Come To Think of It, I've Never Seen Her Birth Certificate...

I'VE SERVED for two years on the Writers Guild of Canada National Council, and was recently acclaimed to a second term.  Today the new executive convened for the first time with an important task: to select a new President to help guide the organization through the next two years, and advise the hardworking Executive Director, Maureen Parker, and her tireless staff.

I'm very pleased to say that by unanimous consent we selected somebody with her eye planted firmly on the next frontier of opportunity for writers: the digital realm.

Many of you will already know Jill Golick from her blogging & her extensive work in new media creation.  There are great challenges ahead, and Jill's well poised to help us meet them.

Over at her place, you can read her first thoughts on the challenges ahead directly.

It's a new day.

But How Was It, Really?

YOU CAN READ all about the winners of the 2010 Canadian Screenwriting Awards here, but c'mon... how was the party? 

Packed in like newts, nobody shut up til Peter Mitchell quieted them down with a hilarious & digified speech, and host Deb Digiovanni hosted like a champ.   Oh and I finally got to talk to (sigh) Geri Hall.

But never mind me. What did y'all think?

Great Event. What I liked: a) Amazing food, thank god, due to (b) Awesome open bar that (c) Stayed open/free after the ceremony. Loved Shelley Eriksen's speech about Peter Mitchell [Where she explained that "he does not hate you, he is just socially awkward"]- very lovely, not to mention Emmy/Oscar-worthy. My only complaint was the volume - it was almost impossible to hear anybody, but hey, that's apparently what the kids like. I just think next time it should maybe be held in a forest.   ANNE FENN

Thought the show was terrific, even though longer than it has been.  But that was our fault, we wrote too much.  Deborah de Giovanni was killer.  So much energy!  Lowlight -- still how much people talk during the awards.  Highlight -- John Krizanc.  His acceptance speech nailed the irreverence (how's that for Canadian understatement?) we aimed for when these awards were first created.   CHARLES LAZER

It is great just to be nominated, but it is a little disappointing not to win.  I always seek comfort in quantum physics which posits that, in a parallel universe, I did win, while in another parallel universe I was too busy defending the princess against an invading army of nazi dinosaurs to even worry about it.  DENNIS HEATON

Who dosed John Krizanc with sodium pentathol before he got to the podium? God damn Miss Eriksen gives good speech and congrats to Pete Mitchell - so deserved that award.  MATT MACLENNAN 

Highlight:  discovering that @wcdixon doesn’t just live between the bits and bytes of the Internet Lowlight:  discovering that not everyone thought ‘and the minister tweets’ was as funny as I did KELLY LYNNE ASHTON (WGC Director of Policy) 

It's clear the recession has still got its hold on writers, judging by the number of people cadging cigarettes last night instead of carrying their own. And I have to say I miss the good old days when there JUST WEREN'T THAT MANY PEOPLE.  Are we all really competing with THAT MANY PEOPLE?  That being said, I thought the cheers for nominated writers were heartfelt and heartwarming.  Great to hear our own applauding our own.  And hey, brave of Shelley Scarrow to admit to all our fears when she accepted her award.  Highlight for me, though, had to be Pete Mitchell getting the mentorship award.  Long overdue - even if the award's only lasted a few years.  SHELLEY ERIKSEN


Heather Conkie wins Showrunner of the Year– first woman to win ever!  She was Dear Aunt Agnes!! (the 3 people I was standing with didn’t know what that was, but some random guy at the bar said, “yes! I loved that show!) ALEX HOUSE


Among many, some highlights include Heather Conkie taking home the Showrunner Award  [For Heartland, a show that in its 4th season pulls close to 2 million viewers every Sunday night on CBC] Shelley Scarrow's speech and dress, Debra DiGiovanni's hosting and material co-written by Steve and Daniel Shehori, Shelley Eriksen's introduction to Pete Mitchell, and Pete Mitchell's advice on managing a writing staff and, inadvertently, marriage: give [them] space [to do their thing].

Lowlight: it's the same drill every year but so many writers talking through the awards to honor writers in an industry where we complain about our voices not being heard.  I kept this short because you asked for 25 words or less (as if!) but I could go on. The biggest highlight is and always will be connecting with writers I mostly only see on these occasions unless I'm fortunate enough to be working with them.  KAREN McCLELLAN

From Peter Mitchell to Heather Conkie's exceptionally graceful speeches about how much they've learned from the writers they've worked with, the importance of mentorship in this industry is something that can easily be glossed over, so it was brilliant to see it celebrated. Oh, and the cupcakes and free booze were nice.  ELIZE MORGAN


Once again I had a blast. The WGC National Forum and Writers Guild Awards party was like my Martin Blank high school reunion in Gross Pointe, but without the awkward and messy pen kill by the lockers...though I was tempted to take out Mitchell just for being so awesome. And I learned to accept 'Hey I know you from the internet!' as my thang. And was really happy to see Rob Cooper win for his Stargate Universe script. Congrats and cheers to all. WILL DIXON

Lowlight -- I didn't get to chat with you. Shithead.  CYNTHIA KNIGHT 


Alrigthy then.  That's a wrap.  Feel free to continue it in the comments below. 





  

Of Awards & Big Breaks & Hard Work

SECOND DAY TODAY of the WGC National Forum.  This is an initiative every year where the Writer's Guild reports to its members by selecting representatives from across the country to get together & discuss pressing industry & craft issues.  As is usual in these events, the best conversations you have are the in-betweeners over coffee & at lunch; a chance to take the temperature of how things are going other places in the country. The short answer: things are tough all over -- but somehow the Quebecers manage to take the "things are tough all over" & torque it with a little more elan.

Beyond that there's not a lot I can say because it's made very clear that the sessions are in camera & a "tweet free" zone. 

I'm bending that here for just one reason. There's a  little bit of a stately & sombre pall over the proceedings this year because it also marks the last meeting with Rebecca Schechter as WGC President. 

