#writers guild of great britain
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More Strike Solidarity!
(link to post) (link to article)
(link to tweet)
(link to tweet)
And Outside the US:
(link to Variety article)
(that "info" link)
It's more than Canada and the UK joining in on showing support on June 14th:
Under the banner of “Screenwriters Everywhere,” solidarity events are planned in Canada, the United Kingdom, Ireland, Germany, France, Poland, the Netherlands, Argentina, Italy, Belgium, Bulgaria, Colombia, Denmark, South Korea, Spain, Mexico and Israel. Even war-torn Ukraine’s Guild of Screenwriters of Ukraine will take part in the day of international solidarity.
Here's The Black List's Twitter Thread On This:
For better viewing:
(link in tweet: blcklst.com/strike)
#wga strong#wga strike#strike solidarity#wga solidarity#wgc#writers guild of canada#screenwriters everywhere#wga east#wga west#june 14th 2023#wggb#writers guild of great britain#teamsters#iatse#local 11#the black list
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Last used: 2007.
...Ah well. Might as well give this a wash and a tumble. Needs must when AMPTP* drives... :/
Tl:dr; We asked for 2¢ on the streaming dollar. ...They said "Nope, can't afford it." ...As we say in New York: "...Yeah, no."
Time to take a stand. Not just for ourselves, but also for the writers who'll come after us... and who, unless we draw a line in the sand here, will never make enough to establish even middle-income careers.
*The people who, when we proposed that we should have a guarantee of a paid second-draft rewrite on scripts instead of the too-routine demand for multiple "free tweaks", refused to even consider it—but suggested they were willing to do a meeting to educate execs on why screenwriters don't want to work for free. (...DUH.)
For more details about what we asked for, and the producers' (non-)responses, see below.
(ETA—noted with grim pleasure:)
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The way we were – self-publishing 2005 and now
The way we were – self-publishing 2005 and now
Look what we found in the attic.
It’s a self-publishing supplement from the Writers’ Guild of Great Britain in New Year 2005.
When this was circulated, I was ghostwriting for Big Six publishers (when they were a Big Six) and hoping to get an agent for my own novel. My writer friends were on the same trajectory.
A book deal was the way – the only way – to get your work into the world. For…
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#Alliance of Independent Authors#ebooks#how to self-publish#how we used to self-publish#indie authors#print on demand#self-publishing#Victoria Strauss#Writer Beware#writer&039;s guild of Great Britain
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idk why but I thought the sandman was uk netflix? and I though uk writers were having a ball? (they can write)
The Writers' Guild of Great Britain has made it very clear that they disapprove of and will not condone strike breaking.
Netflix is a struck company, and Allan Heinberg and I are both WGA as are all the other writers. It will be shot in the UK, but that doesn't make it a UK production, no more than Anansi Boys or Good Omens.
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The series, which is currently celebrating its 60th anniversary with a trio of specials from returning showrunner Russell T. Davies, has moved towards a buyout model for writers, Deadline has been told.
Sources said that episodic writers are now being paid a large fee upfront rather than a smaller fee plus residuals that has seen previous scribes earn additional compensation when Doctor Who is repeated.
—
Doctor Who remains a British show and thereby doesn’t have to abide by WGA contracts but the optics are interesting given that the move comes after Disney+ boarded the series last year as a partner outside of the UK and Ireland.
Deadline understands the Doctor Who writer contract deals were struck prior to the WGA resolution, which came two months ago. Residuals were a key sticking point in those negotiations
—-
Ellie Peers, General Secretary of the Writers Guild of Great Britain, told Deadline: “As a trade union we take our responsibilities in negotiations very seriously and this involves being in full possession of the facts before taking up issues with broadcasters and others, both privately and publicly. The terms outlined to us by Deadline, if true, would represent a serious retrograde step for UK writers working on Doctor Who.”
This news is new to me. And.
Ooof. It feels like Disney pulled a fast one on the Doctor Who production and outmaneuvered them.
Sure the payout is huge upfront but the way residuals can set a writer for life— and Disney basically cut that off.
I hope they fixed this because you KNOW the Mouse will take advantage of this.
This is the deal they will present to foreign writers and productions. Give the Mouse an inch, and they’ll take your whole damned property.
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Netflix seems to release much more feoreign and mire unknown movies (atleast here for me in germany) do you think thats strike related or is it to early to assume streaming services are trying to release non american movies due to big budget american production having been brought to a halt?
