Imison and Tinniswood Awards [pinned]
Submissions are being sought for our prestigious audio drama awards which will be closing for entries on 29th September 2018. The Imison Award, named in memory of BBC script editor and producer Richard Imison and sponsored by the Peggy Ramsay Foundation, was founded by the SoA to celebrate the writing of new dramatists whilst the Tinniswood Award, named in memory of scriptwriter Peter Tinniswood and sponsored by ALCS, was founded by the SoA in collaboration with the WGGB to celebrate writers of original radio drama. Producers of stand-alone radio plays or first episodes of radio series or serials broadcast or made available online within the UK between 1 October 2017 and 31 October 2018 are encouraged to click here to view the full guidelines and application procedure, as well as to catch up on previous years. Previous winners include some of the best dramatists working in radio including: Morwenna Banks, Mike Bartlett, Christopher William Hill, Rachel Joyce, Nell Leyshon, Hattie Naylor, Hannah Silva, Julian Simpson, Colin Teevan, Nick Warburton and Stephen Wyatt.
Government sets out potential challenges for broadcasters following no-deal Brexit
The government department for exiting from the EU (DEXEU) has set out what they believe a no-deal Brexit could mean for the broadcast industry as part of a slew of guidance papers published to help public and businesses on how to prepare for crashing out of the EU without a deal. Since the UK would no longer be covered by the EU's audiovisual media services directive broadcasters would likely need to comply with the regulations relevant to each individual country in which they wish to broadcast, possibly facing a requirement to relocate certain operations into the target territory. In his speech on no deal planning in August Secretary of State Dominic Raab outlined the role of the notices in setting out 'clear steps that public institutions, companies and people should take or consider taking, in order to avoid or mitigate or manage the risk of any potential short-term distruption' to facilitate a smooth transition with the government prepared in some cases to '[take] unilateral action to maintain as much continuity as possible at least in the short term, in the event of no deal, and irrespective of whether the EU reciprocates in practices'.
Radio Forum agrees rates rise for radio writers and minimum terms for podcast
We are pleased to announce an increase to the minimum rates for radio writers and minimum terms for new-make podcasts in a series of amendments made to the Radio Drama Agreement further to collective negotiations between the BBC, the Society of Authors, the Personal Managers’ Association and the Writers’ Guild sitting as the Radio Forum. Writers commissioned for radio broadcast will see an uplift of 2% to the current minimum rates effective from 28 August 2018 and a further rise of 2% from 1 November 2018. Writers are free to negotiate additional increases on a case-by-case basis. The new public service fee, covering broadcasts on 4Extra as well as simulcast and podcast for a five year term, has increased by 2.5% to 15%. Click here for our full story.
Programme announced for BFI London Film Festival 2018
The line-up for the 62nd London Film Festival, set to take place 10-21 October, has now been announced and can be browsed here. With 38% of films directed by women and gender parity across three of the four competition strands the programme marks a clear contrast to the gender representation stats of Europe's other major film festivals. Of the films presented at Cannes only three out of the twenty films were directed by women whilst at Venice this figure was even lower with only one out of twenty one filmakers a woman. Screen talk events will include appearances by Alfonso Cuaron, Lee Chang-dong, Sir David Hare and Simon Amstell.
Database for book adaptations launched by producers Uri Singer (Passage Pictures) and George Berry (previously of Netflix and Apple)
A new database has been launched offering writers of published work the chance, for a fee, to make their work more accessible to LA-based producers looking for original content to adapt for TV and film. The initiative, which employs the NLP machine learning algorithm as well human expertise to curate the material for optimal presentation to the industry, is designed to '[bridge] the gap between the written word on paper and the spoken word on screen by paving the way for storytellers around the world to shop their content to the entertainment industry', as the producers quoted to the Bookseller. Please click here for the full story.
The Script Lab's 2019 Script Pipeline Screenwriting & TV Writing Seasons - now open for early entry!
