy for councils to get away with. You will find a grim rollcall of libraries under threat at http://uklibrarywatch.pbworks.com/w/page/31643455/England

If you are the author of any books that are lent out by public libraries (not reference books that remain on the premises) then you should ensure your titles are registered so that you receive PLR payments – you can do this online.

For more information about PLR see www.plr.uk.com

FSE Newsletter - October/November

2010-11-18T18:38:00.001Z

Please find below the October/November issue of the newsletter from the Federation of European Screenwriters (of which the Writers' Guild is a member).

In this issue you will find some short articles and links on:

1st Meeting of Spanish Scriptwriters
European Parliament : Cinema and European Identities (Lux Prize)
ACTA : international agreement to fight Piracy
New IRIS publication on “New Services and Protection of Broadcasters in Copyright Law”
Copyright in the Single Market
Net Neutrality
VOD, an opportunity for Europe’s audiovisual production?
Digital Age and Copyright Issues discussed at WIPO
Creativity in Video Games
Quality of Media Public Service

Open publication - Free publishing - More screenwriters

An interview with Roy Williams

2010-11-17T17:05:00.000Z

An edited transcript from the Writers’ Guild podcast, November 2010
Writers' Guild podcasts can be found at http://writersguild.libsyn.com and also on iTunes.

An interview with Roy Williams by Darren Rapier

Darren Rapier: You studied writing at Rose Buford College from 1992-95 – what led you to take that course?

Roy Williams: As long as I can remember I’ve always been interested in storytelling. I’ve always loved being told stories and writing stories. So I think the writer in me was always there. I just think, as with most young people, it took me a while to get the life experience and think ‘I want to be a writer’. I was in my mid-twenties, wasn’t doing much, so the time seemed write to go back to school, as it were. I wanted to see more plays, read more plays and soak myself in theatre.

DR: And did the degree course help your writing?

RW: Those sort of courses can’t teach you how to write. They can only sharpen your skills and that’s what I wanted. I knew I had a raw talent but I needed some finesse and the course helped. The most useful thing was studying the greats: Ibsen, Chekhov, Shakespeare and the like – and stealing from them!

DR: Your first full-length play was The No Boys Cricket Club – how did that come about?

RW: It was the play I had to write at the end of my degree course and my tutor, Gilly Fraser, really liked it and thought it was worth sending it to some theatres. So I sent it unsolicited to the Royal Court, Theatre Royal Stratford East and the Hampstead Theatre to see what they thought, and Stratford East took it up for a reading and then a full performance, which I was thrilled about. That led to another commission and I also got a commission from the Royal Court, and things sort of snowballed from there.

DR: Do you think it was more difficult then than now to make that sort of breakthrough?

RW: I was quite naive at the time, and just excited that these theatres were taking an interest in me. I just went with it and enjoyed it.

DR: And you also got a radio commission?

RW: Yes, through a scheme called First Bite for writers new to radio. I don’t think the BBC does it any more but they should because a lot of good writers came through it.

DR: And did you plan what you did after those initial commissions?

RW: Not really, I just went with it. There was more-or-less one commission after another. I did Lift Off with the Royal Court, a play with the Tricyle and then got a start with TV as well.

DR: At that time how many black writers were there being commissioned?

RW: Not many – certainly not as many as there are now. The only visible black writer when I was starting out was Winsome Pinnock, who was a real inspiration.

DR: Do you think that made it harder for you or easier?

RW: For me personally it didn’t make much difference. I knew what I wanted to be and was getting commissions. I was aware how difficult it was to be a black actor but it made me more determined to write plays, and, ideally, plays for black actors.

DR: Quite a few of your plays, right from the start, have relatively large casts – was that something you were concerned about in terms of getting them staged?

RW: Not really. I think again that’s where my naivety showed. Writers at that time weren’t encouraged to write for large casts, but I just wrote my first play for my degree without worrying about some future production. Interestingly, Paul Everett, who was the literary manager at Stratford East, said that the large cast was what initially drew him to the play; everyone else was writing things that were very intimate but nothing that really took over the stage, and he thought my play did that. Thankfully there does seem to be more willingness from theatres now to stage larger-scale plays by new writers – I was really excited to see Earthquakes In London by Mike Bartlett recently, which completely took over the Cottesloe at the National Theatre in London.

DR: So you think attitudes among producing theatres have changed?

RW: Yes, I think they want writers to be daring. Not just with scale, but with content. Whether that will continue to be the case once the cuts kick in, we’ll have to wait and see.

DR: So after the first theatre commissions and the radio, what was the next big thing?

RW: My debut at the National Theatre was quite exciting.

DR: Sing Yer Heart Out For The Lads – another big play.

RW: Yeah, I didn’t have anyone saying ‘You can’t do that’, I just wrote it. Fallout, my first play on the main stage at the Royal Court, was also quite significant for me.

DR: When you write a play, do you have a space in mind?

RW: I do now. When Ian Rickson commissioned me for the Royal Court main house he took me there and told me to feel the space, which I did, and I’m really grateful to him for that.

DR: Presumably another significant step for you was adapting Fallout for TV.

RW: Yes, it did quite well at The Royal Court so there was a lot of interest, which was exciting. Converting a stage play into a script was a challenge and in a slightly perverse way I got quite into cutting lines from my own play because in TV or film so much can be said in a close-up just from a character’s expression. Another big difference from theatre is that a film can be completely rewritten in the edit – whole scenes can be moved around.

DR: How much influence did you have over editing?

RW: Some, but not much; so many people are involved. It was a little bit frustrating but not too bad, and much better than what I’ve heard from other writers, who have had hellish times.

DR: Of course, you do get a bigger audience than in a theatre, but not the immediate response of a live audience.

RW: That’s right. Fallout was seen by about two million people on TV, which was great. It is a bit odd not having the excitement of a live show; I like to watch the audience when I’m in a play of mine, you can learn a lot from that. When my play Days Of Significance was done by the Royal Shakespeare Company I realised from the audience reaction that the final act wasn’t working, they were confused by it, and I completely rewrote it when it was revived a year later.

DR: Are you planning to do more TV and film now?

RW: I’d like to do more TV, yes. It’s a great medium and some of my favourite dramas have been on TV. And I’d love to write a film, but don’t ask me what – I’ll know when I come across it; although I am in talks about adapting my play Sucker Punch. But I don’t want to leave theatre.

DR: Do you ever write anything on spec any more?

RW: I haven’t done for quite a while. I’d like to, just to see what happens, but I haven’t had time.

DR: Do you think it’s possible to survive these days purely as a theatre writer?

RW: It’s possible but extremely, extremely hard. Much as I love theatre, everyone knows it doesn’t pay very well. Although there’s that old saying: you can’t make a living but you can make a killing. But if all I cared about was money, I’d get a regular job.

DR: Do you feel the pressure of past success when you have a new play on?

RW: Yes, but that’s the same as anyone in any job. I try to take the Alex Ferguson approach – forget about what’s gone before, you’ve got to keep going forward. And much as I hate Man Utd and Ferguson, he’s right about that. So there is pressure but that’s how it should be. I want to improve, and to learn each time I write a play. And I can still learn as much from a first-time writer as I can from people like Arthur Miller and August Wilson. I saw Spur Of The Moment at the Royal Court recently, written by a 17-year-old (Anya Reiss) and it was absolutely brilliant – such depth and complexity – and I came out really inspired by it.

DR: I know you go into schools from time to time, how do young people react to your plays now?

RW: They tell me they’re still relevant and it’s very flattering when people choose to study my plays for GCSE.

DR: Do you think it’s important for plays to have a message, whether for young people or anyone else?

RW: I think those sort of things are side-orders. The most important thing is the story. That’s the writer’s main responsibility. For me there are five key things when I see a play: I want to laugh, I want to cry, I want to think, I want to be captivated and I want to feel. And that’s what I aspire to when I write.

DR: Going back to TV, I know that you’ve recently been working on Law And Order UK.

RW: It’s very different from theatre – it has established characters written by other people. But I’m really keen to learn more about TV and this was a good chance.

DR: Are you treated differently in TV?

RW: Yes, slightly. Because theatre is the writer’s medium whereas TV is more director-led and committee-led. But not many writers buy into that because that’s just the way it is.

DR: And what of your future ambitions?

RW: I’d like to get closer to writing a film. But mainly I want to continue doing what I’m doing, and with the cuts coming it’s going to be harder for writers to make a living, and we’re not that well paid anyway.

DR: I know that you’re working on a play about Marvin Gaye at the moment.

RW: Yes, I’m quite excited about that. It’s dealing with the last days of his life and is quite complicated and a moving story. It’s a challenge, but that’s what I look for.

Differently Staged – New Ways To Do Plays Now

2010-11-15T19:26:00.001Z

A Writers’ Guild West Midlands Branch Event on Thursday 9th December 7:30pm at the Blue Orange Theatre, 118 Great Hampton St, Birmingham, B18 6AD www.blueorangetheatre.co.uk

Achieving Great Art For Everyone – the Arts Council have launched their new policy (in the light of the announced government cuts). So, what does this mean for writers? This is a panel discussion examining how to get work done in the new financial and cultural climate.

We will explore the variety of ways playwrights can use their skills: from traditional commissions through collaborations, adaptations, writing to a brief, to dramaturgy of existing work and beyond.

The Writers’ Guild are looking to draw up guidelines for some of these new approaches and we intend this event to feed into this.

There will be a guest panel, to be chaired by David Edgar, Guild President.

Nick Walker is the writer with Coventry based theatre company Talking Birds, whose work is often performed in unusual sites, though its most recent production We Love You City has just finished a run at the Belgrade. He is writer/ producer with radio indie Top Dog with 2 Radio 4 series currently in production. He has had 2 novels published, and has worked extensively in radio, television and film.

Raidene Carter is Associate Producer at Birmingham Rep, managing its BME Theatre Initiative to develop and produce new work and artists. Prior to this she worked at The Albany in Deptford, Talawa Theatre Company and The Lyric Hammersmith to deliver work with young people, community engagement, artist development and arts programming.

Stephanie Dale is a playwright who writes for stage, radio and large-scale theatre. Current work includes; Squaring the Circle and Dealing With Dreams (The Birmingham REP) Mary Macarthur (MAT) See Me Hear Me (Women in Theatre) and Believe Me (BBC Radio Four). Stephanie also lectures at Loughborough University and is a supervisor on the Mphil in Playwriting at Birmingham University.

Catherine Edwards is a freelance project manager and dramaturg. For the last three years, she ran Script, the regional development agency for dramatic writers in the West Midlands. She is currently curating a festival of new writing in Birmingham, which aims to provide a platform for the talents of regional writers and theatre-makers.

The Blue Orange Theatre is a new venue in Birmingham’s Jewellery Quarter - the bar will be open!

Free for Writers’ Guild members, £5 non-members (pay on door).
To confirm attendance please email Jenny at WMidWritersGuild@aol.com

Work by Guild members in next seven days

2010-11-14T18:43:00.003Z

MARTIN ALLEN wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 19th November.

BILL ARMSTRONG wrote all five episodes of the new series The Indian Doctor starring Mark Williams, Ayesha Dharker and Sanjeev Bhaskar. It goes out on BBC1 at 2:15pm from Monday 15th till Friday 19th November.

MARK BURT wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 15th November.

JANE BUSSMANN is performing Bussmann's Holiday: The Worst Date Ever at the Tabernacle, Notting Hill, London on 7th and 8th December and on 14th December at The Houses of Parliament, Grand Committee Room, Westminster, London.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "Sons of the Sea" going out on BBC2 at 7:30pm on Saturday 13th November.

TIM DYNEVOR wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 15th November.

DARREN FAIRHURST wrote the episode of Hollyoaks going out on C4 at 6:30pm on Wednesday 17th November.

STEVEN FAY wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Monday 15th and Tuesday 16th November.

CHRIS FEWTRELL wrote the episode of Coronation Street going out on ITV1 at 8:00pm on Thursday 18th November.

ALISON FISHER'S short story took first place in the Bridport Prize judged by Zoe Heller.

RACHEL FLOWERDAY wrote the episode of Casualty "The Enemy Within" going out on BBC1 at 8:20pm on Saturday 13th November.

ADRIAN FLYNN wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 14th till Friday 19th November. Each episode is repeated at 2:00pm the day following its original broadcast.

ROBERT FORREST wrote the episode of The Pillow Book going out on Radio 4 at 7:45pm on Monday 15th November.

JONATHAN HARVEY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 19th November.

ADRIAN HODGES'S screenplay for the film My Week with Marilyn is currently being shot at Pinewood Studios, starring Michelle Williams as Marilyn Monroe and Kenneth Branagh as Sir Laurence Olivier. The director is Simon Curtis and the producer is David Parfitt.

JAYNE HOLLINSON wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 15th November.

ALISON JOSEPH wrote the episode of SOS: Save Our Souls "Signing" going out on Radio 4 at 7:45pm on Sunday 14th November.

NEIL LEYSHON'S fictional response to a story in the week's news From Fact to Fiction goes out on Radio 4 at 7:00pm on Saturday 13th November.

JANE MARLOW wrote the episode of EastEnders going out on BBC1 at 8:00pm on Monday 15th of November.

JIMMY McGOVERN has been interviewed by the broadcaster and journalist Mark Lawson about his life and career on BBC4 at 9:00pm - 10:00pm on Sunday 21st November. Covering such topics as his memories of working-class Liverpool, how his struggles with speech drove his love of words and the impact of Catholicism on him. The pair also reflect on his writing achievements, from Brookside and Cracker through to the controversial 1994 film Priest and the BBC drama Accused.

ROLAND MOORE'S series Land Girls won four RTS Midlands Awards at the 2010 ceremony in November. The series won Best Drama, Best Actress (Sophie Ward), Best Actor (Danny Webb), and Best Newcomer (Becci Gemmell). Congratulations to all the cast and crew!

PAUL MYATT wrote the episode of Doctors "The Men Who Came to Dinner" going out on BBC1 at 1:45pm on Thursday 11th November.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 9:30pm on Thursday 18th November.

HOWARD OVERMAN wrote the episode of Merlin "Queen of Hearts" going out on BBC1 at 7:20pm on Saturday 13th November. His series Misfits continues it's second series on E4 at 10:00pm on Thursday 18th November.

CHRISTOPHER REASON wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 18th November.

STEPHEN SHERIDAN'S Writers' Guild award-winning dramatisation of Anthony Horowitz's children's novel Groosham Grange is being repeated on BBC7 at 5:00am on Friday 12th November.

DAVID STAFFORD co-wrote the episode of Hazelbeach going out on Radio 4 at 11:30am on Wednesday 17th November.

BARRY STONE'S novel Barking At Winston has been published by Zircon Press (ISBN 978095663204) and is available at bookshops now for £6.99.

BILL TAYLOR wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Thursday 18th November.

Writers in schools

2010-11-10T15:46:00.001Z

The Arts Council has published a new report written by Sue Horner looking at the work of writers in schools:

This report...summarises project evaluations and research projects about writers in schools, and analyses which methods are effective alongside the challenges faced. The report identifies the main trends from the written evidence and suggests ways to strengthen this important contribution to children and young people's learning and creativity.

Rally for S4C

2010-11-09T19:01:00.003Z

Writers' Guild members ensured a high turn out at a rally on Saturday in Cardiff against the coalition's ill thought out plans for Welsh broadcaster S4C.

Nearly 2,000 people attended a rally outside the old Welsh Office building to hear speakers including Ieuan Wyn Jones AM (Deputy First Minister at the Welsh Assembly), Paul Flynn MP and David Donovan of Bectu, argue against a cut in the Welsh broadcaster's budget.

Speakers called for a re-think of the hastily made deal with the BBC over funding for the channel and certainty of the broadcaster's independence.

The Welsh Language Society is calling upon people to stop paying the licence fee from 1st of December 2010 in protest against the government's plans for the channel. Writer Angharad Tomos - who spent 3 months in prison during the hard-fought campaign to establish the channel in 1980 - spoke in support of this action during the rally.

