strike

South Africa might seem a little off the radar when it comes to the US Writers Guild strike and indeed the majority of scriptwriters here produce for local content and broadcasters - and tend to be consumed by a different set of pressing professional issues.

Striking US writers have stated that it is not proper for writers anywhere (that includes here in SA) to approach, negotiate, pitch or do business with any of the 'struck' WGA signatory companies during the strike action. The list of companies is available here and contains a fair number that have done or are currently doing SA co-productions.

Last year alone, film and television production (the majority of which here is overseas co-production) contributed over 5 billion rands to South Africa's economy (3 billion in the Western Cape and 2 billion in Gauteng). It might be timeous for the writers union SASWU to issue some statement of solidarity - since any benefits eventually won by striking US writers will have far reaching impact, and may provide additional leverage for on-going local negotiations.

For further information and to read various recent media coverage of the strike - see Robin's blog here.

Fat 100

Yes the 100th blog post today! Wooee!

Give yourself a pat on the back,
pat on the back,
pat on the back,
give yourself a pat on the back
100 posts today
far away!

Seems to be that quiet time of year when script somebodies are not at their desk or they're at Cannes or not at Cannes or on their way or pretending to be.

Now is probably a good time to take stock of what's happened so far this year. I've submitted scripts and synopses left, right and centre that I've yet to hear about. I did a crash course in Xhosa (although far from fluent, I did gain an 'overview'.) I stepped off a lucrative scriptwriting job (for jolly good reason) and won 2nd prize in a script competition that no one has ever heard of. I had 2 rejections from Beeb drama that were so fabulously positive they could be mistaken for acceptances - almost (ha!). I wrote and submitted a short I haven't heard about yet, reworked a feature drama into a radio play for a comp and found a UK producer for another feature drama submission. Also did plenty of honing, tweaking, refining and re-writing and am now working on these jazz stories. Plus an SA producer is in Cannes with my 'hot' project - let's see.

Distant shores beckon perhaps.

(any other Shiny Show fans out there?)

Crunching

Ooooooo nooooooooooooooooo a deadline I've been avoiding - accounts. Time to sit down and actually do them. I can't stand it. I hate numbers. And it's not just for the tax office - those online returns are a piece of cake - just click 'zero' in all the boxes and press 'send' and say a quick prayer ('next time.....')

No these accounts are for the 'powers that be' and they have their own specially designed, remote-controlled, index-linked, cross-referenced, tabulated accounting 'recon' forms. Is there anything worse in life than customised excel spread sheets with columns that add themselves up at the bottom when you don't even want them to? Why is it that each time a row of figures is added up, it gives a different answer?

And why are numbers so different from words huh? Why can't you corral numbers into interesting groups like words into sentences? Why can't they be handpicked just for the way they sound? Why must they add up?

And before you ask - yes I do have an accountant, but at the moment I'd have to pay him with cardigan buttons and I don't think he'd be too pleased. Went over budget (on re-editing) last year so have to step into his shoes - for now.

And I hate it.

Scripts (and rats)

If in doubt talk it over with mum - ha! My mum is a children's author (and poet) so very cool to discuss work 'issues' with.

Let's go back to the beginning. A while back there was a brief - for an intriguing children's TV (storytelling series). I wrote up a proposal for a prodco - it got commissioned. I scripted and then directed it. Some bits were great, a few bits weren't. It gets re-commissioned - is that not affirmation? I receive an email from the prodco making an offer (for directing and scripting.) I say yes to both. In between I complete my own doc series, have a falling out with the 'powers that be', get over it - do everything they say. Get it finished. It goes on air. People like it.

Ok fast forward to a workshop (about the second series) I think I'm there because I'm directing and scripting again. 15 people attend - some fly in. Copious scones and tea. Colourful lunch - a big, bright, shiny occasion. We discuss the first series. Exchange opinions and ideas. Write loads of notes. The next day I receive an offer from the prodco - but only for scripting - and for a lot less than the previous series. I ask about directing and re-state my terms of trade. They agree to my terms but say the 'powers that be' want an alternative director.*

I smell a rat. (Funnily enough mum smells a rat too!) Hub says just 'take the money and run'. But I don't think I can. It's not quite like a jobbing job where I just hit the keyboard hour after hour and churn it out. I'd prefer to put my heart in it - after all I was there at the start.

So I ask to know their reason*.

It's not always about being an 'awkward so and so' (writers and directors generally are). Sometimes it's about refusing to be fodder in some unfathomable agenda...

Let's see.

on hold

All back on hold with scripting right now. So much for vegetable turrets. Eish - the ups and downs of this business. Not happy with the offer. Not happy at all.
Maybe now is a good time for some business advice for scriptwriters (particularly those based here - where there is not the same emphasis on writers' agents as there is globally)

• Bide your time, don't cave in
• Keep every single email from potential employers that contains the vaguest whisper about money, contracts, schedules or work parameters. In the case of forgetful producers or offers 'lower than discussed' this is always useful evidence.
• Decline a low offer politely but mention the figure required for a 'yes'
• Know your worth especially -if you've done something before and it is being offered to you again.
• Remember none of them can do what you do or do it like you do
• Make it seem easy (especially when you know it isn't)
• Writing speed is power (especially here where development/re-writing time is virtually non-existent and everything needs to be done by tomorrow)
• At meetings, befriend the other parties - that way someone will be rooting for you somewhere.
• Make yourself indispensable (be a walking repository of relevant knowledge)
• Have lots of other things on the go
• Keep a blog [allegories ok - slatings no no]
• Don't worry, something else is just round the corner