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Mark Little Makes Move to Live Action

Pitching Your Way Into the Big League

Bad Blood leads to good times for Michael Konyves PM40011669 tsc-2019-cs-ad-final.pdf 1 2019-03-04 2:08 PM

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K CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 2 Spring 2019

ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire Contents [email protected] Cover Director of Communications Lana Castleman Bad Blood 6 Editorial Advisory Board Canada’s contribution to felonious violence has been Michael Amo ignored for years. That was a crime. Michael Konyves Michael MacLennan and Simon Barry changed that. Susin Nielsen Simon Racioppa By Matthew Hays Rachel Langer President Dennis Heaton (Pacific) Features Councillors Michael Amo (Atlantic) Demons and Laughs 12 Mark Ellis (Central) Mark Little has swapped his animated demons for Marsha Greene (Central) live-action laughs in his latest project. Alex Levine (Central) Anne-Marie Perrotta (Quebec) By Kendra Wong Andrew Wreggitt (Western) Studio Ours Design Pitch Perfection 16 Cover Photo: Emma McIntyre Printing Renaissance Printing Inc. Getting the proper tone in your pitch is one of the screenwriting craft’s most challenging skills. We get tips Canadian Screenwriter is from some of the industry’s most successful scenarists. published three times a year by the Writers Guild of Canada (WGC). By Diane Wild 366 Adelaide Street West, Suite 401 Toronto, Ontario M5V 1R9 TEL: (416) 979-7907 W-Files FAX: (416) 979-9273 WEBSITE: www.wgc.ca Marsha Green — By Cameron Archer 21 Subscriptions: WGC members receive a Kathleen Phillips — By Mark Dillon 23 subscription as part of their membership. Non-member subscriptions: $20 for three issues. Columns Advertising policy: Readers should not From the Editor/Contributors 2 assume that any products or services advertised in Canadian Screenwriter are Inside/Out — Dennis Heaton 3 endorsed by the WGC. One Last Thing — Jeremy Woodcock 28 Editorial Policy: The WGC neither implicitly nor explicitly endorses opinions or attitudes expressed in Canadian Screenwriter. News Submissions are subject to editing for Beat Sheet 4 length, style and content. Advertising Sales: Spotlight 24 Visit www.wgc.ca or contact Lana Money for Missing Writers 26 Castleman at [email protected] New Members 27 Letters to the editor are subject to editing for length. Not all letters are published. FROM THE EDITOR CONTRIBUTORS

Guild is the solution Spring 2019 to power dilution

Cameron Archer runs the Canadian television and media site Power is a beautiful thing. Gloryosky (www.gloryosky.ca), and You don’t realize how beautiful it is, until it’s gone. is also a freelance arts and media This winter, we had a wind/snow storm to beat all storms. It was a writer. He currently lives in Eastern life record for me. The house, which seems solid the rest of the time, was Ontario. shaking and the roof — well, I was sure at one point it might be pulled off or suffer severe damage. Mark Dillon is a Toronto-based And to cap it off, the power went out for 12 hours. freelance journalist and former While we were involuntarily off the grid, it made me think about editor of Playback magazine. He is author of the award-winning Fifty power, the lack of it, the importance of it and the different ways we have Sides of The Beach Boys. and don’t have power. Not just electrical power, of course. For example, let’s look at the issue of the concentration of own- Matthew Hays is a Montreal-based ership in the English-Canadian television market. I want to cite part writer, author, and university and of the submission of the Canadian Media Producers Association, only college instructor. His articles because they use the word oligopsonistic. A fancy pants word, if there have appeared in the Globe ever was one. How often do you even see that? Not often, believe me, and and Mail, The New York Times, if you want to base your estimations of an editor’s column solely on the Maclean’s, The Toronto Star and number of times you see the word “oligopsonistic,” well, you are proba- many others. His book, The View bly about to read the very best column of your lives. from Here: Conversations with Gay Here’s part of the CMPA’s submission to the Broadcasting and and Lesbian Filmmakers (Arsenal Pulp), won a 2008 Lambda Telecommunications Legislative Review (BTLR) Panel. “Given the Literary Award. substantial vertical integration and consolidation of broadcasters in Canada, the oligopsonistic nature of our domestic market, the informa- Emma McIntyre is a staff tion asymmetry between producers and broadcasters, and the resulting entertainment photographer with significant buying power yielded by broadcasters, there is a real risk that Getty Images currently based ownership concentration will reduce the programming options and the in Los Angeles. Her work has number of distinct creative and editorial voices available to Canadians.” appeared in many publications If you haven’t looked it up yet, oligopsonistic means a market in which including Rolling Stone, SPIN, The there are few buyers and many sellers, which results in buyers having the New York Times, PEOPLE, The power. And if the producers feel that way, imagine how screenwriters feel Hollywood Reporter, US Weekly, about the dilution of their power. That’s just another reason — maybe the GQ and Pitchfork. biggest reason — the Writers Guild of Canada is so vital and important. Diane Wild is a Vancouver-based There are so many key issues to address right now, including fair writer, editor and health care pay and ownership of work, and even schooling the fine folks who buy communicator who founded the your words about the need to help cultivate a healthy environment in TV, eh? website and gallivants which screenwriters can also flourish. to work on the Olympics every If Canadian screenwriters don’t thrive, Canadian stories get couple of years. short shrift and our culture starts to wane. The Guild has had some pretty big victories over the last few Kendra Wong is a former months. That’s thanks to members’ efforts and the leadership at the front. journalist in Victoria, B.C. She has (We all know who they are and they know who they are and I could list a bachelor of arts from Simon them here, but space is limited and oligopsonistic takes up a lot of room.) Fraser University and a certificate in journalism from Langara But as the market becomes more concentrated, the need for screen- College. She has worked at writers to maintain a unified voice to express their concerns and their newspapers through BC, including perspective only becomes more important. There’s strength in numbers; Metro, the Tri-Cities NOW, some might even say there’s power. And power can be a beautiful thing. Smithers Interior News and the Oh, the lights are back on! Victoria News. She currently works in communications. — Tom Villemaire

2 INSIDE/OUT — FROM THE PRESIDENT Negotiating: When to compromise and when to draw a line in the sand

I don’t actually remember my first negotiation, but I’ve decided that it went something like this: I needed one last Star Wars trading card to complete my collection. It wasn’t even a great card — let’s say it was the Jawas — but maybe the picture on the back completed the second picture puzzle. And. I. Simply. Had. To. Have. It.

In this scenario, a classmate What you may not realize is solely about protecting the IPA, it’s has a duplicate. I start out with a that this could shape up to be one of about facilitating its evolution. The straight “onesie” trade offer. This our biggest negotiations ever. IPA is a living, breathing document hypothetical kid isn’t having it. He It’s the first time the Guild that must change to reflect the wants five of my doubles and two and the CMPA have sat down at change in our industry. stickers. Unheard of. But he has me the bargaining table in five years, It’s easy — maybe too easy — over a barrel. I give in, ensuring I having mutually agreed during the to treat these negotiations as an only ever complete one set of Topps last round to hold off bargaining antagonistic process. After all, we’re 1977 original Star Wars cards. And while we waited for a response to storytellers. We know the anecdote the next day, I get that same card in a our CRTC petition to keep up PNI about the worst negotiation we ever new package. Twist ending! spends by private broadcasters at engaged in is infinitely more enter- But I bet I would have learned historic levels. (We won! And we’ll taining than the one about the even- this valuable lesson about negoti- always be grateful to then Minister keeled conversation where both ating: Even when something seems Mélanie Joly for that great victory.) sides respected each other’s stance, like the only option, there’s always The expectation was that we and listened to what they had to say, another one. would resume negotiations when before making a counterproposal. Because I know you all read there was a little more stability and But as my father never said, “If you every email blast and newsletter certainty for our industry. Oops. walk into a room expecting a fight, from the Guild, I don’t have to We are currently in the midst you’re partially responsible for tell any of you that it’s currently of one of the entertainment indus- ensuring that there is a fight.” preparing for a new round of bar- try’s greatest-ever upheavals — or That’s why — when it comes gaining with the CMPA (Canadian “disruptions,” as the kids call it. to any negotiation — there are two Media Producers Association). Technology, social justice and Fed- things I like to keep in mind. One: For several months now, Exec- eral leadership are all major factors The people on the opposite side of utive Director Maureen Parker and in reshaping the Canadian — and the table aren’t against you, they’re our Guild staff have been working global — entertainment industry. for themselves. And two: A negotia- tirelessly to canvas the membership Every player — writer, director, action isn’t complete until both sides in a variety of ways: From writers’ tor, crewmember and producer — is are unhappy. room visits to membership meet- trying to define their place. I believe in the importance ings and consultation with Council. Sometimes our interests align. of compromise. And I believe in They’ve been compiling informa- Sometimes they diverge. This is why the importance of listening. But I tion and stats, thanks to member the IPA is the cornerstone document also believe that there are hills we contracts and a recent survey. In of our Guild. It establishes our place do have to die on, and lines in the short, our Guild is going full bore in this industry and confirms our sand that we do have to draw. And preparing for negotiations, while great worth to the process of creat- that’s when someone tries to treat still maintaining their day-to-day ing entertainment. our IPA with less than the respect it responsibilities of managing our And this is why the Guild goes deserves. Because, at the end of the Independent Production Agreement to the lengths it does to nurture it day, the IPA is us. (IPA). When do they sleep?! At night. through these ongoing cycles of ne- That was a trick question. gotiation. Because negotiating isn’t — Dennis Heaton