Members of the Guild are encouraged to write to their MP calling for a review of the government's decision to cut S4C's grant and the move to make the BBC pay for it.

By Roger Williams

Downton Abbey fans brace for farewell

2010-11-06T12:42:00.003Z

Downton Abbey (written by Julian Fellowes) has been ITV's most successful costume drama since Brideshead Revisited, and a second series is on the way.

By Viv Groskop in The Guardian:

Downtown's makers, Carnival Films – owned by the US media giant NBC Universal – are poised to make millions by selling the format overseas, having footed 25% of the cost of producing the series, with ITV paying the remainder. That is unusual: most commissions are paid for solely by the channel which first screens it, but NBC has deeper pockets than most. But as the ITV chief executive, Adam Crozier, hinted this week, Downton Abbey also signals a new direction for ITV, away from "lowest common denominator" shows such as X Factor towards more arts programming and quality drama.

Work by Guild members in next seven days

2010-11-06T07:03:00.002Z

RAY BROOKING wrote the episode of Doctors "Tiny Whispers" going out on BBC1 at 1:45pm on Friday 5th November.

JANE BUSSMANN is performing Bussmann's Holiday: The Worst Date Ever at the Tabernacle, Notting Hill, London on 7th and 8th December and on 14th December at The Houses of Parliament, Grand Committee Room, Westminster, London.

PAUL COATES wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Wednesday 10th, Thursday 11th and Friday 12th November.

DAVID CROFT and JIMMY PERRY co-wrote the episode of Dad's Army "No Spring for Frazer" going out on BBC2 at 8:00pm on Saturday 6th November.

SIMON CROWTHER wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 8th November.

JAMES DANIEL has written his first children’s book, The Pickle-Smith Trunk-Warmer – a schoolboy inventor’s tale stuffed with brainy ideas, skiing elephants and warty jungle trolls. Illustrated by Gavin Brearey, the book is published by EarthMonkey Media. See www.picklesmith.co.uk.

CLIVE DAWSON'S screenplay The Animators, in development at Qwerty Films, was voted on to the Ruby Films/BBC Films Brit List of best unproduced screenplays written this year.

MAUREEN DUFFY'S play Sappho Singing, starring Jackie Skarvellis, is on at Teatro Technis, 26 Crowndale Road, NW1 1TT from 16th till 20th November at 8:00pm (matinee at 2:30pm on Saturday) and at The White Bear, 138 Kennington Park Road, SE11 4DJ on 28th November at 8:30pm and on 29th at 7:30pm. Book tickets at www.teatrotechnis.com and www.whitebeartheatre.co.uk.

ANDREW ELLARD'S radio sitcom pilot I'm Not With Him is now available - free! iTunes: http://j.mp/cF7B2h Direct: http://j.mp/9xqmBC.

FIONA EVANS' play The Price of Everything is on from 28th October till 13th November with The Stephen Joseph Theatre Company Westborough, Scarborough, YO11 1JW. Tickets cost between £10 and £20 with student tickets just £7 and can be booked by calling the Box Office on 01723 370541 or online at www.sjt.uk.com.

LISA EVANS' play The Day The Waters Came will be on at Takeoff Festival on 12th November and at The Drum, Plymouth from 23rd-27th November.

JULIAN FELLOWES wrote the episode of Downton Abbey going out on ITV1 at 9:00pm on Sunday 7th November.

RACHEL FLOWERDAY wrote the episode of Casualty "Hands On" going out on BBC1 at 8:40pm on Saturday 6th November.

ADRIAN FLYNN wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 7th till Friday 12th November. Each episode is repeated at 2:00pm the day following its original broadcast.

JEREMY FRONT'S dramatisation of A Charles Paris Mystery: Cast in Order of Disappearance concludes on Radio 4 at 11:00pm on Thursday 11th November.

ROB GITTINS wrote the episode of EastEnders going out on BBC1 at 8:00pm on Monday 8th November.

PIPPA HINCHLEY is the runner-up in the nextventertainment competition in L.A. with her Victorian, supernatural love story feature: One White Crow.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 11th November.

RICHARD McBRIAN co-wrote the episode of Spooks going out on BBC1 at 9:00pm on Monday 8th November.

NICHOLAS McINERNY has a play-reading of Lazyeye coming up at the Tristan Bates Theatre, the Actors Centre, WC2H 9NP on Thursday 11th November at 4:00pm.

JAN McVERRY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 12th November.

CAROLINE MITCHELL wrote the episodes of Emmerdale going out on ITV1 at 7:00pm on Thursday 11th November.

JONATHAN MYERSON'S Number Ten continues on Radio 4 at 2:15pm on Monday 8th November.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 9:30pm on Thursday 11th November.

JANE PEARSON wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 12th November.

CLIVE WOOLLANDS has had his first book Blood Moon published under the pseudonym Robert H. Tempest. It is available for uploading as an ebook for £4.37 and in paperback for £6.88. http://offthebookshelf.com/authors/33-robert-h-tempest#584

GRAHAM WOOLNOUGH'S one-man play Tea with the Old Queen, based on the fictional diaries of William Tallon. The production runs from 23rd November to 27th November at 8:00pm at the Old Sorting Office, 49 Station Road, Barnes Green, London SW13 0LF. Tickets are £9.50 (conc. £8.50) www.osoarts.org.uk, Box office: 02088769885.

Theatre Encouragement Awards 2010

2010-11-05T12:50:00.004Z

The Theatre Committee of the Writers’ Guild of Great Britain presented its annual awards for the encouragement of new writing at a lunch ceremony at the Royal Court Theatre Bar today.

The awards, the brainchild of former committee member, playwright Mark Ravenhill, were set up to give members the opportunity to thank those who had given them a particularly positive experience in new writing over the previous year. This also gives the committee and the Guild the chance to celebrate rather than solely focusing on members’ and industry problems. All those who have ever participated -- both as nominators and winners – have appreciated the personal meaningfulness of these awards, and the sincerity of feeling involved.

The winners of the sixth annual awards are:

Chris Bridgman, Director, North West Playwrights, nominated by Harvey Cox.

‘Chris’s constructive criticism while writing and rewriting of a play I have been developing has done a great deal to help me, as a novice, to improve my writing. He has a superb ability to home in on weaknesses in a script, without undermining one's confidence. Whenever I leave a discussion with him, even if he has not leapt up and down and hailed me as the next Stoppard, Pinter or Ayckbourn, I feel good about what has been said and ready to look at my work again and make it better. This is so valuable to someone who has not yet had anything commissioned, but is thinks he has it in him to do so one day.’ (Harvey Cox)

Neil McPherson, Artistic Director, and the Finborough Theatre, nominated independently by Sarah Grochala and Iain Finlay Macleod

‘Neil MacPherson and the Finborough Theatre have been very supportive of my writing in the last twelve months and through them I have managed to have two of my plays shown in London. Although I have had plays on throughout Europe and the US, this is the first time I have had a production on in London, it has been very beneficial in many ways. One of the plays, I was a Beautiful Day, also transferred to Glasgow's Tron Theatre for a short run. They are extremely supportive of writers, a great team, and, most importantly, great audiences!’ (Iain Macleod)

‘The simple reason for this nomination is for their encouragement, championing and support of older writers, as well as younger ones. They understand that sometimes talent can take time and experience to develop and that it’s not only the under 30s who might have something new and fresh to say about the world.’ (Sarah Grochala)

Purni Morell, Head of Studio, the Royal National Theatre, nominated by Timberlake Wertenbaker

'Since Purni has taken it over, the National Theatre Studio has been amazingly open to writers of all kinds, allowing real experimentation and freedom and encouraging more daring work.

‘I am extremely grateful to her, who convinced me to spend some weeks at the studio developing anything I wanted. There is no pressure, everyone is very nice but no one is looking over your shoulder and it's made clear that if you just want to think for a few weeks, that's fine. This lack of pressure was inspiring, and a weekly gathering for the writers who were there (five in all) and the various directors, some from abroad, was part of the pleasure as well. Purni made sure these were fun, relaxed, non-hierarchical. It was a great experience and I attribute the ease of it and lack of preciousness to Purni. She's forged a very distinct identity in the Studio and I felt incredibly encouraged and free (and I wrote a play.)

‘It was only at the very end that Purni convinced me to show her the play, again without pressure, and she has been incredibly helpful with its development and given me much needed confidence. I've spoken to many other writers who have had the same experience there. I think her range of interest is remarkably broad but she is also one of those people who passionately defends what she likes as opposed to what everyone else is liking at the moment. She makes writers feel safe but asks them not to be safe. Such people are rare and deserve recognition.’ (Timberlake Wertenbaker)

The Orange Tree Theatre (Sam Walters, Artistic Director, and Alan Strachan, freelance director) nominated by Ben Brown

‘Alan Strachan, directed my play, The Promise, at the Orange Tree (as he did my previous plays) and, as other writers have found too, he is the perfect new play director. Sam Walters, who produced it, deserves especial credit for enormously increasing his new writing production: as well, he just produced another one-act new play from a first time writer and is producing two more in his new season.’ (Ben Brown)

David Thacker, Artistic Director of the Bolton Octagon nominated by Aelish Michael

‘David has commissioned my play about the steeplejack Fred Dibnah, The Demolition Man, for the main house in spring 2011. Since he ran a workshop on an early draft of the play last March, David has acted as dramaturg on the development of the piece, which is my first full-blown commission. His fantastic intuitive flair for knowing what works dramatically has been invaluable through various drafts over the last few months. His faith in the project and in me has instilled me with greater confidence as a playwright, encouraging me to produce the best possible play that I can. David is demanding and a stickler for detail,but in the kindest, most positive, most generous way. His uniquely supportive and inspiring approach, always sprinkled with good humour, has made the work on the play an enjoyable and unforgettable experience.’ (Aelish Michael)

Previous winners of the Guild's Theatre Encouragement Awards have been:

2009:

Sarah Brigham, Associate Director, Dundee Rep
Dominic Dromgoole, Artistic Director, The Globe Theatre
Kevin Dyer, Writer
Fifth Word Theatre Company of Derby (Angharad Jones and Laura Ford)
Bill Hopkinson, Director/ Dramaturg
Arnaud Mugglestone, Director

2008:

Joe Devlin, artistic director, Focus Theatre, Dublin
Elske van Holk, director of STET Promotions, the English language theatre for The Hague
Lakeside Theatre, Nottingham (Matt Aston, Theatre Programmer/ Producer)
Annette Mees, Project Director
The Menagerie Theatre, Cambridge (Paul Bourne, Patrick Morris & Holly Race),
Oldham Coliseum Theatre (Kevin Shaw, Natalie Brown, Michelle Temperley and Jodie Lamb)

2007:

Andrew Breakwell, Director of the Roundabout Company at Nottingham Playhouse
Suzy Graham-Adriani, producer, Youth Theatre Projects, Royal National Theatre
Clive Paget, musical consultant, Royal National Theatre
Frances Poet, associate director (literary), Hampstead Theatre
Peter Rowe, artistic director, Wolsey Theatre Ipswich
Adele Thomas, director, RuthIsStrangerThanRichard, Cardiff

2006:

Gwenda Hughes, Director and Producer
Claire Malcolm, Director, and Anna Summerford, Deputy Director, New Writing North
Joe Sumsion, Artistic Director/ Chief Exec, Action Transport Theatre Company
Watford Palace Theatre (Joyce Branagh, Mary Caws, Lawrence Till)

2005:

Lorrie Sheehy, director, First Look Independent Productions
Richard Lee, director of Alec French Architects, Bristol
Katherine Mendelsohn, literary manager, Traverse Theatre, Edinburgh
Jeremy James Taylor, artistic director, National Youth Music Theatre

World Service drama

2010-11-05T10:55:00.003Z

A guest post by radio drama producer Gordon House.

Given that I spent much of my professional life working initially as producer and then as Head of the small BBC World Service Drama team, it is hardly surprising that I feel so dismayed by the announcement that from April next year World Service will no longer be broadcasting drama in their schedules. Well, that’s not strictly true; they will still transmit the winning plays in the biennial World Service play competition, but how can these prize winners feel valued in splendid isolation, with no regular output of drama against which to compare their work?

The World Service management has decided ‘with a heavy heart’ that finances are so precarious, drama must be sacrificed. I sympathise with the predicament faced by Craig Oliver, the English Controller of Global News. (Not a title, incidentally, to inspire those working under him in non-news areas!) For too long programme budgets have been salami-sliced to spread the misery evenly amongst different programme areas. While an entire year’s World Service drama budget would hardly keep the National Theatre open for a week, drama – because of its talent costs – is expensive in pure radio terms. How tempting it must be for a Controller reviewing a financial spread sheet to think of it as an expendable luxury in these cash-conscious times.

But does that justify killing off a whole genre?

Let me give you a brief history of drama on the World Service.

It appeared in the schedules from the outset of the BBC’s international broadcasting in 1932, on what was then called The Empire Service. If you were take any week at random – say the first week of June 1936 – you would find, sandwiched between a talk on Agriculture In The British Isles by Sir William Lobjoit and Idle Tears; An Interlude Of Victorian Sentimental Songs - a new play written for broadcasting by J.S.N Sewell, beguilingly entitled A Lady Loved A Swine.

Children were catered for too. The citizens of Toytown were already squabbling and making up in S.G. Hulme Beaman’s inspired children’s fantasy, which twenty years later, on the BBC Home Service, would be my first entree into the wonderful world of Radio Drama (I was a vegetarian for three years, fearful that I might otherwise be eating a close relation of Larry the Lamb). And if the whole family wanted a little gentle scaring, on Thursdays you could listen to extracts from old thrillers -The Plays Your Grandparents Loved” – performed with suitable gusto by Jenny Lyn and the wonderfully-named Tod Slaughter.

The Empire Service became the General Overseas Service; its listings magazine changed from The Empire Programme Pamphlet through World Radio to London Calling. And drama flourished. In the mid-1950’s Peter Forster would be writing a page preview of each week’s drama offerings – a rich mix indeed; not simply half hour plays and the early episodes of a new series – “a story of country folk” called The Archers, but major dramatisations of great works of literature and the stage (Donald Wolfit starring as Pecksniff in Martin Chuzzlewit; John Gielgud and Rex Harrison in The Importance of Being Earnest ). And on 2nd December 1954, the General Overseas Service re-broadcast an original radio drama, the winner of the 1954 Prix Italia, starring Richard Burton, and arguably the greatest radio play ever written – Under Milk Wood by Dylan Thomas, who had died at a tragically early age the previous year.

But what the network lacked was a Radio Drama Unit of its own; the plays it broadcast – largely of British origin – were made for a strictly British audience. This was a problem both technical and editorial. Many of the dramas, drawing on shared cultural assumptions and knowledge, must have sounded ludicrously inapposite for listeners living in Delhi or Nairobi; and shortwave was a dispiritingly ineffective medium for the dissemination of the sort of subtly-realised sound backgrounds that accompanied plays on the BBC Home Service. And so the General Overseas Service created its own small team of drama producers, with the express purpose of making their plays more relevant – and audible – to its international listenership.

I joined the World Service drama team as an attachee producer in 1977; it was the start of 23 marvellous years, in which the Unit changed out of all recognition. But the professional seeds had been sown long before I joined; John Pitman and Jim Vowden were two much-respected producers who between them directed some of the world’s great classic dramas with major British actors. And two of the projects of which I am most proud, the establishment of our biennial International Play Competition and the launch of Westway, the World Service soap (under the inspirational editorship of another long standing World Service producer, David Hitchinson) had their genesis in prior initiatives by Dickon Reed and Derek Hoddinott.