Applications to the Script Lab's forthcoming seasons for original scriptwriting development and exclusive industry introductions must be received by Friday August 31st to be eligible for this early round. The package on offer for the successful applicant includes prize money of up to $50,000 as well as invitations to annual writer and industry events. For more information and to make a submission please click here for screenwriting and here for TV.
New series of Doctor Who to include an episode penned by Malorie Blackman
The BBC has revealed that Malorie Blackman has joined Ed Hime, Vinay Patel, Pete McTighe, and Joy Wilkinson on the writing team for the series that will air in the autumn. Blackman, a longtime fan of the show and author of a short story entitled 'The Ripple Effect' published to co-incide with the celebration of the show's 50th anniversary, has hailed the opportunity 'a dream come true'.
Nominations for The Stage Debut Awards 2018 best writer category now published!
Georgia Christou (Yous Two), Kendall Feaver (The Almighty Sometimes) and Natasha Gordon (Nine Night) join Andrew Thompson (In Event of Moone Disaster) and Joe White (Mayfly) as nominees for the best first-time playwright with other categories celebrating the work of actors and actresses, as well as directors, designers, composers, lyricists, and debut performance on the west-end stage. The paper's editor Alisatir Smith said 'this list [of all nominees from all categories] underlines the quite astonishing array of diverse talent breaking through in theatres of all scales and types across the UK'. For more on this story please click here.
Theatrical adaptations from books and film sell up to 5X more than wholly original work
Productions based on pre-existing books and film take on average 3.5X more at the box office and sell 4.8X as many tickets as new work, according to new research from the Publishers Association (in association with Frontier Economics and UK Theatre). Taking data from 2016 the report found that an adaptation of a literary work averaged £115,000 during that year, nearly three times that of an original play (which took an average revenue of £41,000). In the west end (west end theatres not being covered in the research) more than 30% of the shows that have run for more than 3,000 performances are literary adaptations with the longest-running play - The Mousetrap - adapted from an original radio play (by Agatha Christie).
Pay increase for scriptwriters for work performed in TNC theatres
Scriptwriters commissioned for a full-length play for performance in the Royal Court, National Theatre and Royal Shakespeare Company will now receive a minimum fee of £12,742 after the WGGB negotiated a 1.5% uplift to the minimum rates as set out in their collective licensing arrangements with TNC.
Films based on literary sources 'tend to have substantially higher grosses' than original screenplay, says a new report from the Publishers Association
Research undertaken for the PA's landmark report 'Publishing's contribution to the wider creative industries' has shown that films that are based on books take 44% more than original screenplay in the UK and 53% more globally. The report has also found that 43% of the top 20 films (by box office takings) between 2007 and 2016 were based on literary sources, and a further 9% on comics. Stephen Lotinga, C.E.O. of the PA said 'all of this success is only possible due to our gold-standard copyright system and at a time of great change we call upon the government to do everything it can to continue to support us'. See more on this story in the Bookseller.
Radio Independents Group relaunches as AudioUK
The trade association for audio production in the UK has been re-launched in order to reflect the growth of markets such as podcast, audiobooks, and audio games, caused in part by the proliferation of portable devices such as smartphones capable of downloading, streaming and playing audio. AudioUK will aim to deilver on a commitment to ensure that both now and in the future the UK's audio production sector has the skills, the regulatory and business environment, to maximise its potential as a world leader in this market. 'Reflecting [the] wider industry in our brand will help us put audio production at the heart of the UK's successful creative industries' commented AudioUK Chair Phil Critchlow. Margot James, Minister for Digital and Creative Industries at DCMS, joined a chorus of others in welcoming the new expanded role: '[I] look forward to working closely together in the future'. Click here for more on this story from the Bookseller.
ScreenCraft Film Fund Spring 2018 open for submissions
The ScreenCraft Film Fund 2018 is currently inviting submissions from scriptwriters-cum-filmmakers of narrative feature films, short films, TV pilots and documentaries that display originality, vision & exceptional potential. Successful applicants will be eligible to receive up to $30,000 in production financing, creative development consulting, production mentorship and festival submission guidance. Interested persons are encouraged to click here for further information. All entries must be received by June 30, 2018.