3 BEAT SHEET

WGC Weighs in on the Future of Canadian TV

industry commentators (for more on that see, “Bringing Home the BA- CON,” p. 28). A “What We’ve Heard Report” is expected to be delivered by June 30, with a final report, complete with recommendations to government, due by Jan. 2020. We’ve got our eyes trained on the process and will make further com- ments, on behalf of our position, if and when the opportunity arises. The Guild also filed a submission to the CRTC about its upcoming Production Report, specifically looking at what information should be collected for this critical industry data. The WGC was particularly pleased to see that the CRTC is proposing to col- The WGC made its formal sub- services and Internet service lect information on showrunners, mission to the Broadcasting and providers “under the tent” of and was seeking feedback on a Telecommunications Legislative broadcast regulation — their definition of the term based on our Review Panel (BTLR) in January. contribution is crucial to own Showrunner Code. We clearly The Panel is tasked with making creating a robust and sus- support the CRTC’s recognition of recommendations to the federal tainable Canadian content this crucial role in the creation of government on potential changes to production business. Canadian television, and com- the Broadcasting Act, the Telecom- 2. Canadian creators — partic- mented on its definition, as well as munications Act, and related legis- ularly Canadian screenwrit- on a number of other issues related lation that could shape the future of ers and showrunners, who to accurate and effective broad- Canadian television. provide TV productions with casting data and reporting. The Broadcasting Act is the a distinct Canadian authorial foundation for the regulation voice — must be at the core Women Sweep WGC of broadcasting in Canada, and of a 21st-Century Canadian TV Comedy & Drama Noms supports more than $2 billion in content ecosystem. financing to English-Canadian 3. Internet Service Providers As we prepare to hand out the domestic production annually. (ISPs) and Wireless hardware at the WGC Screenwrit- Roughly $500 million of that sum Service Providers (WSPs) ing Awards ceremony on April 29, is being spent on the production must contribute to the we wanted to make mention of a of the drama, comedy and anima- system, just as traditional competition milestone. For the first tion series that are predominantly broadcasters do now, time in the Awards’ 23-year history, worked on by WGC members. to ensure and improve women writers have taken all the Needless to say, broadcast regula- the financial health of nominations in the TV Comedy and tion is critical to these productions. the Canadian television TV Drama categories. The movement of viewers — and industry. Scripts from drama series revenue — to unregulated Inter- Cardinal (Jennica Harper, Sara net-based steaming services is The Panel is currently wading Dodd), Killjoys (Julie Puckrin) and threatening that support. through 2,200 submissions made Wynonna Earp (Caitlin D. Fryers), In our submission, we by interested parties, including along with those from comedy contend that: other key guilds and orgs like the series Letterkenny (Sonja Bennett), DGC, ACTRA and the CMPA. It has Schitt’s Creek (Rupinder Gill) and 1. New legislation must clearly not made these submissions public, Second Jen (Amanda Joy) are in

bring both online video causing a bit of a kerfuffle amongst the running. OURS STUDIO ILLUSTRATION:

4 Interestingly, this set of nom- The trio gave attendees real November—Gillian Muller, whose inations may be pointing towards insight into the construction of writing credits includes Travelers, a larger shift in the Canadian TV the 100% female writers’ room, for her one-hour drama The Blue industry. According to The TV how they approach writing their Division. Junkies recent study, “Women particular brand of comedy and Our second round of submis- Behind Canadian TV: 2019,” while what they’ve learned about the sions closed at the end of Novem- the number of scripted Canadian process of production over the ber, and we’re happy to announce shows (2017-18) run by men is hold- past three seasons. Whalen, for our first recipient of 2019. In ing steady at approximately 63%, a example, stressed how important March, Sabrina Sherif, with writing survey of those series’ 273 episodes it is to read comedy scripts aloud, credits on upcoming Netflix sci-fi revealed that a full 49% of them then go back and refine them, as series Another Life, was selected were written by women. Onward so much changes between how it for her supernatural drama script, and upward. And congratulations reads on the page to how it’s deliv- Something Wicked. Congratulations to all 2019 WGC Screenwriting ered verbally. She concluded that to all! Awards finalists! it’s made her a much better, more concise writer. And Goodhue not- WGC at Kidscreen Summit WTTV with Baroness ed that most of the sketch ideas von Sketch Show emanate from the writers asking More than 40 WGC members de- just one question: “This thing is scended on Miami for the global kids weird for me. Is it weird for you?” entertainment industry’s largest Drilling down on the answer, she gathering, Kidscreen Summit, which said, usually reveals a relatable took place from February 11 to 14. truth that can be spun into come- Making a return to the event were dy gold. We couldn’t agree more. the WGC Suite, which was chock-a- block with writer-scheduled meet- Diversity Script of the ings, and the WGC Writers Room. Month Finalists’ Recap Both were well-received by WGC members and suite visitors alike. Created in 2018, the WGC Diversity Additionally, Director of Com- Script of the Month initiative is munications Lana Castleman, with designed to help emerging screen- the tag-team of Quebec Region writer members from diverse Councillor Anne-Marie Perrotta backgrounds move forward in their and member Lienne Sawatsky, careers. In 2018, writers and scripts participated in roughly two dozen (Left to right) Baroness writer Monica Heisey, showrunner Jennifer selected for the program were: individual meetings. They met Whalen, writer Jen Goodhue and with creative executives from host Jeff Biederman July—Nadiya Chettiar, current some of the world’s largest content executive story editor on CBS sit- commissioners, including Apple, Speaking of a group of talented com Life in Pieces, for her half-hour Amazon Studios, Hulu, Netflix, female screenwriters, the WGC was comedy Love Marriage. Disney, DreamWorks Animation, pleased to host members of the writ- Hasbro, Mattel and Sesame Work- ing team from CBC series Baroness August—Ryan Spencer, a writer shop, to talk up the WGC Member von Sketch Show at its latest edition on Boat Rocker’s tween drama The Directory and the Guild’s amazing of Writers Talking TV, held on Next Step, for his one-hour drama, talent pool of animation and kids & March 6 at the TIFF Bell Lightbox Westlake High. family screenwriters. in Toronto. Fourth-season show- On the subject of the Member runner, co-creator and cast member September—Jagjiwan Sohal, Directory, don’t forget to update Jennifer Whalen was joined by long- who’s written for kids series like yours, asap! It will make it much time Baroness writers Jen Goodhue Dino Dana and Nina’s World, for easier for execs from these types and Monica Heisey. Fellow WGC his half-hour comedy Seven Deadly of companies to find and hire you. member and journeyman screen- Singhs. Just login at wgc.ca to get started. writer Jeff Biederman moderated Remember, the more detail you the informative — and hilarious — October—Nile Seguin, who has provide in your directory entry, the conversation before a theatre packed made his name as a comedian, for more search results in which you’ll with fellow writers and fans. his one-hour drama Deep Water. appear. A win-win for everyone.