My first production was an abridged version of Becket’s Waiting For Godot with George Cole, Norman Rodway and Charles Gray; the quality of the cast an indication of the acting talent that we’ve always been able to attract to Bush House. My colleague Hilary Norrish and I gave Ewan McGregor his first two professional acting roles; Walter Acosta – a much-loved Uruguayan drama producer (who for many years had Sir John Gielgud voicing his ansaphone) gave Trevor Howard his last role – as King Lear. Squeezing every penny out of budgets that are, and remained, extremely modest for the work produced, we initiated a project called Globe Theatre where major authors such as Wole Soyinka, Frederick Rapahel and Mario Vargas Llosa wrote us international radio plays.

We teamed up with Los Angeles Theatre Works to make radio plays in America (where I directed Ally McBeal’s Calista Flockhart in The Glass Menagerie). We produced Shakespeare seasons, and toured Africa promoting the Bard; we ran drama workshops in Zimbabwe and Cameroon; we formed the Worldplay Group and scheduled international seasons with Radio Drama producers from all around the world. We mounted co-production initiatives with CBC, with ABC and with the British Council, all designed to spread budgets and increase our effectiveness. And we started to win awards – David Suchet for his extraordinary rendering of The Kreutzer Sonata; Ian Holm for a magisterial performance in The Mystery of Edwin Drood; David Hitchinson for his superb production of The Heart of a Dog. In the last 20 years the Radio Drama Unit has won more than 30 national or international prizes.

When Marion Nancarrow succeeded me as Head of World Service Drama in 2000, she made the laudable decision to broaden further the international remit of the Unit, actively seeking voices from outside the UK to complement the diet of British and World classic dramas that continued to be broadcast. Runt, a one-man show about being Jamaican-American, won a Sony Gold for best Drama. Twelve young writers from 10 different countries wrote different segments of a play online on the theme of water. (We Are Water). Together with the Slade School of Fine Art, Marion commissioned videos from artists in Israel, Uganda, China and Australia, inspiring dramatists from these same countries to write the play The View From Here. After running a writing workshop in Qatar, Marion commissioned seven writers to devise a drama about life in the Middle East: Al Amwaj (The Waves.)

In October this year World Service listeners heard Stages Of Independence, a collaboration with British African Theatre company, Tiata Fahodzi, where in front of a packed house at the BBC’s Radio Theatre in London an ensemble cast performed excerpts from plays written in those African countries which gained independence 50 years ago. And the British writer Katie Hims is currently working with Theatre for a Change to bring World Service the stories of sex workers and teachers in Malawi, two of the highest risk groups for HIV/AIDS, which will be broadcast for International Women’s Day.

I repeat: do financial pressures justify killing off a whole genre and ending this rich cultural heritage? Drama forms part of the heritage, incidentally, that our new Foreign Secretary, in his speech earlier this year, ‘Britain's Foreign Policy in a Networked World’ was at such pains to single out. He spoke of ‘the essential importance of the work of the British Council and the BBC World Service, which give Britain an unrivalled platform for the projection of the appeal of our culture and the sharing of our values.’

The primary function of World Service must always be the dissemination of reliable news and information , but for me drama and storytelling are a vital complement to international news. A good play can shed light on issues and events that a straightforward news story simply can’t reach. A drama like this year’s Tinniswood Award winner, Ivan And The Dogs by Hattie Naylor, tells you more about immediate post-perestroika Moscow than any number of short news items, because drama gives you an emotional involvement and investment in its protagonists.

Besides which, radio dramas also provided a wonderful showcase (and creative outlet) for the rich seam of writing and acting talent to be found in the UK. By scheduling drama, World Service was providing programming with which no other international broadcaster could compete or remotely challenge. My former boss at BBC World Service, Anthony Rendell, used to talk about news and current affairs as being important but ephemeral, while drama, documentaries and other arts programmes as having more real and lasting value. Indeed for over half a century it was the belief of BBC overseas broadcasters and their government sponsors that a mixed network, was essential to reflect the full strength and variety of British life. Cutting drama, alongside recent cuts to many other non-news programmes, appears to mark a complete philosophical shift away from this view,

Drama, of course, will never provide the sheer audience numbers who tune in to hear the World Service news. Listening to a play demands an investment of time that many people simply don’t feel they have; it is their loss. I remember Graham Mytton, an ex-head of World Service Audience Research, patiently explaining to a group of sceptical suits from the Foreign Office that listeners would always respond to the question ‘What do you listen to on World Service?’ with the answer, ‘The news.’ But if the question was altered to ‘Which programme have you most valued, enjoyed or been moved by in the past year?’, the answer was invariably a documentary or a drama.

I am, of course, a very biased observer, but I can't help thinking that one day the penny might drop that, whatever the economic pressures, in terminating a whole strand of output, World Service managers have, like Othello's base Indian, ‘thrown a pearl away richer than all his tribe.’ Is it too late to reverse this decision? Surely the recent announcement that World Service will be funded by the licence fee could be the catalyst for Radio 4 to combine forces with World Service to devise dramas that could be enjoyed by both domestic and international listeners? I sincerely hope this might be the case.

Even those who find radio plays deadly dull might welcome the continuation of the genre. My very favourite letter of hundreds I received while Head of the World Service Drama Unit was from a listener in Uganda who wrote: “Thank you, thank you Mr House for your long and challenging dramas. I have great difficulty sleeping – until, that is, I start listening to one of your plays. Keep up the good work!”

Alas, from next April there will be no more good work, unless the World Service reverses its decision.

Gordon House worked in the World Service Drama Unit from 1977-2000, when he became Head of Radio Drama. He retired from the BBC in 2005, but continues to direct occasional radio plays as a freelance producer.

Rali Fawr Na i Doriadau, Ie i S4C newydd

2010-11-04T18:33:00.003Z

(No to cuts, Yes to a new S4C)

The Writers Guild of Great Britain is supporting the rally being held in Cardiff on Saturday 6th November to oppose the coalition government's move to cut S4C's budget by 25% and force it into bed with the BBC.

The Welsh language broadcaster is a casualty of the comprehensive spending review. A deal has been cobbled together by politicians who do not understand the unique issues relating to S4C and its important role in supporting the survival of the Welsh language.

The Guild calls on the government to look again at their hastily made decision on this matter and encourages its members to turn out for the rally at the weekend.

The rally starts at 11am on Saturday 6th of November at Park Place - The Old Welsh Office.

You can view a video (in Welsh) about the event on Roger Williams's Facebook page

Robert Tressell Day - 5th February 2011

2010-11-03T20:03:00.002Z

The Writers' Guild is one of the supporters of an event to celebrate Robert Tressell Day (5th February 2011) to commemorate the hundred year anniversary of the death of the writer of The Ragged Trousered Philanthropist.

The event will take place at the St Leonards Assembly Rooms, East Ascent, St Leonards

Full details can be found on the event website.

Should all e-book formats have ISBNS?

2010-11-02T17:12:00.003Z

On the Publishing Perspectives website, Erik Christopher asks whether publishers assign a unique ISBN for each e-book format of each title they publish.

[While] there is no universal answer as to whether or not each format requires individual ISBNs, one thing is indeed clear: take control of the process. The worse thing you can do is lose control of your content or let another entity (whether conversion house, distributor or retailer) control the metadata and, accordingly, the invisible ties that bind you to your customers. Ceding too much control takes you out of the picture and makes this already complex situation all the more challenging.

Work by Guild members in next seven days

2010-10-31T15:29:00.001Z

BENNETT ARRON'S account of identity theft It Wasn't Me, It Was Bennett Arron is on at The Radlett Centre on Wednesday 3rd November at 8:00pm. You can book tickets at the box office on 01923859291 or online at www.radlettcentre.co.uk.

RICHARD BEVAN’S play Trading Faces at The Lion & Unicorn Theatre continues until 6th Nov. The play examines the battle between modern love and a culture of self gratification. Time Out described the play as ‘witty, poignant and salacious’ ‘sharp and touching’ and ‘a great choice for the pub theatre space’
Tickets £12/£10. Box Office Ticketweb 0844477100

RICHARD BURKE wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Thursday 4th and Friday 5th November.

MARK BURT wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 4th November.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "Man Hunt" going out on BBC2 at 6:40pm on Saturday 30th October.

DARREN FAIRHURST wrote the episode of Hollyoaks going out on C4 at 6:30pm on Wednesday 3rd November.

JEREMY FRONT'S dramatisation of A Charles Paris Mystery: Cast in Order of Disappearance continues on Radio 4 at 11:00pm on Thursday 4th November.

KULVINDER GILL has a rehearsed reading of the first 10 minutes of his sitcom The Folks on the Hill as part of the Off The Page event at the London Screenwriters Festival on Saturday 30th October at 8:00pm.

JONATHAN HARVEY wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 5th November.

MARTHA HILLIER wrote the episode of Holby City "Tough, Love" going out on BBC1 at 8:00pm on Tuesday 2nd November.

JAYNE HOLLINSON wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 5th November.

JULIAN JONES wrote the episode of Merlin "The Eye of the Phoenix" going out on BBC1 at 7:55pm on Saturday 30th October.

KIKI KENDRICK’s one-woman show Next! will be having it’s first London run 9th-28th Nov 7:30pm (Tuesday-Saturday, Sunday 6.30pm) at the Etcetera Theatre London NW1 7BU. Written and performed by Kiki Kendrick, directed by James Barry for Liberated Theatre.

PENNY LEICESTER'S dramatisation of So Much For That goes continues on Radio 4 at 7:45pm on Monday 1st November.

JONATHAN MYERSON'S Number Ten continues on Radio 4 at 2:15pm on Monday 1st November.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 9:30pm on Thursday 4th November.

LESLEY CLARE O'NEILL wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 2nd November.

JULIE PARSONS wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 4th November.

NICK WARBURTON'S radio play Setting A Glass goes out on Radio 4 at 2:15pm on Tuesday 2nd November.

PETER WHALLEY wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 1st November.

Petition To Save The BBC World Service Drama

2010-10-31T15:18:00.001Z

A petition has been started to Save The BBC World Service Drama.

On 23rd Sept ’10, the BBC announced that it is axing its world-renowned World Service Drama effective 1st April ’10.

...The strategic, economic and humanitarian case for World Service Drama’s continued existence is overwhelming and undoubtedly well known to the British authorities.

However, World Service Drama has always been a vulnerable and easy target when there is a sacrificial lamb to be had, as most of its 40 million plus worldwide audience is outside the British Isles. As such the listeners cannot have much of a say as stakeholders in the service as their voices are so dispersed around the world. They can only silently lament the far-reaching consequences the decision of the British authorities has on their literary output and intake around the world.

This online petition aims to address this status quo by using current innovative online technology to provide a platform for these voices allowing them to express their grave concern for the fate of their much cherished and loved BBC World Service Drama, which has become an iconic world literary heritage to them.

Meet The Agents in Edinburgh

2010-10-31T15:00:00.001Z

Meet The Agents

Monday 8th November 6.00 - 9.00 pm

Guild members in Scotland are cordially invited to attend a Meet The Agents event on Monday 8th November at

The Scottish Book Trust
Sandeman House
Trunk's Close
55 High Street
Edinburgh
EH1 1SR

For directions please go to:
http://www.scottishbooktrust.com/contact#directions

Julian Friedmann from the Blake Friedmann Agency in London will be travelling north to meet Guild members and to talk about how to find and agent and to answer any questions.

He will be joined by agents from ASLA (The Scottish Association of Literary Agents):

Jenny Brown of Jenny Brown Associates
Kathryn Ross of Fraser Ross Associates
Edwin Hawkes of Makepeace Towel Associates

So come along with your questions to be answered by the panel followed by some informal networking over a glass of wine.

The meeting will be chaired by Allanah O’Sullivan, former Scottish Chair and former president of the Writers' Guild of New Zealand.

The event is free to all Guild members but please contact the new Guild Scottish Chair, Julie Ann Thomason, to let her know if you will be attending:

julieannthomason@virginmedia.com

It’s good, but you’re not a woman

2010-10-27T20:36:00.003+01:00

A guest post by Bennett Arron

I’ve recently returned from sell-out shows at the Edinburgh festival. I’m very pleased about this, not only because the shows were well received, but also because people appreciated the subject matter. The show was called Bennett Arron Has Had Enough and in it I spoke about the things which have recently annoyed me. These included: the oxymoron of customer services, being arrested and, most importantly, having my novel turned down because I am a man.

My novel is a romantic comedy. Before it was sent to publishers I asked some well-known friends of mine if they would read it and give me their thoughts. Ricky Gervais, whom by his own admission never reads novels, said it it was ‘funny from beginning to end’. David Baddiel said: ‘A very funny insight into life’ . Jimmy Carr said: ‘It’s the perfect romantic comedy, I loved it.’

The editors to whom it was sent were also very complimentary. I shan’t name the them or the publishing houses, but here are some of the responses….

‘I thoroughly enjoyed reading it. It’s a very accomplished piece of fiction and I found it genuinely funny.’

‘…compelling characters….the writing is engaging and the story well crafted.”

‘Very well-observed….very funny.’

So, you might be wondering where you can purchase this book. Well, you can’t. You see, no one will publish it because I am a man.

Here are some of the reasons from the editors:

‘Men writing about romance and relationships doesn’t appeal to the reading public.’

‘Women readers feel that women writers cover this area far more convincingly.’

Is that true? Can such a statement be made? It reminds me of a comment made on a chat show recently where one of the female presenters actually said the words: ‘All men generalise about women and stereotype them’ without any sense of irony.

So this is what I’m up against. If this situation were reversed, if a woman writer were told that no one would buy a particular genre unless it were written by a man there would be cries of sexism and inequality. However it appears that it’s completely acceptable for me to be told this. I don’t know how Tony Parsons and Nick Hornby managed to overcome this prejudice, but I now admire them even more. I also admire their publishers for taking what apparently constitutes a huge risk.

It has of course been suggested that I use a female pseudonym to sell the book, or have a sex change - but I’m not going through that again! My problem is, by using a pseudonym I feel I would be would be conceding to the discrimination. I’ve been asked what’s more important, having my book published or making a point? Well, however much I’d like to see my book published - after all who wants to have two years’ work wasted - I would feel a fraud, on many levels, by changing my name.

Perhaps, and I’m going out on a limb here, attitudes should be changed as opposed to my name. Female friends of mine have read the book and passed it on to their friends, all of whom have loved it.

Some publishers have also suggested, that I write a female protagonist instead of a male one. Why? I have had more 30 sitcom scripts produced on television. The majority of these, ironically, had female leads. I have been given work because I apparently write the female voice very well. However, now that I have decided to write my first novel from a male perspective, I am being penalised.

Well, I’m sorry, but I’d prefer not to use a pseudonym. I’ve already used a false identity once (I was the person who stole the ID of former Home Secretary Charles Clarke and was subsequently arrested) so I won’t be doing it again. If this means you will never have the opportunity to read my novel then there’s nothing I can do. Don’t blame me, blame ‘acceptable’ discrimination. In the meantime I suppose I’ll have to work on a new novel about war, or crime, or cars, as apparently these are the only subjects on which men are able to write.

Bennett Arron will be performing his show It Wasn’t Me, It Was Bennett Arron at the Radlett Centre on 3 November.

www.bennettarron.com

Arts Council announces budget cut details

2010-10-27T11:14:00.002+01:00

The Arts Council has published details of how the 29.6% cut to its budget announced in the government's Comprehensive Spending Review last week will be implemented over the next four years.

The majority of arts organisations will be given an equal cut which has been kept to 6.9% for 2011/12. This approach keeps the overall percentage cut as low as possible and gives organisations a quick and fair decision. It allows them a degree of relative stability in a very challenging economic climate, particularly in the context of the large cuts to local authority budgets implied in the Spending Review...

Over the four-year period 2011-2015, the percentage budget cut for funded arts organisations will be 14.9%.

More details can be found on the Arts Council website.

The Guardian also has a useful section on arts funding with the latest news, comment and debate.