It's been a long time coming that Netflix (and other streaming services such as Amazon, Disney+, Apple TV, Paramount, etc.) are making more and more in non-US markets, though the stuff coming out right now was largely written & filmed pre-strike. Still, Netflix and other studios definitely saw the strike coming and invested more in non-US content to help themselves weather the strike, so you're absolutely right on that count! (source).
It's worth noting as well that many other countries do not have strong unions like the USA's WGA and SAG-AFTRA to protect the rights of writers and actors. See the example of Netflix's South Korean breakout hit Squid Game: "In his contract, [Squid Game creator & writer Hwang Dong-hyuk] had forfeited all intellectual property rights and received no residuals — royalty payments that writers, directors and actors normally receive when their work is reused after an initial broadcast. He said in an interview that “Squid Game” had earned him “enough to put food on the table.”'
For a show that won awards and boasted millions of views, it's absurd that Hwang didn't get some kind of success-based residual payment—but Netflix essentially cheated it out of him and made all the profits without paying Hwang commensurate to his value.
On the other hand, Netflix must pay viewership-based residuals to writers in Germany and Sweden (news story from 2020) because of differing legal requirements, which is great—it proves that it's very possible for Netflix to afford this and make it happen. And the success-based residual is one thing the WGA is fighting for in its current negotiations: if a show does well, the residuals ought to reflect that success. (There's currently just a flat rate paid to writers—imagine the writers of Stranger Things getting paid the exact same as a show that got only a few thousand views. It's just nonsensical.)
At the same time as all this is true, we want to caution strongly against placing any blame on writers/actors in non-US territories for continuing to work right now. There's no contract that protects non-WGA/SAG-AFTRA creatives legally if they walk out in solidarity, or a strike fund that supports them if they stop working. We do hope to see other countries' entertainment industries following suit and unionizing soon as a direct result of the 2023 strikes (and the way the WGA and SAG-AFTRA are effectively communicating their value and demands!)
(As a brief tangent, even countries with preexisting industry unions, such as the British actors' equity union and Writers' Guild of Great Britain, simply don't have the institutional strength to combat some of the exploitative practices that are so common. We want to see these unions get stronger as a result of this hot labor summer & everything that's happening so visibly with the WGA and SAG-AFTRA—but we also don't blame their members for continuing to work right now because there's no promised guild protection if they walk out.)
Thanks for your question, and please let us know if you'd like clarification on anything here!
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For any other non-Americans who are hoping to break into screenwriting and curious as to how the WGA strike affects them, here are the basic rules, according to the Writers Guild of Great Britain:
Unless you are a member of the WGA, you are not on strike.
Writing work with non-American companies does not count as breaking the strike.
Writing work with US-based companies with a contract was signed under your country's law before the strike began, does not count as breaking the strike.
Writing work with US-based companies with a contract that was signed under US law does count as breaking the strike.
Writing work with a 'struck company' that was started after the strike began does count as breaking the strike, even if you're working outside the US branch.
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Don’t get me wrong I definitely would be beyond happy when we manage to save the Lockwood and co Show and bring it back for more seasons… but I don’t think we should be doing it during the Strike… I mean what the writers/actors are asking is fair and important and executives seeing shows as commodities to be thrown again if it doesn’t give them views/money is exactly what started Save lockwoodCo in the first place. So like I still want to save the show but not at the expense of Writers/actors future.
Hi Anon!
We couldn't agree more about the conditions that writers/actors are asking for during these strikes being fair and important, and we would be the last to encourage crossing picket lines, physical or digital. If L&Co were an American production, we would be asking for confirmation from CF right now as to what they'd wish us to do.
However! Lockwood & Co is a British production, with British writers, directors, actors, etc. They belong to different guilds than the SAG and WGA, which are American guilds (SAG-AFTRA stands for Screen Actor's Guild -- American Federation of Television and Radio Artists; WGA stands for Writer's Guild of America, which itself has a West and East component for different sides of the country). Most British entertainment guilds do not allow striking in solidarity, unlike, for example, some Korean writers' guilds, which do and are. The WGGA (Writer's Guild of Great Britain), the WGA equivalent across the pond, is not striking, and thus there's no problem continuing to campaign.
In addition, the SAG-AFTRA and WGA have not, at time of writing this, called for boycotts or anything similar. The best way to support these guilds in their fight for incredibly important rights and working conditions is to listen to them; premature, unscheduled boycotts are guaranteed to do one thing: diminish the power of an official boycott if and when it is asked for.
