For many in the screen sector it underlines the need for local content quotas, which Tony Burke has mooted are in the pipeline, but the impacts of reduced screen funding and Australian content over the last decade means the pipeline for new writers and adventurous content has been choked up.
The lack of development funding for the Australian screen sector has meant fewer shows are made, producers are more risk averse, and writers’ rooms have shrunk.
Whereas 20 years ago, 22 episode per season Australian dramas or procedurals were commonplace and writers’ rooms staffed by a dozen writers, today with limited shows and funding, those rooms have shrunk to around 4 people, with little appetite for blooding new talent.
As a result, younger writers find it hard to break into the industry. And the lack of funding, and therefore shows, means less diversity of stories.
The small pipeline of talent has served the industry well in a context of limited funding and minimal new aussie scripted drama on terrestrial television. But with content quotas looming, the need for new writers will increase.
Industry associations, production houses, and seasoned writers have joined forces to call for extra funding for budding writers through state and territory screen associations.
With screen association funding scarce, money is awarded to writers who already have ‘credits’; however, this creates a cycle that makes it incredibly tough for those just starting in the industry without credits.
In the past, aspiring writers entered the industry through writers’ rooms, starting as notetakers. This role would gradually evolve, allowing them to co-write an episode and earn credits.
However, with the current trend of writers’ rooms shrinking, the notetaker role, which was once a crucial stepping stone, is often filled by someone who already has writing experience.
In response, the Australian Writers Guild has created First Break, a program that provides participants with the skills, training and understanding to obtain work as note-takers.
This allows writers to get their start in the industry and build vital networks as they do, on completion they are promoted to the industry via the AWG Pathways website.
The program has limited places, but it offers a blueprint for wider industry investment in future talent.
Louise Shultze, the CEO of Australian Production House, says programs like the AWG need to be run at a much larger scale to fill the demand that will be created by looming content quotas.
‘As Australian writer’s rooms have shrunk, there has been less appetite for risk. That includes taking a risk on a person or idea that is new, says Shultze.
‘With the introduction of content quotas, the pipeline of talent is going to need to widen substantially and the industry needs the skills and people to be ready for that.
‘We need cadetship programs for writers. We currently run a program like this for producers and offer mentorship from industry veterans to give budding writers the best chance at success.
‘The need for credits to receive funding from Screen Associations means the lucky few who have cracked the industry get repeat opportunities, while those without credits find it hard to get a break. Without new talent coming through, we don’t get those fresh, creative takes,’ says Shultze.
One industry veteran who helps mentor at Australian Production House is Chris Anastassiades (Wog Boy, High Ground, Yolngu Boy).
‘Working as a lecturer in screenwriting at RMIT, I saw students’ difficulties in breaking into the industry firsthand,’ says Anastassiades.
‘I’ve been writing professionally for 30 years, and the opportunities for up-and-coming talent have shrunk during that time. It’s a vicious cycle of ‘haves and have-nots’.
‘Those who manage to get credits will be fortunate to attract funding from screen associations, while those who don’t get that initial break are unfortunately disadvantaged.
‘With content quotas on the way, more Aussie content will be produced. We need extra funding to help those looking to get a foot in the door. Otherwise, we will just get re-heats of what’s already out there.’