Rebecca has served ably for the last several years, during a period of both growth & maturity for the Guild.  Her measured, calm demeanor in the face of some truly stunning industry developments has made the Writers Guild of Canada a leading voice in the fight for culture. 

One of the things that Rebecca and Maureen Parker, the Guild's Executive Director, have done over the years is go to meetings of international Writers groups.  Would it surprise you to know that after the WGA, the WGC is the largest and strongest creative guild in that coalition?  That's testimony to the work Parker and Schechter & those who preceded them have done all along.

The other thing that comes out of forum is a chance to see just how hard the staff of the Guild works.  They're capable people, and many of them could perhaps earn more money working somewhere else -- but they continue to fight the good fight for writers in this country.

Tonight's the WGC Screenwriting Awards.  During the (awesomely short!) awards, I'm reasonably sure Rebecca will be mentioned - but if you're attending, try to find a moment to thank her, and the incredible WGC Staff -- who all work to bring the awards together too.

I'm going to shift gears here for a second, and I hope the why will become self-evident.  One of the big things I'm always asked by students & new writers is a version of "how do I break in?" and I give the answer that I've always given... the answer that was given me -- there's no one way, everyone has to find their way in, it helps to have luck but you make your own luck, etc.  The truth is that tenacity & perseverance always play a major role.  So it is that I was gladdened to open up my email this morning and get this from my agent:

In case you are unaware today is Chris Pozzebon’s last day here at Meridian as my assistant.

I can’t say enough about how grateful I have been to have Chris as my right-hand-man since 2008.   Through thick and thin Chris has been the bedrock that kept Meridian on course day to day.   Numerous times I have leaned on him more than the job called for and he delivered to Meridian and our clients more than he as required to.    As an employer I try to make the office a good place to come to work every day and since his first day Chris has help set that tone with his insight, sense of humour and generosity.   Week to week he has been a good friend to everyone who has come through the door be it intern, employee or client and I am sad to be losing his daily presence in our lives.

That said, that while we are losing Chris today as an assistant I am happy to announce that we are gaining him as a client.   While working hard every day at Meridian Chris has been equally diligent in his free time having written a great new pilot and a How I Met Your Mother spec (in addition to directing a short and producing another!).   While we are unsure exactly where Chris’s first gig will be, I can assure you it will not be too long a wait as he has demonstrated tremendous talent and work ethic while he is here and I don’t see him slowing down now that he has his days free.

See? You make your own luck & you find your way.  So I gotta find Chris tonight and buy him a drink, and hopefully some time very soon the WGC will welcome a new member & that, my friends, is just how it goes.

Finally -- here's an obituary from the L.A. Times you all should read.  

Dede Allen, the film editor whose seminal work on Robert Rossen's "The Hustler" in 1961 and especially on Arthur Penn's "Bonnie and Clyde" in 1967 brought a startling new approach to imagery, sound and pace in American movies, died Saturday. She was 86.

Allen, who was nominated for Academy Awards for "Dog Day Afternoon" (1975), "Reds" (1981) and "Wonder Boys" (2000), died at her Los Angeles home days after having a stroke, said her son, Tom Fleischman.

Allen was the first film editor -- male or female -- to receive sole credit on a movie for her work. The honor came with "Bonnie and Clyde," a film in which Allen raised the level of her craft to an art form that was as seriously discussed as cinematography or even directing.

It's generally assumed whenever the tiresome subject of the "posessory credit" comes up (ie: "A Film By,") that it's just an ego fight between big headed writers and wannabe auteur directory types. But this speaks to the heart of the issue from a craft point of view. 

It takes a lot of people to make a film or a TV show.  Editing is generally acknowledged as the third time you get to write a filmed work.  The script is the first time, shooting it is the second -- and then editing.  The collaborative nature of the business is what makes it so rewarding and exciting and frequently so heartbreaking. And it's when you read of the contributions of a woman like Dede Allen that you realize how hollow "A Film By" really is.  We really should know Michael Bay's name more than hers?

In TV, part of the nice thing about the Showrunner position is that it's acknowledged as the person who runs things, but it's a labor or craft -- not a credited -- distinction.  The Showrunner might be the Executive Producer, but they are rarely the only Executive Producer.  Everybody knows that the Director runs the set, and runs the show.  To take it beyond that is just ... unseemly.

And it doesn't take account of the Dede's out there.

So maybe if there's a theme in this ramble of a post, it's this: today, if you're at the awards tonight, if you're trying to figure out your way in, or whereever you are -- make today a day to celebrate the value of hard work from those who rarely get their due.  The people who just quietly get it done and make us all better.  We all stand on their shoulders.  They may not all be giants -- but they certainly help us  walk a little bit taller.

2010 WGC Screenwriting Awards Finalists

THE WRITERS GUILD OF CANADA released their list of the finalists for the WGC Screenwriting Awards this morning. The finalist scripts were judged by a jury of peers, and now move into the final round of judging.

The big story here, I guess, is the unusual fact that four out of five of the half-hour nominations went to the same series, LESS THAN KIND.

This is the news that I was trying to allude to on Friday without breaking the embargo.  That's just a tremendous achievement. It's also nice to see CORNER GAS get a nomination for its final season.

I find the noms for the 1 hour category equally interesting. A bit of genre, some western, cop drama, and a couple of superior entries from the criminally underrated ZoS series.  It's an eclectic group, to be sure, but all the scripts are extremely high-quality and should make for a competitive category.

In the Feature Film category, too, there's some new blood, not the old same-olds, and that signals to me that no matter how dire the state of Canadian English Language film is said to be, there are fresh voices plying the trade.   Stasis is not the problem.

People have written in the last little while that the WGA Awards in the USA are often a better barometer of the "best pictures of the year" than the Oscars. If you look at the ten scripts honored for Best Original and Adapted Screenplay this year, that's certainly true. They're a great group of movies and really do reflect an intelligent mix of the well-crafted & the popular.