We, the mods, are what you might affectionately call media nerds, and have actively been through 2 WGA strikes in our adult lives, not to mention the SAG strike in 2000 and the SAG-AFTRA strike in 2016. With the ever-changing landscape of entertainment due to technology moving faster and faster, these strikes are vital in order to secure the future of media as it would benefit the world in the long term, rather than benefiting a few oligarchs for the short term. The popularity and success of shows that do it right -- like Lockwood & Co -- is paramount to this as well.
As we have always said, the only thing that will stop us from running this effort is a request to stop from CF themselves. Otherwise, we will continue to give our love, support, and effort towards renewing this show. The situation of workers' strikes in a completely different country than our show's country of origin, while important and vital, does not affect L&Co's production, and it won't affect our work to get it renewed.
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Hi! I want to become a narrative designer but I'm not sure from where to start nor where to find positions to apply to. I have created 2 games in the past with branching narratives but I'm not sure if that's enough haha. Any tips?
Making games and building your portfolio is absolutely the first step so you're on the way! Every path into games is different because there's no standard way of doing it, but here are some useful resources:
Greg Buchanan on breaking into games
Writers' Guild of Great Britain YouTube channel has loads of recorded talks and roundtables from industry folks both about the craft of game writing and about the industry as a whole. Here's a playlist from their 2021 event and there's many more too.
In fact, on July 6 there's going to be a free WGGB online panel titled How to start and build a career in game narrative which will be right up your street!
Andrew Walsh often posts links to writing/ND jobs on Twitter (I know, Twitter, gross...)
As does Mitch Sabbagh
The Work With Indies job site and discord are also good to check out
When applying, PLEASE make sure to check the company on Glassdoor if it's on there. If possible, reach out to people already working there (or who previously worked there) to test the waters. Best to go in with a clear sense of what you're doing and make sure the company is worth your time and effort!
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Attuned (2024)
Produced by 90210XX & Infinity Blue Pictures
Written by Niki Lambropoulos (© Writers' Guild of Great Britain)
Executive Producer: Ke'Mari Moore
Cast: Soriah Boardman, Ke’Mari Moore, Alona Monét, Stunny Lohan
Director: Ke'Mari Moore
Co-Director: Dallas Paiva
Producer: Niki Lambropoulos,
youtube
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The 2024 Shortlist
The BBC’s 13th Annual Celebration of Audio Drama
2023 marked the centenary year for audio/radio drama at the BBC. For 100 years of this unique genre, audio drama and comedy have provided enjoyment, diversion, illumination, insight and escape for listeners, evolving in approach and style as audio practitioners have responded to new ideas and technology with ingenuity, imagination and inspiration. These awards celebrate the creativity of actors, writers, directors, producers, musicians, sound designers and all who work in this vibrant art-form.
The winners will be announced on Sunday 24 March 2024 in a ceremony in the Radio Theatre at BBC Broadcasting House London. The winners of the Imison and Tinniswood Awards (judged and administered by the Society of Authors and the Writers’ Guild of Great Britain) will also be announced at this ceremony.
