KL: In Canada, there is usually only one person who does several jobs: taking notes in the authors` room, proving the outlines and scripts, lunch, snacks, office supplies, being in touch with different production services and managing the showrunner program, research, technical assistance and anything else that might be asked of them that day. And the coordinator does all this, while they also have story ideas and they help break episodes like other authors. A good coordinator must be an incredible self-thrower and make a thousand small decisions a day to relieve the pressure of your showrunner, but if you think that all the mistakes you make can be expensive to produce, it`s very stressful! As you are often the only assistant to do all these tasks, the days last 12 hours, and during production, you should always be on demand – even on weekends – in case there were new pages of scripts to prove. NY: Years ago, it was common for shows to have more than 20 seasons of episodes, so most of the young people in the room had the chance to write or co-write a screenplay and advance their writing careers on television. The reality is that today`s channels command shorter seasons of 10, 8 or even 6 episodes, so there aren`t that many episodes to walk around, and they`re quickly assigned to the authors of the higher level. This means that history coordinators can work for years in writing rooms before they have the chance to move up the ranks, join the guild and, most importantly, get the significant salary increase that comes with a tv writing credit. The WGC is the voice of professional Canadian screenwriters – lobbying on their behalf, who protect their interests and works to improve the profile of screenwriters. Most importantly, the Guild negotiates, administers and passes collective agreements on behalf of its members, and sets minimum rates, conditions and working conditions in the guild`s jurisdiction – all English-language productions in Canada. The central collective agreement, the Independent Production Agreement (IPA), is negotiated between the Guild and the Canadian Media Production Association (CMPA), the Association of Independent Producers in Canada. In addition to the IAP, the Guild has also entered into agreements with APFTQ, CBC Radio, CBC Television, CTV, NFB and TVOntario. The WGC is officially recognized as an official bargaining partner for English-speaking professional screenwriters under the federal status of the Artists Act and the Status of Quebec`s Artist Legislation. NY: I scream when I see that the story coordinator is the author of BIPOC in a white writing room.
The solution is simple: put more BIPOC authors at all levels. And if the handful of BIPOC authors are employed, then you encourage and hold another bipoc scribe at this level and give them the support they need to succeed. TTVJ: The petition states that the position of coordinator is often occupied by the authors of BIPOC. Why are they so often relegated to this position and what steps does the industry still need to take to bring more BIPOC authors into theaters? Gillian Moller: Because BIPO`s TV – Film has been built from scratch as a grassroots organization that meets the needs of our weakest members, we are truly admitted to the realities of what we have as creative bipoc in terms of obstacles and obstacles in the industry. I was lucky enough to join the WGC with my first screenplay for Travelers, but I worked as a coordinator for the following years. I was so devastated that my exploits disappeared, even though I was still working in the theatres of the writers of television.