I think the WGC also embraces this tradition.  Last few years, the Geminis have had some wobbly and out-there nominations & oversights - and I'm not just talking about the complete lack of nominations for Corner Gas in its final season.   Having done both in the past, I think there is a flaw in the Gemini process where the juries & especially the jury chair has an inordinate amount of power in choosing the nominees. This reduces the chance of their being any consistency in the yardstick from year to year, which undermines the legitimacy of the process.   I'm not against nominating or recognizing little-seen shows that nobody has heard of -- in fact, I'm way in favour of it. But the last few years there's been an unfortunate tendency to play to a very small tent; the opposite problem of the Emmys.

By seeking out a wider peer review,  the WGC process actually winds up being more fair.

What's nice, and what gives me a little bit of hope -- is that in the one-hour category, which I'm most famliar with, since that's mostly what I've written -- I know of very moving, funny, or just plain great scripts that didn't make the cut. That's the true test of talent ... there's actually a bit of bench strength.

Anyway, those are my thoughts. YMMV.

Animation

Grossology "New Recruits."  Written by Richard Clark

Total Drama Action "Crouching Courtney, Hidden Owen."  Written by Alex Ganetakos

League of Super Evil “Glory Hog." Written by Philippe Ivanusic-Vallee and Davila LeBlanc

Total Drama Action "The Sand Witch Project." Written by Shelley Scarrow

Preschool and Childrens

Max and Ruby "Max Says Goodbye." Written by Kate Barris

Max and Ruby "Ruby's Good Neighbor Report." Written by Shelley Hoffman & Robert Pincombe

Zigby "Zigby's Collection." Written by Louise Moon

Documentary

Malls R Us (Feature Version). Written by Helene Klodawsky

The Royal Winnipeg Ballet - 40 Years of One Night Stands. Narration Written by Robert Lower

A Time There Was: Stories from the Last Days of Kenya Colony. Narration Written by Donald McWilliams

Episodic half-hour

Less Than Kind "The Daters." Written by Garry Campbell

Less Than Kind "Fun." Written by Jenn Engels

Less Than Kind "Happy Birthday Sheldon."  Written by Marvin Kaye & Chris Sheasgreen

Less Than Kind "Careers Day." Written by Mark McKinney

Corner Gas "Shirt Disturber." Written by Kevin White & Norm Hiscock

MOW & Mini-Series

The Summit.  Written by John Krizanc

Paradise City: Degrassi Goes Hollywood. Story by Vera Santamaria, Matt Huether, Sara Snow / Teleplay by Vera Santamaria, Matt Huether, Sarah Glinski, Sara Snow

Guns (part 1 and 2). Written by Sudz Sutherland & Jennifer Holness

Feature Film

High Life. Written by Lee MacDougall

A Shine of Rainbows. Written by Vic Sarin & Catherine Spear and Dennis Foon

The Trotsky. Written by Jacob Tierney

Love and Savagery. Written by Des Walsh

Crackie. Written by Sherry White

Episodic one hour

Stargate Universe "Time."  Written by Robert C. Cooper

Flashpoint  "One Wrong Move."  Written by Mark Ellis & Stephanie Morgenstern & James Hurst

ZOS: Zone of Separation "Bred in the Bone."  Written by John Krizanc

Cra$h & Burn "Trust." Written by Jackie May

Murdoch Mysteries "Mild Mild West." Written by Derek Schreyer

ZOS: Zone of Separation "Shallow Graves."  Written by Jason Sherman

Radio Drama

Afghanada "Episode 65."  Written by Alex Levine

Afghanada "Episode 61." Written by Barbara Samuels

Short Subject

Being Erica I "Webisodes." Written by Jessie Gabe

My Pal Satan "Cheaters Never Perspire."  Written by Dennis Heaton

How People Got Fire. Written by Daniel Janke

Variety

This Hour Has 22 Minutes XVII “Episode 6.” Head Writer: Ed Macdonald / Written by Mark Critch, Gavin Crawford, Kyle Tingley, Albert Howell, Dean Jenkinson, Joanne O'Sullivan, Tara Doyle, Erik Van Wyck, Mike Allison, Joey Case

This Hour Has 22 Minutes XVII “Episode 8.”  Head Writer: Ed Macdonald / Written by Mark Critch, Kyle Tingley, Albert Howell, Shaun Majumder, Dean Jenkinson, Geri Hall, Joanne O'Sullivan, Tara Doyle, Erik Van Wyck, Mike Allison, Stephen Patterson

The Ron James Show “Episode 7.”  Written by Ron James, Garry Campbell, Brian Hartt, Mark De Angelis, Chris Finn, David MacKenzie, Paul Pogue, Gary Pearson, Jennifer Whalen

Rick Mercer Report VI “Episode 17.”  Written by Rick Mercer, Irwin Barker, Greg Eckler, Chris Finn, Paul Mather, Tim Steeves

Youth

How to Be Indie "How to Be a Mehta." Written by Anita Kapila

The Latest Buzz "The Wonderful World of Buzz Issue." Written by Brent Piaskoski

Family Biz  "Breakaway." Written by Sheila Prescott

The Latest Buzz  "The Comeback Issue." Written by Darrin Rose

How to Be Indie "How to Strike a Balance." Written by Vera Santamaria

Winners of the 2010 WGC Screenwriting Awards will be announced on Monday, April 19, 2010, at Maro in Liberty Village, Toronto. Ticket information coming soon.

WGC Agreement Reached

The Writers Guild of Canada sent out an email blast to all 1900 members this morning, about the new contract which was negotiated last week:

We are pleased to let you know that last week the WGC negotiating team reached a deal with the Canadian producers' associations (CFTPA and APFTQ) on a new Independent Production Agreement that, when ratified, will take effect January 1, 2010. Our current IPA is set to expire on December 31, 2009. Given the economic environment and the level of uncertainty in the industry at the moment, all parties arrived at the table with a short list of issues and seeking a workable deal.

The tentative two-year agreement includes an across-the-board Script Fee increase of 2% in each of the two years. The deal also brings "story-editing summits" under the agreement. These sometimes days-long group story breaking and editing meetings (alternately called pitch summits) in both live-action and animation writing will now be contracted under the IPA and screenwriters will receive Insurance and Retirement based on fees paid. Full details will be included in an information and ratification package to follow soon.

