A History of NZWG

Close to Home

Everybody's memories of how the Guild started are going to be different. If minutes were kept of those early meetings – and it's doubtful if they were – they don't seem to have survived a gypsy life of being shifted around spare rooms and basements and purged in spring-cleanings. I'm not even sure that the Guild can be said to have started in 1975. Initial meetings may have been the year preceding. Formally, the Guild may have been constituted the year following. But what kicked it off certainly occurred in 1975. And that was Close to Home.

Close to Home was our first soap opera. For the first time, large numbers of writers stood the chance of making a sort of living from their craft. As individuals, they would be at the whim of television producers and executives. Together they could establish minimum fees and conditions of work. The key figure in initiating meetings of writers to discuss a guild was Michael Noonan. Noonan was a Labour Party activist who'd been script editor on the ground-breaking drama series Pukemanu (1971) and was the deviser of Close to Home.

Associated with Noonan were Wellington writers Julian Dickon, Judy Callingham, Keith Aberdein, and Fiona Kidman. In Auckland, Hamish Keith, who with Julian Dickon had devised Pukemanu, was another important figure. Like Noonan, Keith was active in the Labour Party.

Noonan and others in Wellington were members of the NZ branch of PEN, "Poets, Essayists and Novelists," the international writers' body. In New Zealand, PEN was associated with lobbying the State Literary Fund and campaigning for a Public Lending Right. Under the aegis of Wellington PEN, a network of playwrights and scriptwriters were invited to a meeting called in Wellington. The aim of the meeting was to set up an organisation that would negotiate an agreement on behalf of writers working in the television and radio industry. Those out of town paid their own way to the meeting. One impoverished Auckland delegate cadged a lift on the overnight truck taking Truth from the Wilson & Horton print plant in Ellerslie down to its Wellington distribution point.

The decision was made to call public meetings of writers in Wellington and Auckland. These meetings took place enthusiastically. Resolutions were passed, names and addresses were taken, and the show was on the road. It was to be called the NZ Scriptwriters' Guild.

A Non-Going Concern

By 1977, the show had almost completely collapsed. Two things had happened. The leadership in Wellington wanted the Guild to be a closed-shop union. That is, there were to be no bludgers – those wanting to write for television and benefit from decent conditions had to join the Guild. Ian Cross and a majority on the PEN Executive were resolutely opposed to this, and all support for the Guild from that source ended. On the other hand, Hamish Keith, who was calling the shots in Auckland, wanted the Guild to be a professional body of professional people with the fees set accordingly – $100 a year, extraordinarily high for the time, and certainly beyond the pockets of most writers.

The result was that when trouble blew up in Auckland in 1977, and writers turned to the Guild for help, all that was there was a moribund organisation that was found to have only one financial member, Keith Aberdein. Again, it was a soap opera that had brought writers together – A Going Concern, on the new Auckland-based SPTV channel (now TV2).

Keith Aberdein, always staunch, took it upon himself to come up to Auckland to help sort out the problems and impress everyone with the revelation that he was an Old Boy of the same school that had produced Samuel Beckett. The problems – discontent about the writing process – were resolved, and the soap's writers, people like Jan Farr, David Hughes, Ken Catran, became key figures in an energetic Auckland branch. Prodded by Auckland, Wellington called a series of re-organisation meetings. With PEN quite out of the picture and no money in the bank, these meetings took place in Michael Noonan's living room. Auckland delegates again paid their own way down, travelling by overnight train and collapsing in spare bunks in spare rooms around town. Roger Hall was at these meetings, as were two union activists from the Wellington PSA, Jane Galletly and Earle Spencer, who had jointly written the excellent 1976 television drama series Moynihan, about a carpenters' union. Judith Holloway was another in the mix.

In Our Thrall

If the Guild was to thrive, it had to produce the goods for its members. It had to win improvements in fees and conditions on TV and radio, the principal income-earners for local scriptwriters. But to do this, it had to get the BCNZ, the Broadcasting Council of NZ, to the negotiating table, and the BCNZ could decline to do this if the Guild was "un-representative," if it didn't cover most writers.

Having learnt its lesson, the re-organised Guild set the membership fee dead low, made the most prominent playwright in the country – Bruce Mason – president, and commenced a membership drive. The demand for a closed-shop union was put on the permanent back-burner as the Guild set about winning members by argument and results rather than decree.

The following year, 1978, a negotiating team led by Michael Noonan brought the Guild its first industrial documents. These were national awards covering fees and conditions for writing for television and radio. The night before negotiations, the team met at Bruce Mason's to plan its strategy. One member had rung round various unions to establish what was considered an average income. This figure was then divided by the number of hours of original drama a writer should expect to turn out in a year (fortunately, the Head of Drama at Avalon had made such a pronouncement). This proved a simple but extremely effective means of establishing a base rate.

The president of the Guild suggested an interesting gambit. He had just been made an honorary doctor of letters by the University of Waikato. He believed that if, throughout the negotiations, he was addressed as "Doctor," the Guild "would hold the BCNZ in our thrall." He must have been on to something, as the negotiations went extraordinarily well. The going rate for television drama was doubled – possibly the biggest increase in hourly rates won by any NZ union. Percentages were negotiated for repeat rights and overseas sales. Some of the percentages and residuals were less than the Guild wanted, but this was peanuts compared to the spectacular increase in the base rate. On radio, bizarre anomalies were rationalised, and fees were given substantial hikes.

In the course of negotiations, the BCNZ demanded a lower base rate for adaptations, claiming adaptations were "easier work" which should be paid less. The Guild vigorously rejected this until the president of the Guild, awakening from a gentle snooze, declared that BCNZ had a point, that on one recent adaptation commission, he'd found he could lift whole sections of dialogue from the source material. The leader of the Guild team called for an immediate recess, took the president into a spare room for a short, sharp exchange, and on return, the president told the BCNZ he had in fact erred and that adaptation required skills more than comparable to those needed to churn out mere original pieces. At the start of the first day of negotiations, news had come through that police in Auckland were moving to clear Maori land protestors off Takaparawha, Bastion Point. During a break, the Guild negotiating team sent a telegram to the Bastion Point protestors condemning the police action and strongly expressing solidarity with those being arrested.

The NZ Rioters Guild

In 1979, the Guild joined the Federation of Labour (now the Council of Trade Unions). FOL Secretary Jim Knox enquired exactly what it was Guild members did, and when told, "They write," responded that all scribblers should be in the Clerical Workers' Union. In 1980, Guild delegate Jan Farr seconded the successful motion at the FOL Conference for an FOL Working Women's Charter. If Wellington's Michael Noonan was the Guild's founding father, the founding mother was definitely Auckland's Jan Farr. Following the Guild's acceptance into the FOL, the Guild joined the International Affiliation of Writers Guilds and shortened its name to the NZ Writers Guild.

Around this time, the then Prime Minister, Robert Muldoon, bent on some sort of showdown with a very successful and forceful union movement, released a list of names of union secretaries who were members of the Socialist Unity Party, and, by dint, traitors. One of those named was the national secretary of the Writers Guild. Besides the personal suffering involved, the Guild also lost out financially as a result. It was an extraordinary climate of venom, and it was a brave president of the Guild, Peter Harcourt, who stood up at the Feltex TV Awards that year and ringingly declared he was proud to be a member of the Guild.

In 1981, following the Springboks' Tour, the secretary of the Auckland branch of the Guild was sentenced to six months' jail for putting an axe through a cable at a transmitter station relaying the televised Third Test to South Africa. After a couple of days inside, the secretary was released on appeal. He was subsequently approached by highly amused members of the Wellington branch to stand as president. He declined, saying he would find it difficult to chair meetings from the confines of the slammer, and it wasn't a good idea to have the Writers Guild become known as the Rioters Guild. The Wellington membership demurred and enthusiastically

declared that dealings with television programme-makers and broadcasters would be immeasurably improved if the Guild was seen to promote members prepared to put an axe through transmission cables. The Court of Appeal eventually and mercifully quashed the prison sentence and replaced it with one of 180 hours community service, which the secretary dutifully worked off — for the Guild.

Strike Threat

Fees for various television writing jobs all came back to the "base rate" — the minimum fee paid for writing thirty minutes or one hour of drama. In a moment of inspiration, Jane Galletly added up the fees paid to story-liners and dialogue writers working on any given episode of the daily breadwinner, Close To Home, and found it was less than this "base rate." So, argued Galletly, who's pocketing the difference? The Guild demanded the total writing fee for Close To Home be no different than the minimum base drama rate. TVNZ (which the BCNZ had now become) refused to acknowledge the Guild's logic.

Meetings to discuss the grievance were held in Auckland and Wellington. Auckland favoured an immediate strike, but Wellington accepted a motion from Guild member Rosemary McLeod that the matter be arbitrated. The Guild and TVNZ argued their respective cases before an industrial arbitrator from the Department of Labour. The arbitration took place at the Avalon studio complex. During a recess, TVNZ representatives asked if the arbitrator would like to be shown the studios and meet the glamorous casts of various shows. The Guild leapt up and demanded the arbitrator not be taken anywhere by any honey-tongued TVNZ executive unless a Guild representative accompanied him. The hearings were completed, the arbitrator went away to ruminate and, as expected, brought down a ruling in favour of the Guild. The base rate had to be applied to soap opera as it did to everything else. The arbitrator also accepted a further Guild demand, that the deviser of Close To Home be paid a residual for every episode.

Auckland - Wellington

The Auckland (northern) branch was a live-wire, if unwieldy, operation. An agenda was mailed out to all members and then discussed by whoever turned up at the monthly meetings and a vote of those present decided all matters. It produced some interesting results. In 1984, the branch voted to send a relatively large donation to the British Miners' Union, who were engaged in a dramatic battle with the government of Margaret Thatcher. At another Auckland branch meeting, an article in the Australian Writers' Guild newsletter was circulated. The article, by an AWG gadfly, claimed that Australia was so awash with money for new film scripts, writers were losing all sense of standards and their work was corrupt. Prominent Guild member Ken Catran then offered to be sent to Australia at Guild expense to expose himself to the cancerous lucre and report back.

The importance of a national newsletter had become clear, though the practicalities a trifle vague. The Auckland and Wellington (southern) branches took turns producing the newsletter, but production soon became sporadic. The head office of the Guild went wherever the national secretary lived. This alternated between Auckland and Wellington. The Auckland Guild had an organisational advantage. Unlike Wellington, it had a permanent office, which it shared with Actors' Equity in the Trade Union Centre on Great North Road. This allowed the Guild access to a conference room for meetings. Organisationally, the Guild remained weak in the South Island. Nothing got off the ground in Dunedin, and although attempts were made to build a branch in Christchurch (where A K Grant and subsequently Sue McCauley were active), it rarely met. The two main centres of Guild activity remained Wellington and Auckland, and relations between the two contained an inevitable amount of friction. At one meeting of the Board of the Film and Television Awards Society in Wellington, in front of astonished Board members, the Guild representative from Auckland (the branch secretary) asked the Guild representative from Wellington (the national secretary) to step outside so he could beat his bloody brains out.

In Auckland, Peter Davis had become a significant figure. Also active were Norelle Scott, Neil Illingworth, Grant Morris, and Peter Hill. In Wellington, Roger Page and then John Smythe were putting in long hours for the Guild.

Radio, Theatre, Film

The industrial award with BCNZ/TVNZ/RNZ was re-negotiated regularly and became a major organising tool for the Guild. As the award round approached, intensive branch meetings would take place as members made their input into the make-up of the new document. Considerable debate took place around TVNZ's desire to have a single buy-out rate that subsumed all repeat and overseas sales residuals. The argument about money-up-front being worth more than two birds in the bush was always balanced by the legendary amount (close on six figures) Ken Catran was rumoured to have collected in overseas residuals from Hanlon.

The Guild fought against the running-down of radio drama with some initial success – but the success proved only temporary. The formation of an Association of Community Theatres, representing the major theatre producers, gave the Guild the opportunity to negotiate a standard contract for playwrights. A draft contract was drawn up by Greg McGee and, with the support of Playmarket, successfully put in place. A dispute over a Guild member being blacked from using the Maidment Theatre in Auckland proved the Guild's efficacy in aligning itself with a bit of industrial muscle. Whereas all an organisation like PEN could do was issue a statement decrying the black-listing, the Guild contacted other unions who threatened to black out the theatre. The ban on the Guild member was lifted.