5 FEATURE

On the set: Michael Konyves took on the role of showrunner for the first time on Bad Blood A Family. Murder. Revenge. The Mob.

Bad Blood was a Canadian mafia tale waiting to be told. How writers Michael Konyves and Simon Barry turned the epic true crime story into a hit series. By Matthew Hays

It’s not every day that a writer wakes up to learn that by journalists Antonio Nicaso and Peter Edwards. Snoop Dogg has tweeted high praise for their show. Bad The pair had covered the trials and investigations into Blood scribe Michael Konyves says he’ll never forget it. Montreal’s extensive mob violence and activity. “I couldn’t quite believe it,” he recalls, sounding like he Barry loved the idea of bringing the epic mafia might still be in shock. “We were certainly glad for the saga to the screen, but he didn’t necessarily have additional attention it brought the show.” the bandwidth to get it going as he was occupied by That social media hit led to more attention for writing duties on sci-fi seriesVan Helsing at the time. Bad Blood, the series about Montreal’s legendary He turned to Konyves for help, who also immediately Rizzuto Family and the evolution of the city’s 1990s recognized the incredible possibilities such a concept mob scene, with all its associated assassinations and presented. As Konyves points out, any Montrealer who incarcerations. The show, currently in its second lived in the city during the reign of the Rizzutos knew season, has proven to be a slow burn, launching in 2017 it was an astonishing story. And the book provided a on Citytv in Canada and FX in the U.S. to solid reviews crucial roadmap to the first season. Barry scripted the and respectable numbers. The Toronto Star’s Tony pilot and then handed the reins over to Konyves, who Wong even went as far as to liken it to Cardinal and served as showrunner on both seasons. The Sopranos. That’s definitely not shabby company “A lot of the critics have thrown around the to keep, but it wasn’t until Netflix began streaming word Shakespearean when describing the show,” says it last December that Bad Blood started gaining real Konyves. “Everything is Shakespearean! And frankly, momentum — the aforementioned Snoop Dogg- everything is a soap opera. You’re writing drama, attracting momentum, to be exact. and that’s what you have: Everyone needs something. Simon Barry knew the Rizzuto Family story was Everyone wants something. Someone and something meant for the screen when production company New is standing in their way. This story provided plenty of Metric Media approached him with the idea. It had conflict like that to work with and build on.” purchased the rights to the acclaimed book Business The writers set about breaking down the key or Blood: Mafia Boss Vito Rizzuto’s Last War, penned events of the saga — Vito’s arrest, the murder of his

7 FEATURE

“Bad Blood needed to be done, and it needed to be done in Canada, by Canadians — and I’m really glad [Rogers and Citytv] took the chance.” - Simon Barry

Simon Barry knew the Rizzuto Family story was meant for the screen and worked with Konyves to bring it to life

son, the murder of his father, the collapse of the came up in court, but it gave Barry and Konyves a gangland truce in Montreal and the fallout from better understanding of how the characters actually that. Those key historical markers were all there in operated in their business and personal lives, and how the book, and they provided the structure for the the two intersected. It was about behaviour, they point first six hours. Vito’s arrest and his death were the out, not just facts. key focal points. It also led Konyves and Barry to Writing about true crime was fascinating, but it stray from a strict linear storyline, as there was a lot presented unique challenges. “When you’re writing of room for flashbacks. about that, you have to comply with the law in the place Barry met with the book’s authors early on and where you’re producing the show,” explains Konyves. listened to the various anecdotes they had left out of “The American laws are actually much looser. In a U.S. it, omissions made in many cases for legal reasons. “I show, the writers have more license. We had a lot of wanted to get more anecdotes from them,” says Barry, stuff we had to pay close attention to. Things had to be “knowing full well that we would probably never use vetted by lawyers. And that was sometimes tricky — I them. But those stories can often give you a greater was actually making changes to some scripts the day idea of how that world works. We didn’t have that spicy before production for legal reasons.” flavour of how that world worked yet. I knew they had Konyves notes that you have more dramatic a wealth of knowledge. I asked them to share these license with dead subjects. They’re not going to come stories. The details were not event-based, but they gave after you, after all. But they couldn’t talk about Vito’s us a much greater idea of who these characters were.” still very much living wife, for example. “You can’t For example, the authors told them about make any implications,” he says. “It is on the record Vito having one of his bodyguards spy on one of his that he had mistresses. There’s a woman sitting next mistresses, in an effort to confirm that she wasn’t to him that you assume is his wife, but other than fooling around on him. That’s something that never that, we didn’t depict her.”

8 Bad Blood’s all-star cast includes Paul Sorvino (left) and Anthony LaPaglia

As they mapped out the various plot points, I also wanted it to have a lot of heart and emotion.” Konyves and Barry realized Bad Blood wouldn’t just He refers to a scene that takes place later in the first be a show about the mafia. Indeed, the gangsters were season, where Declan meets his father in a trailer and hardly the only bad guys. The show features a world rife the audience learns that dear old dad is a junkie who with corruption. The police, the government, the mafia abandoned his kids to foster care. “And Declan says, — everyone manipulates everyone else if they can, ‘I’m here to make you suffer,’” recalls Konyves. “That making the lines between bad and good extra blurry. was a scene I envisioned right from the beginning,” he As Barry and Konyves exchanged ideas and adds. The show is about Declan’s pain and suffering possible scenarios, one question hung over the creative and it’s why he can do the things he does. “This is why process: Since Vito spends an extended period in an he can betray his father figure, Vito, because of the American prison and out of the action, from whose pain of his own story,” says Konyves. “That’s what perspective would they tell the story? The solution the whole first season is about. Even when you reveal was to create a fictional character, Declan, who was things much later in the story, it covers everything placed high up in the Rizzuto clan, but was not actually in hindsight. Once I could tap into that, many other a blood relation — like Robert Duvall’s character in the things fell into place.” first twoGodfather movies. Declan became a composite Writing for a traditional TV network created of several real-world characters that evolves into the a couple of immediate challenges. It meant that observer. For the writers, Vito is the headliner, but the language used by the series’ characters had to Declan is the tour guide for the story. be much, much cleaner than that of their real-life “Obviously, I was very excited to write a really counterparts. “These guys use the F-word a lot,” says entertaining gangster show,” says Konyves. “There Konyves. “We couldn’t have them speak that way.” are all the expectations around shows like that, which And as a Canadian series, Bad Blood’s budget was I thought would be challenging and fun to meet. But extremely tight. “In Canada, you’re always writing

9 FEATURE

“You’re fleshing out those scenes quite literally with the actors. I’ve said to them on set, ‘You are the ones who own these characters now.’ If they read the lines with a different rhythm than you’d imagined, that might bring something new to a character...” - Michael Konyves

around budget,” he contends. “The average hour in for fellow writers. “I know taking network notes Canada is shot for significantly less than in the U.S., so can be frustrating,” he concedes. “But take a big you’re always factoring that in. But I find that kind of breath before receiving them and try not to take it enjoyable. If you have too many characters, you have to personally. As writers, we’re getting criticism all the cut that down. Location is always a big thing. We had to time. Read the notes and try to find a point. Even if limit the number of locations and we were telling the you don’t agree with it. Maybe they don’t know how story through characters more than action.” to properly articulate it, but they are pointing to In fact, writing dialogue-heavy scenes was part something that they find problematic. Try to see it as of the challenge and fun for Konyves. “I love great another person giving you a perspective. A good idea dialogue, and what I write tends to be very talky. can come from anyone.” Scenes are often short in TV, but I like shows like And in technical terms, Konyves is blunt — get The West Wing that are dialogue heavy. I like scenes a second camera and make sure you have rehearsal where they’re going about their business, but also time booked prior to shooting. “I’ll never do a talking about three different things at the same time. show without two cameras again. You will get into That’s action. That’s movement. And you get to know a budget argument over the second camera, but it a lot about character through that.” saves you so much time and headache in the editing Konyves says conversations with actors during room. If you’ve got six days instead of eight to do rehearsals and on set also really helped with the writing an hour-long episode, the second camera gives you process. “What a brilliant cast we had!” he exclaims, that extra coverage.” He also insists upon rehearsal which included Anthony LaPaglia (Vito), Kim Coates time to get the actors comfortable with the rhythms (Declan) and Paul Sorvino. “I needed to know the of the dialogue and main scene points, and it also characters’ psychology,” Konyves continues. “And that provides the opportunity to answer any questions is helped along by talking it through with the actors. For that come up. “You have to set the table so the actors Declan to turn on Vito is a big fucking deal. So it’s got to can do their best work.” be something I can believe in. You’re fleshing out those Ultimately, Konyves describes running a scenes quite literally with the actors. I’ve said to them writers’ room as a lot of fun. “Working with Simon, on set, ‘You are the ones who own these characters Patrick Moss and Alison Lea Bingeman, we were now.’ If they read the lines with a different rhythm than exchanging ideas, throwing around dialogue, it was you’d imagined, that might bring something new to a a blast,” he says. “The fact that Snoop Dogg liked us character you hadn’t originally thought of. Then you was an unexpected bonus.” get on set with them and might even end up rewriting Barry recognizes that Rogers and Citytv took things a bit. They may have a question for you about a leap of faith in commissioning the show, but he motivation and you have to figure it out. I love that part thinks it’s paid off. “They don’t do a lot of dramatic — it’s part of working with great actors.” shows, and they took a risk,” he admits. “Bad Blood As someone who got thrown into writing a needed to be done, and it needed to be done in series in season one and then showrunning for the Canada by Canadians — and I’m really glad they first time on both seasons, Konyves does have advice took the chance.”