At the WGC's request, the bargaining session began with a significant and engaging discussion about current fees and conditions for screenwriters working in animation. A working group of producers and screenwriters was established to meet regularly over the next two years to continue the dialogue.

An information and ratification package will be sent to those members who have worked under the 03-05 IPAs and/or the 06-09 IPA. The package will be sent by e-mail when available, and by regular mail for those members for whom we don't have current e-mail addresses. Please watch for it in the next week or two.

It may not be dramatic -- but I think it's probably the best deal that could have been secured under the current economic conditions, and especially with things in the TV industry being what they are now. (Full disclosure: I served on the bargaining committee that reached this agreement with the two Canadian Producers' Associations, the CFTPA and the AFPTQ.)

A couple of things to ponder as you wait for your ratification packages...

• As is true in the USA, pattern bargaining comes into play. ACTRA settled for 2% bumps in their fees, and nothing else. So securing something over that pattern, once it's established, is very difficult. But ACTRA also locked in a 3 year contract, whereas we got two. This is important, because it means that next time, we'll be up first. And that's where we want to be. Hopefully, the climate and some of the big regulatory questions will be settled by then and we'll be able to vigorously pursue some of the stuff that we need - like animation minimums. But don't kid yourself. The Producers are going to have a long laundry list of stuff next time, too.
• Bargaining dates are set well in advance. So it's just a trick of the calendar that we had to go in and negotiate one week after one of our two remaining private networks filed for bankruptcy. Not auspicious timing.
• This is a perilous time for Canada's producers, as well. There are issues that they need settled, like an ongoing compact with the Broadcasters (commonly referred to as "Terms of Trade") that gives them a baseline of rights that allows them to actually make programs. (Over the last few years the Broadcasters have been demanding -- and getting -- more and more rights for less and less of a license fee.)
• The ongoing uncertainty over the renamed and rejigged CMF, the ridiculous fight between Mommy Broadcaster and Daddy Cable over fees, and the yet-undetermined results of the license renewals of Canadian broadcast groups & CRTC review of the Broadcasting system means, well, nobody knows anything right now about where it's going.

There's no guarantee that when we sit down at the table in two years that all of these issues will be clearer. But they sure as hell won't be murkier.

And that's why I think it's a good deal, and y'all should vote to ratify.

UPDATE: A Hollywood Reporter story has more details, and a quote from both the WGC Prez and Rep from the CFTPA:

WGC president Rebecca Schechter said the latest IPA talks with producers were tailored for hard times as "all parties set aside larger issues in the interests of a unified creative community."

Schechter said a two-year deal, rather than the traditional three years, was done so that the WGC, the CFTPA and other unions and guilds can secure concessions from broadcasters, cable and satellite TV operators during upcoming industry and regulatory negotiations on a new Canada Media Fund, first-time fee-for-carriage revenue for broadcasters and station-group license renewals.

The CFTPA is also involved in terms-of-trade negotiations with broadcasters that will impact on Canadian writers and other creative talent behind indie production.

"The CFTPA believes this deal is a fair one and will bring added stability to the production sector as we enter a period of unprecedented transition," John Barrack, national executive vp and general counsel at the CFTPA, said.

Well, Wasn't That a Party?

SO THAT'S IT then. Another year gone. Seems like yesterday that I was up on the stage accepting my WGC Screenwriting Award, but my God, that was about five scripts, two shows, seven outlines, two and a half development deals, and a whole frickin' YEAR ago. Man. Hurtling. Toward. The End.

You can read a full listing of the worthy winners of the 2009 WGC Screenwriting Awards here, but I just wanted to call attention to two of the winners.

Mark Farrell accepted the Showrunner Award with his usual self-effacing charm and grace. Kevin White, in his intro, told of a Writers Guild Award show years ago where Farrell told him to send in some samples.

Kevin's a friend, and I remember that time, and hearing about how he sent two, three sets of samples, not knowing if it would get him anywhere. But Farrell gave him a shot, and brought him up, later bringing him over to Gas. Kevin would go on to become the third and last Corner Gas Showrunner.

Funnily enough, before I ever knew Mark, it was the example and the experience Kevin went through that finally convinced me to take a chance and try to break into writing myself.

Last Friday night, a group of writers gathered in Toronto got into a conversation about the two modes of working in this business. The first mode is secretive; it is not generous -- it hoards information like it's gold. It's sink or swim, and views other writers merely as competitors -- obstacles to be bested and overcome. This makes for a Darwinian vibe, where fear and the dark stuff rules. It doesn't take a lot to make writers twitchy -- but this mode feeds that in spades.

Then there's Mark Farrell's way. Farrell has brought people up on Gas, on 22, on Made in Canada -- he's encouraged and trained people, shared his knowledge and expertise. He's the embodiment of the other side of the coin -- the second mode we talked about Friday night. It's the way that I've experienced thanks to modeling by some great peeps like Peter Mohan, Jim Henshaw, David Barlow and a bunch of others. It's a mode that encourages sharing of ideas, that delights in the success of your peers -- even the ones that you're nominally in competition with; it's approaching criticism with a generosity of spirit. It's embracing that we have a responsibility to help people out and up, to train people in such a way that debate and synthesis trumps dysfunction in the writing room or meeting. It's about embracing the better angels of our nature as artists. It's embodying the spirit of Best Idea Wins.

Mark Farrell, and his winning staff for 22 Minutes shows how that works again. During the acceptance speech, Head Writer Jennifer Whalen had some hilarious thank you's -- like Stephane Dion "You were like punching milk," and the snuggie. She also thanked the CBC for "putting us on between shows you like."

Seriously, 22 Minutes was funnier this season than it's been in years, and with that staff it's easy to see why. Whatever Farrell does when he's not watching golf in his office -- it works.

Sometimes the right way really is the right way.