A film industry, based on tax breaks, was flourishing. The Guild was used to dealing with a central body representing employers and was less involved in individual film contracts, acting more as a clearing-shop for information on what producers were paying and what they expected for it. The Guild's membership of the International Affiliation of Writers Guilds, with its black-list threat, did cause a couple of tardy local producers to pay up on monies owed to writers. Other problems for film screenwriters were credits and the number of drafts being required by producers.

In the mid-'80s, the Guild had the honour of hosting the annual convention of the International Affiliation of Writers' Guilds. The convention took place in Wellington but was preceded by an initial reception in Auckland. One Auckland executive member volunteered to be among those who would drive out to the airport to pick up the international guests. His offer was vetoed by the Wellington organisers, it being thought the executive member's unwarranted 1963 Hillman Minx would prove too much of a shock for the arriving Americans. The convention in Wellington was a tremendous success, greatly enhanced by the presence of the long-serving president of the Australian Writers' Guild, playwright David Williamson. In 1988, the Guild was presented with a plaque from the American Writers' Guilds East and West commemorating New Zealand's "steadfast support" of their American colleagues during the big screenwriters' strike of May – August that year.

The Down-Turn

Television remained the most important recruiting area for the Guild. Most scriptwriters were now earning the major portion of their income from writing for the box. But the Lange-Douglas Labour government had just deregulated television and the Guild was faced with a critical new challenge. Instead of having to deal with the one employer body – TVNZ – the Guild found all television drama and documentaries were now being produced by independent production houses, seemingly free to draw up their own little in-house contracts. At the same time that the Guild faced this alarming strain on its resources, the Labour government was enacting new industrial legislation making membership of 1000 the minimum for a union. The consequence of all this was that a series of meetings took place in the Auckland branch to discuss some form of amalgamation with other organisations.

Those who argued for amalgamation were not so much swayed by government legislation as by a number of sombre realities facing the Guild. The Guild had about 150-200 members paying relatively low fees. There were no assets, little money in the bank. All Guild officers were unpaid volunteers. The Auckland branch was being held together by one or two people while the Wellington branch was badly run down, rarely meeting. There was no South Island organisation. The Registrar of Incorporated Societies was sending polite notices that he hadn't seen a record of accounts for some time. Clearly, this couldn't continue. One solution would be for the Guild to become an affiliate of a larger union and take advantage of economies of scale (a course taken by Actors' Equity). An alternative was to broaden the Guild base – amalgamate with PEN, which was in the process of becoming the Society of Authors, and maybe take on board freelance journalists.

Some enquiries were made in both directions, but the great majority of members were opposed to any affiliation or amalgamation, arguing that the Guild would either lose its identity and then its members, or weaken its focus. Nothing came of the debate, and Labour's legislation passed into history with its government. But the realities remained. There was no money in the bank. Membership was, at best, static. Morale was low, the volunteers exhausted. The national awards we had all fought so hard for, while still providing the basis for new contracts, were, legally, worthless pieces of paper. Somehow, as it faced the 1990s and an unsympathetic government, the Guild had to re-shape itself.

Example Podcasts

Re-Invention is the Mother of Necessity

This was a short act in the Guild’s history, but it was a significant one. By the end of 1994, the New Zealand Writers Guild had morphed into quite a different animal.

In 1990, the National Office of the NZWG moved to Auckland. It sounds a lot grander

than it was. What arrived, in fact, were a few boxes of records, some unaudited accounts, and insufficient money to get the Guild through to the end of the year.

This wasn’t surprising. The Guild had always existed pretty much hand to mouth. In 1990, only a handful of members remained, and some of them hadn’t paid their subs in years. The energies and resources of the Guild had, for a long time, been focused on the industry-wide battle for quotas on television. Sadly, it was a lost cause.

But while it was being fought, TVNZ quietly created South Pacific Pictures as its drama arm and slipped out from under the agreement the Guild had worked so hard to negotiate and protect. More than one lawyer has suggested that, since SPP was a wholly-owned subsidiary company, a legal challenge from the Guild might have seen us retain our rights and, more particularly, our royalties. Somehow, in the early days, we had managed to negotiate a royalties clause that was the envy of every other Writers Guild – 7.5% of the gross on all overseas sales. Gloss was about the last drama series that brought in residuals – large cheques from Britain and very small ones from the likes of Zimbabwe. Shortland Street writers, lament. You’d have had luxury holidays for the last dozen years.

So it was a toothless little tiger, on the television front at least, that took up residence in a dark cubby-hole in the Grey Lynn CTU building. But the Guild’s financial state was to change in short order.

I’d like to rewrite history and claim that this financial coup was a noble attempt to save the Guild from extinction. The truth is that, prior to the change-over, the Auckland branch decided it was time we held a rip-roaring party, and there just wasn’t enough money in its kitty. Ken Catran suggested there might be a few wannabes who’d pay to listen to our wisdom on the subject of writing for television. This was timely since there was shortly to be a new soap opera and therefore regular work. We ran a seminar in the conference centre at Auckland University. With bare-faced gall, we even solicited financial assistance. The NZFC chipped in $3,000, NZ on Air donated a couple of full-page ads in the Listener, and the registrations poured in. At the two-day seminar, there were even people sitting on the stairs. From a balance of near zero, we suddenly had over $20,000 in the bank.

We also had an influx of new members – most of the people who attended the seminar joined the Guild. It wasn’t long before membership was into three figures again.

And along with these members came a new burst of energy and determination.

The independent producers were as united as they’ve ever managed to be in refusing to recognise the Guild. A mini-breakthrough came when we persuaded SPP to come to the table where we successfully argued for a change to their proposed contract for Shortland Street dialogue writers. It was small, but it was significant. For the first time since the demise of our agreement with TVNZ, the Guild was acknowledged as a negotiating body for writers.

The Guild was well-served by its board members during this period. Busy writers like David Hughes, Dean Parker, Greg McGee, Hester Joyce, and Norelle Scott worked tirelessly for the organisation. And with only a few hours a week of office assistance, it was the members who effectively ran the Guild.

It seemed like a golden time for writers. For a short period, we had not one, but two soaps and a long-running series on air. Writers were not only employed but in short supply. One night a week, you could watch two-and-a-half hours of New Zealand drama back to back – Shortland Street, Homeward Bound, and then straight on to Marlin Bay. It would have gone on longer, but the new commissioning editor at TV3 decided to kill the lion cubs, and a further 30 commissioned and funded episodes of Homeward Bound were ditched. Interesting, isn’t it, how history repeats itself?

In the early ‘90s, the Guild became more active internationally.

The 1990 meeting of the International Affiliation of Writers Guilds was held in Wellington, and the delegates sent a letter to Prime Minister Jim Bolger decrying new legislation that allowed our broadcasting services to be bought by foreign interests. The death of Britain’s executive director meant that the 1991 IAWG meeting was cancelled; however, it reconvened the following year.

At the meeting in New York in 1992, the NZWG president, New Zealand’s sole delegate, was invited to join the IAWG Policy and Research Group, the policy and power base of the organisation, which meets three times a year. New Zealand has had a member on that committee ever since.

This international connection is of immense value to the New Zealand guild. The IAWG is a powerful body. The Writers Guild of America can bring the movie industry grinding to a halt, and in the ‘80s it did so. The support and backing of our international affiliates has helped us through some difficult times. And this support has been generous. The WGAw has paid for international airfares and accommodation for PRG meetings, it has given substantial funding to assist its tiny New Zealand colleague to grow, and it has always been a kind and generous host.

Our overseas affiliates were appalled by the Employment Contracts Act that broke the power of the unions. So appalled, in fact, that they contributed money to enable our Executive Director, Philippa Boyens, to work for the Guild full-time.

Our newly full-time ED helped the NZWG to grow in many directions. The script registration service was established, Malcolm Black provided legal advice for both the Guild and its members, seminars and craft evenings offered training and fresh ideas to writers. Over many difficult months, we negotiated a set of contract guidelines with SPADA.

Philippa has now gone on to greater things, and in the years to come, the NZWG was to do the same.

Fax, Lies and Videotape

This was a period of extraordinary growth for the Guild. During her three and a half years as the Executive Director, Philippa Boyens changed the face of the Guild significantly. By 1995, the Guild had a new membership database, a registration service, and an information pamphlet. Regular craft evenings were re-established, and a number of writing seminars were held, including a lecture from award-winning screenwriter Andrew Davies, a business seminar for writers, and a two-day workshop with US script guru Linda Seger. Not too shabby for a tiny cash-poor organisation. Hardly surprisingly, this rush of new activity attracted more members. Over 1995, the membership rose steadily to 278.

Improving work conditions for writers remained the Guild’s principal goal and proved to be as challenging as ever. The Guild had long attempted to negotiate standard rates and practices with the Independent Producers and Directors Guild (the organisation was soon to morph into SPADA) with little success. However, as the Guild blossomed, the IPDG realised that not having some kind of guidelines was working against its members instead of for them. Thus, Philippa and the board managed to negotiate a booklet proudly titled Guidelines For Writers and Producers. This booklet had originated out of the Guild’s desire for Model Contracts and Agreements, but given the IPDG’s resistance to anything even resembling minimum rates agreements, this was no mean achievement. It was the first such document to exist in New Zealand since the loss of the TVNZ/NZWG Standard Writers Agreement.

Philippa also established the production of a regular newsletter – a photocopied tome filled with articles generously provided by any member she could convince to write one. She also established the tradition of gratefully using SPP’s photocopier to produce the beast – a long and delightful task that has been since enjoyed by myself, various board members, Paddy Compter, and Dominic Sheehan – but more on those two later.

1995 was also significant in that it saw the Guild undertake its first official credit arbitration – a valuable industry service the Guild still performs, despite some producers still not really understanding what it is.

Another achievement during this time was the lobbying of the NZFC to elect a writer to the NZFC board. Quite extraordinary that lobbying was required, given the role of writers in the filmmaking process, but hey, the Guild wasn’t complaining – this success also opened up further opportunities for dialogue between the two organisations.

And on top of all this, the Guild still managed to find time to upgrade its rather meagre resource library, which consisted at the time of a rather paltry set of screenwriting books, a few scripts, and a couple of videos from the Australian Film Television and Radio School.

By the end of 1996, the Guild membership was up to 370, and the organisation had initiated discussions with the NZFC for underwriting of the Guild’s core activities. The successful culmination of these discussions in 1997 resulted in an ongoing funding relationship with the NZFC, which would ensure the Guild’s continued survival, at least in the interim.

Halfway through 1997, Philippa resigned and approached me about taking on her role. In true literary/fairytale tradition, she asked three times before I agreed. She is nothing if not tenacious, and as a result of that tenacity, I ended up in one of the most rewarding jobs I’ve ever had.

When I first joined the Guild in 1996, Philippa was working out of a windowless cupboard that would have given OSH conniptions. So my agreement to take on the role hinged on a move to a slightly larger cupboard with a window. But new office aside, I really had no idea what I’d taken on until I was doing it. Suddenly,

I was supposed to have an intimate knowledge of copyright law, broadcasting policies, databases, and the personal writing histories of over 300 members. And all of this compounded by the nagging fear that I would bankrupt the Guild in my first month – because it wouldn’t have taken very much.

The Guild was also about to host the John Sayles Seminar, and it quickly became apparent that this wasn’t a one-person job, and we would definitely need a two-person cupboard at some point. Not to mention the unheard-of luxury of a fax machine and an email address. The Sayles event proved to be a fantastic profile-enhancing event for the Guild. The securing of the independent filmmaker and his producer partner, Maggie Renzi, had been secured by President Greg McGee and Philippa at some point in 1996, but the grunt work of organising and publicising a film preview of Men With Guns, post-screening party, a one-day seminar, and an industry masterclass fell to me and Paddy Compter.

It was a mildly terrifying undertaking at the time, but a learning curve that stood both Paddy and I in good stead for the events that were to come. And in fact, for just about anything we might ever choose to do in the future. We coped remarkably well when the print of Men With Guns got lost somewhere between Germany and South America a week before the screening. But it took nerves of steel to stand outside Auckland International airport at 6 am and watch our jet-lagged head-lining guests roar off in an SUV on the wrong side of the road. “Oh,” said Greg, revealing a penchant for understatement, “I hope they’ll be alright.”