10 Stargate SG-1. Stargate Atlantis. Stargate Universe. Travelers. 500+ hours of TV genius.

Congratulations to Brad Wright Recipient of the Canadian Screen Awards 2019 Margaret Collier Award

Here’s to the recognition of your exceptional body of work as a showrunner and screenwriter, Brad! Congratulations from the Writers Guild of Canada.

Brad Wright Ad.indd 1 3/6/19 11:20 AM FEATURE

GETTING LIVELY

Cavendish co-creator Mark Little talks about moving from writing for kids animated series to live-action comedy — they have more in common than you might think

By Kendra Wong

Some people may question what a kids animated Cavendish is not like other towns. Everyone there is series could possibly have in common with an adult- obsessed with the local legend of a wolf-like beast that targeted supernatural comedy/mystery show. But for preys on people at night. Soon Mark and Andy become Mark Little, they are one and the same — at least in embroiled in many misadventures in this strange place. how he goes about creating stories for them. For Little, who also portrays Xavier Academy Little’s formula is simple: Have a character, or science teacher Simon on the CBC sitcom Mr. D, a group of characters, propose a ridiculous idea or a Cavendish represents his transition from writing series of ridiculous ideas, then introduce a voice of animated to live-action comedy. But it hasn’t been a reason to balance things out. Sprinkle in a hint of simple move from one genre to another. conflict, come up with an exciting climax, and top it Little’s foray into comedy started in high school off with a heart-warming lesson — et voilà, you get the in New Westminster, B.C. He was involved in improv laughs you were looking for. before participating in sketch and stand-up comedy, “It’s super-basic Comedy 101, but I really get a including being part of a Halifax-based sketch comedy kick out of the one person who is the voice of reason, group called Picnicface, where he met Bush. or flip that, have a group of people who are the voice of Whereas most people go to school to study reason,” Little says. “Whatever the combination is, I scriptwriting and the art of crafting a narrative before find that contrast, which is the foundation of so much trying to break into the industry, Little did it in reverse. classic comedy, funny.” “With stand-up, sketch, narrative storytelling and In fact, it’s the same formula Little and Andrew movies, it was all cart before the horse,” he says. Bush used to write their new original comedy series, After working on a genre parody called Cavendish. Produced by Boat Rocker Media’s Temple Roller Town, in which the skeleton of the story Street Productions, the duo are the series’ co- was completely secondary to the jokes and insane creators, showrunners and executive producers. moments, Little realized how much he didn’t know Cavendish premiered on CBC in January and about writing a cohesive narrative. But he quickly revolves around brothers Mark (Little) and Andy realized it was a skill he would need to master. (Bush) Tennessen, who have returned to their P.E.I. To learn more, Little began reading books like hometown after almost 30 years away to care for their Save the Cat! by Blake Snyder, while simultaneously ailing father. However, the pair quickly realizes that juggling other projects, such as Dad Drives and Space

12 Mark Little takes a live-action turn as co-creator, co-showrunner of new CBC comedy Cavendish

13 FEATURE

Little (left) and Cavendish co-creator Andrew Bush in a scene discovering just how strange their new hometown is “I still write jokes that I would laugh at, I hope. I still try to write jokes for me.” - Mark Little

Riders: Division Earth. In addition, he soaked up as overall rating of 8.1 on IMDB, the tale of aging and much comedy as he could, and participated in online cantankerous demon hunter Gary, who longs to communities to learn how to implement storytelling retire after spending 30 years doing a job he never practices in his own work. wanted in the first place, is striking a chord with Little finally got that opportunity while writing critics. He also wrote eps for kids animated comedy for kids animated series Winston Steinburger and Sir Cupcake & Dino: General Services, which made The Dudley Ding Dong. During the stint, he discovered New York Times list of “Best TV shows of 2018.” that he had an aptitude for writing kid-friendly Then came Cavendish. It was a simple trip to 11-minute episodes. “You really want it to go, go, go,” Canada’s East Coast that sparked the idea for the he says. “But you also want to weave in elements of series. Bush, who is from Nova Scotia, travelled heart, growth and especially jokes, usually in an to the real town of Cavendish for family vacations adventure-based storyline.” while growing up. And after writing, producing, acting and Situated on the north shore of P.E.I., the small directing many projects over the years, his hard town is a summertime tourist hotspot primarily work really began to pay off in 2018. It was a known as the site of L.M. Montgomery’s family home breakout year for Little. He created and sold and the inspiration for many Anne of Green Gables adult animated comedy Gary and His Demons to stories — not quite an historical theme park, but close. CBC’s Gem streamer and several international “I never went to Disneyland when I was a kid, so this broadcasters, also serving as showrunner. With an was my Disneyland,” Bush laughs.

14 Animated series Gary and His Demons helped creator Little hone his comedy chops

After returning from Cavendish with his family storylines to fit the classic sitcom formula. It just six years ago, Bush proceeded to tell Little all about slowed down the momentum of the overall narrative his experiences. “He just started describing the too much. town to me and it sounded amazing. It was weird, That’s when it dawned on Little. Why not apply idiosyncratic and interesting. I got excited just the same approach he took in writing kids animated hearing him talk about it,” says Little. “We thought comedies to Cavendish? After all, comedy is the we should honour that excitement. Clearly this world same across genres, he notes. “In a kids show, you is speaking to our sense of fun and we thought we don’t want to shy away from that size of storytelling should pursue that.” — taking a small thing and making it massive. You’re The show started off as a seed of an idea, telling what sometimes feels like 90-minute movies before eventually transforming into the half-hour in 11 minutes,” he contends. “We kind of wrote supernatural comedy series that it is today. “We Cavendish like 11-minute kids cartoon episodes. inserted more Twin Peaks and Scooby-Doo, to the It was getting comfortable telling these stories in point where it’s not really Cavendish,” says Bush, who 11 minutes. That made it much easier to do it in 22 notes that although production takes place in N.S. and minutes.” P.E.I., the show is not meant to provide an accurate At the heart of his work on both animated and depiction of the town, but instead should be seen as an live-action comedies is the desire all comedians ode to the Maritimes. have — to make people laugh. It’s a feeling he says Ultimately, the pair is trying to write the is hard to describe. “The raw feeling of it feels good. funniest show they can, but let’s face it — comedy There’s a science to how you arrive at it, but once is tough. From the outset, they tried to stick to the you’re in it, it feels like magic,” Little says of finding basic formula for a classic sitcom, which included a that comedy sweet spot. “I still write jokes that main plot (story A), as well as one or two subplots I would laugh at, I hope. I still try to write jokes (stories B and C). They excelled at coming up with for me. I never try to write down to a perceived adventures for their main characters. However, audience, ever.” Little and Bush struggled with transitioning the story to secondary characters. According to Little, Cavendish is currently available for streaming in in the end, they couldn’t justify adding scenes and Canada via the CBC Gem app.

15 FEATURE

PITCH PERFECT?