The Black List: 3rd Annual Black List / Women in Film Episodic Lab - now open!
Scriptwriters who meet the criteria outlined on www.blcklst.com are invited to submit their scripts for them to be considered for entry into the Lab - with the opt-in period closing August 20, 2018. Between 6-8 non-professional scriptwriters who identify as women will be selected for inclusion into the Lab by the Black List working collaboratively with Women in Film. The Lab will run for four weeks with twice weekly sessions commencing October 2. Established scriptwriters and industry executives will offer guidance and advice on script development, whilst peer workshopping sessions and master classes will also be on offer. Successful applicants can expect to have their final pilots read by agencies and networks. More details can be found here.
Applicants sought for SoA-supported parliamentary film competition, Film the House 2018
Applications are being welcomed for Parliament's annual cross-party film competition Film the House 2018, an annual competition run by MPs to find the filmmakers and scriptwriters of tomorrow. Entries are to be submitted to the applicant's local MP who will then decide upon a selection to represent their constituency in the compeition before a panel of industry experts choose the finalists. Submissions must be received by September 30th. 'Film the House is an imaginative Parliamentary competition which manages to be fun whilst giving young creatives an opportunity to engage with their MPs, win fantastic prizes and all the while promote the importance of intellectual property rights' commented Lord Puttnam, Patron of Film the House. For further details and to apply please click here. The initiative is being run by its industry sponsors including ALCS , Sky and 21st Century Fox.
Theatre Helpline launched by Society of London Theatre (SOLT) and UK Theatre
The Society of London Theatre (SOLT) and UK Theatre have launched a free, 24-hour helpline and email service in order to support professionals working across the industry on issues affecting their health and wellbeing, including bullying and physical and mental health. The helpline, hosted by wales-based company Connect Assist is availble at 0800 915 4617 (or via e-mail at email@example.com) and is open to anyone working in theatre, whether in-house or freelance. It has been set up further SOLT and UK Theatre's 2017 Theatre Workforce Review and comes as part of wider commitment to combat toxic working cultures: 'UK Theatre and SOLT are committed to bringing the theatre industry together to provide a supportive working environment for everyone' commented Cassie Chadderton, Head of UK Theatre.
Scale of Gender Inequality in UK Screenwriting Exposed
A new report commissioned by the Writers' Guild of Great Britain and funded by Authors' Licensing & Collecting Society (ALCS) has found that 16% of working film writers in the UK are female, and that only 14% of prime-time TV is written by women. 'It is simply not good enough. I hope that this acts as a wake-up call for the industry and that effective action will now be taken to ensure women writers are properly represented' commented our chair, Elizabeth-Anne. Read our full story here.
SoA welcomes international legal study on fair remuneration for audiovisual authors
A new international legal study is supporting the call for legal reforms to help screen writers and directors earn royalties for the use of their work. The study, commissioned by the International Confederation of Scieties of Authors and Composers (CISAC) and Writers & Directors Worldwide (W&DW), sets out a series of recommendations that tie in with our own CREATOR campaign for fair contracts. Click here to read our full story.
Ofcom has given a provisional green light to the launch of a new £32m channel, BBC Scotland. With an anticipated 3.65% audience share resulting in a total share for the BBC of 32.9% (and a 0.5% decline for STV) the regulator has determined that the channel would be 'unlikely' to significantly impact upon commercial rivals.
Netflix is on the lookout for new commissions that have 'authenticity, specificity and passion'. 'If you are a creator who has something that checks all those boxes, then you should get in touch. We can discuss the best format for your show together - whether it is a documentary, a series or a film' the company's vice-president of original programming Cindy Holland said at a recent industry event. Holland also offered insight as to the role viewing data plays in the commissioning process: 'we think about [...] whether we can afford the proposed budgets through a series of projection models'.