Over this period, the Guild continued to be dogged by money worries. The more we tried to offer our burgeoning membership, the more it cost. Thus, we doubled the registration fees, increased fees, started charging the non-members sneaking into craft evenings, and started a membership drive. We also started quietly promoting the Guild at events such as the International Film Festival and Writers Festival, not to mention tertiary institutions.

Over the next three years, we organised seminars with Herschel Weingrod/Andrew Horton, Australian comedy writer Andrew Biggins, Australian screenwriters Louis Nowra and Jan Sardi, acclaimed playwright Roger Hall, and Writer/Director Andrew Bancroft, who ran a series of successful courses for beginners. We also convinced the Auckland City Council to give us $5,000 to beef up our library.

Industry achievements included commissioning a research project into writers’ rates (so we could publish a list of recent industry rates and quash dark mutterings that we just made them up), negotiating a Letter Of Intent document with SPADA to be used by writers and producers to cover the period before optioning, and becoming an active participant in the Local Content Lobby – which included having board member Paula Jones representing us on the board of trustees. Guild representation in the form of Judy Callingham on the NZFTA board successfully secured three awards for writers. We also published a Writers Directory for industry use and we moved a lot – from Richmond Road to College Hill and then to Ponsonby Road, where blowflies and rats battled for supremacy in the stairwell.

By mid-1999, our membership had risen to 430, we had a website, we’d convinced the NZFC to increase their core funding, and we had a new president. Guild stalwart Greg McGee had finally thrown in the towel and was replaced by Alannah O’Sullivan, who had been a long-standing board member. Some people cite exhaustion for Greg’s departure from the presidential position, but I know it was really my insensitivity that pushed him over the edge. We were going through customs at LAX en route to the 1998 IAWG meeting in Canada. When we’d finished being questioned, the customs officer said he hoped that my father and I would enjoy our stay. A more politic person might have set the officer straight, but I was too busy laughing.

1999 was an intensely political year as the Guild worked alongside other industry organisations to make broadcasting policy and arts funding an election issue – and it worked. At the very least, people were talking about arts-related issues. We also listened with keen interest as Labour promised to review the Employment Contracts Act, which had, over the last 9 years, restricted the Guild’s ability to negotiate a Minimum Basic Agreement – something all other English-speaking industries benefit from. Meanwhile, our CTU reps Dean Parker and Ramsay Margolis were keeping the CTU appraised of the policy issues that affected writers and importantly drew their attention to the problems faced by creative workers.

Dean’s long-held relationship with the CTU had given the Guild a quiet ally over the years, and it was Dean’s work that created a base for Dominic to work productively with the CTU in the years to come.

1999 was also the year Paddy left for greener pastures and was replaced by Dominic Sheehan. I promised him it would be temporary, and he still hasn’t forgiven me.

But perhaps the most significant work undertaken by the Guild executive during 1999 was the drafting of model contracts in association with law firm Baldwin, Shelston Waters. In agreement with SPADA Executive Director Jane Wrightson, we planned to present the contracts to the SPADA board in the hope that they would enter into negotiations with us. Not surprisingly, SPADA hated our first draft – but despite the ill-disguised antagonism during that first meeting, I was grateful that they’d come to the table to discuss the contracts at all. Negotiations started in 2000 and were completed the following year – a process ably helmed by President Alannah O’Sullivan.

So all in all, a stressful, eventful time but an exciting couple of years that raised the Guild’s profile and saw it establish and re-establish important relationships throughout the industry both here and overseas. This was a solid foundation that would soon be built on by Susy Pointon and Dominic Sheehan.

Pakn’Slave

2001 was the Year of the Foundation. The year before, while batting funding ideas back and forth with the newly ex-ED Kathryn Burnett, I joked that we should set up our own Writers Guild Foundation, along the lines of that run by the Writers Guild of America. What I had intended as one of those throwaway ideas that is so ridiculous you think it will never fly (the sort of idea you learn not to repress around the writing table of a sitcom – see, Melody Rules was good for something!) found support, not only with new Executive Director Susy Pointon but with the entire Guild Board. The purpose of the Foundation would be to improve development opportunities for local screenwriters. Susy and I approached the New Zealand Film Commission with the idea. They had also been grappling with the issue of writer development, and thus the New Zealand Writers Foundation was born.

The additional core funding provided by the Commission enabled the Guild/Foundation to move to 243 Ponsonby Rd in January 2001. For the first time in its history, the Guild was not a sub-tenant – but an actual tenant! Our new residence was formerly occupied by a sewing service, and for at least a year, people would wander in holding garments they expected to be fixed. Susy suggested we make some extra cash by offering a while-you-wait alteration service – and hopefully sign up new members while the customers waited. We were also now able to rent a photocopier, negating the need to trek out to West Auckland to do battle with the SPP-copybeast.

The additional money also meant that Susy and I were able to go full-time, or at least be PAID for full-time work. Prior to this, all Guild employees had been paid for 30 hours but actually worked many more. To cope with the extra work, we added Dara McNaught (Manager - Membership Services) and Angela Zivkovic (Programme Director) to the staff.

The Foundation’s first year was an ambitious one – workshops, seminars, and the inaugural New Zealand Screenwriters Laboratory. We launched the Foundation at Rannoch, the gothic mansion owned by arts patron, businessman, and Foundation patron James Wallace. Another Foundation patron, Jane Campion, surprised us all during her speech by pledging $150,000 of her time to the Foundation – something we’re still to cash in on. Jane, if you’re reading, you might want to contact the office...

Seminars and workshops followed, including ones from international presenters, which gave some of us here our first taste of ‘the trying overseas guest’. The runner assigned to assist one diva-ish visitor recalls a mad dash around Auckland trying to find the ‘appropriate’ (i.e., expensive and difficult to find) menu Ms Thing had ‘requested’ (i.e., demanded). Time and money being short, the runner made a visit to the local Pak’nSave and removed all evidence of packaging. Scientific tests revealed that one out of one prickly writing gurus think that ‘free range organic chicken’ and ‘Pak’nSave deli chicken’ taste the same.

The Laboratory was held in February 2002 and ended an exhausting first twelve months for the Foundation. Exhausting because at the same time we were also continuing to run the Guild. In 2001, the negotiation of the Model Contracts continued unabated – myself, Kathryn Burnett, and Judy Callingham formed the Guild’s negotiation team – overseen by Susy and Alannah. The contracts would finally be released into the wild later that year and remain a stunning achievement.

With all these high-profile seminars and the advent of free contracts, the Guild’s membership swelled to around 550, a level that has been maintained ever since.

Susy Pointon left in February 2002, and I took over the Executive Director role. Alannah O’Sullivan also stepped down, and Denis Edwards stepped up,

providing a bolt of testosterone to the management of the Guild. Our immediate goal was to put those elusive minimum agreements back front and centre. An example agreement was drafted and christened – it was to be officially referred to as an IMA – Industry Minimums Agreement.

Unlike the heady days of minimum agreements in the 1980s, the Guild was faced with a very different bargaining environment. Since then, the industry players had fractured, and instead of negotiating with simply TVNZ, we were faced with a myriad of companies and independents. Further, the newly passed Employment Relations Act did not cover contractors – meaning we could not use this agreement to compel any employer to the bargaining table, let alone expect them to reach an agreement. Despite this, we approached SPADA. While we knew they would not welcome being tied to minimum rates and conditions, we hoped they would see sense in negotiating this agreement with us. They didn’t, and the IMA remains MIA – but watch this space (he said enigmatically...).

While our industrial negotiations were proving elusive, the Guild itself continued to expand its service base. Early 2002 saw the advent of the E-News, our electronic bi-weekly newsletter. Credit for the E-News must ultimately go to the Writers Guild of Great Britain – we stole the idea from them, but as every intellectual property lawyer knows, there’s no copyright in an idea. The library had also continued to grow – one shelf had become three had become an entire cupboard. It now spans two very full cupboards.

Meanwhile, at the Foundation... in between running script read-through workshops and seminar series by the likes of Arista and Linda Aronson, negotiations got underway with the Commission for a second Laboratory, and it took many months to finalise the conditions. The main issue with the Laboratory is that it is required to serve the needs of both the partners in the Foundation – the Guild (who want an anonymous process where the writer is able to relax and focus on the script) and the Commission (who want scripts they can put into production). And while the two organisations didn’t always have the same opinion as to how the thing should be run, we did always keep talking, and ultimately a set of conditions acceptable to both partners was agreed upon. The second Laboratory eventually took place in December 2003 and was another great success – largely because of the work of Angela Zivkovic, whose efforts were nothing short of superhuman.

During all this time, the Guild continued its attendance at international conferences. I could relate some of what took place around the table over these years, but it’s the behind-the-scenes happenings that are far more interesting. For example, Guild President Alannah O’Sullivan and I flew into New York exactly one month after 9/11 for the 2001 meeting. The office at the Writers Guild of America East is smack in the neighbourhood of various news networks, and one, based right next door to WGAE, received anthrax-laden letters while we were there. There’s nothing like experiencing history up close and personal!

Compared to the Guild’s earlier history, the last couple of years seem rather uneventful to me. I’d describe them as a time of consolidation. After so much growth, two Laboratories, all that E-News formatting (believe me, it doesn’t get to look so pretty all by itself!), and Pak’nSave chicken, we could be forgiven for wanting to take a breather and simply flex some of our newfound influence. 2003 saw the Foundation work to build upon its promise and, with its focus on up-skilling, has been a major contributor to the rise of development culture in New Zealand. The Guild continued to be the voice of writers, commenting on everything from the composition of the Screen Council board to the lack of dramas on the screens of TVNZ. During that time, we also increased our involvement in the CTU and are still proud to be the only independent arts union in New Zealand (though hopefully soon joined by Actors Equity). Surviving in an unfriendly industrial environment (no quota or minimum agreements to use as a stick) has meant we’ve needed to become diplomats while still performing the work of a union – not always an easy balancing act.

Denis Edwards stepped down in early 2004 and was replaced by Frances Edmond. Pressure on membership services encouraged us to employ Jane Bissell, and Marj Noble joined us later in the year as our new Treasurer. Last year, we also completed another major review of writing rates. We were dismayed to see that rates had actually stayed the same or decreased slightly right across the board. And producers think there’s no reason for a minimum agreement! What other profession actually pays less than it did in 1998?

However, on a brighter note, 2004 was also the year that three of our members won Oscars. Peter Jackson, Fran Walsh, and Philippa Boyens put New Zealand screenwriting on the map with their Best Adapted Screenplay Oscar for LOTR: Return of the King, not to mention a BAFTA and about a billion other international awards. There is nothing like seeing great talent rewarded – especially when that talent is local.

In early 2005, Dominic Sheehan chose to leave and was replaced by Penny Ehrhardt, who chose to leave and was replaced by Dominic Sheehan. The Foundation moved towards greater independence. The Guild turns the big 3-oh. Time to look back and forward.

Thanks to everyone for making it such an eventful thirty years. And beware of writers bearing axes. Or chicken.

Imaginary friendships

Fifty years is a long time. There aren't many organisations that have remained relevant in my life for anything like that time. In fact, NZWG is about it.

Some years back, 35 maybe, a Writers Guild newsletter turned up in my Dunedin mailbox. A real, folding paper news sheet in my real actual physical mailbox. That's how long ago it was. But it was as if an imaginary friend had just turned up at my front door. I'd joined the Guild five years or so earlier because it seemed the professional thing to do. I'd left TVNZ and gone out as freelance writer and director. Accountants charge extra if they can claim membership of the Institute of Chartered Accountants. Maybe it would work for a writer and director. I added “Member: NZ Writers Guild & International Affiliation of Writers Guilds” alongside the "NZ Screen Producers & Directors Guild", and "Academy of Film & Television Arts" on the letterhead I created on my new PC clone, and increased my imaginary rates.

For those first years that was about it. Imaginary friends. The Guild sent multiple friendly reminder notices about my subs from time to time. I eventually paid them, and we otherwise left each other alone.