Experienced showrunners weigh in on how to nail that first pitch meeting — and how to keep the faith if it all goes pear-shaped

By Diane Wild

Brad Wright’s worst pitch experience was also his “I’m not a great performer.” Even then, “I want the most successful. Not long into his pitch for Stargate- 15 to 20 minutes I’m pitching to seem effortless, SG1 to the head of Showtime, the fire alarm went off, conversational, concise. I’ve put in two months and Wright found himself continuing to make his case crafting the pitch then getting off book. It can be fun in the parking garage with the building’s evacuated once you know your own material — you have space to occupants milling around. “I don’t remember much riff in the room.” of what I said, but when the alarm stopped, he told “Read the room,” says Sarah Dodd. “Sometimes me I didn’t have to come back up. It turned into a a pitch turns into a conversation. You don’t want to be 44-episode order.” ‘stuck on send.’ If your audience wants you to stop, listen “There’s no such thing as a perfect pitch,” he says. and discuss, then go with the flow. You don’t always need “The perfect pitch is one that gets bought.” to hold fast to the pre-rehearsed pitch you prepared.” From writing and memorizing a verbatim pitch “I like to be really, really prepared, but I don’t script to being prepared enough to improvise in the like to be rehearsed,” Wright says. “You want them to room, there are as many ways for writers to pitch want to be in business with you as a person, as well as their series concepts as there are personalities in a your idea. I think that’s what a lot of people get wrong — writers’ room. being too rehearsed and not being themselves enough “As long as you love the story you’re pitching, for the buyers to know who they’re working with.” you’ll be fine,” Dennis Heaton says. “You need to be passionate about the story, because that creates an Structuring the pitch energy in the pitch.” Conversely, Sheri Elwood completely scripts Wright often writes the script first, and even sends her pitches, down to every joke and pause, because it before the pitch meeting. “To understand my OURS STUDIO ILLUSTRATION:

16 Sheri Elwood

Brad Wright

characters, I need to write them, to give them audience.” She starts with her own connection to the dialogue, have them interact. I learn more about my material, the premise, and painting a picture of where characters in the writing process than anything else.” the story begins. Heaton also prefers to write the full story. “It’s challenging sometimes for a writer not “Either a full script or an outline or even just an to fall into a laundry list of plot points,” says Dodd. expanded episode pitch,” he says. “Just so I can “After a really cinematic introduction, it’s time to make sure the concept will actually result in a full focus on a broader middle and end to the pilot, teasing story.” After that, he writes a five- to seven-page the listener with a few juicy twists and turns and pitch document, a five-page verbal pitch script, and emotional moments.” She then moves on to the first lastly a logline. season’s broad strokes and an indication of the story “A verbal pitch always starts with an explanation engine for seasons to come. of an idea’s genesis and why it’s important to me,” says “The most important thing is making the pitch Heaton. “Then I give the logline and then launch into personal,” Elwood says. “I like to start with an anecdote the pilot story, describing the characters as I introduce about what inspired me to write it, why I was drawn to them in the story. I end the pitch when I get to the end the material. There are only so many original ideas, but of the story and get back to a conversation as quickly what makes it special is the lens you filter it through.” as possible.” Call Me Fitz, for example, was loosely based on A Netflix executive once told Dodd that her brother, a car salesman. “I was out to lunch with Canadians are the only writers on the planet who my grandmother back in his playboy days and she lead with place, which she does not advise. “Instead, said, ‘That boy needs to have a stiff drink with his think about the global audience and why this story conscience.’ It became a buddy comedy about a car has themes that will resonate with the largest possible salesman and his conscience.”

17 FEATURE

Sarah Dodd

Elwood organizes her pitches into an Wright has paid for graphics to be created by a introductory anecdote about why she relates to the production designer in order to convey an idea, though material, what the concept is, and then she rolls into he believes a writer’s words should stand on their own. the location and core characters. “For a drama, I often “If you’re good at your job, the words you’re saying are pitch the whole cold open,” she says. “I give a rough going to paint pictures in their mind — possibly better flow of season one, even if it’s ‘We’ll begin with X and imagery than you can afford at the pitch stage.” at the end of the season we’ll find out Y.’ For comedy, “I think some form of visual proof of concept is I’ll set up episode ideas, just one line each. ‘This is the great,” says Heaton. “But it should be shown either one where Fitz turns the local daycare into a brothel.’ before as an amuse-bouche to get the room excited, For a drama, I might give character arcs instead.” or after a pitch to prove that the crazy idea you’ve just After about 20 minutes of specificity, she wraps up pitched can actually be pulled off.” by bringing her pitch around to why the concept is universal, relatable and compelling. Keep the faith “Never leave materials [printed or otherwise] behind,” Elwood cautions. “You’re a writer: Those “I’ve had pitches that I didn’t think went well not get are your words, and there’s a monetary value to that. bought and pitches I thought were home runs that Leave the pitch in the ether and leave them wanting didn’t get sold,” says Wright. “Sometimes you did a more. And if they want more, they can buy it.” great job, the people in the room wanted to buy it, but they went down the hall and the boss said, ‘Meh.’” Judicious use of props “I really had to learn how to be a successful pitcher,” says Elwood. “In the early days, I’d have my “I usually bring visuals,” says Elwood. “I might show crunched-up pages with my notes. You don’t ever actors to give the tone of a character. I might bring want to be reading from a script.” location photos to give a flavour of the setting. I bring “Before one meeting I took a Xanax and an iPad to flip through the photos, and that’s a good job almost fell asleep during my own pitch. That’s for the non-writing producer.” For Bagel Nation, she frowned on,” she laughs. “It should be noted that came with bagels and cream cheese. For an L.A. Story I did not sell the Xanax pitch, but I have used adaptation, she brought a cartoon map of L.A. with that scene in another show. Self-humiliation is an character faces stuck on particular locations. excellent selling feature.”

18 Dennis Heaton

TO LOGLINE OR NOT TO LOGLINE?

Loglines, it turns out, are a controversial topic. father traded in the family home to buy an inner While some writers enjoy coming up with a city deli, even though he knew nothing about winning description, others do not — at all. running a business, restaurant culture — or Orthodox Jews. This series is Neil Simon on crack. “A likable but socially awkward teen struggles through A more-diverse Shameless. The tale of a clueless the trials of adolescence with an unusual source of narcissist who never gives up hope that no matter advice, inspiration and commiseration: Her future how many times he screws up, easy street is just self. This was the logline for Out of Touch, about a around the corner and failing that, family will be genius teenager named Abby who starts getting calls always be there to blame.” from herself as an adult over a Skype-style time-phone –Sheri Elwood she invents 20 years into the future.” –Dennis Heaton “I hate loglines. I let my assistant write them. You have this great, detailed idea and somehow it’s “Bagel Nation is a single-camera, dysfunctional supposed to be distilled into one sentence? Never family comedy inspired by my family’s own Middle give them too much to say no to.” East crisis. When I was 14, my crazy Lebanese –Brad Wright Help Producers

Find and Hire You

Update your Member Directory profile. It’s easy. Login at www.wgc.ca to get started.