Best Original Single Drama
Benny and Hitch by Andrew McCaldon, producers Neil Varley and Tracey Neale, BBC Audio Drama London
Churchill versus Reith by Mike Harris, producer Gary Brown, BBC Audio Drama North
Dear Harry Kane by James Fritz, producer Sally Avens, BBC Audio Drama London
Eat and Run by Paolo Chianta, producer Lorna Newman, BBC Audio Drama North
Rare Earth by Richard Monks, producer Nicolas Jackson, Afonica
Voices From the End of the World by Lucy Catherine, producer Sasha Yevtushenko, BBC Audio Drama London
Best Adaptation
The Age of Anxiety by W.H.Auden, adapted by Robin Brooks, producer Fiona McAlpine, Allegra Productions
Beowulf Retold based on the version by Seamus Heaney, producer Pauline Harris, BBC Audio Drama London
Bess Loves Porgy by Edwin DuBose Heyward, adapted by Roy Williams, producer Gill Parry, feral inc
The Dark is Rising by Susan Cooper, adapted by Robert Macfarlane and Simon McBurney, producer Catherine Bailey, Catherine Bailey Productions and Complicite
If on a Winter’s Night a Traveller by Italo Calvino, adapted by Tim Crouch and Toby Jones, producer Nadia Molinari, BBC Audio Drama North
One Moonlit Night by Caradog Prichard, adapted by Rhiannon Boyle, producer Emma Harding, BBC Cymru Wales
Best Original Series or Serial
The 5000 by Sebastian Baczkiewicz, producers Gaynor Macfarlane, BBC Scotland
An Eye for a Killing by Colin Macdonald, producer Bruce Young, BBC Scotland
Flirties, written and produced by Jess Simpson, Audiocraft
There’s Something I Need to Tell You by John Scott Dryden and Misha Kawnel, producer Emma Hearn, Goldhawk Productions
The Tomb by Sebastian Baczkiewicz, producer Joby Waldman, Reduced Listening
Trust by Jonathan Hall, producer Gary Brown, BBC Audio Drama North
Best Actor
Hiran Abeysekera, Dear Harry Kane, director Sally Avens, BBC Audio Drama London
Max Irons, The Bronze Horseman, director Susan Roberts, BBC Audio Drama North
Toby Jones, If on a Winter’s Night a Traveller, director Nadia Molinari, BBC Audio Drama North
Lorn Macdonald, Confessions of a Justified Sinner, director Kirsty Williams, BBC Scotland
Tim McInerny, Benny & Hitch, director Tracey Neale, BBC Audio Drama London
Tom Walker, Call Jonathan Pie, Alison Vernon-Smith, Yada-Yada Audio
Best Actress
Gabrielle Brooks, Bess Loves Porgy, director Michael Buffong, feral inc
Dinita Gohil, Victory City, producer Alison Crawford, BBC Bristol
Maxine Peake, The Women of Troy, director Nadia Molinari, BBC Audio Drama North
Rosamund Pike, People Who Knew Me, director Daniella Isaacs, Merman
Lydia Wilson, Happy Birthday, Mr President, director Gaynor Macfarlane, BBC Scotland
Fenella Woolgar, Lines in the Sand: The Journeys of Gertrude Bell, director Jessica Mitic, BBC Audio Drama North
Best Supporting Performance
Sacha Dhawan, Anna Karenina, director Nadia Molinari, BBC Audio Drama North
Erin Doherty, The Seagull, director Toby Swift, BBC Audio Drama London
Mark Heap, Kafka’s Dick, director Dermot Daly, Naked Productions
Sophia Del Pizzo, There’s Something I Need to Tell You, director John Scott Dryden, Goldhawk Productions
The Marc Beeby Award for Best Debut Performance
Izzy Campbell, Of a Night, director Jessica Mitic, BBC Audio Drama North
Rosie Ekenna, Faith, Hope and Glory, director Anastasia Osei-Kuffour, BBC Audio Drama London
Rosalind Eleazar, Hindsight, director Gaynor Macfarlane, BBC Scotland
Jadie Rose Hobson, Exposure, director Anne Isger, BBC Audio Drama London
Dan Parr, The Test Batter Can’t Breathe, director Tracey Neale, BBC Audio Drama London
Olivia Triste, Rise, director Dermot Daly, Naked Productions
Best Sit Com or Comedy Drama
Call Jonathan Pie by Tom Walker, producer Alison Vernon-Smith, Yada-Yada Audio
Kat Sadler’s Screen Time by Kat Sadler and Cameron Loxdale, producer Gwyn Rhys Davies, BBC Studios Audio
Michael Spicer: Before Next Door by Michael Spicer, producer Matt Tiller, Starstruck Media
Mockery Manor by Lindsay Sharman, producer Laurence Owen, Long Cat Media
She Stoops to Conquer by Oliver Goldsmith, adapted by Barunka O’Shaughnessy, producer Emma Harding, BBC Cymru Wales
Where to, Mate? devised by Jo Enright, Peter Slater, Abdullah Afzal, Nina Gilligan, Andy Salthouse, Keith Carter, Jason Wingard, producer Carl Cooper, BBC Studios Audio
Best Stand Up Comedy
Daliso Chaponda: Citizen of Nowhere by Daliso Chaponda, additional material Meryl O’Rourke, producer Carl Cooper, BBC Studios Audio
Janey Godley: The C Bomb by Janey Godley, producers Julia Sutherland and Richard Melvin, Dabster Productions
Maisie Adam: The Beautiful Game by Maisie Adam, producer Georgia Keating, BBC Studios Audio