I had no idea who “the Guild” actually was or what it did. I didn’t much care. It was some official organisation up north, like most other organisations. I was preoccupied with creating an independent career in the screen industry – which is to say, I was immersed in rejection, frustration, angst, and lonely depression as the Rogernomes demolished the traditions of quality, reliability, and civic service, and television was increasingly ruled by the crassest commercialism. Creative accountants dominated feature film making, and nobody followed any rules because there weren’t any. The arcane concerns of the Institute of Chartered Writers were the least of my concerns. Until that folding paper news sheet turned up in my mailbox - with an array of reflections, tips, and musings of a species I’d never heard from before: New Zealanders, writing for the NZ screen; facing the same NZ frustrations, wrestling the same black dogs, and assailing the same stony walls that until then I had only ever climbed alone.

I've often recalled it as being as if air had suddenly entered my space capsule. Robinson Crusoe discovering footprints in the sand. Suddenly I had access to perspectives on the professional and intellectual region I inhabited that were not solely my own. It’s effect, for me, was profound. It has lingered with me. I recall it the way people recall planes flying into tower blocks, or the fairytale princess hounded to death by the media wolf pack, or the radio reporting that an American president had been shot in Dallas.

It burned into my consciousness the surety that however much writing may be an internal exercise; however much it may be a personal expression, there is untold power to be drawn from the shared perspective. NZWG became an actual part of my life.

So when I opened an email in 2006 from our stalwart gone-again-back-again Exec Director, Dominic Sheehan saying that the Guild looked like having no Southern Region rep for the coming year I emailed him and said "Have just opened the notice about board elections. Can't have no Southern rep. I'm happy to step up."

The move was substantially motivated by having encountered Mike Riddell who had stepped up as Southern region rep for a while before moving north. In his time in the role Mike had unleashed his whirlwind energy and creativity on Dunedin to turn a late night conversation over a beer into Screen Dunedin, an ad hoc screen collective that got several short films in development and/or made, a series of studio-based one act dramas shot, and had its own website and regular sector gatherings in the basement of the Duke of Wellington - the first regular screen industry gatherings since TVNZ fled the city in the early 90's.

In Mike's wake I felt a certain sense of obligation to pick up the ball. Having put my hand up I was co-opted on to the NZWG board with what felt disturbingly like the haste of desperation. That should probably have been a cue.

Anyway, I found myself thrust into the wilderness of NZWG affairs. It was innocuous enough at first. Dom and then President Frances Edmond were seasoned hands and ran affairs with a minimum of fuss and debate. Mark Prebble was Vice President, Malcolm Hill was Wellington Region rep, and Andrew McKenzie and Mike Riddell completed a very civil and businesslike, if surprisingly lean crew. Dominic, Marj Noble, Dara McNaught and Jane Bissell did whatever went on in the office. I felt a bit like Dorothy peeking behind the curtain. The main thing I recall was a constant flow of acronyms that meant nothing to me: PRG, UNI-MEI, StoS, CCUG, SFWU.

But it became clear the Guild was emerging from a tough time. Marj reported that the year looked like finishing with a small financial surplus after the previous two years showed a deficit. She attributed the result to having income from two sub-tenants in the Guild's rented offices, but I suspected it was no coincidence the surplus had developed since Marj took on the Treasurer's role, and presumably the ED agreeing to a pay cut also helped. It was noted the NZWG had been trying to do too much with too few resources, and had had an internal focus for the last 18 months. It now needed to look outwards.

Serious business

It was in fact a major turning point for the Guild. Having successfully launched the Writers Foundation in 2001, the quite different priorities and operational requirements meant the Foundation had been draining Guild resources the Guild could ill afford. So it had been decided to split the family, and the toddler had been sent off into the world like a Spartan newborn to find it's own path under the new name of Script to Screen. Script to Screen would run monthly events on the craft of writing in Auckland and also start rolling out events in Wellington and Christchurch. Splitting off the film craft events took some of the edge off the NZWG's public profile, and so spurred a sharpened focus on serving Guild members in TV, theatre, and the intended new addition of comics. But more especially it spurred a focus on the business side of writing. In coming years, the business side of writing would increasingly emerge as the foundation raison d'etre for the Guild. Let Script to Screen teach people how to write films. NZWG needed to focus on how writers could make a living.

That seemed timely. The world had changed since the Guild was founded. We had a new population of writers who had never known the days of unionised workplaces or collective agreements; only the fragmented free market conditions of the Employment Contracts Act. The NZWG needed to find significance not so much as a union but as more of a professional association. Improving rates and conditions was inextricably linked to lifting the market status of writers, and that fell to the Guild. The objective was for writers to be perceived as key to the filmmaking process. As part of that, rather than trying to promote writers as such, we targeted raising the profile of the Guild, and making the NZWG the 'go to' people for screen industry comment. It would become a key element of the Guild's direction.

Sudden turns of the screw

So that first year, my foray into the Guild's inner workings hadn't proven too daunting, and even vaguely inspiring. But at the final Board meeting for 2006, Frances Edmond advised we had a problem. Dom had advised that after nearly eight years with the Guild he was moving on to become Chief Executive of the Broadcasting Standards Authority. We needed a new ED. But we also needed a new Guild President because Frances wasn't standing again after holding the position for three years. She felt a successor needed to be involved in appointing the new ED appointment. So suddenly I found myself thrown into the President's chair and heading into my first job interviews in more than 20 years, and for the first time as an employer.

While Dara McNaught and Jane Bissell kept things together following Dom's departure, we advertised, got a range of applicants, and after coming up with a shortlist for Frances and I to interview agreed on a young fellow with a background in student politics, and a novel being adapted to a feature, who had clearly done a lot of homework on what the role involved. Steven Gannaway, took up the ED’s position on April 2nd, and brought an energetic new mix to the Guild. Like his predecessors and successor, he took the Guild’s priorities and concerns on as his own. It is striking that without the level of personal commitment our EDs have always brought to the role, the Guild would be a shadow.

But 2007 was a year of transition. We began the year with a new Executive Director, new President, and almost half of the Board new to the role. Andrew McKenzie and Mike Riddell remained along with Mark Prebble as Vice President. We were joined by Benedict Reid. But having read in the constitution that 7 members was the stipulated minimum, Alison Davie, and Barry Duffield were co-opted. With so much change it was probably not surprising that we seemed to spend an inordinate amount of time discussing the distinction between governance vs admin, but it was a welcome relief in later years when it stopped cropping up on meeting agendas. Despite the extensive change of bodies and minds, and with Dara and Marj's steadying guidance, the Guild continued to function smoothly. A number of new initiatives were launched, and we came in under budget for the year and again with a small surplus. The long-awaited new website became active, followed soon thereafter by the Guild’s new online Find A Writer service. That service’s considerable value to writers was evident within days of it going live, with producers quick to avail themselves of it.

Back to the future and back again

Towards the end of 2007 we also saw the launch of a new Guild print magazine, underwritten by the IAWG funding. Publication of the print magazine Write Up had to be cut as part of the financial restructuring in 2005 and Boards had been working since to see a print publication return. Having funded the rebuilding of the NZWG website, the IAWG generously agreed in 2006 to provide seed funding for a new, self-sustaining print magazine. With his university background in fine art and design, Steven launched into that project with particular relish.

In an age in which the screen experience was fragmenting, a print magazine was seen to offer a water cooler around which screen storytellers could gather and testify to their common experience. It was also hoped the magazine would prove relevant to the broader screen industry and be a tool in marking out writers – and the Guild - as being at the heart of the New Zealand screen industry. Sadly, despite Steve's design talents delivering a good looking magazine, the project lacked the marketing expertise to bring advertisers on board, and without them the mag wasn't viable once the IAWG's initial funding was used up. On reflection, the original decision to go ahead with the mag without an advertising solution in place was a predictable mistake, but amid the wholesale change in personnel and people getting to grips with unfamiliar roles it slipped through.

Looking out

One area that Steven and I were both particularly committed to was working to strengthen relationships with other industry players and developing a profile for the Guild as committed to cross-industry co-operation. So we worked actively to explore ways to act jointly with producers’ organisations, other industry guilds, NZOA, and NZFC. We took the view that we are all partners in the same endeavour – building the New Zealand screen industry - and that working together is better than being at loggerheads.

We teamed with the Producers Association and Directors Guild, to run a series of Date Night speed pitching/networking events around the country. The events were successful on a number of levels, and saw a raft of producer/writer connections leading to follow-up on projects. The broader objective of enhancing the Guild’s profile was also well served. Our producers’ and directors’ co-hosts during at least one of the Date Nights publicly thanked the Writers Guild, not just for organising the event, but for leading the way in something that was of benefit to the whole industry.

Making the national character of the Guild a reality was a big focus I was keen to push. We continually had calls from members for more regional events, and operating from Dunedin I knew the procession of notices that came telling of craft evenings and events in Auckland; sometimes in Wellington. To attend an event in Auckland from Dunedin in those days was an investment of $1,000+ in airfares and accommodation, and generally two days off actual work. (It's hardly any different now). Members in other towns and cities faced similar barriers. If NZWG was truly a national organisation a way had to be found to deliver events and support regionally, beyond answering phone calls and industry lobbying. So the Guild continued building a mutually beneficial relationship with its offspring Script to Screen as StoS began to carve its own identity. During 2007 we teamed up to host joint events in the four main centres, and initiated plans for even greater co-operation. During the year Benedict Reid also took a lead as Central region representative in raising the Guild’s level of activity in Wellington.

We talked with the PSA about their possible help in achieving movement on the appalling rates paid to writers working in radio drama.

Steve and I also met with NZFC Chief Exec, Ruth Harley to pitch the case for direct funding to writers to develop projects without needing producers attached. We argued the major barrier to new feature writers was covering living costs while taking time off paying work to write a draft screenplay that a producer might attach to. As things stood, a writer essentially had to sell the rights to an idea to a producer before even developing it and thus lose creative control from the outset, or develop it without support. It didn't seem to be rocket science to see that expecting writers to develop world class screenplays in their spare time clearly wasn't a bankable path to industry growth. It closed opportunities off to people who had valuable story-telling skills, and industry and life experience – but families to feed. Ruth was "receptive" and open to exploring the notion.

(It took a while but it was gratifying to see this finally come to fruition with the launch of the Writers Guild Seed Grants in 2014. Good spirit takes time to mature.)

Striking while the iron was hot

The IAWG meeting that closed the year was in Montreal. I had little notion of what it entailed, but I had one message from Frances and Dominic about the IAWG. "Protect that relationship!" Their support for us in both the website and magazine projects made it clear why. We continue to draw exponentially more value from our involvement than we could ever hope to provide in return.

But the Montreal conference was most notable for coinciding with the launch of what became the 2nd longest ever strike by American writers, and provided a fascinating insight into the dynamics of an industry in which writers have coercive power. From November 5, all 12,000 film and television screenwriters of the Writers Guild of America went on strike, arguing for increased residual rates for DVD sales (remember DVD's?) as well as jurisdiction over animation and reality programme writers, and residuals for content written for or distributed through then emerging digital technology such as this new thing called the Internet. The eventual big win over new media was precedent-setting. Streamers would have to hire WGA writers on shows over certain budgets. Other than that, they received a new percentage payment on the distributor's gross for digital distribution. But the guilds would be on strike for 14 weeks and 2 days to get there. According to a National Public Radio (NPR) report in February, 2008, the strike cost the Los Angeles economy an estimated $US1.5 billion.

Writers seldom work with other writers. Their voices are scattered. They are prime targets for divide and conquer. The US screen writers strike was a demonstration of the power of writers working together. We don’t do it often enough, here in NZ. As a consequence, we have among the lowest pay rates in the so-called first world.

So while we sat around the table with our Canadian and Australian counterparts talking about wanting IAWG support to get local content quotas and other measures to help compete against the Hollywood goliath, the people at the heart of that Hollywood goliath were on their phones coordinating the battle strategies in LA & New York. At one stage, as we were making our pitch for IAWG funding for research into the case for local production quotas, Carl Gottlieb remarked wryly that we were effectively wanting the poacher to pay for ammunition to shoot the poacher.

Yet for all that, the Americans were okay with the idea. The logic as I understood it was pretty simple: it was important to the American guilds to have strong regional guilds around the world, because the last thing American writers wanted was to call a strike and find that producers simply moved production offshore to places not covered by their union agreements. Hence, they funded Guilds around the world through the IAWG, and in return, when the American guilds went out on strike, writers belonging to guilds around the world didn't step in and steal their jobs.