Questions? Contact Terry Mark ([email protected])

Member Directory Ad.indd 1 3/6/19 11:25 AM W-FILES Marsha Greene Help Producers Reality background gives Greene’s writing fresh view

Find and Hire You By Cameron Archer

ransitioning from the turning point for me was going finding new and inventive ways for production side of reality to the Canadian Film Centre. the characters to find clues. When Ttelevision, Marsha Greene’s After four years of working in we don’t, we get the note, ‘It feels screenwriting credits include production, I made the decision too easy.’ Global’s medical drama Remedy, that I’d step away from it — even With Mary Kills People, it was limited-series drama Ten Days though I was making a good living completely different. I remember in the Valley for ABC, and the — and focus on becoming a writer. once thinking, ‘How would this first season of Global’s detective I’m grateful for my play out in a medical drama?’ Then drama Private Eyes. Greene also experience in reality shows I would make a conscious choice to earned BravoFACT funding for and feel they’ve helped me be do the opposite. We always wanted her 2015 short filmIn the Room. successful as a writer. On Big Mary to be an anti-heroine. We But it’s Cameron Pictures/ Brother Canada, I learned the had a mandate to be surprising, Entertainment One’s Mary Kills importance of finding transitions not formulaic. We would always People with which she’s most in and out of scenes. On Hello ask ourselves, ‘What’s the craziest closely associated to date. She was Goodbye, I got to hear amazing thing that could happen?,’ then a writer and co-producer for the stories from around the world, find a way to make it grounded series’ first two seasons, moving which were all about character. and authentic to the show and our to executive producer and co- The most transferable skill I characters. showrunner in the third season of learned from production is how the Global medical drama/black to work with different people. How does a short-season model, comedy that debuted in 2017. The It might not seem important as used on Mary Kills People, third season is set for Global’s for a writer, but it’s incredibly differ from the more traditional spring 2019 schedule. important for a showrunner. model of Private Eyes? For me, the big difference is the Update your Member Directory profile. You moved from producing How do you avoid getting too length of the writers’ room. I reality series like Big Brother formulaic with procedural found it as difficult to break six It’s easy. Login at www.wgc.ca to get started. Canada and Hello Goodbye to dramas like Private Eyes and episodes of Mary as it was to scripted dramas. How do the Mary Kills People? break 10 episodes of Private Eyes, genres differ and what skills On Private Eyes, I wanted to figure but on the latter, the room lasted did you take with you from the out the formula. I felt like it was the at least eight months. The Mary Questions? world of reality TV? key to making the show a success. room was roughly two months There’s not a lot of crossover On the other hand, we wanted to and ended before production Contact Terry Mark ([email protected]) between the two worlds, and play with cop-show formula, so we began. The bulk of the heavy you’re usually entrenched in one made a decision to limit the number lifting is left to the showrunner. or the other. Working long hours of dead bodies and look for different That becomes challenging once in production made it difficult kinds of cases, like identity theft. you’re shooting, still prepping and to even find time to write. The We are constantly tasked with likely still rewriting.

Member Directory Ad.indd 1 3/6/19 11:25 AM MEMBER ALERT! Unfair Engagers The Guild has declared the following engagers “unfair” for failing to abide by grievance procedures or the decision of a joint standing committee. The WGC’s working rules prohibit members from working with unfair engagers. Project1:Layout 1 10/25/12 2:26 PM Page 1

All I Want Productions Inc. Lester Beach Entertainment Principal: Kirk Shaw Principal: Jeff Lester Battered Productions Inc. Mikisew Keemiwan Productions, Ltd. Principal: Kirk Shaw Principal: Norman Champagne Christmas Town Productions Inc. Nikolai Productions Principal: Kirk Shaw Principal: Cindy Lamb FOTP Productions Inc. Norfolk International Ltd. Principal: Richard Rapkowski Principal: William Macadam Guardian Films Inc./ Numb Productions Inc. En Garge Films Inc. Principal: Kirk Shaw Principal: Kirk Shaw Perfect Stranger Productions Inc. H & S Films Principal: Kirk Shaw Principal: Nicolas Stiliadis Prospero Entertainment Group Inc. Hiding Productions Inc. Principal: John Lambert Principal: Kirk Shaw Richard Lowry Productions Inc. High Seas Rescue Productions Inc. Principal: Richard Lowry Principal: F. Whitman Trecartin She Productions Inc. Ice Planet (1) Canada Ltd. Principal: Kirk Shaw Principal: Philip Jackson Spiritual Productions Inc. Justice Productions Inc. Principal: Kirk Shaw Principal: Kirk Shaw System Productions Inc. Kangaroo Court Productions Ltd. Principal: KirkPl eShawase Help Us Find These Writers! Principal: Robin Payne The CSCS is holding foreign secondary authors’ levies for writers T Man Productions Inc. Les Productions les Plus Belles Routes du Monde Inc. Principal: Kirk Shaw Principal: Andre Belanger (not affiliated with Spectra Animation Inc.) Zolar Productionshe Ca Inc.nadian Screenwriters Collection Society (CSCS) is Principal: KirkT hShawolding foreign secondary authors’ levies for a number of writers and uncredited productions. As CSCS does not have a current address for these writers or the productions do not have complete credit information we have not been able to forward any monies to the entitled writers. The complete list of writers and productions is available on the CSCS website at: Please Help Us Find These Writers! The CSCS is holding foreign secondary authors’ levies for writerswww.wgc.ca/cscs/hot_news/index.html If you have any information that would allow us to contact any of these writers or their agents, or if you are a credited writer The Canadian Screenwriters Collection Society (CSCS) Marisa Kingo natt [email protected] listed production, please contact: is holding foreign secondary authors’ levies for a number or call (416) 979.7907 ext. 5231 or of writers and uncredited productions. As CSCS does not 1.800.567.9974Mari sext.a K i5231.ng at [email protected] or call (416) 979.7907 ext. 5231 or have a current address for these writers or the productions 1.800.567.9974 ext. 5231. do not have complete credit information we have not been Please note that CSCS may require writers to furnish able to forward any monies to the entitled writers. The contracts inPl esupportase no teof ttheirhat Cclaim.SCS mAccordingay requir etow CSCSriters to furnish complete list of writers and productions is available on the regulations,c oifn tara writercts in doessupp onotrt oclaimf the ihisr c loraim her. A cmoniescording to CSCS CSCS website at: within twor eyearsgulat iofon sbeing, if a postedwriter d oones ournot websiteclaim h itheses or h er monies https://www.wgc.ca/screenwriters/cscs monies revertwith toin 2theye operatingars of bein expensesg posted oofn oCSCS.ur website these monies revert to the operating expenses of CSCS. If you have any information that would allow us to contact any of these writers or their agents, or if you are a credited writer on the listed production, please contact: W-FILES Kathleen Phillips Phillips living what she’s writing

By Mark Dillon

t’s only fitting that Kathleen Both you and Catherine How was the transition from Phillips is pacing the floor, Reitman are working moms. sketch comedy to kids shows and Ibouncing her cooing three- What kinds of discussions do half-hours? month-old as she discusses Workin’ the writers have? Everything has its learning curve. Moms. The Toronto writer/ We talk about our strengths as I was keen to do the half-hour performer and mother of two has mothers, but ultimately about our stuff because I like to spend time brought real diaper-changing experiences as women. A lot of with people. With sketch comedy experience to creator and star it is just talking about people we it’s mostly about the gag and you Catherine Reitman’s CBC comedy know and little anecdotes from really don’t get to spend too much about friends balancing career, our lives. Drawing from real life time with any one character. I like friendship and motherhood. makes for the best comedy and getting to the meat of a character Phillips co-wrote one episode most authentic storylines. Also, — finding all their little quirks and for season two and wrote two for it’s a heavily serialized show and nuances. That’s more interesting to season three, which launched in there are a lot of moving pieces. me beyond just jokes. January. These add to an eclectic It’s a bit of a Rubik’s Cube because list of credits including sketch things change as you’re writing As a performer, do you act out the comedy The Ron James Show, 13 episodes, so it’s about keeping roles as you’re writing? live-action kids show Odd Squad, track of all the moving parts and a If I’m really enjoying a scene I’m animated series Scaredy Squirrel lot of problem-solving. writing or a new character appears, and Cupcake & Dino: General I read it back to myself out loud. Services and offbeat comedy- You got to play opposite your That helps me see if I got the voice drama Crawford. Her range is no husband Chris Locke on several right. I perform it a little bit for surprise given her background as a episodes of Mr. D, and in season myself to make sure it sounds right character comedian, which led her eight you participated in the and the jokes have just the right to writing and performing a wild writers’ room. How were those amount of words and the timing is assortment of roles on sketch series experiences? all there. Sunnyside. And while attending That was a lot of fun. We to her little one, she talked to played Ted and Emma Terdie, You’ve been busy with a new Canadian Screenwriter about real- a swinging couple. Season baby. How’s 2019 looking? life influences and spending quality eight was the last season, so it I am going to be pitching some stuff time with characters. was bittersweet. I was in the and trying to get my head back in room during development. I the game. It’s been a big break, but knew everybody, so it was nice the wheels have been turning. I having that history, knowing the have a lot of ideas and would like characters so well and coming up to get back to my computer to work with stories with them. We were on them. I’ve spent so much time hashing out what the final season with babies and little kids I need to was going to look like, what [star work out my intellect. I also have to Gerry Dee] was going to get up remind myself to just soak up this to and wrapping up everybody’s time with my kids because it’s hard

PHOTO: JESSICA PHILLIPS JESSICA PHOTO: relationships. to come by when you’re working.