Olga Koch: OK Computer by Olga Koch and Charlie Dinkin, producer Benjamin Sutton, BBC Studios Audio
Rob Newman on Air by Rob Newman, producer Eloise Whitmore, Naked Productions
Sarah Keyworth: Are You a Boy or a Girl by by Sarah Keyworth, additional material Ruby Clyde, producer James Robinson, BBC Studios Audio
Best Use of Sound
The Adventurers, sound by Alisdair McGregor, producer Boz Temple-Morris, Holy Mountain
The Dark is Rising, sound by Gareth Fry, producer Catherine Bailey, Catherine Bailey Productions and Complicité
Hamlet Noir, sound by David Chilton, Lucinda Mason Brown, Weronika Andersen, producers Charlotte Melén, Carl Prekopp and Saskia Black, Almost Tangible
Slow Air, sound by Alisdair McGregor and Eloise Whitmore, producer Polly Thomas, Naked Productions
Voices From the End of the World, sound by Peter Ringrose, producer Sasha Yevtushenko, BBC Audio Drama London
The Women of Troy, sound by Sharon Hughes, producer Nadia Molinari, BBC Audio Drama North
Best Podcast Audio Drama
Badger and the Blitz by Richard Turley and Darren Francis, producer Richard Turley, Roxo Ltd
Below by Aaron Gray and Paul Skillen, producer John Wakefield, HTM Television
Flirties, written and produced by Jess Simpson, Audiocraft
The Haunter of the Dark – The Lovecraft Investigations by Julian Simpson, producer Sarah Tombling, Sweet Talk Productions
The Salvation by Justin Lockey, Jeffrey Aidoo, and AK Benedict, producers John Hamm and Boz Temple-Morris, Holy Mountain and Free Turn
Tagged by Brett Neichin and John Scott Dryden, producer Emma Hearn, Sony Music Entertainment and Goldhawk Productions
Best European Drama
Evicted by Karel Klostermann, adapted by Tomáš Loužný, producer Renata Venclová, CZR Czech Radio
Faust (I Never Read It) by Noam Brusilovsky, producer Andrea Oetzmann, SWR Südwestrundfunk with Deutschlandfunk
Irina’s Soul Is Like a Precious Piano by Rona Žulj, producer Katja Šimunić, Croatian Radiotelevision
The Sick Bag Song by Nick Cave, adapted by Kai Grehn, producer Lina Kokaly, Radio Bremen
The Supervisor by Nis-Momme Stockmann, producer Michael Becker, NDR Norddeutscher Rundfunk
This Word by Marta Rebzda, producer Waldemar Modestowicz, Polish Radio Theatre
-- WooHOO! The Haunter of the Dark, part 4 of The Lovecraft Investigations, is up for a BBC Audio Drama Award! I am made up!
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I can kind of understand if as an example an American TV show shoots in Vancouver will be shut down for now, but does the WGA strike affect production in other countries? Just seems these days like there's a ton of co-productions.
If it's a co-production or joint production between American and non-American companies, then yes the WGA strike would impact those shoots. To state the obvious, American writers would not be able to continue working without strikebreaking, as you might expect.
However, it might also be the case that the writers' union from whichever country was also involved would act in solidarity with the WGA - for example, the Writers' Guild of Great Britain has declared that it stands in solidarity with the WGA, which affects joint U.S/U.K productions.
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LONDON, ENGLAND - JANUARY 16: Amelia Bullmore attends the Writers' Guild of Great Britain Awards 2023 at Royal College Of Physicians on January 16, 2023 in London, England. (Photo by Kate Green/Getty Images)
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Just in! 📻
Lindsay LongCat’s script for GHOSTED has been nominated for the Tinniswood Award for Best Audio Drama Script. 🎉
The award was established by the Writers’ Guild of Great Britain and the Society of Authors, and it’ll be presented at the BBC Audio Drama Awards next month.
We’re looking forward to scrubbing up and meeting everyone there!
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with the writers strike starting now i wonder how long we'll have to wait for the content we love. i hope it gets resolved soon because you don't have a project if you don't have a script and they have paused all productions. hopefully we'll still get loki this year.
It’s so tough to say right now. Fingers crossed for Loki S2, though that will also depend on the JM situation.
TWD will definitely be on pause. I’m not 100% sure about TNM 2, because it’s a BBC/Amazon combo, so not sure how that will fit into the agreement WGGB have to support WGA. Afaik, David Farr isn’t a WGA member, he wasn’t in 2016, but that may have changed.
I could see quite a few actors heading to stage productions, tbh.
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