Whilst in Montreal, and on our return Steven and I were interviewed by various media here and abroad. Our stance was that the American writers are in the frontline of a battle we're all facing. Any deal by the media conglomerates that weakened or undermined our American counterparts will ultimately have a ripple effect here.  Our producers are playing in the same international markets and with the same international conglomerates. In a show of support for the American Guilds, screenwriters worldwide joined in an "international day of solidarity" with protests in Australia, the United Kingdom, Ireland, Mexico, France and Canada. The NZWG called on New Zealand writers to do whatever they could in support of the strike, whether it was taking to the streets or calling, emailing, or sending non-nuclear missives to the representatives of the major media conglomerates. There were very few of the US media conglomerates active in New Zealand in those days, which limited the relevant action NZ writers could take, but it was important the Guild was seen to be standing with Guilds around the world.

In fact, the Guild was approached by a few New Zealand writers looking instead to cash in on the strike. Steve had to delicately explain that if they did they would be blacklisted internationally. Most had far more intelligence. If we're going to support an industry practice in which any time you're in dispute with a producer your own colleagues will step in and steal your job, we're headed into a dark place few thinking writers would want to head.

Musical chairs time again

We went into 2008 with 6 new Board members: David Mamea, Sean Molloy, Athina Tsoulis, Peter Cox, Roseanne Liang, and Dianne Taylor joined the returning crew of Mike Riddell, Benedict Reid, Alison Davie, Barry Duffield and myself. Having so many, and such a diversity of people on the Board helped diffuse the sense of being a tiny team alone in the world that tended to perfuse those first board meetings in 2006. Personally I find diverse perspectives an asset more often than a curse, and we were always going to be a small group trying to make a big impact, so more heads (and perspectives) were welcome. It lent new vigour and rigour to Board discussions.

The fact that we were scattered throughout the country and not often able to meet, formally or informally, created other issues. The sheer logistics of including everyone in discussions forced us to move increasingly to explore radical new online meeting options via Skype and such newfangled things. The electronic age posed some challenges to those more familiar and comfortable with traditional face to face meetings, but opened some significant new options for Board discussions compared with the Guild’s past reliance on (expensive) telephone conference calls. To maintain and give reality to our claim to be a truly national organisation, we had no real alternative but to exploit the new technologies, and could hardly claim to be creative thinkers if we didn’t.

Of course, operating electronically, as a Board comprising people who didn’t know each other and seldom met physically, inevitably involved its own challenges, but a positive and constructive approach generally prevailed and it meant the NZ Writers Guild with an 11 member Board was probably the most energetic and active membership organisation in the industry at the time, and almost certainly, the most truly national.

And we once again came in under budget for the year and with a small surplus.

Major moves

Highlights through the year: the Guild played a significant role in a new and improved Screen Production Incentive Fund (SPIF). There were significant changes to government support for film & television production. More significantly, after lobbying by the Guild, increased weighting was given to a NZ screenwriter counting towards whether a production rates as a NZ production, so better recognition of the critical role of screenwriters. (Andrew McKenzie would have been well pleased)

Also during the year the Timpson Collection of nearly 1,000 film scripts was added to the NZWG library. The collection was donated by Ant and Matt Timpson and served members well, until the world went digital and forgot what a paper script looked like.

Through 2008 we continued working to strengthen relationships with other industry players and push the profile of the Guild as a leader in cross-industry co-operation. Steve worked energetically, and generally successfully, to put himself at the centre of pan-industry initiatives in Auckland. We teamed with SPADA and Directors Guild to run events around the country.

Walking the talk

In my combined role as national President and Southern region representative I worked to make the Writers Guild the “go to” guys in the South, offering a one-stop shop where would-be industry players from inside the region or outside the region could make connection, ask their questions, get their party needs. Because nobody else was filling that role it seemed we had to stretch the Writers Guild brief, in order to truly work for writers.

Working with Script to Screen, we built on the success of 2007's Date Night/Writers Room collaboration to put together a day long festival of film and television workshops which ran in Dunedin and Christchurch in May 2008. The workshops weren’t all specifically writing focussed. Taking the view that writers benefit when screen activity grows, anything that bolstered local screen activity was good for local writers. Eventually we ended up with six events over 12 hours involving 6 national and several local screen organisations and interest groups. They covered writing feature films, Māori screenwriting, the international television market, directing actors, and the traditional Guild Date Night speed pitching session.

From that base, I began working with local organisations to expand the Dunedin event for subsequent years, including feature script feedback sessions with a producer, and a workshop on blending film-making and the new field of online gaming. Over the coming five years that became a two day Festival of Film & Television Craft in Dunedin that brought all the main industry organisations to the city for a weekend of back to back workshops and presentations that significantly boosted engagement between the industry bodies and local practitioners.

Until then, for most in the south, the screen industry was "something that happened up north." There had long been calls for the Guild to hold more regional events, and there had been some. But for most in the regions, the national bodies, including NZWG, seldom came near. Locals had little idea who or what they were or did. The standout illustration was sitting in a session at the initial day-long Craft Festival in Dunedin as Hone Kouka detailed how to develop a feature screenplay for the Film Commission. After an excellent and comprehensive hour-long outline Hone invited questions. There was an extended silence, then the question: “what's the film commission?” I think these sessions were at least as important for bringing awareness of the geographic divide to the national organisations as they were for bringing information to locals.

In time we expanded the workshops to include workshops on directing, handling acting auditions, nurturing indigenous voices, and the realities of selling shows to international networks. We flew Shortland St producers down to audition, and hire, local writers. We gave a forum for local industry practitioners to introduce themselves to the ever-changing local and aspiring screen community, which was in fact quite substantial given Dunedin's history as the country's first major television production centre. There was a pool of highly experienced professionals who had simply declined to abandon the city when TVNZ did. We just needed to get everybody aware of it and talking to each other.

I worked with local producer/director Dell McLeod to set up a regionally focussed Dunedin Film online discussion forum (http://groups.google.com/group/dunedin-film/topics). The forum was intended to be a no effort way for members and anyone else across the south to stay in touch, share information, get involved with southern projects… It did all of those things (and continued to do them over the next decade with 250 people signing up). We worked to extend the Guild's southern network; strengthening the connections between the film community and the Dunedin theatre community; building partnerships with the university, polytechs, high schools, and city council; and got other events happening through the year. End result: more understanding; more film activity; more scripts turned into films.

Because I was based here, Dunedin offered an opportunity to test the model. It looked to work, and after the 2008 event we had several other organisations ask to join the programme, and got increased local body funding. After one Film Commission workshop, Hone Kouka commented that NZFC would keep coming back because “Dunedin was hot”. Benedict Reid and Sean Molloy were meanwhile active in the Central Region building an ongoing Writers Group which met regularly to workshop each others work, share information, and discuss solutions to issues and problems. The hope was that we could get the same scale of thing happening in other centres, but the critical element proved to be having someone on the ground to drive connections.

Our turn to host

The major Guild event of 2008 however was the annual IAWG meeting coming to Auckland. It was a huge ask of a small guild. It involved Guild Presidents and Executive Directors from the 2 US guilds, 2 Canadian guilds, Irish, Australian, UK, South African, and French guilds descending on us for a week of meetings. If members noticed extra trouble getting hold of the office that year it was due to Steve putting the event together largely on his own. The IAWG was becoming a truly international organisation by then having a new permanent secretariat and new website, and the Auckland conference resolved to meet next in Athens to coincide with the annual gathering of the Europeans, bringing the prospect of greatly enhanced co-operation and collective initiatives in concert with the very different European industry.

Looking ahead

In recognition of the limitations created by our national spread, and the diversity of views around such a large Board table, we broke with tradition in 2008 and held two full-day Board strategy and planning meetings, in December 2008 and February 2009. They proved hugely productive, enabling Board members to explore the Guild’s position and direction in far greater detail than ever possible in short, regular, electronic Board meetings. It was clear NZWG needed to get out of the hand to mouth cycle and a drift into ad hoc, reactive decision-making, reliant on the ED's understanding and vision. So the Board met for a full day's analysis of the Guild's strengths, weaknesses, opportunities, and threats and based on that SWOT analysis we then mapped out a five year vision, and then a plan for the coming year to move the Guild toward that broader vision.

It would fall to the incoming Board to add detail to the objectives but agreement was reached on a clear single-minded vision for the Guild to pursue over the next five years: Establishing writers as partners. Everything the Guild did should move members towards a position of strength and equity in the industry.

There were some overriding priorities identified:

The guild being financially viable, relevant and essential to the industry.

Improving the environment for writers in terms of contracts and pay rates

Developing direct funding channels for writers

Developing model collective contracts

Encouraging professional development.

Aiming for 80% of credited writers of NZ productions to be guild members.

Developing industry-wide best-practice guidelines.

Developing a 5 yr plan for the following 5 yrs

That was a lot of priorities, and we still had only one and 2 half staff, but it was better to have a clear direction and not reach the target, than have no direction and no target to reach. It meant the Guild went into 2009 with some very clear objectives. Alison and Barry stepped aside due to other commitments, but all other Board members offered themselves for a further term. This was a welcome change after the instability that had marked past years. To get consistent momentum needs continuity, and stability, otherwise an organisation spends all its time getting back up to speed. Dianne Taylor was nominated unopposed to take over Barry's role as Northern rep.

Benedict agreed to fill the role of Vice President again in 2009, but stepped down as Central Region representative. Sean was nominated unopposed to take over the reins there. David Mamea agreed to carrying on providing endless technical and other support without which, I was assured by staff  “the office could not have functioned”, as well as assisting in getting the Write Stuff out to keep members informed. So we had a stable and committed team driving the Guild into the coming year. We had hammered out a new 5 year vision and strategy plan. I stood down as national President having done two years. I needed to concentrate more time and energy locally and on other projects, but agreed to remain as Southern Rep on the Board.

Peter Cox put his hand up to take over the reins.

Peter Cox, President of the Guild from 2009-2012 tells about his time in the President’s chair, which coincided with an extremely turbulent time for the screen industry – The Hobbit business. Please note, nearly everyone has an opinion about his time, so we include three other links for different perspectives – truly there are many. We are very grateful to Peter for going there and be warned there is swearing, so use of everyday language may offend.

See Helen Kelly's (then head of the Council of Trade Unions) comprehensive article here

Ombudsman’s Report 2013 by David McGee here

NZWG's History of SIWA via the Hobbit Law and SIWA’S current status here

Peter Cox's History of the NZWG Act VI, 2009 - 2012

So, here I am, late on a Sunday, writing a summary of my time at the Guild - after having been asked countless times by Adele (who is always professional and polite) to kindly hurry (the fuck) up. But it has turned out to be not really a summary and instead kind of a rant on a single topic (as you’ll see). So sorry, Adele: sorry I am so late and it’s wrong, and my apologies. I have no excuses, other than being constantly in a weird sweat of self-concern and selfishness that makes me forgetful of everything but my own problems. These problems are numerous but I won’t get into specifics. I am not here for that.

I am here to write a summary of my time as President of the NZ Writers Guild 2009-2012. My first thought is: who cares? I mean it’s all done now. Ancient history. But maybe some people do care. I’m not sure why, BUT… actually as I was thinking about what to write it occurred to me there was one exciting thing that happened. The rest was pretty calm. We had a good, smart board who made good decisions and kept me on my toes. I have very fond memories of everyone

The one exciting thing was known as “The Hobbit Strike”. What happened was this:

In the early 2000s Actors Equity NZ (Equity) decided to amalgamate/affiliate with the MEAA (The Media, Entertainment & Arts Alliance, Australia's largest union and professional organization for journalists, performers, and creatives). Not a bad idea at the time: the Australian Guild could lend its help - advice, administrative support, representation, etc. From memory, the NZ Guild was not supported by govt funding like the other guilds, which made things difficult for the NZ actors, so this gave the NZers a bit of a chance to exist a bit less hand to mouth, which must have sucked. They didn’t even have money for an office space.

Now, you may be aware that every year the NZ Writers Guild meets with all the other overseas Writers Guilds and we have a conflab about issues and figure out where we can help each other out. The Actors Guilds do the same. So, around 2010, the MEAA who also represented NZ actors, met with all the International Actors Guilds and together they conflabbed about the plight of NZ actors and – from what I can tell – settled on a plan to help with the NZers attempts to negotiate better conditions with the NZ Producers’ group SPADA (Screen Production and Development Association). The plan was to leverage international actors’ participation in NZ productions. Specifically, they targeted the upcoming production of “The Hobbit” by sending a ‘stop work’ order to all international actors involved (meaning: they couldn’t show up on set) until the Hobbit producers negotiated a minimum basic deal with the MEAA. Basically: a stop work order against, “The Hobbit”.