New BBC Editorial Guidelines

2010-10-24T14:33:00.003+01:00

A guest post by Gail Renard, Chair of the Guild's Television Committee

The latest version of the BBC Editorial guidelines have been published. These are the guidelines setting out the standards expected of everyone making or presenting output on BBC TV, radio or online. Upon reading it, my first thought was here’s another statement from the Circumlocution Office saying nothing new but providing lots of BBC modules and courses with which to say it. Then I had another read and guess what? It’s my second thought too.

The basic Editorial Guide is a sound one, laying out the principles, values and standards that everyone employed by the BBC should know. It also emphasises using one’s own best judgement and taking advice from senior people in tricky situations. Fair play so far. But then I made the mistake of reading on.

There are modules covering everything; including competitions, conflicts of interests and misleading audiences. If employees really need to be told don’t cheat your audiences or advertise your Granddad’s corner shop on the Ten O’Clock News, then maybe the job interviews aren’t as stringent as one hoped.

The BBC Academy also has 20 new online, interactive learning modules, including quizzes and hypothetical scenarios for people to learn these guidelines. I got 30 seconds into one when a stallholder, Blue Peter-style, held up signs that spelled out T R U S T. Don’t they think they’re setting the bar rather low?

Would that all that money had gone into production budgets, which are being slashed daily. Now that the licence fee is to be frozen for the next six years it’s more important than ever that the money for productions is ring-fenced. And the last thing that creatives need are more execs taking more courses that will produce another 100 sets of notes emanating from fear and back-covering; totally kicking any originality or life out of a show.

We all know that this is the fallout over Jonathan Ross and Sachsgate, as Russell Brand explained to a bemused Jeremy Paxman on Newsnight only last week. The issue isn’t about producing more guidelines or impediments to good programme making. It’s about following the basic, commonsensical guidelines that already exist and, in a very few cases, clearly weren’t observed. Heads rolled. Let’s move on but without crash helmets to cross the corridor.

Yes the issue is all about trust. If the BBC hires someone (the greatest honour in this industry, I think) then they should be certain that the person already is trustworthy, and possesses common sense, experience and as much intelligence as he/ she can muster on a good day. But please don’t tell me Dr Who has to wear a seatbelt in the Tardis. I’ll cry.

Work by Guild members in next seven days

2010-10-22T18:52:00.001+01:00

CAREY ANDREWS wrote the episode of EastEnders going out on BBC1 at 7:30pm on Tuesday 26th October.

SARAH BAGSHAW wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Wednesday 27th October.

GARY BROWN'S fictionalised account of real events surrounding a Middle Eastern plot to kill the British Foreign Secretary just after the Second World War goes out on Radio 4 at 2:30pm on Saturday 23rd October.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "Branded" going out on BBC2 at 7:45pm on Saturday 23rd October.

CHRIS FEWTRELL wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 25th October.

JOHN FOSTER'S Five Go Killing is on at the Lighthouse Studio, Poole on Saturday 30th October at 4:30pm. Tickets are £6 (£4 concessions), to book call the box office on 08444068666 or go to www.lighthousepoole.co.uk for more information.

JEREMY FRONT'S dramatisation of A Charles Paris Mystery: Cast in Order of Disappearance continues on Radio 4 at 11:00pm on Thursday 28th October.

LISA HOLDSWORTH wrote the episode of New Tricks "Coming Out Ball" going out on BBC1 at 9:00pm on Friday 29th October.

JOHN KERR wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 28th October.

PETER KERRY wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 26th October.

DAVID LANE wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 29th October.

PENNY LEICESTER'S dramatisation of So Much for That begins on Radio 4 at 7:45pm on Monday 25th October.

DARAN LITTLE wrote the episode of EastEnders going out on BBC1 at 8:00pm on Friday 29th October.

BILL LYONS wrote the episode of Emmerdale going out on ITV1 at 8:00pm on Thursday 28th October.

ROLAND MOORE was creator and lead writer of Land Girls, which begins a repeat run of its first series stripped across the week from Monday 25th October to Friday 29th October at 2:15pm on BBC1.

JONATHAN MYERSON'S Number Ten begins a new series on Radio 4 at 2:15pm on Monday 25th October.

DAVID NOBBS c0-wrote the episode of Reggie Perrin going out on BBC1 at 9:30pm on Thursday 28th October.

DEBBIE OATES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 29th October.

JULIE PARSONS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 25th October.

PATREA SMALLACOMBE wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Tuesday 26th, Wednesday 27th and Thursday 28th October.

TIM STIMPSON wrote the episodes of The Archers on Radio 4 at 7:00pm from Sunday 24th till Friday 29th October. Each episode is repeated at 2:00pm the day following its original broad cast.

ANDREW S. WALSH wrote the English version of the new Professor Layton animated film Professor Layton and The Eternal Diva available now on DVD and Blu-Ray.

The Writers' Compass

2010-10-21T13:57:00.003+01:00

The Writer’s Compass is the new name for the National Association of Writers in Education's (NAWE) professional development services for writers. It brings together NAWE’s professional development programme with the free information and advice services for all writers formerly offered by 'literaturetraining'.

They offer a range of services including events, training, one-to-one support, information and resources.

Guild's response to Comprehensive Spending Review

2010-10-20T16:55:00.002+01:00

The effect of the coalition’s spending review on subsidised arts and culture was overshadowed by bizarre last-minute horse-trading between the Government and the BBC, resulting in a six-year licence-fee freeze and a real-terms cut of 16% in the BBC’s budget.

The BBC will take over funding the World Service, the Welsh language channel S4C and BBC Monitoring, which logs and translates many overseas radio stations. £300 million of licence-fee money will also be used to pay for high-speed broadband in remote areas.

Although the BBC said it was 'happy' with the outcome, that has to be seen in the context of the alternative, which was funding the £556 million-a-year cost of free TV licences for people over 75.

Writers’ Guild General Secretary Bernie Corbett said: 'For two years the BBC has taken a tough and principled stand against licence-fee 'top-slicing' but in less than two days it has caved in and accepted responsibility for funding a range of services that most licence-fee payers never use.

'A settlement that would normally be subject to exhaustive public consultation and debate has been stitched up behind closed doors in a matter of hours. I suspect the BBC – and the British public – will repent at leisure.'

Meanwhile Arts Council England has been left to struggle with immediate cuts of 14% to grant-funded organisations – the dreaded 'front-loading' that could put a fatal strain on many subsidised theatres and other organisations. More cuts will follow in later years. ACE chief executive Alan Davey put a brave face on things but had to admit: 'These cuts will inevitably have a significant impact on the cultural life of the country.'

There is a 15% cut for the Public Lending Right scheme, which will inevitably mean a reduction in the 6p per loan paid to the authors of library books, but it is not yet clear how the scheme will be administered as the PLR agency is to be abolished.

It is also unclear so far whether ACE will take on responsibility for government funding of the film insustry following abolition of the UK Film Council. Further details about the impact of the spending review are expected to emerge tomorrow and in the next few days.

No culture please, we're British

2010-10-19T17:26:00.003+01:00

The Writers’ Guild and the Society of Authors have received a brush-off in response to protests about the cancellation of all BBC World Service radio drama.

Peter Horrocks, Director of BBC Global News, said in a letter (pdf) to the two unions: 'BBC World Service has to respond to the challenges of an increasingly tough financial climate and an increasingly competitive global media market. Primarily, audiences come to BBC World Service for news and information and analysis of major global issues.'

In March this year the post of Director of BBC World Service was abolished and the duties added to Horrocks’ s job description. Since then 'BBC World Service' has apparently been regarded as a brand name within the BBC Global News division.

Writers’ Guild General Secretary Bernie Corbett commented: 'Only a few years ago the BBC World Service offered a complete range of British arts, science, culture and entertainment. Today all that remains is a rolling news service – one among hundreds. Once Britain wanted to share with the world its language, its drama, its music, its comedy, its science. The most distinctive thing left is the pips.'

The Writers’ Toolkit 2010 – Birmingham

2010-10-15T20:27:00.001+01:00

The Writers’ Toolkit 2010 – Writer Networking Conference
Saturday 20th November 2010, 10.30am – 4pm

South Birmingham College, High Street, Digbeth, Birmingham, B5 5SU

Cost: £32 (£26 concession)

Deadline for booking: Friday 12th November, 2010

Full details on the Writing West Midlands website.

The Conference

This is the third annual gathering for emerging and established writers and anyone working in the creative writing industry. The Writers’ Toolkit offers opportunities to learn about aspects of the business of being a writer and to network with others working in the creative writing industry through a mixture of panel discussions and Q&A sessions.

The Writers’ Toolkit will open with a keynote address from the distinguished novelist Jim Crace. Other speakers will include playwrights David Edgar, Nick Walker and Naylah Ahmed, novelists Mike Gayle, Graham Joyce, Ian MacLeod, Roger Ellory, Paul McDonald, Helen Cross and Chris McCabe, broadcast journalist Sue Beardsmore, poets David Morley (University of Warwick), Mandy Ross, Brenda Read-Brown and Roz Goddard, and representing the writing industry (and also writers in many cases) Kate Chapman (Theatre Writing Partnership), Jo Bell (National Poetry Day), David Hunter (BBC Radio), Carol Harding (BBC Television), Philip Gwyn-Jones (Portobello Books), Irenson Okojie (Apples & Snakes), Luke Brown (Tindal Street Press), Catherine Clarke (Felicity Bryan Agency), Caroline Jester (Birmingham Rep), Paul Munden (National Association of Writers in Education), Bernie Corbett (Writers’ Guild of Great Britain), Lucy Macnab (Southbank Centre), Chris Unitt (Mashed Media), Antonia Byatt (Arts Council England), Ros Robins (Arts Council England West Midlands), Ceri Gorton (Arts Council England West Midlands) and Dr Patricia Stafford (Newman University College). Also involved are poet and psychiatrist Femi Oyebode (University of Birmingham), writer Eugene Egan, Damien Walters (The Literature Network), Catherine Rogers (Writing East Midlands), Steve Dearden (National Association for Literature Development), Shreela Ghosh (Free Word Centre, London), Peggy Riley (East Kent Live Literature), Malcolm Dewhirst (Polesworth Poets Trail), Tony Taylor (Anthony Taylor Accountants), Lara Ratnaraja (Business Link), Julia Bird (Jaybird Productions), Roy McFarlane (Birmingham Poet Laureate 2010/11) and Naomi Alsop (University of Warwick).

A total of sixteen panel discussions will include Writing for Broadcast, Writing and Health, Real Writing Lives, Understanding Publishing, Writing and Education, Writers’ Rights, Doing Digital, Writing and Science, The Business of Writing, New Theatre Writing, Writing and Higher Education, Building Audiences for Poetry and many more. A full programme will be provided before the conference.

Work by Guild members in next seven days

2010-10-15T20:12:00.002+01:00

RICHARD BEVAN’S first commissioned stage play is at The Lion & Unicorn Theatre, 19th Oct – 6th Nov. Trading Faces examines the battle between modern love and a culture of self-gratification. Even in a world of mobile phones and emails, affairs aren’t always easy to hide from partners. In a society that encourages everyone to have it all, are we in danger of losing sight of what’s really important? Tickets £12/£10. Box Office 0844477100.

A Medal for Murder by FRANCES BRODY (aka Frances McNeil) is published in paperback by Piatkus/Little Brown on 7th Octber. Set in Harrogate in 1922, this is the second in the Kate Shackleton Mystery series.

Frances will be doing lunchtime signings at Waterstone's, Leeds on 16th October; Waterstone's, Lancaster on 23rd October; and Waterstone's, Harrogate on 30th October. Frances will be speaking at Waterstone's in the Wool Exchange, Bradford, at 6.30pm on Thursday 28th October. See www.frances-brody.com for details.

MARK BURT wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 18th October.

JADEN CLARK wrote the episode of EastEnders going out on BBC1 at 8:00pm on Friday 22nd October.

DAVID CROFT and JIMMY PERRY co-wrote the episode of Dad's Army "Menace from the Deep" going out on BBC2 at 7:30pm on Saturday 16th October.

SIMON CROWTHER wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 22nd October.

North East playwright FIONA EVANS’S new play premieres at the Stephen Joseph Theatre in Scarborough this autumn. Tense and thrilling, The Price of Everything calculates the price we pay for material possessions and the effect it has on our loved ones. The Price of Everything stars Andrew Dunn, who appeared in Victoria Wood’s Dinnerladies; Julie Riley, who recently starred in Amateur Girl for Hull Truck Theatre; and 17-year-old rising star Jodie Comer. Tickets cost between £10 and £20, with student tickets just £7, and can be booked by calling the box office on 01723 370541 or online at www.sjt.uk.com.

JEREMY FRONT'S dramatisation of A Charles Paris Mystery: Cast in Order of Disappearance goes out on Radio 4 at 11:00pm on Thursday 21st October.

HENRIETTA HARDY wrote the episode of Doctors on BBC1 at 1:45pm on Tuesday 19th October.

ROB JOHNSTON'S blackly comic play Under My Skin is being produced by Breathe Out Theatre at Studio Salford 13th-16th Oct at 8:oopm. Tickets from www.studiosalford.com.

NEIL JONES wrote the episode of Waterloo Road going out on BBC1 at 8:00pm on Wednesday 20th October.

DAVID LANE wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 22nd October.

PAUL LAVERTY wrote the screenplay for Route Irish and it was directed by Ken Loach. It will be screened as part of the London Film Festival on 23rd October.

JESSICA LEA wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Thursday 21st and Friday 22nd October.

MIKE LEIGH'S new film, Another Year, will have its UK premier simultaneously at cinemas around the country on Monday 18th October at 6:45pm for 7:00pm start. The premiere is the Centerpiece Gala at this year's London Film Festival, hosted by the Mayor of London. The screening will be followed by an onstage Q&A, live via satellite, with Mike Leigh and cast members Lesley Manville, Jim Broadbent and Ruth Sheen.

BILL LYONS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Wednesday 20th October.

JAN McBRIDE has won an international literature prize, the "Lit Award Ruhr Oberhausen 2010" with her short story Tiny Fingers, Tiny Toes.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 9:30pm on Thursday 21st October.

JANE PEARSON wrote the episode of Emmerdale going out on ITV1 at 7:00pm Monday 18th October.

ALISTAIR RUTHERFORD'S feature-length science-fiction screenplay, Backflip, is one of the two winners of the latest Wildsound Feature Screenplay Contest. On Saturday 16th October both winning scripts have their first acts read through by professional actors in a public event at the National Film Board of Canada in Toronto. The reading is filmed and put on the internet. The winner of a subsequent audience and online vote then has a full read-through in a similar event in December.

KATHRINE SMITH wrote the episode of Hollyoaks going out on C4 at 6:30pm on Monday 18th October.

BILL TAYLOR wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 22nd October.

JAN WOOLF'S book Fugues on a Funny Bone was launched on Tuesday 12th October at Daunt Books in Holland Park, West London. "Witty, poignant and penetrating, Jan Woolf's collection of stories takes the reader on an episodic journey through the interlinking lives of children and adults in a small London education 'unit' for troubled children. From a Hackney towpath to a day trip to Albania, she covers subjects as disparate as physics, communism and pornography...".

JUSTIN YOUNG wrote the episode of Holby City "Shifts" going out on BBC1 at 8:00pm on Tuesday 19th October.

KARIN YOUNG wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Thursday 21st October.

Top producer laments radio drama cuts

2010-10-15T13:46:00.002+01:00

From The Stage:

Former World Service drama head Gordon House has lamented the broadcaster’s decision to axe the 14 plays it broadcasts annually, claiming they provide a global showcase of the UK’s writing and acting talent.

The plays form the majority of the station’s regular drama output and House, who worked as the station’s head of drama until 2000, described the World Service’s decision to axe the plays from 2011 as “very sad”. He claimed actors and writers would lose a valuable source of employment as a result.