The Film & TV Charity launches support line - 0800 054 00 00
The Film & TV Charity (formerly the Cineman and Television Benevolent Fund) has launched their 24/7 confidential phone service offering advice to industry workers seeking guidance on issues ranging from bullying and harassment to mental heath concerns, bereavement, addiction and substance abuse. The initiative is supported by the BFI, The Production Guild, Women in Film and TV, Film Distributors' Association, Pact, and the UK Cinema Association as well as other supporting partners and follows the publication of pan-industry guidelines developed by the BFI and BAFTA in February.
Audible grow their audio-exclusive offering
Following the success of audio-exclusive material from Margaret Atwood and Philip Pullman amongst others Audible are to grow their direct-to-audio programme to include short stories by authors including Ben Okri, Adam Thirlwell, Sarah Hall and Joanne Harris. 'Writing this story for audio was an irresistible challenge and an unmitigated delight I think it is a magical medium for the imgination' Okri told the Times whilst Hall hailed the authenticity of the format: 'the voice of the story itself really matters: it becomes the voice of your thoughts, the voice of your imagination. To go back to this critical factor as part of a commission is a wonderful reminder of that original conveyance of the form'. New research from Nielsen Book Research has found that audiobook sales have doubled in five years with a 17% growth over the past 12 months and currently accounting for 5% of book sales in the UK.
The Hitchhiker's Guide to the Galaxy Hexagonal Phase (BBC Radio 4): interview with co-producer (and committee member) David Morley
We have today (17 April) published our Q&A with David Morley on his role as co-producer to the new series of the cult classic - designed to coincide with the 40th anniversary of the radio series and including many of the original cast. Catch up on the series now via the BBC iplayer.
Median earnings of an AV scriptwriter in Europe less than €18,000 , survey finds
A survey commissioned by the Federation of Screenwriters in Europe (FSE) and the Federation of European Film Directors (FERA) has found that both young writers and those over the age of 65 writing screenplay are earning on average less than €15,000 annually whilst for those writers at their financial peak (media avg: aged 50) average earnings are at €30,000 for men and €24,000 for women. The report also found that 42% of writers look outside the industry for additional work. The full report can be read here.
The BBC 'needs to think again of its basic purpose': Tony Garnett
Tony Garnett - the producer of TV's most powerful political and social dramas across half a century - has called upon the BBC to establish itself as 'the central platform for a national conversation' in respect to which the organization is currently 'derelict' with managers prefering 'to close down creativity than get into trouble' in an interview with the Guardian. 'Of almost everything I put together from the mid-1960s to the end of the 1970s, not of the [films] that people remember would have had a chance of being made today' - and not for a lack of talent, Garnett told the paper. Law & Order (1978) - a show believed to have facilitated changes to the laws on policing - is currently being repeated on BBC Four. Catch up now via the BBC iplayer.
Pay increase for scriptwriters for work performed in ITC theatres
Scriptwriters whose work is performed in ITC theaters will see pay rates increase by 2.9% from 1 April 2018 and by a further 2.5% (calculated on the new rate) from 1 April 2019, under the terms of a collective agreement negotiated by the Writers Guide of Great Britain. Those commissioned in the higher bracket of plays of over 70 minutes in duration will see payments rise to £8,952 this year and £9,176 the next. Full rates can be reviewed here.
Gender pay across the broadcast industry
Broadcasters have been releasing information on their gender pay gap in accordance with a government initiative that is highlighting an imbalance of opportunity for women across a range of industry sectors. A media gap of 24.2% has been reported at Channel 4; 9.3% at the BBC; and 18.2 at ITN. The SoA has made a submission to the BBC under the provisions of the Freedom of Information Act 2000 to receive comparable data for freelance scriptwriters commissioned across a series of defined periods. [Update: the BBC have confirmed that they will not be providing the requested information citing Part VI of Schedule 1 to FOIA that information held by the BBC is only covered by the Act if it is held for 'purposes other than those of journalism, art or literature'.