As an aside for a moment - were local NZ Producers exploiting NZ Actors? On the whole, I would say: it sure looked like it to me, at least on occasion. I won’t name any names. But anyone around at the time knew the culture and tone of the local NZ film and TV industry, and it was not what I would call ‘best practice’.

Anyway: the problem with the MEAA’s plan was that The Hobbit was not a typical example of the local industry culture. Peter Jackson was - frankly - pissed off about being put in the middle of what was essentially a disagreement between SPADA and Actors Equity NZ. He and Fran went on the 7pm news and revealed to the country that The Hobbit was being taken down ‘by an Australian Guild’ and basically the shit hit the fan…

It hit the fan and then rained down for weeks. Really, weeks. It was the major front page news story of the country. Every news programme back when they mattered. Robin Malcolm and Craig Parker and others fronted up to put a face on what was going on, but it was pretty clear that Actors Equity NZ were as surprised about the ‘stop work’ order as anyone and weren’t sure what spin to put on it. It looked bad. They said it wasn’t a strike, then they said it was, then they voted on whether to do the strike, even though the ‘stop work’ had already started. They were blamed for putting the production in danger. Ruining the economic future of the country! People said this with a straight face. Remember: this is hard off the success of Lord of the Rings, and the PRIDE everyone felt about those films was palpable. So, you know: don’t fuck with the next Lord of the Rings trilogy (we didn’t know it was going to end up kind of average at the time). It was similar to that vibe around the tourist who ate a Weka a few years back. People were pissed.

Naturally, everyone wanted the NZ Writers Guild to take a side. This meant I had the pleasure of receiving multiple, MULTIPLE angry phone calls from folks like Phillipa Boyens, Jennifer Ward Lealand, and Helen Kelly, the head of the NZ Council of Trade Unions. I liked them all very much. They all hated me. They wanted us to pick a side. We thought about it. There were debates within the board: on one hand, we sympathised with the actors in the hopes for better treatment; on the other hand, targeting The Hobbit for leverage didn’t seem reasonable (no one could really say what the Hobbit was actually doing wrong), and overall the industrial action didn’t seem well planned as a strategy.

So essentially, we held the line, made no official statements and lobbied hard to get the SPADA to meet with Actors Equity NZ and actually come up with some basic terms and conditions for NZ actors in local productions. This was unfortunately complicated by an interpretation of NZ law that prohibited any kind of agreement about terms and conditions (we call this ‘collective bargaining’) because of an interpretation of competition law (meaning it was labelled as ‘price fixing’, and illegal). I also suspect it was just that SPADA would preferred to have not changed anything if they could possibly get away with it. I don’t know this. It’s just my guess. Legal disclaimer.

In the end, long story short: the American Producers got on a plane, came to NZ and had a very special meeting with the Prime Minister. The NZ taxpayer got rolled, and the Americans came away with a bunch of extra tax breaks and a very special new labour law just for them, designed to screw over NZ film workers.

And so that’s it really. The Hobbit films got made. They were okay, I guess. Years later a Labour Government stepped in and changed the law so that collective bargaining is ‘sort of’ allowed, as long as there can’t be a strike action. Which of course removes the only source of leverage the Guilds have to get better conditions, but never mind…

So that’s it really. That’s what happened. I promised excitement. Not sure I delivered. Maybe you had to be there.

So: what lessons can we learn?

Well, the NZ Film and TV Culture was bad. A mindset had developed amongst certain production companies that was - in my view - arrogant, exploitative, and short sighted. I’ve been working in Australia and the UK for years now, and I have little to do with the NZ industry anymore except through a few good folks, but I suspect there is still a fair bit of that same culture now. I hear stories. Do I have any wisdom to offer or just complaints? Basically, my observation is that it’s a small industry with not enough to go around and what most easily develops is a mindset that becomes zero sum: if you’re getting something, then I’m losing something (and vice versa). Some of the leaders in the industry did little to help and a culture developed that was ugly, insular and often arrogant. That was the root cause of The Hobbit Debacle. It’s hard to do much as an individual except, I guess, except just try not to think that way. Forget that zero sum. Be happy for your fellow travellers and try to love them and encourage one another’s successes. You’re going to be fighting against the current I suspect, but watch yourself and have faith and just try to keep love and optimism at the centre. It’s a tough industry, there’s a lot of people insecure and anxious, probably including you. A little bit of self-forgiveness doesn’t hurt either.

Also and PS: I know great, ethical producers. Hard working folks. They’ve made a huge difference between a show succeeding or not. They’re out there, but you need to search them out a bit. Assuming they’re all terrible people doesn’t help anyone. But let’s not pretend the culture has not had some serious problems, I would say an illness even, and the cause of that isn’t mysterious: it’s caused by the attitudes of people.

Okay that’s all I’ve got. Sorry about the word limit, Adele. GL&HF.

Pip Hall has written for television and theatre, and won awards in both mediums. She started her screen career writing for sketch shows like Skitz and Telly Laughs, and enjoyed a long working relationship with soap Shortland Street. She went on to work on the scripts for Kiwi TV movies Why Does Love? and Runaway Millionaires, miniseries Jonah (about Jonah Lomu) and crime show One Lane Bridge.

Pip Hall's History of the NZWG Act VII, 2013 - 2017

To be fair, 2013–2017 is a little hazy. Ah yes, those heady pre-COVID days. Having joined the NZWG Board only a year earlier, and with Peter Cox deciding to step down after a decent stint, somehow, I ended up becoming the new President. Totally thrown in the deep end.

Steve Gannaway was Executive Director and the Guild operated out of the iconic Ponsonby Road offices. Graeme Mason was head of the New Zealand Film Commission, shortly to be succeeded by Dave Gibson. There was upheaval and hoops to jump through, as different funding rounds were mooted. The choice went from three year allocation of core funding to three monthly allocations (an impossible suggestion), to finally settling on annual funding.  

So, as well as core funding, we got funding for a new film development initiative - SEED.  

At that time we also partnered with Script to Screen to help develop Story Camp. The first Story Camp was well received and drew international mentors to work with New Zealand writers. As far as the NZWG was concerned, we had a healthy, mutually beneficial relationship with Script to Screen and it came as a shock to the organisation when, late in 2015, they removed the NZWG, along with other Guild partners, from their governance structure without consultation. Script to Screen formed an independent body. As the founding organisation who set up Script to Screen, NZWG lobbied hard to reverse this decision, but no such luck. We did, however, manage to get Script to Screen to ensure there would always be working writers sitting on their board - to advocate for writers.

After seven years, Steve Gannaway stepped down to move to Wellington and Alice Shearman was appointed. Not only did this herald a change in staff, but also premises. We moved out of Ponsonby Road and into the first of many new offices in Great North Road.

IAWG continued to be pivotal for the NZWG. We attended conferences in Toronto and Warsaw. Steve Gannaway was also part of the organising committee for the 3rd World Conference of Script Writers. The 2015 conference was held in Israel and, by a narrow margin, the Board voted not to attend. New Zealand declined the invitation. At the 2016 Paris IAWG, Alice Shearman and Pip Hall attended and secured funding to help get collective bargaining off the ground.

Alice Shearman has been the Executive Director of New Zealand Writers Guild since 2015. In that time, she has represented New Zealand screenwriters at home and internationally, in the office and at Parliament, online and in live presentations.

Alice Shearman's History of the NZWG Act VIII, 2015 - 2026

The Long Game

In 2015 I walked through the door of the old, uneven floored Ponsonby villa, a bright-eyed and bushy-tailed Agent. 11 years later in 2026 I’m walking out the door a battle-hardened advocate, unreciprocated lover of Writers and a gold star connoisseur of acronyms.

The Lay of the Land, October 2015

On 5 October 2015, the first month of the job included the Script Writer Awards NZ (SWANZ), a New Zealand Film Commission potential core DE-funding meeting, the separation of Script to Screen from NZWG, and attending my first Big Screen Symposium at the helm of NZWG. Luckily, I love swimming because I was in the deep end in full work drag.

The old villa on Ponsonby Road had seen better days and was next in line for demolition (that plot still stands empty to this day), the filing systems consisted of shoe boxes. Ghosts of tenants past roamed the hallways, and the Ant and Matt Timpson script library was straining the second-hand book shelves and floor boards to buggery. One of the first things I did was to overhaul the physical space, moving the script library to surer footing, clearing the hallway into a proper reception area, and turning the dining room into a writers’ room available for hire. A minor achievement in the grand scheme of things. A quote from my December 2015 report to the board:

“Action Item 3. Rearrange the ED’s office and the Membership office

Note A) Each office needs a bloody good bleaching!”

However, the bleaching and local mouse population paled into insignificance compared to the moment that NZWG found itself in.

Script to Screen had started its life in March 2001 as The Writers Foundation established by NZWG to massive fanfare. It was the organisation responsible for writer’s craft and professional development programmes. Then, in 2006, The Writers Foundation renamed and revitalised as a standalone entity called Script to Screen. And now, in 2015, it was officially separating from NZWG, taking flight on its own, or “asserting its sovereignty” as Tainui Stephens said to me at the time.

The emancipation of Script to Screen from NZWG was a fraught situation, and I arrived the week the shit hit the proverbial… Emotions were high, accusations of subterfuge, misleading relationships, and downright unfair game play were being thrown around. Sadly, a lot of trust was lost. Trust between the two groups has taken a long time to rebuild.

The Political Backdrop – National in Power

In 2015 Aotearoa was governed by John Key’s National Party, in coalition with the Māori Party and United Future. For the screen sector, the government’s posture was broadly transactional: international service production was good for the economy; local content was a cultural cringe factor and an annoying cost but cleared the return on investment framework. The 2010 Employment Relations (Film Production Work) Amendment Act aka “the Hobbit Law”, remained on the books, explicitly prohibiting collective bargaining for film workers. Screen funding bodies operated under capped budgets. The prevailing view in government of that day was that the market would sort things out... trickledown… snort...

For NZWG, this meant operating as the only professional backstop for screenwriters in a market where most worked without agents, where producers routinely offered below-minimum fees, and where rights buyouts were often accepted by writers who simply had to take the work on offer (an attitude that still prevails). NZWG’s first and most essential job was frontline protection: reviewing contracts, negotiating rates, and providing the one-on-one Career Checklist sessions that gave writers a clear-eyed view of their professional trajectory.

NZFC Core Funding was confirmed for a further three years in early 2016 at $85,000 + GST per annum (this figure remained unchanged despite a decade of inflation, until the uplift in 2025/2026 financial year), made up approximately half the NZWG’s operating budget. The rest came from membership fees, programme income, and, later, a diversified fundraising plan. It was never enough, it’s still not enough to manage the needs and expectations of the writers. Even still, and to this day, NZWG achieved so much on very little, and that structural tension has remained throughout the decade. It has been that way since 1975.

EDITORS NOTE: at the time of printing, NZWG, had just received the news that NZFC was stopping Core Funding which has supported NZWG and nine other screen sector organisations for more than two decades. NZFC have confirmed that no bridging funding will be made available.

What NZWG Does, and How that Changed over 11 Years

By the mid-2000s, NZWG’s identity was still partly that of a semi-professional social club: a place where writers met at First Friday Drinks, the writers would turn up with BYO drinks and NZWG would supply a bag or two of budget brand chips purchased with petty cash. The conversation was generally trash-talking the industry, but there were also the occasional craft sessions. Mostly it was writers coming together in communal commiseration. Those social rituals built community in an industry where isolation is the default for most writers. But NZWG was also something far more consequential than chief chip buyer, the only organisation providing writers with contractual protections, career guidance, and sector advocacy. My eleven years at the helm saw that dual identity of professional development vs. industry advocacy evolve, as the advocacy work expanded dramatically (ahem SIWA, copyright and AI) and the community function became attached to information tours that we took around the country. The social and work isolation for writers remains the same, perhaps arguably worse post Covid...