Public Lending Right Agency written off by Coalition

2010-10-15T10:32:00.001+01:00

The Public Lending Right agency, which pays authors 6p per loan when books are borrowed from public libraries, is a notable casualty of the coalition government’s slaughter of the quangos, announced today.

Ed Vaizey, the Minister for Culture, Communications and Creative Industries, issued a strong hint that as well as abolishing the agency, the actual cash fund used to pay writers is likely to be slashed in next week’s Comprehensive Spending Review. Read Vaizey’s letter to the Guild here (pdf).

The Writers’ Guild understands that the operational side of the PLR scheme will be transferred to Arts Council England, which will also inherit responsibility for film finance from the doomed UK Film Council, and the responsibilities of the Museums, Libraries and Archives Council in special legislation to be rushed through before the end of this month.

Writers’ organisations reacted immediately to the news by seeking an urgent meeting with the Department of Culture, Media and Sport. As a result representatives of the Writers’ Guild, Society of Authors and Authors’ Licensing and Collecting Society will have talks with a senior civil servant on 27 October.

Writers’ Guild General Secretary Bernie Corbett said: 'Only six months ago the Digital Economy Act was passed, promising to extend PLR to ebook and audiobook loans. Now we can forget all that, and it seems clear that even the miserable 6p per loan that authors receive is to be cut – having already been frozen for three years.

'We have no idea what is to become of the PLR agency, which is a model service provider and has developed world-leading expertise and spread the gospel of PLR around the globe. They have a small office and staff in Stockton-on-Tees – an unemployment black-spot – and have cut to the bone in previous rounds of efficiency savings.

'I believe this latest move is just a bit of headline-grabbing that will scarcely save a penny of taxpayers’ money. My sympathies are with the incomparable PLR registrar Dr Jim Parker and his staff, who must now be deeply worried about their future.'

Maureen Duffy, the novelist, poet, historian and former Writers’ Guild president, was the leading light of the campaign that led to the establishment of PLR more than 30 years ago. She commented today: 'If I could think of anywhere to go, I would feel like leaving the country.'

Guild tells Hunt of screenwriters' concerns

2010-10-14T18:27:00.003+01:00

Olivia Hetreed, Chair of the Film Committee of the Writers’ Guild of Great Britain, has written to the Culture Secretary Jeremy Hunt to express concerns about a range of issues relating to screenwritng in the UK. The main body of the letter is set out below:

The Guild has a number of concerns which we strongly feel should be addressed in rethinking government support for British film-making.

We applaud your commitment to maintaining the current levels of funding and the tax credits, which have proven to be very workable for all sides.

We would urge you to ensure that the new funding arrangements recognise the importance of screenwriters in the film making process by maintaining development funding for screenwriters, and in particular that direct access for screenwriters is protected.

It is important that writers can continue to access such funding without necessarily having a third party (producer or director) attached. This has been a key feature of funding from UKFC, British Screen, and the BFI. The significance of direct funding is that it allows writers to hold onto their Intellectual Property rights in projects that they have created and initiated, maintain some control in the process of development and ensure that the development monies intended for writing the screenplay go fairly to the screenwriter and not elsewhere.

We believe that funding for experimental film-making and new work should be robustly protected, with a discrete fund and gatekeepers.

We feel that it is essential for screenwriters to have a voice at board level on the new body, in the same way that producers and directors were represented at board level at the UKFC. So we request that there is at least one screenwriter on the new board, selected in consultation with the WGGB and other interested parties.

It is also essential that the issue of film-makers’ creative rights should be addressed hand in hand with the principle of producers holding on to the returns from films. The present situation regarding creative rights is deeply unsatisfactory, since it prevents the creators from benefitting from the success of their work and sustaining the long term future of the creative industries in this country.

We would welcome the opportunity to meet with you or one of your team to discuss these and other matters of interest.

Dave Cohen on the Comedy Store Players

2010-10-13T19:40:00.002+01:00

On Chortle, Guild member Dave Cohen reflects on 25 years of the Comedy Store Players and wonders whatever happened to Mike Myers.

Are you aware that Sunday October 31 is the 25th anniversary of the first ever show by the Comedy Store Players? Probably not. The Players don’t do big anniversaries, just get on with their job, and will perform twice in that week, same as they’ve been doing for years. The 31st will be just one more Sunday, to add to the tally of 1,300 previous Sundays: no big name guests, no TV cameras. You’re unlikely to be reading much about this milestone in comedic achievement elsewhere.

I, however, shall be milking it for all it’s worth. After all, I was one of the founding members, and even if I left after just six months... OK, even if I was sacked after just six months, I was still there at the start.

BBC drama chief questions Sky's commitment to homegrown drama

2010-10-12T15:41:00.000+01:00

By John Plunkett in Media Guardian:

The BBC drama chief, Ben Stephenson, has criticised BSkyB's commitment to homegrown drama and has labelled as a "myth" the common refrain that US television is better at making drama than its UK counterparts.

Stephenson said Sky's spend on UK drama was dwarfed by the BBC's drama budget and also by the amount the satellite broadcaster ploughs into acquiring foreign shows.

The corporation's head of drama commissioning, writing in the new issue of Radio Times, said US television's "commercial model" meant it would not be able to come up with recent BBC hits such as Sherlock or Five Daughters because they were committed to producing long-run series.

All about e-books - new Guild podcast

2010-10-11T21:12:00.006+01:00

In the latest of our podcasts, author and Guild member Helen Smith is joined by Linda Bennet and Graham Taylor of the Publishers Association to discuss e-Books with WGGB Editor Tom Green and Guild General Secretary Bernie Corbett.

What's the current state of the e-book market? Which devices and formats are likely to prevail? To what extent will e-books change the relationship between publishers and writers? How can writers publish e-books themselves?

You can listen online here: http://writersguild.libsyn.com or find the podcast on i-Tunes. There's also an app for the i-Phone and i-Pad.

A transcript of the discussion will be made available as soon as possible.

The Virginia Prize for Fiction

2010-10-11T20:08:00.002+01:00

A guest post by Guild member Cheryl Robson

Aurora Metro is an independent publisher originally established in 1989 by a group of women writers based at The Drill Hall Arts Centre in London. To celebrate our twentieth anniversary in publishing last year, we wanted to create a project that would both reflect our humble beginnings as a company and give something back to the world of books.

Today we are based in a building that was once a stable, in the leafy borough of Richmond, so we looked to our local literary heritage for ideas. We noticed that Virginia and Leonard Woolf had once lived in Paradise Road in Richmond and had set up the Hogarth Press there.

In 1915, Virginia Woolf published the first of her novels, The Voyage Out, while living in Paradise Road. She not only went on to make a significant contribution to modern literature but has continued to be an inspiration to women writers around the world.

We came up with the idea of establishing the Virginia Prize for Fiction and were granted permission from The Estate of Virginia Woolf to name the prize in her honour. The competition is open to women writers over the age of 18, who have written a full-length unpublished novel in English. Writers who have had work previously published are eligible to apply. With sponsorship from a local company, ea Consulting Group, we were able to launch the prize in July 2009.

Remarkably, we received over 120 entries from all over the world, and we set about the enormous task of reading and writing reports on the many scripts that arrived through the post on a daily basis. Over a period of four months we managed to long-list around 30 of the submitted manuscripts and then came the difficult process of reducing that number to a short- list of five.

In November 2009, we invited the short-listed authors to The Orange Tree Theatre in Richmond as part of the Book Now Literary Festival where the winning novel Pomegranate Sky was finally announced. Debut author, Louise Soraya Black was presented with a cheque for £1000 and a lighthouse shaped award by novelist Fay Weldon.

Black had spent six years previously writing and rewriting her novel, while battling
with ME. She had also worked as a lawyer in the City for seven years before leaving to have her first child. She later described the experience of winning the Prize as a ‘life-changing moment’.

In Pomegranate Sky, Black tells a complex story from the viewpoints of the main female characters in an unexpectedly accomplished way. Black, who is from a British Iranian background, and has lived in Iran, sets the novel in post-revolutionary Tehran and focuses on the story of Layla, who refuses to bow to the ayatollahs’ rules, resisting her mother’s relentless attempts to find her a suitable husband. Instead, she embarks on an illicit affair with her art teacher, Keyvan, which leads to love, loss and the revelation of dark family secrets.

In January, next year we will be accepting entries for the Virginia Prize for Fiction 2011 and will be hoping to discover and promote other remarkable new voices to enrich the literary landscape of fiction in the UK.

You can meet Louise Soraya Black on 23rd October at the Guildford Literary Festival or on November 6th at Orleans House, Twickenham as part of Richmond’s Book Now Literary Festival 2010 where she will be in conversation with journalist and author Yasmin Alibhai-Brown.

How children lost out from ITV cuts

2010-10-11T18:22:00.004+01:00

In The Yorkshire Post, writer and producer Colin Ward explains why the Save Kids TV campaign (which the Writers' Guild supports) believes that ITV's decision to stop making children's programmes in 2006 has been so damaging.

Save Kids TV was set up in the wake of the closure of ITV's children's production department. It's a coalition of producers, parents, educational experts and academics, who work together to highlight the importance of quality, UK-produced children's media. Although Save Kids TV is campaigning for a return to the levels of investment in children's media we had back in the 1990s, [writer and campaigner, Jayne] Kirkham insists it's not a backward-looking organisation.

"We are not interested in nostalgia and we don't want to return to some ideal world of children's TV that, in reality, never existed. But the audience viewing figures clearly demonstrate that children want to watch television made in the UK and, at the moment, their only real option for that mix of programming is the BBC. We think it's time society started investing in young people." Save Kids' TV argues that UK-produced children's media is uniquely valuable, because it is the only age-appropriate content that reflects the language and life experiences of British children. Ten years ago, that's exactly what ITV was doing very successfully.

Writers’ Guild Awards 2010 – shortlists announced

2010-10-10T16:30:00.013+01:00

The Writers’ Guild has announced the shortlists for its annual awards, with nominations in 14 categories. The winners will be announced at a reception on Sunday 21 November 2010.

The Guild awards, dating from 1961, are cherished accolades as they are the only ones in which writers are honoured by their peers. Recipients of special or lifetime awards over the years have included Lord (Ted) Willis, John Osborne, Sir Alan Ayckbourn, Dennis Potter and Alan Plater.

Here are the shortlists in full:

Best Original Screenplay
Kick-Ass - Jane Goldman, Matthew Vaughn
Looking For Eric - Paul Laverty
Four Lions - Chris Morris, Jesse Armstrong, Sam Bain, Simon Blackwell

Best First Feature-Length Screenplay

The Hide - Tim Whitnall
Sex & Drugs & Rock & Roll - Paul Viragh
Moon - Duncan Jones, Nathan Parker

Best Television Drama Series
Doctor Who - Steven Moffat, Toby Whithouse, Simon Nye, Mark Gatiss, Chris Chibnall
Being Human - Toby Whithouse
Ashes To Ashes - Ashley Pharoah, Matthew Graham, Julie Rutterford, Tom Butterworth, Chris Hurford, Jack Lothian, James Payne
Best Television Comedy/ Light Entertainment
The Thick Of It - Armando Iannucci, Jesse Armstrong, Simon Blackwell, Tony Roche, Ian Martin, Sean Gray, Will Smith Roger Drew
Peep Show - Jesse Armstrong, Sam Bain, Simon Blackwell
Getting On - Jo Brand, Joanna Scanlan, Vicki Pepperdine
Best Television Short-Form Drama
Small Island - Paula Milne, Sarah Williams
Occupation - Peter Bowker
Five Daughters - Stephen Butchard
Best Television Continuing Drama

Coronation Street - Peter Whalley, Carmel Morgan, David Lane, Mark Wadlow, Chris Fewtrell, Jayne Hollinson, Martin Allen, Lucy Gannon, Mark Burt, John Kerr, Damon Rochefort, Julie Jones, Jonathan Harvey, Simon Crowther, Joe Turner, Debbie Oates, Daran Little, Stephen Russell, Jan McVerry
Holby City - Tony McHale, Dana Fainaru, Martha Hillier, Chris Murray, David Lawrence, Justin Young, Veronica Henry, Peter Lloyd, Joe Ainsworth, Abi Bown, Andrew Holden, Ian Kershaw, Graham Mitchell, Sebastian Baczkiewicz, Rob Williams, Al Smith, Claire Bennett, Jake Riddell, Nick Warburton, Sonali Bhattacharyya, Rebecca Wojciechowski, Tom Bidwell, Dan Sefton, Mark Catley, Paul Mari, Nick Fisher, Sally Abbott
Casualty - Jason Sutton, Fiona Evans, Suzie Smith, Sasha Hails, Gert Thomas, Justin Young, Martin Jameson, Michael Levine, Paul Logue, Daisy Coulam, Mark Catley, Dana Fainaru, Tom Bidwell, Karen Laws, Rachel Flowerday, Ellen Taylor, Sally Tatchell, Abi Bown, Paul Mari, Jeff Povey, Mark Cairns, Sally Abbott, Rob Williams, Stephen Keyworth, David Bowker, Deborah Jones, Sonali Bhattacharyya, Richard Monks

Best Children’s Television Drama/Comedy - live action or animation
Shaun the Sheep - Richard Goleszowski, Rob Dudley, Glenn Dakin, Lucy Daniel Raby, Elly Brewer, Jimmy Hibbert, Will MacLean, John Camm, Lee Pressman, Julie Jones, Dan Berlinka, Andy Williams, David Ingham, Richard Vincent, Patrick Makin, Chris Sadler, Kieron Self, Giles New, James Henry, Nick Park, Kay Stonham, Sarah Ball, Ian Carney, Mark Daydy, Craig Ferguson, Patrick Gallagher
Horrible Histories - Giles Pilbrow, Dave Cohen, Stephen Punt, Laurence Rickard,Ben Ward, Jon Holmes
Tracy Beaker Returns - Emma Reeves, Jonathan Evans, Steven Turner, Elly Brewer, Jonathan Wolfman, Ben Ward
Best Theatre Play
Jerusalem - Jez Butterworth
Enron - Lucy Prebble
Dunsinane - David Greig
Best Play for Children and Young People
The Monster Under The Bed - Kevin Dyer
Time For The Good Looking Boy - Michael Wicherek
The Scarecrow - Mike Kenny
Best Radio Drama

Wake - Katie Hims
Number 10 - Jonathan Myerson
Bad Faith - Peter Jukes

Best Radio Comedy/Light Entertainment
Party - Tom Basden
Cabin Pressure - John Finnemore
Mark Steel’s In Town - Mark Steel
Best Videogame Script
Red Dead Redemption - Dan Houser, Mike Unsworth
Risen - Andrew S. Walsh, Rhianna Pratchett, James Leach
Batman: Arkham Asylum - Paul Crocker
Best Non-Fiction Book
Beauty And Atrocity - Joshua Levine
A Crisis Of Brilliance - David Boyd Haycock
This Party’s Got To Stop - Rupert Thomson
Best Fiction Book
Corrag - Susan Fletcher
The Spider Truces - Tom Connolly
A Life Apart - Neel Mukherjee

Against Aristotle

2010-10-05T08:33:00.003+01:00

On The Guardian Theatre Blog, Steve Waters laments the popularity of Aristotle's theory of drama:

Poetics' fatal flaw (to borrow an Aristotelian term) is that it's an outsider's view of writing. All too often Aristotle's inventory of conventions is mimicked, as if plays were no more than the sum of their parts, and the author a phrenologist detecting a criminal from the shape of their skull. Generations of playwrights and critics have rummaged through Poetics' checklist of elements hoping to find a readymade framework for their plays or analyses.

Radio award winners

2010-10-04T22:09:00.005+01:00

The winners of the annual Imison Award and Tinniswood Award for radio drama have been announced at a reception in London compered by leading radio producer Gordon House.