23 SPOTLIGHT News from WGC Members

Larry Bambrick is writing Claire Cappelletti is in post- Rescue, which started streaming the pilot for a globetrotting production, story editing the new all 10 episodes on CBC Gem procedural with eOne and TVOKids series The Wacky Word and Netflix March 1. He is also Counterfeit Pictures. He’s Show that she co-created with executive producing the upcoming also scripting the pilot for an Lisa Hunter. Claire is proud to adaptation of Mark Sakamoto’s international coproduction be a 2019 CSA nominee for Best novel, Forgiveness, for the CBC. with Hoodwink in Canada and Writing Children’s or Youth, along Underground Films in Ireland with fellow nominee Penelope Co-writers Tracey Deer and that — he hopes — will force him to Laurence in the same category, Meredith Vuchnich won the make a research trip to Dublin. for TVOKids’ Finding Stuff Out. TIFF-CBC Films Screenwriter Award for their script Beans, the Carolyn Bennett’s darkly comedic Jinder Oujla-Chalmers and her story of a Mohawk girl who learns debut novel Please Stand By is set producing partner Omni Films to be her own kind of warrior for release in October 2019 by have landed a further development during the 1990 Oka Crisis. Vancouver’s NON Publishing. She deal for The Komagata Maru was also part of the 2017 Thousand miniseries for CBC. She is also Tricia Fish, and her best friend/ Islands Playhouse Unit, where she putting the finishing touch on engineer Brenda Patterson, are in developed The Monarchists. She a biography, Seeing The Forest talks to develop an original one- missed the deadline getting this For The Trees, which will be hour character dramedy series news in, obviously. published in late 2019 by Harbour called The Freyda. Publishing. Currently working on The Murders After a successful three-week run season two development for Dane Clark and Linsey Stewart in London, England, Christine Muse/Citytv, Sonja Bennett have been hired to adapt the Foster’s play Four Thieves Vinegar is also writing Letterkenny for critically acclaimed YA novel Ms. (a black comedy about the Black Crave/Hulu. Additionally, she is Bixby’s Last Day for Gunpowder & Death) will run in May and June developing her one-hour drama Sky and Walden Media. at the Brighton Fringe Festival. Celebrity Worship with Tilt 9 and her limited series The Surrogacy Richard Clark’s chapter book, Elyse Friedman recently won the with Temple Street/Boat Rocker. My Best Friend Is a Secret Agent, TIFF-CBC Screenwriter Award illustrated by Rich Murray, has Jury Prize for Better Now — a In March, HarperCollins Canada been published by Indigo Press dark comedy that is currently in will publish David Bezmozgis’ and Wattpad and will be available development with Darius Films. fourth book, Immigrant City: exclusively at Chapters/Indigo She was awarded $1,500 and an Stories. this spring. He has also completed Industry Pass to the 2019 Toronto a rewrite of the feature Ocean International Film Festival. Peter Blow has written (and Odyssey for Forward Thinking directed) a crowd-funded Films. Collin Friesen’s feature documentary feature called Last directorial debut Sorry for Your Beer at the Pig’s Ear. It was the David Cormican co-created, Loss, starring Justin Bartha and closing gala film at the ReFrame wrote, executive produced and Bruce Greenwood, played the Festival in Peterborough in was showrunner for season one Just for Laughs Film Festival January. of family-drama series Northern in Vancouver in February, after

24 debuting at the Whistler Film said it is “certain to hook reluctant Kafka’s Ape, Guy Sprung’s stage Festival. It will be available scientists (and readers) with its adaptation of Franz Kafka’s on Crave TV this spring and is yuck factor.” novella, Report For An Academy, currently running on Showtime in has played over 140 performances, the U.S. James Motluk and J.B. Sugar are just finished a third tour of currently developing Mezcalero, Montreal and has been invited to Lee Goldberg’s new novel Killer a one-hour crime drama series play in Tokyo and Beijing in April. Thriller was released in February. with OUTtv. Based on the novel It’s a spy novel, but also a satire of by Canadian author T.E. Wilson Kim Thompson has adapted her the TV & film business. He also and produced by No Equal fantasy novel Eldritch Manor into has another novel, Lost Hills, being Entertainment, the series would be a stage play to be produced by the published this fall. a Canada-Mexico co-production StageCoach Theatre School on and has received development Salt Spring Island in April. Kim is Derek Harvie is showrunning funding from the CMF and Bell currently writing a YA novel about his half-hour live-action comedy Funds’ Slate Development Fund. D.W. Griffith and the early days of Bajillionaires, which he created, for silent movies. DHX’s Family Channel and NBC Diana Moore has just optioned her Universal Kids. first original animated preschool Eric Weinthal was hired by series to Guru Studio and is Serendipity Point Films, Broken WGC president and pacific region partnering with Headspinner Head Pictures, screenwriter councillor Dennis Heaton’s Productions on a new animated/ Stephanie Fabrizi and producer Netflix series The Order premiered live-action series with popular kids Melissa Coghlan to story edit on March 7. Helping Heaton gaming YouTuber Denis. a new screenplay they have in create all of that entertaining development. carnage are Shelley Eriksen, Christina Ray is thrilled to be Rachel Langer, Jennica Harper, working with showrunner Ron E. Writer/director Megan Penny Gummerson and Jason Scott again, writing for his new Wennberg’s first feature-length Filiatrault. series, Tribal. documentary will premiere at Hot Docs in April. Drag Kids follows Matt Holland is co-writing, with Darrin Rose wrote and directed the four children, who are drag queens, Micheline Lanctôt, feature film short film Love After Anne, which as they pursue their passion for comedy La tour de Basile. The was picked as an Official Selection at drag, culminating in a group show French-language script is co- both the Vancouver Just For Laughs at Montreal Pride. It was produced produced by Jessie Films’ Patrick Film Festival and the Toronto by Erin Oakes and Edward Peill of Huard (Bon Cop Bad Cop) and has International Short Film Festival. Telltale Productions. received development funding from SODEC. Shelley Scarrow has been The CMF has kicked in funding commissioned by No Equal for the production of the second Edward Kay’s newest book, Stinky Entertainment to write a pilot season of Emily Wheedon and Science: Why the Smelliest Smells script based on Robert J. Sawyer’s Geneva Film’s web series Chateau Smell So Smelly, has been receiving novels, Wake, Watch and Wonder. Laurier. The show also won for Best positive reviews, notably in New Sawyer and J.B. Sugar (Bitten) are Costume Design in a Web Series at York-based Kirkus Reviews, which executive producers. the CAFTCAD Awards.

25 WRITERS HELPING WRITERS

Money for Missing Writers

The Writers Guild of Canada is holding monies for the writers listed below. The WGC has been unable to locate the writers and forward the money to them. If you have any information that would help us reach these writers (or their agents or estates), please contact the staff member indicated below. These writers would thank you.