Core Services

The bedrock of NZWG’s core services has maintained since the early 80’s, even as volume and complexity grew. Contract advice and negotiation was the most-used service, covering; option agreements, purchase agreements, chain of title complexities, episodic contracts, co-writer arrangements, and the increasingly fraught territory of the digital streamers. The Registration Service provided proof of copyright ownership. The Career Checklist offered individual guidance on professional direction.

By 2016, NZWG undertook the digital launch of Find-A-Writer, the first database in New Zealand allowing producers and production companies to search for screenwriters by genre and format. We also established Table Reads in partnership with DEGANZ and Actors Equity NZ, giving writers the rare experience of hearing their scripts performed by actors in a dedicated development environment. Back then we also had the Ads Service where jobs could be advertised so long as they adhered to minimum rates and model contract terms.

Throughout the decade, contract work shifted markedly. Early years were dominated by feature film options and purchase agreements. By 2018, television and digital or “web” scripted content, particularly for the international SVOD market, had become the primary growth area. Writers were increasingly seeking career guidance on how to position themselves for international opportunities. NZWG’s connection to IAWG partner organisations became practically useful: helping members understand their entitlements in the UK, Australia, the USA, Ireland, and beyond.

Seed and Seed Advanced – Growing the Next Generation

The Seed Grant programme is a writer-only development grant administered by NZWG and funded by the NZ Film Commission. It was established in 2014 the year before I arrived, but I oversaw its transformation into the most significant bespoke writer-only funded development programme in the country. Applications grew from 40 per round in 2015 to 183 in 2026. Yearly, on average, the programme receives about 300 applications over 2 rounds and has done since 2021. Seed Advanced, introduced in 2017 as a separate pathway for more experienced writers, created a cleaner on ramp for emerging writers by removing the perception and reality that they were competing unfairly with established writers.

By 2018, NZWG had achieved gender parity in Seed applications, a milestone reached through sustained outreach with WIFT NZ, NZFC, and the NZWG Board’s Gender Subcommittee. The judging panels were progressively diversified: from 2018, at least 50% female or 50% Māori judges in every round; by 2022, at least one LGBTQIA+ judge in all rounds, across both Seed and the new Kōpere Ake programme.

In 2021 Kōpere Ake, a series development fund for screenwriters designed by NZWG in partnership with NZ On Air, was launched. It addressed the specific gap between having an idea for a scripted series and having the time and resources to develop it to a competitive standard. Writers retained ownership of their work. Both Kōpere Ake and Seed represented the NZWG’s core conviction: that investment at the writer’s development stage, before producers are attached, creates better work and stronger careers.

Workshops, Events, and the Writers' Room

As NZWG grew more confident in its voice, its events programme expanded beyond First Friday Drinks. In 2019, Writers’ Workshop and Writers’ Night events in Auckland and Wellington became a regular feature: panels with funders, sessions on how to nail a Seed application, TV series development workshops, combined guild Christmas parties. These events raised the NZWG’s profile, brought in a modest income (actually that's bullshit, it only just managed to wash its face, but, hey, we did it for the writers!!), and crucially created connection between writers who might otherwise never meet.

The Annual NZWG Fundraising Pub Quiz, launched in 2018 and continuing until Covid took over in 2020, became a beloved fixture, a night of competitive chaos that raised money for Guild operations and reminded the sector that its writers union could also be good fun… woah, steady on there!

Changing Our Ways – Diversity, Inclusion, and Te Tiriti o Waitangi

In 2016, in our annual report to IAWG noted that female writers made up 45% of Seed Grant applicants and recipients since 2014, strong by sector standards, but with significant work remaining to engage directly with tangata whenua and Pasifika writers. That honest self-assessment set the tone for a decade of deliberate, incremental change.

Partnerships with Ngā Aho Whakaari were formalised and deepened. NZWG offered both Ngā Aho Whakaari and Pacific Islanders in Film & Television - PIFT (now Pacific Island Screen Artists – PISA), membership rates for the Seed Grant, and now in 2026 NZWG offers this same deal to Pan-Asian Screen Collective - PASC and Women in Film and TV - WIFTNZ. Speaking at the Ngā Aho Whakaari Hui-a-Tau in 2019, NZWG gifted Associate Memberships to writers completing the Aho Short Film Programme, and that gift remains in place to this day. The How To Apply guide for Seed was translated into te reo Māori.

In 2018, NZWG formalised its commitment to diverse judging panels. In 2019, the judging panel criteria were expanded to include at least one non-Pākehā person and a Māori position in each panel. The outcomes were measurable and positive. Alongside the blind-read assessment process (which I and NZWG believes is the foundation of equitable selection) the diversity of Seed and Kōpere Ake recipients has grown year on year.

The NZWG’s commitment to Te Tiriti o Waitangi was formally codified into NZWG's Constitution in 2020: “NZWG adheres to the spirit and principles of Te Tiriti o Waitangi, building and maintaining stakeholder relationships to generate excellence in partnerships.” This went beyond a statement of aspiration; it was a new intention.

Board composition, too, changed significantly. The board of 2015 was overwhelmingly Pākehā. By the early 2020s, the board included David Fa’auliuli Mamea (who would become Co-President alongside Fiona Samuel), Aroha Awarau, Matasila Freshwater, Becky Kuek, and Malinna Liang. This was not accidental. NZWG actively sought to ensure that its governance reflected the communities it served.

The WAI 262 claim (relating directly to the protection of mātauranga and Te Ao Māori, data sovereignty, traditional knowledge, and intellectual property) became relevant and central to NZWG’s copyright and AI work from that same period, with NZWG actively supporting efforts to enshrine WAI 262 findings into copyright reform and AI policy.

The Covid Years

In 2020 the industry stopped. Sets went dark, productions collapsed mid-shoot, and an already precarious workforce fell off a cliff. I served on the Screen Sector Covid-19 Action Group, this was a sector-wide scramble to keep people afloat and get cameras rolling again safely. I built the website over a weekend; we fought with the government to ensure that contractors had access to the subsidy payments, and we were the first in the world to commence filming again.

For screenwriters the experience was its own peculiar thing. In one sense we were the lucky ones; writing is solitary work you can do from any room in a lockdown. But… what was it actually like for writers specifically? Well, there was the commissioning freeze, the deferred payments, the projects that never came back, the toll on people. And the isolation I mentioned earlier, Covid took it and made it worse, in ways I'm not sure the sector has fully recovered from. I certainly feel the disconnect with society more now than before (in fact, you’ll never see me eat from a communal platter again in my life!) At our live and online events, last minute cancellations “BC” Before Covid was about 15%, it’s now 50-60%. And I’m not sure I have the energy left to fix this one… it will take a larger group effort to do so.

Screen Sector Strategy 2030

The Screen Sector Strategy 2030 (SSS2030, yes, another acronym), which got under way in 2019, is one of the delightfully hopeful documents this industry has produced; a rare instance of the whole sector sitting down together and agreeing where we wanted to be, and how we would get there. I was a member of the Facilitation Group that drove the research and development of the strategy from a cross-industry perspective. It is full of collaboration, communication and, dare I say it, hope. At its heart sits a goal I'd carve over the door if I could: the need for authentic local stories. That’s us, telling our own stories, to ourselves and to the world. It also captured the cry from the industry to have some form of peak body, a Pan-Sector Body if you will, that spoke directly to government on our high-level and sector wide issues, like rebates, immigration settings, health and safety and funding.

And then, like flaming clockwork, the industry walked away from it. Everyone needed to protect their own patches again, everyone needed to pay their own bills and keep their own lights on, which sent a very loud signal to government. And, like so much cross-sector work in this country, it has been left to gather dust. The current government didn't commission it and therefore cannot be seen to value it, plus they had their own strategy to worry about. That, in a nutshell, is the arts in Aotearoa as seen by us and by government: strategy and continuity sacrificed every few years to the enthusiasms of whoever just walked in, lurching from one administration's priorities to the next administration’s indifference. And forever and always competing against the economic and social climate of the day. The value of the arts is a personal thesis I have written, rewritten, and delivered so many times, but I will never stop. Storytelling saves lives, and arts and culture are the vibrant binding threads in the fabric that weave our society together.

For our SINZ

In the mid-2010’s (before my time) Screen Industry NZ – SINZ for short… don’t get me started…was established by the membership organisations to capture a cohesive singular voice to government on the hot topic of the day “the incentives”. That was a term used to describe the settings within government policies that allowed for international productions to come to New Zealand and film with benefits, like the tax rebate settings which meant they would spend XXX million dollars and then receive a rebate back for boosting the economy. Within the incentives settings was also the points system, an ability for local crew, screen businesses and others to gain access to the work that these “big” jobs brought in, but if the settings were off, people lost work. That was and still very much is the double-edged sword of service production… make it easier for them to come but sacrifice local jobs in bending over.

NZWG was a founding member of SINZ, and my predecessor was the primary administrator for a time. SINZ waxed and waned over the years, but in 2021 post-Covid and post-SSS2023, it was revitalised by NZWG, WIFT, SPADA, DEGANZ and Ngā Aho Whakaari, to get the Pan-Sector Body up and running. We had a small sum of change rallied by donations to the cause from screen businesses and individuals which enabled us to research the feasibility of said peak body. The desire from industry was there, the want to have a strong and active voice directly to government was there, but the industry kept tripping over it toes about coming together. I won’t go into my own psychological assessment of the WHY can’t we pull together, but a lot of it comes down to a scarcity mentality and colonisation… we are a small unnecessarily territorial nation at the end of the world, with a rugged mean streak, and a fear of missing out. tall-poppy syndrome is the phrase most commonly used. Sadly, SINZ finally shut up shop and deregistered in 2025. Cool, cool, cool… the nay-sayers won.

The Long Road to Collective Bargaining – From FIWG to SIWA

If there is a single storyline that defines my tenure at NZWG, it is this: the decade-long campaign to restore collective bargaining rights to Aotearoa New Zealand screenwriters and all screen workers. The human right to be afforded decent wages, for decent work.

Some of you know my background and knew that my father was set builder, chippy, and occasional heavy vehicle driver in the industry for a long time. His last official film job was Head of Furniture on the Lord of the Rings films. My son now carries on the tradition and works in the lighting department. This mission has been deeply personal to me, as it directly impacts my family.

Knowing where the bodies are buried and knowing what we are allowed to say publicly means the following story is factual and sanitised…Disclaimer: if you know the secret handshake, my favourite drink, the name of my first cat, and have my mobile number… good luck in exorcizing the dirtier side of the truth.

It all “officially” kicked off with the government establishing a working group called the Film Industry Working Group, FIWG for short, no one ever knew what I meant when I said “FIH-wig" /ˈfɪwɪɡ…. like "fig" with a short "w" slipped into the middle. And without surprise NZWG was there from the beginning

The work of this group survived a global pandemic, a change or two of government, and now at the time of writing this it is at an agonisingly near-completion moment… come on SPADA we know you can do it, just register baby cakes, and as my nana used to say, “jump on in, the water's warm!”

So here is the high-level version of the story:

2016–2022: The Film Industry Working Group

In the lead up to the 2017 election, and with strong support from our international allies at IAWG, we and others lobbied the Labour party, hard, for a change of legislation, we needed to bring back collective bargaining and enable writers to have certainty of pay and conditions. The inter-industry feud of the early 2000's was becoming a distant memory and the blame game was losing its sting, time for change!

In 2018, with a Labour-led government embedded, but well past their 100 Day Manifesto promise, the Minister for Workplace Relations Iain Lees-Galloway invited / seconded NZWG into FIWG. The brief was to advise on changes to the Employment Relations (Film Production Work) Amendment Act 2010 that had explicitly prohibited collective bargaining for film workers, a right stripped from the sector in the 1990s with the broad gutting of the entire employment relations legislation, and removal of the right to test the status of a workers employment (are you really a contractor or are you an employee?).

The working group brought together NZWG (writers), Equity NZ (actors), SPADA (producers), and the Technicians Guild (“Techos” now The Screen Guild), CTU and Business NZ, along with a raft of other industry stakeholders (see here for the full list). We, as listed above, became the core group that contributed to building and progressing the work. FIWG's Recommendations were delivered to the Minister in October 2018 and accepted with minimal change and proposed (see the government’s response here) the return of collective bargaining and a framework of enforceable minimum conditions for screen workers. It was the most significant policy moment for the sector in a generation.