The Tinniswood Award

Honouring the best original radio drama script broadcast in 2009, the Tinniswood Award went to Ivan And The Dogs by Hattie Naylor

Also shortlisted were:

The Moment You Feel It by Ed Harris
Cry Babies by Kim Newman
Vent by Nigel Smith
People Snogging In Public Places by Jack Thorne

The prize of £1,500 is donated by the Authors’ Licensing and Collecting Society, and the judges were Sheila Goff, John Tydeman and Katharine Way. The Award is administered by the Writers’ Guild of Great Britain.

The Imison Award

Honouring the best original radio drama script by a writer new to radio, broadcast in 2009, the Imison Award went to The Road Wife by Eoin McNamee

Also shortlisted were:

The Lady Of Kingsland Waste by J Parkes (Highly Commended)
Trying by Erin Browne
Fifteen by Deborah Wain

The prize of £1,500 is donated by the Peggy Ramsay Foundation. It is judged by members of the Society of Authors’ Broadcasting Committee (David Docherty (Chair), Mike Bartlett, Nazrin Choudhury, Alison Joseph, Nell Leyshon, Karen Liebreich, Sue Limb, Karl Sabbagh, Colin Teevan and Nick Warburton).

Radio drama cuts

Speaking at the awards reception to an audience containing many of the UK's leading radio drama executives, as well as the new Controller of Radio 4, Gwyneth Williams, Gordon House lamented the recent cuts to drama output on BBC Radio 4 and the cessation of drama output for BBC World Service. The guest speaker, Rose Tremain, echoed these sentiments and also called for more 90-minute drama time-slots to be made available.

Gordon House, Hattie Naylor, Rose Tremain, Eoin McNamee and Gwyneth Williams
(Photo: Alison Baxter)

Work by Guild members in next seven days

2010-10-01T18:21:00.001+01:00

MARTIN ALLEN wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 8th October.

DAVID ASHTON'S dramatisation of Emma Smith's fictionalised memoir Maidens' Trip goes out on Radio 4 at 2:15pm on Friday 8th October.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "The Day the Balloon Went Up" going out on ITV1 at 6:00pm on Saturday 2nd October.

RICHARD DAVIDSON wrote the episodes of EastEnders going out on BBC1 at 7:30pm on Thursday 7th and at 8:00pm on Friday 8th October.

CHRIS FEWTRELL wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 4th October.

JIMMY GARDNER wrote the episode of Inspector George Gently "Peace and Love" which concludes on BBC1 at 8:30pm on Sunday 3rd October.

MARTIN JAMESON'S radio play, in four parts, Stone continues with part two, Collateral Damage, going out on Radio 4 at 2:15pm on Wednesday 6th October.

ROB JOHNSTON'S stage-play Einstein's Daughter comes to the Hyde Festival Theatre 28th Sept - 2th Oct at 7:45pm following a north-west tour. Tickets at www.quaytickets.com.

NEIL JONES wrote the episode of Hollyoaks going out on C4 at 6:30pm on Monday 4th October.

RICHARD McBRIEN wrote the episode of Spooks going out on BBC1 at 9:00pm on Monday 4th October.

GRAHAM MITCHELL wrote the episode of Holby City "Revelations" going out on BBC1 at 8:00pm on Tuesday 5th October.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 1:45pm on Wednesday 6th October. His radio comedy series The Maltby Collection continues on Radio 4 at 6:30pm on Wednesday 6th October.

DEBBIE OATES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 7th October.

PAUL ROUNDELL wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Wednesday 6th October.

PETER WHALLEY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 8th October.

NICOLA WILSON wrote the episode of Casualty "Into the Fog" going out on BBC1 at 8:40pm on Saturday 2nd October 2nd.

FSE Newsletter - September

2010-10-01T15:59:00.002+01:00

The September issue of the Federation of European Screenwriters (FSE) newsletter is now available (pdf, or read on screen below).

In this issue you'll find short articles on:

Screenwriters at film festivals, an article by Guy Hibbert
1st Meeting of Spanish Screenwriters
New film academy in Belgium
Awards and festivals (calendar)

Open publication

Are e-books over-hyped?

2010-10-01T14:11:00.003+01:00

In Technology Review Christopher Mims argues that the death of the book has been greatly exaggerated.

Tech pundits recently moved up the date for the death of the book, to sometime around 2015, inspired largely by the rapid adoption of the iPad and the success of Amazon's Kindle e-reader. But in their rush to christen a new era of media consumption, have the pundits overreached?

I'm calling the peak of inflated expectations now. Get ready for the next phase of the hype cycle - the trough of disillusionment.

The signs of a hype bubble are all around us. Mostly in the form of irrational exuberance.

We'll be discussing e-books in the next Writers' Guild podcast - available soon.

Ben Stephenson on BBC Drama

2010-09-30T19:44:00.002+01:00

In a speech given at the BBC Drama Autumn/Winter 2010/11 launch, the BBC's Controller of Drama, Ben Stephenson explained why he thinks BBC drama matters.

We are the only place where the drama strategy isn't dictated by putting demographics, ROI, the advertisers first. That does not mean commercial channels don't make great drama – look at recent Channel 4 and ITV successes – but the BBC is the home of risky, authored drama for everyone no matter what your taste, age or class.

And he sets out his plans for future commissioning.

BBC Drama is going to remain defiantly British and commission the best quality drama for our audiences to watch. Crucially, we are going to give writers and directors their head and not censor them from writing their best ideas whatever their shape – be it popular drama or pieces for a more self-selecting audience.

Welsh stars defend S4C

2010-09-30T09:51:00.000+01:00

By John Plunkett in Media Guardian:

Leading Welsh TV and music stars including actor Ioan Gruffudd, The One Show presenter Alex Jones and singer Katherine Jenkins have written to the government to protest at the looming cuts at troubled broadcaster S4C.

Actor Matthew Rhys and former Blue Peter presenter Gethin Jones were also among those who signed the letter to the culture secretary, Jeremy Hunt, with the Welsh-language channel facing a big reduction in its budget.

Victoria Wood on the BBC

2010-09-27T20:32:00.003+01:00

In The Guardian, Guild member Victoria Wood tells Decca Aitkenhead why she doesn't feel valued or trusted by the BBC.

Surrounded by tables of noisy Soho media types, Wood gazes into her lap, and when a waiter clears away her breakfast she shrinks even further into herself, jumpy with self-effacement. There she sits, the most celebrated person in the room by a million miles, looking extraordinarily vulnerable.

Half an hour later, the same woman is relating her indignation at BBC executives who try to tell her how to do her job. "And you think, well that's fine, but what's your qualification for telling me what's funny? Please don't tell me what's funny, cos I know what's funny. And you probably don't. That's why I'm on television and you're not."

She continues: .

"I just find the layers of people you have to deal with tiresome. And you think, 'Well, fine, you make it then, I won't make it at all. I'll go home and put the washing on, fine.' You used to be trusted and now I feel like I'm not trusted, and I don't like it. Not valued, not needed on voyage – that's what it makes you feel like. I'm not trying to pull a big huff. It's not a celebrity huff. It's a working person's huff, and I think it's a justified huff, and it's on behalf of all of us who feel miffed and sidelined and overly interfered with."

Work by Guild members in the next seven days

2010-09-24T16:45:00.002+01:00

JOHN ANTROBUS co-wrote Not Tonight, Caligula which is on at the Leicester Square Theatre.

SARAH BAGSHAW wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Thursday 30th September.

SONIA CASTANG'S short film Ashes will be showing at the 3rd Branchage International Film Festival in Jersey on 26th September. The cast features Meryl Fernandes (EastEnders), Pushpinder Chani, Shobna Gulati (Coronation Street, Dinner Ladies) and Harvey Virdi (Brick Lane, Britz)

DAVID COOK'S radio play Walter Now, starring Sir Ian McKellen, is going out on Radio 4 at 2:30pm on Saturday 25th September.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "Big Guns" going out on BBC2 at 6:30pm on Saturday 25th September.

SASHA HAILS wrote the episode of Casualty "Only the Lonely" going out on BBC1 at 8:35pm on Saturday 25th September.

CAROLINE HARRINGTON wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 26th September to Friday 1st October.

JONATHAN HARVEY wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 27th September.

MARK ILLIS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 28th September.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 30th September.

JOHN KERR wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Friday 1st October.

NEIL JONES wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Thursday 30th September and at 6:30pm on Friday 1st October.

PENNY LEICESTER'S adaptation of Penelope Fitzgerald's novel The Beginning of Spring goes out on Radio 4 in five episodes at 10:45am from Monday 27th September to Friday 1st October.

JUSTIN MACGREGOR'S play The Play That Killed Me is on at The Lowry, Manchester on Saturday 2nd and Sunday 3rd October at 8:00pm. To book tickets (£5, £7.50 and £10) please go to www.thelowry.com/studio or call the box office on 08432086010.

CAROLINE MITCHELL wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Wednesday 29th September.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 10:55pm on Wednesday 29th September. His museum-based sitcom The Maltby Collection continues on Radio 4 at 6:30pm on Wednesday 29th September.

LESLEY CLARE O'NEIL wrote the episode of Emmerdale going out on ITV1 at 8:00pm on Thursday 30th September.

HOWARD OVERMAN wrote the episode of Merlin "Goblin's Gold" going out on BBC1 at 7:00pm on Saturday 25th September.

DANNY STACK'S short film Origin has its world premiere at Brancharge International Film Festival on Sunday 26th September. Danny also recently launched the UK Scriptwriters podcast with Tim Clague where they talk about the latest on the UK scriptwriting scene.

CHRIS THOMPSON wrote the episode of Emmerdale going out on ITV1 at 7:00opm on Friday 1st October.

JACK THORNE co-wrote This Is England '86, which concludes on C4 at 10:00pm on Tuesday 28th September.

NIGEL WILLIAMS'S radio comedy series HR concludes with the episode Consulting going out on Radio 4 at 11:30am on Monday 27th September.

Credits for writers - discussion on Newsnight

2010-09-24T10:55:00.001+01:00

On the BBC's Newsnight programme earlier this week, Jeremy Paxman was joined by screenwriter Jeremy Brock and director Stephen Frears to debate if film writers should get more credit.

Shine Pictures - The Big Idea

2010-09-21T10:40:00.003+01:00

A scriptwriting competition from Shine Pictures:

Shine Pictures are proud to announce a National competition for feature film concepts, with a prize of a £25,000 feature film development deal.

We are looking for ingenious concepts, compelling writing and intriguing characters that will elevate genre films making them both distinctive and commercial. The stories can be set anywhere, with characters of any nationality, just as long as the audience is a global one. Feel free to be ambitious in scale and scope. You can imagine big stars in lead roles. It can be 3D! You can have big budget visual effects. Go for active, attractive, bold, vibrant, energetic concepts. We are looking to stimulate ambitious ideas that will capture the global imagination in the following genres:

1. Romantic Comedies (e.g.: The Proposal, What Women Want, Notting Hill)
2. Action Adventures (National Treasure, Top Gun, Blood Diamond, Cliffhanger)
3. Sci-Fi or Fantasy (Inception, Harry Potter, 28 Days Later, Back to the Future)
4. Family Comedies (Nanny McPhee, Cheaper by the Dozen, Johnny English)

Who can apply?

This is not an entry level competition, so you need to have either a produced or optioned screenplay, an agent, a festival acclaimed short, an hour of broadcast TV drama, a play that has been performed, writing that has been published or an equivalent industry achievement.

Full details are on the Shine Pictures website. The closing date for entries is 29th October 2010.

The £5,000 “Inspired by Science” Treatment Award

2010-09-20T18:40:00.003+01:00

The London Screenwriters Festival and the Wellcome Trust have launched the “Inspired by Science” Treatment Award - a £5,000 prize to be given to a writer to enable them to develop their idea further.

The aim of the award is to encourage the development of drama that engages its audience in the area of science and society by supporting new proposals for film, television or other broadcast media that are inspired by the field of biomedicine.

Writers are encouraged to submit proposals for original drama projects suitable for a potential UK production and broadcast.

The “Inspired by Science” Award is open to all writers who are resident in the UK. 10 shortlisted entrants will receive complimentary invitations to attend the London Screenwriters Festival in October. If any delegate has paid for their ticket this will be refunded. The Award winner will be announced at a special session during the Festival itself.

The winner will receive:

£5,000 to develop their project.
An informal association with the Wellcome Trust to include individual editorial and/or practical assistance over a period of 6 months tailored to the individual winner.
Additional assistance to research their biomedical area of interest through scientific experts and research including access to the Wellcome library.
All entries should be received no later than 12 noon Friday 15th October 2010.
Any entries received after this date will be ineligible.

Finalist will be annouced on Friday 22nd October 2010

Full details are on the London Screenwriters' Festival website.

You don't have to buy a ticket for the Festival to enter, but if you do want to go, remember that Writers' Guild members can get a discount of £75.

What Guild members are getting up to

2010-09-17T17:32:00.001+01:00

CAREY ANDREWS wrote the episode of EastEnders going out on BBC1 at 7:30pm on Tuesday 21st September.

SEBASTIAN BACZKIEWICZ'S radio play series Pilgrim concludes with the episode "Hope Springs" going out on Radio 4 at 2:15pm on Tuesday 21st September.

RICHARD BURKE wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Wednesday 22nd and Thursday 23rd September.

JANYS CHAMBERS'S dramatisation of My Family and Other Animals concludes on Radio 4 at 9:00pm on Saturday 18th September.

STEVE CHAMBERS has written the 5 part Woman's Hour Drama Hysteria going out on Radio 4 at 10:45am on Monday 20th September and for the rest of the week. Denise's marriage unravels as hysteria rises over prostitute murders in Middlesborough.

DAVID CROFT and JIMMY PERRY wrote the episode of Dad's Army "Room at the Bottom" going out on BBC2 at 5:15pm on Saturday 18th September.

SIMON CROWTHER wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Friday 24th September.

KATIE DOUGLAS wrote the episode of Waterloo Road going out on BBC1 at 8:00pm on Wednesday 22nd September.

CHRIS FEWTRELL wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 23rd September.

ROB GITTINS wrote the episode of EastEnders going out on BBC1 at 8:00pm on Friday 24th September.

PHILIP GOULDING'S stage adaptation of T.E.B. Clarke's Ealing Comedy The Titfield Thunderbolt is currently being toured by Bruce James Productions (7th September - 23rd October)

TOM GREEN'S radio play For Ever England goes out on Radio 4 at 2:15pm on Wednesday 22nd September.

LISA HOLDSWORTH wrote the episode of New Tricks "Left Field" going out on BBC1 at 9:00pm on Friday 24th September.

JULIAN JONES wrote the episode of Merlin "The Tears of Uther Pendragon" going out on BBC1 at 7:30pm on Saturday 18th September.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 20th September.

PETER KERRY wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Wednesday 22nd September.

MARK ILLIS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 21st September.

JESSICA LEA wrote the episode of Hollyoaks going out on C4 at 6:30pm on Friday 24th September.

JANE MARLOW wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 23rd September.

JAN MCVERRY wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 20th September.

DAVID NOBBS'S sitcom The Maltby Collection goes out on Radio 4 at 6:30pm on Wednesday 22nd September. He also has a radio play on Radio 4 We Happened to Be Passing going out at 2:15pm on Friday 24th September.

DEBBIE O'MALLEY wrote the episode of Law & Order: UK "Defence" going out on ITV1 at 9:00pm on Thursday 23rd September.

JANE PEARSON wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 23rd September.

TIM STIMPSON wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 19th to Friday 24th September. Each episode is repeated at 2:00pm the day following its original broadcast.

JACK THORNE co-wrote the episode of This is England '86 going out on C4 at 10:00pm on Tuesday 21st September.

ANDREW S. WALSH wrote the new English version of Professor Layton and the Eternal Diva. The first Professor Layton film is released on DVD and Blu-ray on 18th October.

KARIN YOUNG wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 24th September.

Writing competitions - should the keyword be caution?