IPA - contact Aaron Unrau at [email protected] NFB - contact Aaron Unrau at [email protected] 1-800-567-9975 ext. 5270 1-800-567-9975 ext. 5270

Dawn Cumberbatch — Top Cops Laszlo Gefin — Revolution’s Orphans Elana Devine — Student Bodies János Szanyi — Revolution’s Orphans Warren Easton — Odyssey II Gilles Toupin — Cycling: Still the Greatest Joe Flanigan — Stargate Peter Vogler — Ernie’s Idea Gerald Fourier — Littlest Hobo John Hollard — Littlest Hobo

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Anar Ali Toronto ON Faisal Lutchmedial Toronto ON Trey Anthony Locust Grove GA Jon Mann Halifax NS Anthony Artibello Vineland ON Alix Markman Toronto, ON Matt Baram Los Angeles CA Luke Matheny Los Angeles CA Linwood Barclay Toronto ON D.J. Mausner Toronto ON Nastasha Baron Delta BC Grayson Moore Toronto ON Andy Berman Encino CA Mackenzie Moore Los Angeles CA Richard Blaney Studio City CA Etan Muskat Toronto ON Josh Campbell Studio City CA Cathryn Naiker Toronto ON Grace Church Encino CA Whitney Ralls Glendale CA David Daniels Toronto ON Rob Ramsay Scarborough ON Josh Epstein Vancouver BC Kyle Rideout Vancouver BC Vanessa Esteves Ajax ON Adam Ruben Washington DC Sebastien Girard Westmount QC Rachel Ruderman Redondo Beach CA Sam Godfrey Toronto ON Gregory Small Sherman Oaks CA Gary Goldstein Los Angeles CA Elliot Sokolsky Toronto ON Jim Goodall Toronto ON James Sommers Encino CA Carlos Jacott Beverly Hills CA Dianne Stanley Mettawa IL Mostafa Keshvari Vancouver BC James Stanley Mettawa IL Sami Khan Toronto ON Matt Stuecken Los Angeles CA Alex Koplow Los Angeles CA Mariko Tamaki Oakland CA Stephane Lafleur Montreal QC R.T. Thorne Toronto ON Gorrman Lee Vancouver BC Emily Weedon Toronto, ON Jeff Lemire Toronto ON Joyce Wong Toronto ON James Long New Westminster BC Marcus Youssef Vancouver BC Joey Lucius Edmonton AB Imran Zaidi Montreal QC

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Bringing home the BACON

By Jeremy Woodcock

Despite an earlier pledge to publish submissions, the Broadcasting and Telecommunications Review Panel (BTLR) won’t be issuing any public statements until June. A Panel “member” weighs in...

Hello writers, showrunners, pro- But back to the matter at At the very least, look at ducers, agents, hangers-on, and last hand. We’ve talked about the it in this sense: As long as the but not least, producers. Allow me feedback as a panel. (Far more than submissions are not revealed, they to introduce myself. we’ve spoke about the submissions, could be everything you want or My name is Don Danielson, to be perfectly honest.) Our panel is nothing you want — and are in and I am but a humble member of a good panel. I’d put it up there with fact both at once. Schrodinger’s the Broadcasting and Telecommu- some of the better panels — I mean, Submissions. They are The nications Legislative Review Panel, it’s no committee, but it’s a darn Sopranos’ final scene in submission or BACON for short — with a name good panel, usually up to the task. form. While I’m at it: Yes, we did that long you can honestly just pick I must confess, though, that we say that we would make these and choose which letters are the don’t quite understand why people submissions publicly available after most fun to highlight. are so hot-and-bothered about our the deadline. No question about it. We have been getting a lot of decision not to engage in a trans- Not sure why there are any hard feedback on our handling of the parent process on this matter, and feelings on this point. recent submissions to our panel on not to go blabbing about what these Here I feel we are merely behalf of many individuals, orga- submissions “contain” and what having a very professional disagree- nizations, corporations and even “interested parties” and “powerful ment regarding the definition of the producers. We’ve been receiving players in the broadcasting game” word “after.” plenty of powerful feedback on want from “the government.” “After the deadline” could our relative languidness (How’s But the way I see it, the best be one second after the deadline that for a word for you writers to thing that can happen to these sub- passes. It could be 200 years after. enjoy? Means being slow, but not missions is that you never find out It could be 500 years after. It could necessarily pedantic, by the way.) what they say. Isn’t that the dream? — and you may feel I’m being silly in making the submissions publicly As long as you never see them, here, but I am just trying to make available, even though we said we they can be any kind of submis- a point — it could be 500 million would do just that. Lots of feedback sion you imagine! There could be a years after. on all of this. submission specifically asking the These periods of time are And honestly, we’re thankful government for permission to give all “after,” correct? Surprised you for all of it. That’s what makes it you, (your name here), a cheque for writers aren’t more understanding feedback, actually. one million dollars, no strings at- of the many possible interpretations (Let me explain this state- tached. Sure, it’s not likely, but until of a word. Seems like an important ment, as a quick aside. Yes, a lot of we tell you that it didn’t happen, it part of storytelling, non? the feedback to our idiosyncratic could have happened. Perhaps you can get to work and downright taciturn response Do you really want to hear on that and we’ll get back to work to the submission has been neg- what Rogers has to say about the panelling. After all, we all have our ative. I don’t have my head in a future of broadcasting? Is that likely responsibilities. panel of sand. I know it’s been very to improve your life? Ask yourself I’ll tell you what ours are after. critical. But that’s why I’m thank- the same question I ask before I ing you for this feedback. And research whatever rash or illness I Don Danielson, Panel Member when you need to pretend that currently have on WebMD: Do you BR ATISL AVA you’re thankful for criticism you think this information, no matter (Got bored with didn’t want — and do not intend to what it is, is possibly going to make BACON in the eight weeks it took follow — you call it feedback.) you happier than you currently are? me to compose this letter.)

28 CALENDAR

March

25 - 31 — Canadian Screen Week academy.ca

April

17 — National Canadian Film Day canadianfilmday.ca

25 - May 5 — Hot Docs Festival hotdocs.ca

29 — WGC Screenwriting Awards wgc.ca

May

4 - 5 — Toronto Screenwriting Conference torontoscreenwritingconference.com

23 - June 2 — Inside Out Toronto LGBT Film Festival insideout.ca

June

5 — WGC Presents Writers Talking TV wgc.ca

9 - 12 — BANFF World Media Festival banffmediafestival.com

25 - 30 — Female Eye Film Festival femaleeyefilmfestival.com Celebrating Canadian WGC Screenwriters Screenwriting Awards 2019 Congratulations to this year’s finalists!

BEST NEW SERIES SCRIPT FEATURE FILM TV DRAMA The Bletchley Circle: San Francisco 22 Chaser Cardinal: Blackfly Season, Season 2 “Presidio” Written by Jeremy Boxen “Kevin” Written by Daegan Fryklind The Grizzlies Written by Jennica Harper Cupcake & Dino: General Services Story by Graham Yost/Screenplay Cardinal: Blackfly Season, Season 2 “Growing Pains” by Graham Yost and Moira Walley- “Red” Written by Joel Buxton Beckett Written by Sarah Dodd Little Dog “Round One” Splinters Killjoys, Season 4 “Baby, Face Killer” Written by Joel Thomas Hynes Written by Thom Fitzgerald Written by Julie Puckrin

Little Dog “Round Five” MOW AND MINISERIES Wynonna Earp, Season 3 “When You Written by Christopher Roberts Call My Name” No One Would Tell Written by Caitlin D. Fryers CHILDREN’S Written by Caitlin D. Fryers Chop Chop Ninja “In Charge” Odd Squad: World Turned Odd TWEENS & TEENS Written by Paul Stoica & Alexandre Written by Tim McKeon ReBoot: The Guardian Code, “Identity Riendeau Separated at Birth Theft” Cupcake & Dino: General Services Written by James Phillips Written by Todd Ireland “Christmas is Cancelled” Star Falls “The Bachelor Auction” Written by Mike Girard SHORTS AND WEBSERIES Written by Cole Bastedo Odd Squad, Season 2 “Saving Agent Chateau Laurier Star Falls “The Camping Trip” Orson” Story by Emily Weedon/ Written by Jennifer Daley Written by Mark De Angelis Teleplay by Kent Staines & Emily Weedon Wishfart “I Wear This Hat Ironically” The 23rd annual Written by Josh Sager & Jerome NarcoLeap “Unintended Consequences” Simpson Written by David Schmidt WGC Screenwriting Awards Wishfart “Litterfools Ain’t Cool” We’ve Come to the End of Our Time Hosted by: Gavin Crawford Written by Alex Epstein & Lisa Written by John Hazlett & Lienne Written by: Kyle Tingley Sawatsky & Dan Williams Hunter

DOCUMENTARY TV COMEDY Winners announced Catwalk: Tales from the Cat Show Letterkenny “A Letterkenny Christmas: April 29, 2019 Circuit The Three Wise Men” At Koerner Hall in Toronto Written by Michael McNamara Written by Sonja Bennett Ticket information: The Fruit Machine Schitt’s Creek, Season 4 “RIP Moira www.wgc.ca Written by Sarah Fodey Rose” Jumbo: The Life of an Elephant Written by Rupinder Gill Superstar Second Jen, Season 2 “Like a Girl” Written by Christine Nielsen Written by Amanda Joy

WGC 2019 Finalist ad.indd 1 3/7/19 10:03 AM