Between 2019 into 2022 the FIWG recommendations were etched into legislation as the Screen Industry Workers Bill (SIWB). The Bill then went through select committees, redrafting, and then finally ascended into law on 31 December 2022 – the Screen Industry Workers Act (SIWA). Through much of this period my time was spent in transit between Auckland and Wellington, and from small windowless room to small windowless room with countless MBIE officials attempting to dictate what was best for our industry. There was argy-bargy in the group, individuals pushing individual agendas, but by and large, we came together for the greater good. Something I hope we can remember to do in the tough times ahead.

One thing that I think is important to point out at this moment is the right to strike; the right to strike was not part of the deal. What we got instead was mandatory conclusion to bargaining, which meant that once bargaining commenced, a deal HAD to be reached – hell or high water. Its unique to us in the screen sector. If you are a boffin like I, you can check out all the background here.

And a gentle reminder that there is legally NOTHING stopping workers in the screen industry from striking outside of bargaining, you can go on strike now if you'd like… but once bargaining starts, its prohibited.

During this time NZWG sought solidarity from the IAWG and received financial support across three project stages. NZWG could not have managed without this support which was tangible recognition of what was at stake: not just for New Zealand screenwriters, but for every jurisdiction waiting to see if collective rights could be won back once lost.

2022 – Present Day: SPADA and the Worker Organisations

One single thing is stopping collective bargaining from occurring, and that is SPADA. Well… more broadly in fact, it’s the producers organising themselves into a single entity, with a constitution, and then registering as an Engager Organisation. SIWA allows collective bargaining to achieve minimum standards and working conditions, but it does not compel bargaining to commence. It requires two registered parties (with a set of criteria) to agree to engage in bargaining so: Worker Organisation + Engager Organisation = Collective Bargaining.

Over the past three years the Worker Organisations, those registered to bargain on behalf of their occupational group, have come together to form a little posse – we ride at dawn…But more importantly we came together to help solve the problem of a divided industry, we want to see a brighter future for us all.

NZWG, Equity, and DEGANZ did two tours of duty, in 2021 we went around New Zealand talking about how to get involved with SIWA through the Know Your Rights Tour, and then again in 2025 the Creative Power Tour.

Now, in all of this, somewhere along the way, we the Worker Organisations stopped being separate guilds who nodded at each other across funding rounds and became something more like a collective. NZWG, Equity, DEGANZ, the Screen Guild, and the Screen Music & Sound Guild – each of us registered to bargain for our own occupational patch, but riding together because the arithmetic of SIWA leaves no other option.

I'll spare you the granular saga, but the shape of it is simple, and frankly maddening. The workers organised. We did the mahi, we registered, we turned up, we solved problems. The last mile comes down to an engager organisation registering to meet us at the table. Until that happens, the most significant industrial framework this sector has won in a generation sits in the garage with a full tank and nowhere to drive. Come on Producers. Stop trying to dismantle the Act and Register.

What I will say without a shred of hesitation is that the cross-guild solidarity of these last years has been one of the quiet triumphs of my time here. Patch protection set aside, minor annoyances subdued, and every guild pulling the same way. If we can remember how to do that when the going gets tough, we are unstoppable.

Business As Usual, The Contracts

Somewhere in ashes at the back of a secure document destruction facility are the many hundred destroyed remains of the shredded contracts that have crossed my desk over eleven years. Option agreements, purchase agreements, episodic deals, co-writer arrangements, chain-of-title knots that would make a sailor weep, and the ever-multiplying fine print of the streamers. I have negotiated them, explained them, marked them up, torn them apart, sent them back, and on the good days got them signed on terms a writer could actually live on. Every one of them benchmarked against our Rates Guide and, latterly, against SIWA.

And here is the sigh, a big, weary sigh… Almost none of this one-by-one, hand-to-hand contract combat would be necessary if SIWA were doing the job it was built for. With enforceable minimum terms bargained across the sector, every writer, and every performer, every director, every technician, EVERYONE, would start from the same page, instead of from whatever a producer on a restricted budget reckoned they could get away with that week.

Copyright – The Nervous System

If SIWA is the spine of my tenure, copyright is its nervous system, the thing that tells you whether any of it actually pays.

Our position has never wavered, and it predates me by four decades: copyright exists to protect human authorship. Not as a nice sentiment, but as the economic backbone of a working screen industry, and as a human right that Te Tiriti o Waitangi and the Human Rights Act obliges us to uphold. Everything NZWG has argued through the endless Copyright Review saga, in our submissions and in our position papers come back to that single principle, the one we've taken to calling Human-Led Creation.

I felt the weight of the argument heavily enough that I studied it over the summer of 24/25, completing a Harvard Law School's CopyrightX short course. I did this because I love the concept of copyright as a human right. It sharpened a conviction I now hold dear: that originality, the gatekeeper of authorship, cannot survive being handed to a machine trained on stolen copyrighted work, and that reform in Aotearoa must be built through a collective, Te Tiriti-centred lens rather than borrowed wholesale from Western copyright orthodoxy. Writing and the collective creation process is the same ideology that the WAI 262 claim sought to rectify, that the recognition of kaitiakitanga and collective guardianship of mātauranga Māori is a collective responsibility, the exact same workflow a film or TV show goes through in the development process. And that this methodology belongs at the centre of the Copyright Act reform conversation, not shoved out to its margins.

The fights of my final years: no copyright exception for AI training, full training-data transparency, and a licensing and compensation pathway for a sector that, unlike music, has never had one – are all the same fight in different clothes. Did a human make it? And does the human get paid? Answers I’m still fighting to enshrine into ANY piece of legislation or policy.

AI

Which brings us, inevitably, to the machines.

By the mid-2020s our members' work was unknowingly being hoovered up by AI training systems that then turned around and competed with them – no consent, no credit, and no cheque! NZWG's answer was to get specific and get loud. We set out a six-plank position: reserve copyright for human authors; require substantial human input for protection to attach; mandate training-data transparency; build a licensing and compensation pathway; reform safe-harbour and platform accountability; and require AI disclosure in publicly funded work, all of it anchored in the WAI 262 and kaitiakitanga framework.

And because a policy paper does nothing for the writer staring down an AI clause in a contract at 11pm the night before a funding deadline, we made something practical: the AI Advice Handbook for Screenwriters, a plain-English guide to what this technology means for members' rights, their contracts and their craft. The Handbook was a joint effort at NZWG, we had a subcommittee and some legal support to get us over the line. We were the first in Aotearoa to release any kind of guides into the unknown. But as quickly as we printed the first iteration the technology changed and we are already making changes!

But to reiterate: the technology is not the enemy, how humans use it, is. The unpaid, unconsented, unaccountable use of our writers' life's work to build it, by tech-bros in high places… that‘s the real enemy.

Last stop on the bad news bus – fewer rooms, fewer voices

In 2026 we are writing into a colder social, political, and financial climate, far frostier than the one I walked into in 2015. And this isn't only a New Zealand problem. We are watching the same contraction play out around the world. Nobody wants to say the words "global financial crisis", but it certainly has the tell-tale signs, and "entertainment" is always first for the chop.

Here, the first casualty is long-form scripted television, and that is where the real damage to the profession of screenwriting is being done. Returning series and multi-season shows are the engine room of a writing career. They fill writers' rooms. They put emerging writers at the table beside experienced ones. They let a writer learn the craft on the job, earn a living while doing it, and keep earning one. When the long-form slate thins, the rooms get smaller, then fewer, and then they disappear altogether. Fewer seats at the table means fewer points of view in the room. The first to lose their seat are the voices on the edges, the ones that had only just pulled up a chair: tangata whenua, Pasifika, Pan-Asian, disabled, women, queer, old, and young. But make no mistake, it doesn't stop there. Every writer, from the first timer to the seasoned showrunner, is now competing for a shrinking pool of opportunities, funded from an ever-tighter domestic purse.

This is not a complaint about quality. When New Zealand television gets made, it's good, and sometimes world-class. The problem isn't what's on screen, it's how little of it there is. There simply isn't enough work for everyone to have a go, and to have another go, and another. Without that, we can't build the thing that matters most: long-term, sustainable careers. You don't get a showrunner out of a one-off. You get one out of years in the room.

This should worry everyone, not only the writers. Every scripted production starts with a script. When the scripts stop, so do the jobs further down the pipeline: directors, actors, crew, post-production, the lot. And a screen sector that can only afford to tell a narrow band of stories stops holding up a mirror to the country it belongs to. We have been fighting for continued support for, and increases to, the local funding bodies for the full eleven years I've been here. This is where I point to our advocacy work, most of it quiet and largely unrecognised. That includes pushing for changes to the domestic rebate to create better conditions for co-productions. Those changes are working, just very slowly.

Streamers, and the Rise of the Co-Pro

Here is the question with an uncomfortable answer - do the streamers actually make work for New Zealand screenwriters, or do they simply buy our finished product off the shelf and move on? The answer is still No and Yes. From around 2018 the international SVOD market became the primary growth area for scripted content, and our members increasingly asked us how to position themselves for it. But our writers aren’t being hired onto these global productions, they are written in other markets and then come to our fair lands to shoot… and only shoot.

The deeper shift is the rise of the co-production. To reach the budgets these formats now demand, we increasingly make our shows through a global lens, which sometimes means we aren’t making shows about ourselves for ourselves.

However, there is an emerging bright side, and that’s domestic co-productions, the ones that start with a story from here. Which are starting to provide our writers with a chance. Look at the Premium Production Fund projects which have opened up markets that weren’t necessarily peering in our direction previously… ahem “After the Party”.

Fifty…well it's actually Fifty-One Years

NZWG turned fifty in 2025 and then, in the way of writers, promptly turned fifty-one before the party had even started. Part of marking the half-century has been this very series: the work we've done this year to gather the experiences of past presidents, and Executive Directors, so that the Guild's history lives somewhere other than in shoe boxes and shared memory. You can read the earlier Acts on our History page HERE if you'd like. My Act, number eight, the view from the outgoing Executive Director's chair, is merely one thread in that larger weave. Fifty-one years of writers looking after writers, on nowhere near enough money, achieving far more than the budget said we ever could!

Roll Call

None of my work would be possible over the last 11 years without the following exceptionally important people:

Membership Managers: Fritha Stalker, Mel Weeks, Renee Jones, Claire Moore, and Mirabelle Field.

Board Members & Vice Presidents: Alan Brash, Allan Baddock, Andrew Gunn, Andrew Todd, Aroha Awarau, Becky Kuek, Caroline Grose, Dan Musgrove, Dane Giraud, Kathryn Burnett, Louise Tu'u, Malinna Liang, Matasila Freshwater, Paula Boock, Rachel Lang, Rene le Bas, Steve Barr, Tim Worrall.

Presidents & Co-Presidents: Allan Baddock, David F Mamea , Fiona Samuel, Kathryn Burnett, Pip Hall.

And finally, haere rā

I walked through the door in 2015 bright-eyed, bushy-tailed, and excited. I walk out battle-hardened, without the ability to cry, greyer, but more certain than ever that this work matters. So long, and thanks for all the fish.

Goodbye, good luck, and stick together…. I mean it, you are stronger together.

Ngā mihi nui,

Alice Shearman

Throughout 2026 NZWG is hosting several events including masterclasses, and discussion panels both live and online.  In this, our 50th Anniversary year (also an election year) it seems appropriate to reflect on the history, the current state, and the future of our industry.  

2026 is our year of listening to writers, so we are creating a new archive.  The WRITERS TALKING archive will include audio recordings from some of our Anniversary year events, and written histories from NZWG members past and present, and it will build over time.

Screenwriting in Aotearoa New Zealand has a long and strong history; let’s remember how we got to where we are today; let’s share the stories with emerging writers so they know what they are getting themselves into; let’s reinforce our place in the creative industries.

PART ONE

On Wednesday 18 March 2026 we held our first live Panel in Wellington for the 50th Anniversary year - Where We Come From: The Writers' Journey.  

The panel included:

• Dave Armstrong – Screenwriter and Tutor
• John Smythe – Screenwriter and Critic
• Dr Trisha Dunleavy – Academic
• Whetu Fala – Screenwriter, Producer and Director
• Rosie Howells – Screenwriter
• Alice Shearman – NZWG Executive Director and moderator

Listen in full to their expertise, their experience, their stories (gossip) and how they see the future of screenwriting in New Zealand.