Everything I wrote above could equally be applied to Karen Walton, winner of the Writer's Block Award for service to the industry. Walton (Ginger Snaps, The Many Trials of One Jane Doe, and the upcoming adaptation of Pornographer's Poem!) is the den mother and head cheerleader for a group of 800 (and growing) group of "writers and their sketchy friends" called ink canada. Through her work with ink, encouraging meet-ups and the work of newbie industry "inkterns," Walton is laying the groundwork for a community that now knows not to apologize for itself, that knows when to be angry about something, when to speak out and up, and when to just do the right thing. And she does all this while having six or seven screenplays on the go. People ask me when I sleep, and I don't always have a clear answer -- but I know that when I do, it's usually at a time when Walton's still Twittering.

Read Jill Golick's tribute to Walton here.

Oh, and there was also Andrew Wreggitt, who won for writing Mayerthorpe, and who squeezed off the best killer line of the night, about the lamentable slow death of miniseries and MOW's -- "I feel like I shot the last buffalo."

These are the people, and the spirit, that we celebrated last night.

These awards take a long time to pull together...the group will start working on the 2010 Awards in September. So thanks to our wonderful Awards Chair Jill Golick, as well as the rest of the Awards committee, but especially the staff at the Guild who work so hard to bring the event -- especially Genevieve Stainton, Tannis Stewart, and David Kinahan

Other than that, I'll treasure the memories of being able to hang out a bit with Will Dixon -- in the flesh! It was fun to see my ex-show comrade Sarah Dodd, producer with the mostest Caroline Godin, Exec Producer and Documentarian Peter Raymont, fellow CHUM refugee "Mad" John Callaghan, Doug Taylor and the Montreal contingent, blogger friends Jill and Alex, my friends Mark and Stephanie, tan and back from Mexico, but still wearing the "oh shit we're in the middle of production on Flashpoint" face that I know too well. There were also plenty of former students who now run companies and make payrolls, and a few friendly faces like Alex House and her charming pater Bill, Border Producer Brian Dennis, agents Glenn Cockburn, Andrea Glenn, Tina Horwitz, Jenny Hollyer and the effervescent Elana Trainoff. Christin Simms pointed out in a speech after winning for Best Childrens, that she'd only been writing professionally for three years. A nice, embrace the dream moment.

I'm not even going to talk about Shelley Eriksen and Karen Hill. I just can't. Cause then I'll have to say something about Walton's dress. And... nope. Moving on.

The emotional highlight of the tight and sharp show -- host Geri Hall & her co-writer Kyle Tingley outdid themselves with a wicked and funny script -- was Malcolm MacRury, Mohan, and Pete Mitchell's tribute to the late David Cole -- $2000 to one of the nominees in memory of the late, great writer that was to be spent not on computers, or research, but some sort of adventure. I'm sure somewhere, David Cole was smiling. After being drawn from the hat, winner Duncan MacKenzie certainly seemed to be into the spirit of the moment.

I had a couple of fine old conversations with the two winners of our Dead Things WGC Contest... Cathleen M. had a funny take on wearing the "sponsor" button that she posted on Ink Canada:

A funny thing happened at the Canadian Screenwriting Awards. While everyone was feting the best of the best scribes, a subplot was unfolding. It was about writer branding and awareness.

First I should explain I attended the awards under the esteemed banner of ‘Dead Things on Sticks’, Denis had run a writing contest and the lucky winner received entry to the Screenwriting Awards. That’s why I found myself at the front desk of Maro’s where a woman gave me a lanyard card denoted ‘Dead Things on Sticks’ and remarked, “You’re a sponsor.” I smiled and accepted my ID.

Between there and the coat check I felt I would be an unworthy fraud to wear a sponsor card. So I put it in my purse. It was a short time later, after saying hello to Denis, I realized, ‘This guy did what any smart businessperson would do. He ran a contest. A contest promotes the brand and the winner becomes, in a way, a further promotional opportunity.’ With this shift of thinking, I wore the card. That’s when things got interesting.

First, the card turned out to be a terrific icebreaker. (Note to everyone who mistook me for Denis; Ok, we were separated at birth but I’m the shy one.) I was also reminded (and this is no surprise) everyone – with the exception of one person – knew and had read “Dead Things on Sticks”. By the way, that one person who didn’t know the blog should now know it because I wrote down the url for him – after I dusted off his back to remove the rubble he’d accumulated from living under a rock ;)

...my experience as DTOS 'ambassador for a day' showed how creating a public vehicle creates awareness. In this business, people struggle long and hard to get their name known. With self-promotional vehicles like blogs, pages, and websites, you don’t need permission from press release gatekeepers. You can create awareness for yourself and your work.

Aw Shucks. Meanwhile, Amanda T tracked me down and earnestly asked the evergreen "Go south or stay here?" question. I surprised myself by not immediately saying, "Go! Leave!" Course, Amanda also has mad editing skills. Sounds like somebody has some D.I.Y. projects in their future...

...And that newfound "make a go of it here" optimism might have been bolstered a bit by a short and sweet convo with New writer Linsey Stewart -- who just scored the first gig in the story department of Being Erica.

It can happen, with the right attitude, with the right people backing you, and with the right spirit at work. The spirit that was in the room last night.

We're a small community, and we have to be tenacious, always, against the many forces that seem aligned against us in our quest to actually make films and TV shows in Canada. But sometimes, when you look out over the crowd and see the smiles, and speak to the right people -- you can feel the unlikeliest of hopeful feelings.

And that's the flame we all have to nurture.

Even you, Sheridan.

Writers Beware

FIRST OF ALL, to anyone who's attending the WGC Screenwriting Awards tonight, be advised that they are NOT in the same place they've been the last two years -- Brant House, just off King Street near Spadina in Toronto. No no no. That venue was too small, you see.

Tonight's shindig is at a lovely place in Toronto's burgeoning film & tv-friendly 'hood Liberty Village. It's called Maro.

The shindig gets underway at 7:30 p.m. And yes, there will be tickets at the door. Geri Hall hosts the almost-inconceivably deliciously short show at 8:30 p.m.