2010-09-17T11:59:00.007+01:00

A guest post by Guild member Julian Williams

Funny old life this with its unwritten question conventions, like 'never ask a colleague his salary' or 'whatever you do, don’t ask a woman her age'. Deep down it would be fun or useful to know but hey, we’ll just keep guessing.

On the other hand, asking a writing competition organiser its financial credentials…well, who’d have thought of asking that in the first place?

Okay, not so pressing a question if the competition is free to enter but what if it’s not? What if it charges and promises a financial prize or meetings with publishers, agents or pro readers. Even more worrying, what if it offers to publish or film the winners’ work?

Are they able to deliver on their promises as we’ve delivered our manuscript or screenplay? And entry fee!

Hang on a minute, asking for financial credentials? Don’t be silly. It would jinx our entry, upset the organisers, give us a bad name in the industry. And anyway, their website looks okay and I want to win!

Let’s put a brake on our honourable yet sometimes blind writing ambitions for the moment.

As you may have guessed by now, I have a small example of a recent and potentially on-going situation where asking questions of writing competition organisers could very well have proven a good and proper thing to do. It also highlights the importance of a Writers’ Guild membership.

There’s a screen competition called BSSC – British Short Screen Competition to give its full title. The carrot for the £30 (final deadline) entry fee is that 'the winner will be made'. And true to their word, in past years the winning entry has been made although for some reason I’ve never been able to find out where I can see the winning film.

This year the BSSC announced its call for entries. Eagerly I did – enter that is. My choice, I know. And then the website disappeared. And there were no emails or newsletters telling me why. And all of a sudden my £30, my hopes, the hard work in getting a script together, the triumphant moment of posting – and the deliciously frustrating wait for a first round announcement seemed lost.

So I took a deeper look. I asked that great unwritten, forbidden, question: 'What are the organiser’s financial credentials?'

Turns out (at Companies House) the financial credentials of what appears to be the organiser’s company are listed as 'Status: Active - Proposal to Strike off'. Not really a funding proposition for the winning entrant is it?

Time to call in The Writers’ Guild of Great Britain plus enlist the help and contacts available through Twitter, on which there is a strong and vibrant screenwriting community.

The Writers’ Guild posted a request for further information. A very highly respected script editor created #kaosfilms and a number of responses from writers floated in.

And then all of sudden this happened:

The Kaos Films website was re-instated. An apology came through the Kaos Films Twitter account that read: 'we haven't closed shop the website has been shut down because our email addresses have been hi-jacked by spammers' and then, only a few days ago there was another Kaos Films announcement, this time that the 2010 BSSC first round qualifiers and the 2010 BFSC semi-finalists will be published in a few days time.

By the way, Kaos Films also run a feature film competition – that’s the BFSC bit – where, in line with their USP, they promise to make the winning entrant.

So all seems well again, yes? All back on track? Hang on a moment…back to Companies House and the statement about Kaos Films. 'Status: Active - Proposal to Strike off'. According to a Solicitor and an Accountant, 'proposal to strike off' isn’t an overnight thing – it’s a decision made over a long period of time.

I asked Kaos Films about this via Twitter, but I have had no reply.

We know our motives for entering writing competitions but isn’t it now time that we should start asking not only the motives but the financial credibility of people who organise competitions? Of those who charge an entry fee?

Should writing competitions be better regulated? Should there be a code of conduct – starting with actual dates that various round judgements will be announced (there are competitions that do – one comes to mind which is held by Euroscript). And shouldn’t there at least be a financial or credibility check prior to any organisation launching a competition?

If The Writers’ Guild of Great Britain hadn’t stepped in to help, I very much doubt that any BSSC or BFSC website/announcement information would have come to light because we writers just don’t ask the questions. I did and with the weight of the WGGB behind me we got an initial result. It’s why I am proud to be a member.

However, my fundamental question still remains with Kaos Films: 'Did you announce the BSSC 2010 before or after you knew you were in financial difficulties, as shown by Companies House records?'

To put that into context, the entry fee before final deadline was £20 – the cheapest one. They have claimed in the past they receive over 2000 international entries. That makes, at minimum, 20x2000 = £40,000. And the company has not registered accounts since, from what I can see and understand, 2008.

So let’s finish with the question we first started with: 'Writing competitions, should the keyword be caution?'

I’m afraid the answer is yes.

Writers, especially those yet unpublished who, like me, are more likely to enter writing competitions. Please join The Writers’ Guild of Great Britain – the candidate membership isn’t a second class writing ticket, it has real power as proven here. Not least, a membership will give you the confidence – and the WGGB will give you the support – to ask the questions we so often think are unaskable. But that must be asked!

Phew, that was all a bit heavy, so here are a couple of final words of advice about unwritten question conventions.

Yes, DO ask your colleague or writing friend what they’re getting – it always helps to know. And no, whatever you do, DON’T ask her age, whoever your “she” may be. There’s not a Guild on planet earth that’ll protect you from the reaction to that one!

Julian Williams is on Twitter @OnewordTF

Postscript: As I write, Kaos Films have promised to announce BSSC first round qualifiers and BFSC Semi-Finalists by “the end of the week”. That day is today, 17th September 2010. Whether they do or not the real proof of the pudding will be the making of the winning entries to both competitions. On that we can only wait and see.

Update: True to their word the qualifiers and semi-finalists are now listed on the Kaos Films website.

Project Canvas rebrands as YouView

2010-09-17T11:34:00.001+01:00

From Mark Sweeney in The Guardian:

Project Canvas officially rebrands as YouView today as the seven partners in the venture, which aims to bring video-on-demand programming and services to Freeview and Freesat, officially incorporate as a separate 100-strong company.

The seven partners – the BBC, ITV, Channel 4, TalkTalk, BT, Arqiva and Channel 5 – have now formed YouView TV Ltd, pledging about £18m each to cover the first four years of operation from April 2010.

Film Council replacements considered

2010-09-17T11:31:00.000+01:00

From BBC News:

Four parties have been asked by the government to consider taking on the responsibilities of the recently axed UK Film Council, the BBC understands.

The BBC was one body asked to consider taking a lead role in distributing lottery money to film projects.

Channel 4, the British Film Institute and the Film London agency are also believed to have been approached.

Gary Owen: Love Steals Us From Loneliness

2010-09-15T19:12:00.003+01:00

On the National Theatre Wales website, Guild member Gary Owen visits rehearsals for his new play Love Steals Us from Loneliness.

Link via NTWtweets

Project Canvas will be ‘creative playpen’ for artists

2010-09-15T16:18:00.001+01:00

By Matthew Hemley for The Stage:

BBC director general Mark Thompson has claimed Project Canvas - an initiative backed by the Corporation to bring the internet to television via set-top boxes - will be a “creative playpen” for arts producers and organisations.

He also said that content specifically commissioned for it should be available to view from its launch.

Project Canvas, of which the BBC is one of seven backers, will offer access to all Freeview channels, as well as websites such as BBC iPlayer and YouTube.

Speaking at this year’s Media Festival Arts event, Thompson said the initiative is being designed as a “public space”, which will enable arts organisations to bring their work to millions of people.

He said the BBC, as one of the main partners behind the project, was discussing the idea of a toolkit, to be accessed online, which will allow third parties to learn how to get their content on to the Canvas platform.

Birmingham Book Festival 2010

2010-09-15T14:59:00.001+01:00

The Writers' Guild is proud to be involved in the Birmingham Book Festival 2010. The Writers' Guild President, David Edgar, is now a patron of the Festival.

Writers' Guild members are able to book tickets for all events at this year's Birmingham Book Festival at the discount rate. To take advantage of this offer either go to the website: www.birminghambookfestival.org click through to the events and follow the link to the online booking page or ring the box office on 0121 303 2323. In both cases, select the concessionary rate. You will then need to show your card or give your membership number at the event itself. We hope you will feel this is a valuable membership benefit. And remember, the more events you book, the more you will save!

There are a wide range of events at the festival, but Writers' Guild members might find of particular interest:

Tue Oct 5th Raphael Selbourne: What is a City’s Culture? (Launch Event)
Thu Oct 7th Jonathan Coe & David Nicholls in Conversation
Wed Oct 13th John O'Farrell: An Utterly Exasperated History of Modern Britain
Thu Oct 14th Jenny Eclair: Chin Up Britain
Tue Oct 19th Lionel Shriver: So Much For That
Wed Oct 20th 7-Inch Cinema: Footnotes

There are also a series of writer workshops on Sat 9th October including the Writers' Guild event Interactive Writing - A Games Tutorial run by Andy Walsh. Places for these are limited so early booking is advised.

All details at: www.birminghambookfestival.org

I Value The Arts

2010-09-13T19:10:00.002+01:00

The National Campaign for the Arts, to which the Writers' Guild is affiliated, has launched the I Value The Arts campaign.

Using volunteer time and skills from our campaign partners (and not public subsidy) we have sought advice about the best way to reach as many people as possible who care about the arts throughout the UK. We know that there are a lot of you out there: it’s estimated that three-quarters of adults and even more children take part in the arts every year. Collectively you will be a powerful new voice for audiences and participants.

We want to be able to help you to provide support for the arts in your area. That support could be about volunteering or lobbying or even setting up your own programmes of arts activities. We’d also like to listen to you and your views to help us prioritise our future work.

We’ve set no time limit on the campaign. We hope it will develop and evolve over time. We will keep updating the website with new resources and keep in contact by email with, particularly when we have news of something in your area.

If you care about the arts, please do take the 30 seconds it takes to sign up. You’ll be in good company.

John Woodward to stand down as Chief Executive of the UK Film Council

2010-09-13T19:05:00.001+01:00

From UK Film Council:

John Woodward today announced that he is standing down as Chief Executive Officer of the UK Film Council. He will leave the organisation in early November 2010 and will announce his future plans in due course.

Commenting on his decision, Woodward said: "For the next few weeks the UK Film Council is in a dialogue with the Government about the future support structures for UK film. By choosing to make my position clear now, I can be objective and unconflicted throughout that process. It should then, rightly, be for others to take the new system forward and write the next chapter for UK film.

Paul Laverty at the Toronto International Film Festival

2010-09-13T18:56:00.004+01:00

Guild member Paul Laverty has written two films that are showing at the Toronto International Film Festival: Route Irish, which deals with a mercenary coming back from Iraq to Liverpool and Even The Rain, shot in Bolivia, in Spanish and Quechoa.

Both films are directed by Ken Loach.

Paul Laverty and Ken Loach will be on a Mavericks panel (an arm of the festival) moderated by Michael Moore on Thursday, September 16.

What Guild members are getting up to

2010-09-10T19:28:00.003+01:00

JESSE ARMSTRONG and SAM BAIN have recently finished filming the seventh series of Peep Show which will commence on Channel 4 in November. In the meantime, here is a link to a behind-the-scenes look at Peep Show.

SEBASTIAN BACZKIEWICZ'S radio play series Pilgrim continues on Radio 4 with the episode The Lady in the Lake going out at 2:15pm on Tuesday 14th September.

SARAH BAGSHAW wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 16th September.

MOIRA BUFFINI, who wrote the screenplay for Tamara Drewe, will be joined by the director Stephen Frears for a special screening and Q and A at the Tricycle cinema in Kilburn, North London on Tuesday 15th September at 8:15 pm. Based on the graphic novel by Posy Simmons which was in turn inspired by Thomas Hardy's novel Far From the Madding Crowd.

JANICE CHAMBERS' two-part dramatisation of My Family and Other Animals goes out on Radio 4 at 9:00pm on Saturday 11th, Meet the Family - Plus a Few Animals, then at 3:00pm on Sunday 12th September.

ANNA CLEMENTS wrote the episodes of Hollyoaks going out on C4 at 6:30pm on Monday 13th and Tuesday 14th September.

LISA EVANS'S play The Day The Waters Came starts its UK national tour begins on 16th September till 28th November

JONATHAN HARVEY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 13th September.

JOHN KERR wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Friday 17th September.

DAVID LANE wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Thursday 16th September.

PAUL LAVERTY will be interviewed by Michael Moore, the controversial American film-maker, at the Toronto International Film Festival next Thursday 16th September at 2.30pm, along with Ken Loach, in a public discussion in a "Mavericks" panel.

Paul has got two of his films showing next week at the Toronto International Film Festival: Route Irish, screenplay by Paul Laverty and directed by Ken Loach, which deals with a mercenary coming back from Iraq to Liverpool http://tiff.net/filmsandschedules/tiff/2010/routeirish and Even The Rain, shot in Bolivia, in Spanish and Quechoa, and dedicated to Howard Zinn.

BILL LYONS wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 13th September.

ANDREA NEWMAN'S hit novel of the 1970s, A Bouquet of Barbed Wire, has been reprinted to tie in with the new three-part remake by Guy Andrews. The first episode can be watched again on www.itv.com. Part two will be on ITV1 on Monday 13th September at 9:00pm.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 10:45pm on Wednesday 15th September. His radio sitcom The Maltby Collection continues its new series on Radio 4 at 6:30pm on Wednesday 15th September.

RHIANNA PRATCHETT is set to write the screenplay for her first feature film, a London-based drama about a group of female vigilantes, to be produced by Simple Productions. Her first feature, working title Vigiliai, will be based in London and follows the rise of a female-centric vigilante group after the rape of a young woman. Shooting is due to being in 2011. Comedy director Amanda Baker, who made the 2009 short film Colour Blind, will direct the film.

Paul Atherton, who will produce for UK outfit Simple Productions, said: "Amanda and I were looking for someone with an unusual and unique voice. This is a big idea and we consciously made the decision to acquire an established writer, albeit one with no film experience, who isn't afraid to break conventions. Rhianna is the perfect choice as she writes from a woman's perspective in a traditionally male arena of violence."

CALEB RANSON co-wrote the drama documentary First Flight, based on the memoirs of Geoffrey Wellum, going out on BBC2 at 9:00pm on Tuesday 14th September. Starring Sam Heughan.

TIM STIMPSON wrote the episodes of The Archers going out on Radio 4 from Sunday 12th till Friday 17th at 7:00pm. Each episode is repeated the day after its original broadcast at 2:00pm.

BILL TAYLOR wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Friday 17th September.

CHRIS THOMPSON wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 14th September.

JACK THORNE co-wrote the episode of This Is England '86 going out on C4 at 10:00pm on Tuesday 14th September.

NIGEL WILLIAMS wrote the episode of HR going out on Radio 4 at 11:30am on Monday 13th September.

JOHN WILSHER wrote the episode of New Tricks "It Smells of Books" going out on BBC1 at 9:00pm on Friday 17th September.

COLIN WYATT wrote the episode of EastEnders going out on BBC1 at 7:30pm on Tuesday 14th September.

Espresso Book Machine interview

2010-09-10T10:00:00.001+01:00

In Book Business, Noelle Skodzinski talks to Tom Allen of On Demand Books/the Espresso Book Machine, the book-at-a-time manufacturing device.

Perhaps counterintuitively, the growth of e-books is a net positive for us, as more digital content available to e-readers means more available to our EspressNet catalog of content. In addition, as publishers release books in both e-format and print-format, the overall impact of e-books (if it reduces print books) will be to drive more titles into POD or digital-print platforms, and by extension, our network, because run lengths will get shorter.
According to a recent article in The Economist ("Just Press Print," Feb. 25, 2010), which prominently featured our technology, 6 percent of books in the US are now printed on toner-based or inkjet machines (a rough proxy for print-on-demand) as opposed to on offset presses. Citing projections from [research and consultancy firm] InterQuest, The Economist article estimates that this ratio will increase to 15 percent over the next five years.

The secret life of Emma Thompson

2010-09-09T19:17:00.002+01:00

In the latest issue of the Written By Magazine, Mary McNamara talks to WGGB member Emma Thompson.

Joint communiqué from IAWG and FSE

2010-09-09T19:04:00.003+01:00

The second issue of the joint newsletter of the International Affiliation of Writers Guilds (IAWG) and The Federation of Screenwriters in Europe (FSE) is now online (pdf).

