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| Emeritus President David Williamson |
David Williamson
I joined the Guild when my first full length play was turned into the early Australian movie, Stork back in 1970. I had no idea of what kind of money I was entitled to, either as the copyright owner of the play or as a screenwriter. The Guild was very helpful in guiding me through the process and helping me become aware of the realities of being a working writer. I became very actively involved in the Guild in the late seventies, serving as the President for thirteen years. During that time I was inspired by how selflessly and hard my fellow writers worked on behalf of their peers. Backed by an increasingly professional staff the Guild set about redressing the power imbalance between writers and the producers of their work. The Guild is about raising the awareness and status of the crucial creative work done by writers in film, radio, television and stage and ensuring that their crucial role is appropriately rewarded and accredited. Without the truly epic struggles fought by the Guild on behalf of writers in its forty years history, writers for film, video, television, radio and stage would still be fragmented and exploited. It's a terrific organisation and I'm proud to be a member.
Robyn Sinclair, Nine Network Script Executive
I joined the Guild in 1987 as an Associate Member not because I thought I wanted to be a writer but because I knew I did. I'd been told that the Guild could be an enormous help to me.
And it was. Thanks to everything I learned at the Guild's craft events, I was lucky enough to receive the 1988 Monte Miller Memorial Award for an Unproduced Script by an Associate Member.
The Monte Miller Award opened doors for me. Starting as a Trainee Script Editor on A Country Practice, I ended up the series' Executive Producer and have gone on to produce a number of series and telemovies.
While I rarely get the chance to write these days (and how dearly I miss it) I remain a committed member of the Guild simply because, without everything the Guild offers both writers and desperate-to-be writers, I wouldn't be where I am today.
Jan Sardi
Once upon a time there was no such thing as basic minimums, no Australian content on our TV screens, no theatre industry agreement, no ABC drama or radio agreement, no government support for our film industry, no rates for story and script editors.
It's a fact that if you're a writer working in Australian film, theatre, radio or television today, your status and the financial rewards you receive are the result of many campaigns and victories fought for and won by the Australian Writers' Guild going back to the early sixties.
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| Jan Sardi |
The majority of writers, script and story editors working today (which regrettably includes a small number who are not currently members of the AWG) are probably not aware of the history of the guild and the many battles that have been fought and continue to be fought on their behalf by the AWG.
Don't take for granted all the hard won gains that you enjoy today because there's always some bastard trying to take them away. And they will succeed unless we have a strong, viable Guild. In order to be able continue the fight for you and your rights, the Guild needs you to remain financial and to get involved.
It's Your Guild - Your Future!
Katherine Thomson
Every playwright has the right to apply to join the AWG, in either Associate or Full Member capacity. Given the constant and intensive lobbying to government, arts funding bodies, theatres and producers on our behalf, it is is also the obligation of every playwright to maintain consistent and active membership in the AWG. As a writer you might work alone but the AWG exists so that you don't have to fight alone.
I applied to join the AWG as soon as I'd had my first professional production of a play back in 1982. As an actor I had belonged to Equity, so it was a logical step to want to be part of another collective body of fellow professionals.
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| Katherine Thomson |
Over the years I have experienced the AWG working relentlessly for improved conditions for writers. On behalf of playwrights, the AWG lobbies and negotiates with governments, funding bodies and theatres. It is constantly striving to maintain and improve theatre subsidies, playwrights' conditions and fees; it monitors and updates the Theatre Handbook; it alerts members to changes in conditions and contracts and offers legal advice and many other benefits. Whenever I receive a royalty cheque for 10% (a figure that has had to be defended in recent years) or whenever I sign a contract I know that it is only because of the vigilance of the AWG that I am able to get a fair deal. It is only because of the support of fellow professional AWG playwrights that I can have confidence that should I have to take action against a producer I won't have to do it alone. Really all I want is to be able to write in peace. The AWG, and a decent pair of earplugs, allows me to do just that.
Kelly Lefever
What has the Guild ever done for me? If I had a dollar for every time I have heard that from writers who have never joined, or, alas, disheartened unfinancial members of the AWG I'd be comfortably sitting in a beach house somewhere. It seems that everyone has a reason not to belong. Somewhere along the way something has happened which overshadows the good that the Guild does and makes it seem unworthy. Sure, your agent will negotiate for you, and even get you legal advice if you need it, and no-one ever really believes that they will need industrial representation until they NEED industrial representation.
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| Kelly Lefever |
You don't learn enough, socialise enough and hear enough to warrant the professional development or social aspects of the Guild or you learn too much, see too many people have too much information to assimilate. And since you don't write for TV you don't need the series and serials agreement (or residuals. Remember when we didn't have them? Thanks AWG.) Whatever. Everyone has their reasons...and the professional development, social and industrial functions of the Guild somehow don't seem enough for you to warrant spending what little hard earned cash you have. Believe it or not sometimes I've felt that way too. BUT. There is one undeniable reason I can think of to remain financial, or to become a part of the Guild. The AWG is the only body who are constantly involved in lobbying and advising the government on issues that affect your future. And most of the time you don't even know it's happening. Moral Rights, The Nugent Inquiry, Project Blue Sky...without a vigilant Guild suddenly overseas product could become local product, theatre loses yet more status and funding, writers would be afforded less credit for their work than the person who pays for it. Every time the status of the writer is under threat, the AWG goes in to bat. Alone there is no hope of our voice being heard. As a Guild we are effective. This is something we do well. And constantly.
So even if you never use another Guild service, don't forget what the Guild accomplishes for you quietly every day and every year. For all writers. That's why no matter what else is happening, I stay a member of the Guild. That's why you should too.
Alan Woodruff 2002 Monte Miller Award Winner, 1994 Monte Award Winner, 2002 IF Award Winner
Joining the Guild seemed to be the logical thing to do after taking the decision to seriously pursue my interest in writing. I figured the benefits would be two-fold: a motivational boost through mixing with professional writers, plus exposure to aspects of the writing across the spectrum of the craft.
This has certainly proved to be the case and I've benefitted enormously. However, what I didn't anticipate was the additional resources available to members - especially the library of scripts, the seminars and workshops, and the opportunity of honest and positive assessments by professional writers.
Given this avalanche of support and assistance, it was inevitable that my writing would improve. I can't imagine how I would've got on without the Guild and, for this reason, I can't imagine myself not being a member.
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