If you get a chance at the event, take a moment to shake the hand of Maureen Parker. Maureen's celebrating 20 years fighting for writers in this country, in a long line from union steward to Executive Director of the WGC. It's hard to think of where we'd be as a group without Maureen's strategic planning, tireless efforts and endless patience. As many people admitted at a wonderful dinner in her honour last night, "let's face it, writers are no picnic."

Along the way, Parker has become one of the most trusted and passionate advocates for creative artists in this country. If you draw a paycheque from a Canadian-produced series, or film -- especially if you're a writer -- you owe her a big debt of thanks.

And she's got a great laugh too.

See you tonight. If you're at the awards, and see me, come up and say 'hi.' And 'bye,' I guess...though we're getting ahead of ourselves there...plenty of time for that later...

Grumbles and the Cassandra Factor

PSST. I'LL TELL you something for free.

When it comes to the unadorned, unvarnished, unspun truth about the broken, teeny, cereal-box toy that is the homegrown Canadian TeeVee biz, talk to the writers.

It's not hard to see why. See, Networks get to have lots of lobbying sessions. The Cablers hobnob with their friends in the Government. Directors and Actors and Producers can all hope that even if CanCon goes away entirely, they may pick up scraps from U.S. or foreign service productions that film here.

The writers fight because we have none of those assurances. There is no service work for writers. Time and experience has shown that if they can trade away the Canadian writer's involvement, they will. When the rules changed in 1999, and the nets started being able to count magazine shows as priority programming? Canadian dramas dropped from about 12 or 13 to 2 within a year or two. Some of those crews scrambled onto other shows. Actors might have found less work overall, but there were still auditions. Directors got by on service work. The writers took the full hit...many got bum-rushed out of the biz altogether. Others entered the long darkness as the Canary in the Coalmine of the coming drought in production -- a drought that only really hit the service sector a few years later.

We've spent a long, long decade trying to build back from that disastrous rule change. And now here we are. Again. New decade. Same Sky falling.

In Greek myth, Cassandra was the prophet who was cursed to speak the truth and never be believed. Writers have a bit of Cassandra in them; always have. That makes us scrappy. At least it should.

I was disappointed to hear that the piece I wrote in the Star the other day generated a few grumbles. Not because of the grumbles, you see. I love grumbles. I embrace grumbles with an open heart and a basso-rumble of my own. A good Grumble can generate a discussion, and a discussion can lead to new synthesis. Synthesis is good. It's how ideas are honed, theories developed...it's how things get better.

But, you see, except for one exception, none of these grumbles came to me. And that's the Canadian way too. When somebody has a problem, nobody talks directly to each other. Oh no, no, heavens no. That wouldn't be passive aggressive.

So people get to nurse their grumbles, but not share them. No chance for synthesis. No new ideas. No way to move forward. Sigh.

Anyway, thank the stars that the Writers Guild of Canada is NOT a passive aggressive organization. They go out there, time and time again, and say the things that need to be said to the committees and the commissions. And they release clear eyed statements like the one below. That's why I'm proud to be a member, and proud to do the Guild's work.

Read this, and remember -- this is an industrial issue as much as a cultural one. There are people inside all of these networks, executives, etc, that want to have a couple of homegrown hits. Why wouldn't you want that? You know that Canwest would love to have their own Corner Gas. They did a bunch of pilots recently -- some that I've read, that you know what? Some of these give Global a shot at that very thing. Say what you will, but damn, Global's actually developed some great stuff lately.

But all that seems so out of reach when you're forced to play the game.

And remember, even if it does affect your livelihood, it is a game, Cassandra.

Does this release make you grumble a bit? It should, man. It should.

Canadian private broadcasters are currently bending the ears of government in hope for a bailout package of taxpayer dollars. With the recent release of figures from Canwest Global’s last quarter, the Writers Guild of Canada urges the government of Canada to approach any talk of broadcaster bailout with extreme skepticism. These are still profitable businesses.

The broadcasting arm of Canwest Global turned in an operating profit of $32 million (a 60 percent increase from a year earlier). In fact, the broadcasting operations’ most recent revenue of $234 million matched the same quarter a year earlier. Canwest’s conventional TV ad revenue was down 4%, but this was offset with 4% growth in specialty-channel advertising and a 5% increase in subscriber revenue. It seems when Canwest reports to its shareholders, it’s an integrated business – but when they talk to government it’s all about the hardships of over-the-air.

Though comparable figures for CTV are unavailable, its dominance of the Canadian market would suggest that things should be even brighter on their side of the industry.

“How can the broadcasters ask for a taxpayer bailout when broadcasting remains profitable?” asks Maureen Parker, Executive Director, Writers Guild of Canada. “The creative community has been living in a recessionary economy for the last ten years as broadcasters have year by year spent less on quality Canadian programming and more and more to buy U.S. shows. There was no bailout for screenwriters, actors, producers and directors.”

Parker added, “Broadcasters also have the audacity to request relief in the form of reductions in Canadian content expenditure and exhibition requirements. So after many years of enjoying stable profits and the support of public policy, these newly integrated businesses are petitioning for relief from the very thing that should give them purpose: providing Canadian programming to Canadian audiences. The answer should be a resounding ‘NO.’”

With Canwest’s recent quarter as an example, we have clear evidence that the Canadian broadcasting business remains profitable. Canwest’s problems relate to debt (about $4.1 billion) from business decisions made in recent years, including the $3.2 billion newspaper acquisition which still accounts for a large share of its debt burden. The company reported a net loss of $1.44 billion in its latest quarter, including a $1.19 billion writedown of assets, mostly in its newspaper operations. Do broadcasters deserve ‘relief’ for failures in other areas of their businesses? Should Canadian taxpayers and television viewers be asked to pay the price for this?

The WGC says ‘no’ to a broadcaster bailout, and ‘no’ to asking Canadians to give up Canadian programming.

Right on. Now. Are you going to grumble a bit? Or are you going to swallow those grumbles and let the WGC play Cassandra out there on its own?