Time's Up at the Olivier Awards
Representatives and activists from the Time's Up movement to stamp out sexual harassment in the workplace will be raising the profile of the campaign at the forthcoming Olivier Awards to be held 8 April. The ceremony will be hosted by Catherine Tate and will be broadcast to every country worldwide except China and North Korea through a digital partnership with Facebook, with highlights to be shown on ITV in the UK shortly after the event. The nominations for Best New Play are: The Ferryman (Jez Butterworth), Ink (James Graham), Network (Lee Hall and Paddy Chayefsky) and Oslo (J. T. Rogers). The complete list of nominations can be found here. Update 9 April: The Ferryman (Jez Butterworth) - set in County Armagh against the backdrop of The Troubles in the 1980s - has scooped the award for Best New Play with the play's director Sam Mendes and actress Laura Donnelly also recognised as Best Director and Best Actress.
Little, Brown to publish original screenplay for 2nd Fanastic Beasts film by J K Rowling
Publication is currently scheduled to co-incide with the worldwide release of the film 16 November and will join, in the publisher's catalogue, the screenplay for the 1st film which - with sales exceeding 418,300 copies - is currently the second highest-selling script of all time. The screenplay to Harry Potter and the Cursed Child, also published by Little, Brown currently holds the top spot.
Opportunity to feed back on the BBC's draft new distribution policy - closes Monday 9 April 2018
The BBC has launched a public consultation on its draft new distribution policy which, once implemented, will govern how its services are made available to the public - including via third party distribution platforms where over 80% of BBC iPlayer content is enjoyed. As required under the terms of its Royal Charter and Framework Agreement the organization is also inviting consultation from Ofcom, the communications regulator.
The policy sets out a number of conditions judged by the BBC to be reasonable and necessary in ensuring that their distribution partners - including Now TV, BT TV and Virgin Media - share the same incentives as the BBC to invest in and showcase Bristish content.
The seven conditions include considerations relating to 'Quality', 'Editorial Control' (reserving editorial control to the BBC in respect both the content itself and its placement) and 'Data' (ensuring that the BBC have access to data about the usage of its services) as well as 'Prominence', 'Branding & Attribution', 'Free Access' and 'Value for Money'.
For further information, to view the draft policy documentation and to offer a response to the BBC directly please click here.
Female TV writers call on British drama executives to address imbalance of opportunity
Over 70 female scriptwriters writing for TV, whose credits includes shows such as Midsomer Murders and EastEnders, have called on drama commissioners to address the fact that British drama was 'overwhelmingly written by men'. In an open letter 76 signatories, including Bafta-nominated writer Lisa Holdsworth accused bosses of failing to afford female writers the opportunity to write for some of the biggest primetime shows.
The letter follows the news that out of the eleven drama programmes said to be planned by ITV for broadcast in 2018 only one - an adaptation of Vanity Fair by Gwyneth Hughes - features a female lead writer, reflecting the estimation that female writers are employed for primetime drama at a ratio of around 1:9 once continuing drama series are discounted.
Whilst there are many female writers working for the UK soap opera genre 'these talented and hard-working female writers remain an untapped resource' the letter noted, even in light of the major success enjoyed by Call The Midwife (Heidi Thomas), Happy Valley and Last Tango In Halifax (both Sally Wainwright).
Results of research into the under-representation of women in film and TV is due to be published by the Writers' Guild of Great Britain in May.
Scriptwriters established in theatre increasingly drawn to writing for TV
Olivier award-winning playwright Mike Bartlett has spoken to industry journal Broadcast on the trend for cross-pollination between theatre and television (his multi-award winning Doctor Foster (BBC) was directly inspired by his stage adaptation of Euripides' Medea): '[..] it makes sense that we'd be attracted to television' Bartlett noted 'You can reach out more easily'. Elsewhere BBC drama controller Piers Wenger suggests that '[...] playwrights see television as enabling them as storytellers', and ITV head of drama Polly Hill attributes the trend to the fact that 'for writers, switching between the creative demands of a play and episodic television must be such a joy. They're exercising different muscles'.