BBC faces criticism for ‘ghettoised’ black and Asian output

2010-09-08T16:23:00.000+01:00

By Matthew Hemley in The Stage:

BBC Radio has come under fire for its “token” commissioning of dramas by and featuring black and Asian artists, with both the Writers’ Guild of Great Britain and Equity criticising the lack of diversity in the Corporation’s output.

Both unions took the opportunity to highlight their concerns in individual responses to a review being carried out into BBC Radio 3, BBC Radio 4 and BBC 7 by the BBC Trust.

In praise of Mad Men

2010-09-08T13:18:00.001+01:00

In The Guardian, Guild member David Hare examines the brilliance of Mad Men (created by Matthew Weiner)

In all this, it scarcely needs saying, it has been the writing which has been the star. This autumn Bafta is offering a series of lectures in London by screenwriters which also seems poignantly timed. They come at a moment when the English-language publication of François Truffaut's last interview finds him regretting the dismal consequences of trying to turn regular film directors into auteurs. The intention of the nouvelle vague, he said, had been "more personal films", but the results were films which were, in fact, "more than personal: they became narcissistic". Gradually, Truffaut said, he had himself returned "to a narrative tradition based more on observation and synthesis than subjectivity and self-exploration". The lessons painfully learned by Truffaut in 20 years still haven't been absorbed by the Anglo-American cinema in 60. Mad Men has auteurs, all right. They're the boys and girls who write it.

Hugo Award for China Miéville

2010-09-07T08:36:00.003+01:00

Writers' Guild member China Miéville has jointly won the 2010 Hugo Award for best novel with his book The City & The City. He shared the award with Paolo Bacigalupi (The Windup Girl).

The Hugo Awards are presented annually by the The World Science Fiction Society.

Stephen Gallagher on network pitching season

2010-09-04T19:17:00.002+01:00

On his blog, Guild member Stephen Gallgher reflects on the differences in TV drama commissioning culture between the US and the UK.

[In the US] There's no dithering, there are no hesitant toe-in-the-water strategies. Our own system may not have the critical mass to match that kind of performance, but I think most UK writers will agree that our biggest frustration comes from commissioners' slowness in reaching decisions; they sit on scripts and keep their options open at our expense. Technically I'm still waiting for a straight 'no' on Oktober from the BBC, a decision I gave up waiting for when I took the show to ITV and made it over twelve years ago.

Last year I got an email from a director I'd once worked with, bemoaning the lack of available work at home and wondering if there might be any openings in LA. I told him that the timing was perfect, and the opportunities were certainly there; Terry McDonough had shot two Eleventh Hours and Bill Eagles was working on The Forgotten.

By the time his agent got around to following up, all the jobs were gone.

All Mixed-Up

2010-09-04T19:05:00.002+01:00

From the BBC Writersroom, two new initiatives including a sitcom competition.

Called All Mixed-Up, the competition is looking for proposals which reflect diverse Britain. Writers who can demonstrate some professional achievement are being asked to submit the first ten pages of a script to the college, with a limit of six characters and three settings.

Full details of how to enter are set out in the terms and conditions

The best six scripts will be workshopped in preparation for a showcase with a professional cast at the Soho Theatre on 4 December, where a celebrity panel will choose the best two for further development by BBC Comedy. Both scripts will be optioned, with the winner's option worth £1000, and the runner-up £500.

The competition is being run in association with Triforce Promotions, which promotes talent across a multi-cultural network of people in the media industries.

The closing time for entries is 12:00midnight 20 September 2010. Full details are on the BBC Writersoom website.

What Guild members are getting up to

2010-09-03T17:11:00.002+01:00

SIMON ASHDOWN wrote the episodes of EastEnders going out on BBC1 at 7:25pm on Tuesday 7th, at 7:30pm on Thursday 9th and at 8:00pm on Thursday 10th September.

SEBASTIAN BACZKIEWICZ'S radio series Pilgrim continues with "The Lost Hotel" going out on Radio 4 at 2:15pm on Tuesday 7th September.

Dying in the Wool, A Kate Shackleton Mystery by FRANCES BRODY (aka Frances McNeil) is now available in Large Print hardback and in Audio from Magna Books. Kate Shackleton, First World War widow turned private detective, investigates the disappearance of a millionaire mill owner. See www.frances-brody.com anmd www.francesmcneil.co.uk

JANYS CHAMBERS'S two-part dramatisation of My Family and Other Animals begins with "Meet the Family - Plus a Few" going out on Radio 4 at 3:00pm on Sunday 5th September.

TIM DYNEVOR wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 6th September.

JAYNE HOLLINSON wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Monday 6th September.

MARK HOLLOWAY wrote the episode of Heartbeat "Pass the Parcel" going out on ITV1 at 8:00pm on Sunday 5th September.

GWYNETH HUGHES'S drama U Be Dead based on a true story of obsession, starring David Morrissey, Alex Lowe and Tara Fitzgerald, going out on ITV1 at 8:00pm on Sunday 5th September.

DARAN LITTLE wrote the episode of EastEnders going out on BBC1 at 8:00pm on Monday 6th September.

JULIE MAYHEW'S radio play Stopgap goes out on Radio 4 at 2:15pm on Wednesday 8th September.

AELISH MICHAEL'S radio drama about the late Poet Laureate, Ted Hughes, called Dreaming of Foxes can be downloaded from The Independent website - www.independent.co.uk/drama.

SUE MOONEY wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 7th September.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 10:55pm on Wednesday 8th September. He also wrote the first episode of the new series of The Maltby Collection going out on Radio 4 at 6:30pm on Wednesday 8th September.

HOWARD OVERMAN wrote the episode of Vexed going out on BBC2 at 11:10pm on Saturday 4th September.

PAUL ROUNDELL wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Thursday 9th September.

KATHRINE SMITH wrote the episode of Hollyoaks going out on C4 at 6:30pm on Wednesday 8th September.

JACK THORNE co-wrote the new series This Is England '86, a follow-up to the Bafta Award-winning This Is England, begins on C4 at 10:00pm on Tuesday 7th September.

JO TOYE wrote the episodes of The Archers going out on Radio 4 at 7:00pm from Sunday 5th till Friday 10th September. Each episode is repeated the following day at 2:00pm.

JOE TURNER wrote the episodes of Coronation Street going out on ITV1 at 7:30pm and 8:30pm on Friday 10th September.

PETER WHALLEY wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Thursday 9th September.

NIGEL WILLIAMS wrote the episode of HR "Wandering" going out on Radio 4 at 11:30am on Monday 6th September.

London Screenwriters’ Festival discount for Guild members

2010-09-02T19:13:00.007+01:00

The London Screenwriters’ Festival is offering members of the Writers' Guild a special discount of £75 off the regular festival ticket price of £299.

The London Screenwriters’ Festival is the new annual writers’ and filmmakers’ festival, focusing on the creation and development of material for film, TV, radio and online. Held in London over three days at the end of October (29, 30, 31), the festival offers a rich mix of events, seminars, lectures and workshops for 400 delegates.

With over 50 guest speakers representing the breadth of the film, TV, radio and online industries in 2010, the festival promises to deliver a dynamic experience that will improve the work and careers of all writers in attendance as well as developing a stronger and more sustainable industry for the future.

The venue for the 2010 festival is the grand and historic Regent’s College in the heart of Regent’s Park in Central London.

At the festival, film and TV industry heavyweights such as Tim Bevan and Gub Neal will be complemented by relative newcomers such as Dean Craig (‘Death At A Funeral’) and Stuart Hazeldine (Exam), as well as TV writer veterans like Tony Jordon ensuring that delegates receive insight and inspiration from both established and emerging talent.

To take advantage all members need to do is to go onto the Festival website
http://www.londonscreenwritersfestival.com/buy-tickets and enter the discount code “Writersguild” and the ticket price will automatically reduce. Your membership status will then be verified by the Writers' Guild.

Why have we declared war on foreign dramatists?

2010-09-02T18:42:00.002+01:00

On The Guardian Theatre blog, Guild member John Morrison accuses British theatre of abusing the work of playwrights not working in English.

One can argue that in the theatre anything goes, particularly when the author is safely dead and long out of copyright. But one of the principles that marks off theatre from film is respect for the artistic integrity of the author's text, even when he or she is no longer around to complain. That's why we squirm to think of Nahum Tate reworking King Lear in the 1680s to give Shakespeare's tragedy a happy ending.

Treating foreign works in this cavalier fashion sends the same message as the decline of language teaching in schools; we are increasingly a monoglot culture, treating classic plays in other languages as mere raw material for our own theatre.

Transmedia Next

2010-09-02T09:41:00.002+01:00

Transmedia Next, an innovative training event supported by the EU MEDIA
Programme, kicks off in the form takes place in London 8-10 September 2010.

The Guild has negotiated a 20% discount off the regular price of £850 for members of the Guild. You must quote your membership number when registering to take advantage of this offer. The reduced price is £680.

For more information and to register, go directly to the website: http://transmedianext.com.

Athol Fugard berates dramatists for failing to confront injustice

2010-09-01T11:12:00.000+01:00

By Dalya Alberge in The Guardian:

Today's dramatists are failing to confront issues of injustice, writing instead "for attention spans of 10 minutes between adverts", leading political playwright Athol Fugard has said.

...He applauded some of the "extraordinary" political work that has emerged from British and American theatre, singling out Sir David Hare for praise. But he added: "They're not doing enough … at the moment. The world we're living is getting worse, not better."

Podcast transcripts

2010-08-30T16:02:00.003+01:00

We're doing transcripts of the most recent Writers' Guild podcasts, starting with this one of the interview with writer Jack Thorne.

The big influence was whoever was writing EastEnders that week. I loved that show when I and I think that was probably the biggest influence on me working out what writers did – though I did think the actors made up the words. That sort of storytelling was a huge influence on me. In terms of playwrights I tend to admire the writers I can’t write like – so I don’t know if they’re an influence on me but they’re people who I just think are incredible . The likes of Sarah Kane and Dennis Kelly – the really poetic writers; and I’m not poetic. Ronald Harwood I think is a genius and I would watch any film he has written.

Update: The transcript of the discussion about the impact of public spending cuts is now online. Also features analysis of the recent Guild/ITV drama agreement.

RIP The Bill

2010-08-30T14:34:00.001+01:00

As ITV's police series The Bill comes to an end, on the Writers' Guild website writer Gregory Evans (right) reflects on the show's significance.

I heard about Alan Plater's death on the day of the Bill wrap party.

The party seemed significant enough in itself, a celebration-cum-wake marking the end, after a run of 27 years, of British television's most popular police series. And, on a personal note, the end of an 18-year period in my own writing career: my first episode of The Bill was screened in 1992, my final episode went out in June this year.

Between those two dates I’ve chalked up 27 episodes (or so it says on IMDb: I haven’t been counting). Despite this, I've never really thought of myself as a Bill writer: I’m just a writer who sometimes worked on The Bill, and loved the show, as contributor and viewer, for most of its long and varied life (half-hours, hours; once, twice, three times a week; and, finally, uneasily, post-watershed).

Some years I wrote three or four episodes, others I was busy with other work so I didn’t make that long, boring journey down to Merton. (For those who've never had the pleasure, Merton – which a few years ago mysteriously became South Wimbledon – the last-stop-but-one on the Northern Line, is where The Bill studios and production offices are, or rather were, situated.)

Once I took a seven-year break from The Bill from 2001 to 2008, when, under executive producer Paul Marquess, it took an eye-stingingly soapy turn that I didn’t much care for (though, to be fair, many viewers did: the reinvention slowed a long slow slide in the audience figures). And then, three years ago, I was pleased as punch to be invited back on the show after it rediscovered its police-procedural mojo under Johnathan Young.

The sad news of Alan Plater's death made the Bill wrap party seem more momentous than ever. In fact, it occurred to me that, in the subtext at least, the passing of something bigger than The Bill was being marked on that late-June evening. It seemed we were there to celebrate and mourn not only The Bill itself, not only a certain kind of cop show – realistic, defiantly low-concept, with its roots in ‘ordinary’, i.e. working-class, life (reports of Alan's death mentioned his early work on Z-Cars, which broke the ground The Bill built on and occupied for so long), but also a particular kind of television drama: distinctively British, often regional; writer-led (therefore well-crafted, thoughtful and emotionally true); quietly confident in what it does and how it does it. The kind of drama Alan Plater wrote throughout his long and illustrious career; the kind John Wilsher has been writing (a fair amount of it for The Bill) for 30 years.

What Guild members are getting up to

2010-08-27T19:32:00.001+01:00

SEBASTIAN BACZKIEWICZ'S radio play in four parts begins with the episode "The Drowned Church" on Radio 4 at 2:15pm on Tuesday 31st August.

DAVID BARRY, whose play A Friend of Ronnie's was showcased by Equity members at the Writers' Guild three years ago, performs at the Sarah Thorne Theatre Club, Broadstairs, on 18th and 19th September. He is also appearing in the one-act play which is presented by Katapult along with Maid/Man by US writer Rich Rubin, whose play recently won Katapult's one-act play competition.

DAVID CROFT and JIMMY PERRY co-wrote the episode of Dad's Army "The Lion Has Phones" going out on BBC2 at 8:30pm on Saturday 28th August.

IAN CURTEIS'S radio dramatisation of Boscobel goes out on Radio 4 at 2:30pm on Saturday 28th August.

RICHARD DAVIDSON wrote the episode of EastEnders going out on BBC1 at 7:30pm on Thursday 2nd September.

ANNE DOWNIE'S first novel The Witches of Pollock will be published by Capercaillie books on 6th October 2010. She will also be appearing at the National Theatre, London in Men Should Weep from 18th October.

LISA HOLDSWORTH wrote the episode of Waterloo Road going out on BBC1 at 8:00pm on Wednesday 1st September.

ALEX JONES' one-man play I'm A Minger! is touring again, beginning with a week of performances at the Belgrade Theatre, Coventry 6th September, before embarking on a national tour, including Northern Ireland. Check out the website for a theatre near you: http://www.imaminger.com.

JULIE JONES wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Monday 30th August.

SUE MOONEY wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Monday 30th August.

DAVID NOBBS co-wrote the episode of Reggie Perrin going out on BBC1 at 10:45pm on Wednesday 1st September.

DEBBIE OATES wrote the episode of Coronation Street going out on ITV1 at 8:30pm on Monday 30th August.

LESLEY CLARE O'NEILL wrote the episode of Emmerdale going out on ITV1 at 7:00pm on Tuesday 31st August.

HOWARD OVERMAN wrote the episode of Vexed going out on BBC2 at 9:00pm on Sunday 29th August.

CHRISTOPHER REASON wrote the episode of EastEnders going out on BBC1 at 8:00pm on Monday 30th August.

PAUL ROUNDELL wrote the episodes of Emmerdale going out on ITV1 at 7:00pm and 8:00pm on Thursday 2nd September.

WILLIAM STANTON’S play Foul Tide, about the destruction of a Devon village, is on at the Courtyard theatre in London from March 16th – 24th 2011 www.thecourtyard.org.uk

SUE TEDDERN wrote the serial soloparentpals.com, going out on Radio 4 at 10:45am, repeated at 7:45pm, Monday to Friday, 23rd to 27th August.

BERT TYLER-MOORE wrote the episode of Pete versus Life "Ollie's Girlfriend" going out on C4 at 10:00pm on Friday 3rd September.

LIL WARREN'S Sport is War...? is on at The Edinburgh Fringe Festival at The Sin Lounge (upstairs) - venue 339, Cowgate.

PETER WHALLEY wrote the episode of Coronation Street going out on ITV1 at 7:30pm on Sunday 29th August.

NIGEL WILLIAMS' radio comedy HR continues with the episode "Dogging" going out on Radio 4 at 11:30am on Monday 30th August.

JUSTIN YOUNG wrote the episode of Holby City "The Last Day of Summer" going out on BBC1 at 8:00pm on Tuesday 31st August.