Up to you.

Swanky New Digs & A Dead Things Contest

THE WRITERS GUILD of CANADA, after months of meticulous work, has finally launched a wholesale redesign of its website. The new site, at www.wgc.ca, streamlines lots of great stuff for members and non-members alike. If you're a member, you can now sign in and the site will "remember" you each time you return, giving you full functionality and access to the member only features like script registration, and Benefits and Retirement information.

There's also new stuff there if you're a producer or merely a curious member of the public, including the industry agreements that govern professional screenwriters working in English in Canada.

I encourage you to go there and kick the tires a couple times.

***

Now, that's prelude to one of the other things you can do on the site, which is buy tickets to the upcoming 13th Annual WGC Screenwriting Awards. The Awards, which celebrate the best in Canadian Screenwriting, will take place in Toronto on Monday, April 20, 2009. That's less than three weeks away. If you don't want to order the tickets online, you can use one of the manual ticket forms on the site and ... wait, I want to get this right... Fax? You can apparently "Fax" it -- whatever that is. You can also mail it or, presumably, deliver it by passenger pigeon or tamed zombie.

The Awards are traditionally one of the most raucous, fun events of the year. Way cheaper than the ACTRA Awards, Geminis, or the DGC Awards, the tradition calls for great food, lotsa drinks, and a nice, short show. This year there's a new, bigger venue (the place was packed last year) in Toronto's hip Liberty Village.

The Host is Geri Hall from 22 Minutes, who will apparently be observing Dalton McGuinty's 'five foot rule' at all times.

Like everybody else, the WGC and these Awards are feeling the pinch of the recession, and that's changed a couple things. Firstly, member tickets are now $45 in advance -- for up to two tickets at that member price. For non-members, the cost is $75.

At the door -- if there are any tickets left, that price goes up to $75 for members, $100 for non-members -- so it's worth it to buy in advance.

One of the other major hits the awards has taken this year was in Sponsorships. Usually the networks come in with some underwriting, but that's been thin on the ground this year. So it's not much, but I decided that I've done pretty well from this industry over the last couple years, so this year for the first time, the Blog goes where the Big Boys wouldn't. Dead Things ON Sticks is a 2009 Bronze Sponsor.

Beyond a handshake, that doesn't get you all that much -- but it does score you a couple of extra tickets, as well as a free subscription to Canadian Screenwriter magazine.

Now, as a member of the Writers Guild of Canada Council, I'm in the door anyway, so I've decided to offer these tickets gratis to two Dead Things on Sticks readers.

There's a catch, of course. There's ALWAYS a catch.


DEAD THINGS ON STICKS WGC SCREENWRITING AWARD
TICKET GIVEAWAY RULES AND REGS


In order to qualify for the ticket giveaway, you have to write something for me. You don't have to be a writer -- the job is open to any kind of broadcast industry professional.

You have a choice of two topics:

• My Daily Creative Process -- this is the topic of preference, most likely, for writers or aspiring scribes. You can be funny, disconnected and discombobulated, earnest, tongue-in-cheek, reflective, accusatory, weepy, manic, or even creepy (though I'd advise against the latter.) Remember the takeaway: it's fun if you offer some useful tip, hard-earned truth, or simple homespun advice about your secret for getting through the day without letting procrastination defeat you.
  
  If you're not a writer, or if your process is protected like the Colonel's 11 Herbs and Spices (ps. the secret ingredient is fear) you might want to wax eloquent on our other topic:
  
  
• If I Could Change One Thing About My Job --aha..the preferred topic of overworked production secretaries, P.A.'s, story coordinators, 3rd A.D.'s, Closed Captioners, Sales Assistants, Junior Publicists and Hobos. It doesn't have to be a slam-fest. Don't jeopardize your low-paying, low-status position. You can write about your job in the industry, or the job that you do to try and steal some hours to be creative while hoping that you'll graduate one day to having the latter pay the bills.

Obviously, these shouldn't be screeds designed as a cry for help or a settling of scores. Any essays of this type will be disqualified.

The essays (800 words max) can be submitted by email to heywriterboy@hotmail.com They should also include a description of yourself, up to 15 words in length, and phone & email contact information (which will not be shared with telemarketers, government officials, or online dating services) so I can get in touch with you. The subject heading should be "DTOS Screenwriting Awards Contest Entry."

HOW YOU WIN:

There are two tickets available. They will be awarded thusly:

ONE TICKET & THE CANADIAN SCREENWRITER SUBSCRIPTION will be awarded to the essay judged the best overall. The decisions of the Sticksville Judges is final, and involves a highly technical process employing super intelligent readers, helper monkeys, and a poultice made from the tears of unicorns. That essay will be reproduced in this space. The winner will also be entitled to be referred to at the awards as "the Squire of Sticksville."

ONE TICKET will be awarded in a RANDOMLY SELECTED DRAW of all entrants.

By submitting to the contest, you give Dead Things ON Sticks the right to reproduce any part of your essay.

There you go. Tickets are non-transferrable. To claim tickets, winners will have to show I.D. at the door of the awards.

DEADLINE FOR ENTRY is 5:00 p.m., FRIDAY APRIL 10th.

Good Luck to you all.

WGC on the CBC Cuts

The WGC put out a press release this afternoon on the CBC cuts that I think summarizes neatly the harsh and negative reality of this purely political act, at a time when we all least need it. Mad props for contextualizing the situation over the last few years too. Why do we do all these frigging reports if NONE of the recommendations are EVER followed?

THE WRITERS GUILD OF CANADA is extremely disheartened by the CBC’s announcement today that it will cut 800 jobs in order to balance its budget. The WGC asks: why has it come to this? We have known for more than a decade, through successive governments and through a variety of official reports, that the CBC is underfunded – the economic downturn and the resulting decline in advertising revenues have only exacerbated what was already a tenuous financial situation.