Former Channel 4 director of programmes and creative heavyweight Jay Hunt is expected to work with indies to commission scripted programming with a distinctly British feel and of global appeal in her new role as programming chief at Apple. It is anticipated that commissioned content, which will be free from the time-slot restrictions of traditional scheduling, will approach the tone of Luther, Planet Earth and Sherlock and of BBC1 and C4 programming more generally.
Bullying and Harassment
Industry groups including Equity and Women in Film & Television have united in support of 8 behavioural principles drawn up by BFI and Bafta, marking the first time that film and TV organisations have collaborated on pan-industry guidelines. BFI's head of inclusion Jennifer Smith has assured the large community of freelancers widely employed across the industry that 'the guidelines are designed with them in mind'. The guidelines can be viewed in full here.
Bad Wolf Productions establishes TV hub in Wales
Inspired by industry practices in the US Bad Wolf Productions have been focused on developing opportunities for studio-based recording and production at their site WolfStudios Wales, with A Discovery of Witches (Sky) and His Dark Materials (BBC) already in process at the facility. The company - who hope the initiative will offer secure work to the production community 52 weeks a year - has been supported in their endeavours by the Welsh government who acquired the site and extended the company a loan to the value of £4m.
The BBC are further developing their podcast strategy as the audio format gains traction across the wider industry, with the corporation hailing their first TV-related audio show – supporting Blue Planet II – a success, with its ‘skittish, [and] flirtatious’ tone setting it apart from the original (TV) series. With 240 million podcast downloads in 2017 BBC Radio are looking to develop standalone podcasts that will be independent of shows or stations, with some of those to be made available via their Podcasting House platform. We are discussing podcasting terms with the BBC.
Elsewhere Amazon's audiobook subsidiary Audible is developing its own podcast strategy to include original drama produced in-house. The organization has pledged to invest $5 million toward the commission of 1 and 2 character plays by emerging artists.
UKTV, ITV and Simon & Schuster are also investing in the podcast format.
Imison and Tinniswood Awards
We are delighted to announce that this year's Imison Award has been won by Adam Usden for his 'strikingly compelling' radio drama The Book of Yehudit, while Sarah Woods has scooped the Tinniswood Award for her 'dark and original' play Borderland. We congratulate John Finnemore for achieving a commendation from the judges for his Tinniswood submission Penguin Diplomacy. Jane Wainwright’s Wide Open Spaces was shortlisted for the Imison, and Jenny Lomas by David Eldridge for the Tinniswood. We are grateful to ALCS and Peggy Ramsay Foundation for their kind sponsorship of these awards. To read the scripts, listen to clips or for further information please visit the SoA website http://www.societyofauthors.org/News/News/2018/January/Audio-Drama-Award-Winners.
BBC TV Rates
The PMA and the Writers’ Guild have agreed a 1.5% increase on all minimum rates for BBC TV drama and scripted comedy. The new rates, effective 4th December 2017, are:
Teleplays: £199 per min, £11,940 per hour;
Series/ Serials: £182 per min, £10,920 per hour;
Dramatisations: £132 per min, £7,920 per hour;
Adaptations: £81 per min, £4,860 per hour;
Educational Drama: £121 per min, £7,260 per hour;
Attendance Fees: £106
BBC Radio Rates
We are continuing to negotiate the annual increment for writers’ contributions in the face of increased rights requests by the BBC and will report further in due course.
London Book & Screen Week
A special screening of Suffragette with Dr Helen Pankhurst (author of Deeds Not Words and consultant on the film) has been announced as part of the festival’s programme of events for 2018, designed to mark the centenary of the women’s vote. The festival, running 9 – 15 April 2018, will also feature appearances by Nick Harkaway and Jojo Moyes.