The Lincoln report, “Our Cultural Sovereignty,” tabled in 2004, was a two-year study of broadcasting by the standing committee on Canadian Heritage. Among its recommendations was increased and stable funding for the CBC. And just last year, the call for an enhanced parliamentary appropriation was repeated in another standing committee on Canadian Heritage report [emphasis mine] which the WGC publicly supported.

The WGC has appeared in front of successive Heritage committees, advocating for financial stability for the CBC. We presented clear ideas, with the BBC as a model, about how to get the CBC where it needs to be. These reports and recommendations have gone nowhere.

“The loss of 800 jobs is drastic” says Maureen Parker, Executive Director, WGC. “If the CBC needed an advance on their next budgetary allocation, why was this dismissed outright? There has certainly been sympathy expressed for the financial position of the private broadcasters, whose main business is the simulcast of U.S. shows. Yet the CBC is ours – it is where Canadian talent, Canadian voices, take prime-time prominence and pride of place. The CBC should come first.”

The CBC is making popular Canadian shows, and has been succeeding in the battle for ratings. The WGC believes it is essential that the CBC be fully and sufficiently funded to fulfill its role as our national voice. We urge the government to demonstrate its understanding of the value of our public broadcaster, and advance the necessary portion of the CBC’s parliamentary appropriation.

Who Doesn't Like a Nice Statue Now and Then?

STILL BURIED, but I thought I'd stick my head up and post some awards info. Yes, I know, I know, the Oscars, blah blah...didn't even post the screenwriting winners but I didn't watch this year and so am exercising my full prerogative not to care.

But I do care about the fact that a very fine young actor I had the pleasure to work with on the Ex-show has been nominated for a Young Artist Award for his guest starring role. The awards, presented to actors under the age of 18, celebrate their 30th year this year, and will be given out in March. Congrats once again to Isaiah Grant for his excellent work in that episode (for which he was also nominated for a Gemini!) (And thanks, as always, to TV-Eh? for the tip.)

Next, nominations are out for the Canadian Screenwriting Awards, which will be presented in Toronto April 20 (hosted by the vivacious Geri Hall from 22 Minutes)

I was incredibly fortunate and lucky to win one of these last year. In the world of writers, it means something to know that you've been nominated by your peers. I see a lot of names on this list that I don't know, which is funny. It seemed like last year I knew everybody. Such is the ebb and flow of things. Congrats, and I look forward to meeting some of you on the big night!

Word of caution, though. Pump some iron. The award itself is actually surprisingly dense and heavy. And people have been known to steal them. Sneaky people.

For more information on the Awards, including tickets, check out the WGC site.

ANIMATION

6Teen “Date and Switch”

Written by Robin J. Stein and Alice Prodanou

6Teen “Whoa Baby!”

Written by Alice Prodanou

Ricky Sprocket, Showbiz Boy “The Perfect Family”

Written by Shane Simmons

CHILDREN OR PRESCHOOL

Captain Flamingo “Comic Slip”

Written by Christin Simms

Captain Flamingo “The Gobbler Robbler”

Written by Suzanne Bolch & John May

Future is Wild “Monkey Brains”

Written by Jeremy Winkels

DOCUMENTARY

FLicKeR

Written by Nik Sheehan

Passage

Documentary Script Written by John Walker

The Strangest Dream

Written by Barry Cowling & Eric Bednarski

EPISODIC ½ hour

Corner Gas “Bed & Brake Fast”

Written by Kevin White

Corner Gas “Bend It Like Brent”

Written by Andrew Carr

Corner Gas “Full Load”

Written by Brent Butt

Rent-a-Goalie “Eva Has a Dot Dot Dot”

Written by Josh Gal

EPISODIC 1 hour

Flashpoint “Attention Shoppers”

Written by Tracey Forbes

Flashpoint “Who’s George?”

Written by Adam Barken

Murdoch Mysteries “Elementary, My Dear Murdoch”

Written by Jason Sherman

ReGenesis “The Truth”

Written by Tom Chehak

FEATURE FILM

Blindness

Screenplay by Don McKellar

One Week

Written by Michael McGowan

Passchendaele

Written by Paul Gross

MOW or MINISERIES

Everest

Written by Keith Ross Leckie

Mayerthorpe

Written by Andrew Wreggitt

Would be Kings

Written by Tassie Cameron & Esta Spalding

RADIO DRAMA

Afghanada “Over the Ridge, Far Away - Parts 1 to 3”

Written by Jason Sherman

Afghanada “Special Forces”

Written by Greg Nelson and Adam Pettle

Afghanada “Man of Iron - Parts 1 to 3”

Written by Emil Sher

Afghanada “The Lotus Eater - Part 1 of 3”

Written by Greg Spottiswood

SHORT FILM

Awkward

Written by Kellie Ann Benz

How Are You

Written by Martha Burns & Susan Coyne

Spoiled

Written by Sherry White

VARIETY

History Bites “Celine Dion”

Written by Rick Green, Duncan McKenzie

This Hour Has 22 Minutes XVI “Episode 1”

Head Writer: Jennifer Whalen / Written by Mark Critch, Gavin Crawford, Kyle Tingley, Jennifer Whalen, Albert Howell, Tim McAuliffe, Dean Jenkinson, Geri Hall, Nathan Fielder

This Hour Has 22 Minutes XVI “Episode 2”

Head Writer: Jennifer Whalen / Written by Mark Critch, Gavin Crawford, Kyle Tingley, Jennifer Whalen, Albert Howell, Tim McAuliffe, Dean Jenkinson, Geri Hall

This Hour Has 22 Minutes XVI “Episode 8”

Head Writer: Jennifer Whalen / Written by Mark Critch, Gavin Crawford, Kyle Tingley, Jennifer Whalen, Albert Howell, Tim McAuliffe, Dean Jenkinson, Nathan Fielder, Joanne O’Sullivan, Peter White

YOUTH

Life With Derek “Two Kisses, One Party”

Written by Daphne Ballon

The Latest Buzz “The Gala Issue”

Written by Brent Piaskoski

The Latest Buzz “The Showdown Issue”

Written by Darrin Rose and Fraser Young