Women in Film and Television (WFTV) have received testimonies from over 100 respondents to their call for people to share their experiences of sexual harassment, bullying and abuse of power in the broadcast industry.
The submissions, received across a one-month period and predominantly from women working in TV due to the higher proportion of women working in that media, will inform industry-wide guidelines that are being prepared by WFTV in association with Directors UK, the BFI and Pact. WFTV are also working together with Equity and Unite at a roundtable chaired by Labour MP Harriet Harman to establish a set of best-practice guidelines suitable for use across a range of industries.
In an interview with Broadcast (17 November) the WFTV’s chief executive Kate Kinninmont said “Some people have been going through utter hell and have left the industry because of bullying, sexual harassment and various power plays”.
The news follows a similar findings in The Bookseller whose survey Sexual Harassment in Publishing found just over 50% of 388 respondents had experienced abuse. The SoA has pledged our support to campaigns and on 15 November we published Abuse and the Posion of Silence by screenwriter and chair of the SoA’s Broadcasting Group committee Elizabeth-Anne Wheal.
Channel 5 hosted a live debate #MeToo on 22 November after Catey Sexton’s film Raped: My Story (Lambert Productions). The panel discussed allegations from Hollywood and Westminster in front of an invited audience of rape survivors, law makers and support workers.
Contracting on a fast-fee basis
We have received complaints that writers have been contracted on a fast-fee basis rather than Feature, Talks or RAC4 contracts. The Musician’s Union report similar problems with the BBC and we will be focussing on this in the coming months. Please contact us if you have experienced any problems.
Gross not PAYE
Members have complained that the BBC have paid them on a PAYE basis citing IR35 regulations and refusing to correct their error. HMRC and payroll experts at accountants H W Fisher have confirmed that writers fall outside of such arrangements and should always be paid gross with employers being responsible for correcting any payroll errors. Excess deductions should be refunded to the freelancer and instances reported and adjusted by the employer on their next payment to HMRC (within that tax year). We urge members to check their statements immediately and contact us for support.
As part of our CREATOR campaign we would like to focus on broadcasters and improve how members are contracted and commissioned.
We are currently concerned with issues around fair-dealing and are reviewing all our BBC minimum terms agreements, but are also simply interested in the profile of our members - whether you are currently writing TV or film and which production companies/broadcasters are commissioning SoA members. Please contact Theo Jones at the SoA with any comments you may have.
SoA Literary Estates (original scriptwriting and non-dramatic work licensed for adaptation)
The following productions are currently showing (under licence from the SoA acting on behalf of the literary estates):
George Bernard Shaw: Saint Joan - 15 March-14 April - Ustinov Studio, Theatre Royal Bath, UK
Harley Granville Barker: Agnes Colander - 25 April on (3 April previews) - Manhattan Theatre Club at The Samuel J. Friedman Theatre, New York, U.S.A.
Hannah Silva's new radio play 'Indigo Children' (directed by Jude Kelly, artistic director of the Southbank Centre and founder of Women of the World Festival) will broadcast Wednesday 18 July 14.15 - one of a series of commissions for Radio 4 that explore the experiences of people and communicties across the UK.The drama centres on Ros, a teenager who is embracing her recent diagnosis of autism and her mother Lydia. Ros persuades Lydia to revisit a phase in her childhood when they were swept up in a movement that promised children like Ros were truly special. Termed 'indigo children' it was suggested that inhabited a higher level of consciousness and enjoyed telepathic powers.
Neil Gaiman has been commissioned to adapt Mervyn Peake's Gormenghast for TV, in a production from FremantleMedia. Speaking to the Guardian Gaiman said that it was 'an honour to have been given the opportunity to help shepherd Peake's brilliant and singular vision to the screen'. Writer-director Akiva Goldsman (A Brilliant Mind) will join the project as an executive producer.
Do you have scripts in production, on stage, film or TV? Please let Theo know.