Can you introduce yourself and your series Anfamol?

My name is Rhiannon Boyle and I’m the Writer, Series Creator and Creative Producer of the Welsh language comedy drama Anfamol produced by , which is an honest, hilarious and heartbreaking story about the reality of being a modern mother.

Tell us about the lead character in Anfamol, Ani ()

Ani is a strong, self-sufficient, successful, single feminist who has a seemingly perfect life. However, she has a very fractured relationship with her dysfunctional family. In the hope of filling a void inside her and finding unconditional love she decides to have a baby on her own by buying sperm for a sperm bank.

What compelled you to tell this story?

A few years back a friend of a friend had a baby this way. She told me when she was choosing the donor on the sperm bank’s website she’d gone through dozens of profiles of men. You get pages of data including - hair and eye colour, height, weight, temperament, hobbies, IQ, medical history, family’s medical history, handwriting, a voice recording, baby pictures - the lot! I found this fascinating. I did some research and interviewed some women who’d had a baby this way. One thing they all had in common is that they were fierce, badass and strong. I wanted to create a character that would embody these inspirational modern women.

What motivated you to write Anfamol? Were you particularly inspired/influenced by anything/anyone?

During the pandemic I was asked to pitch an idea to the theatre company and so I pitched this story - a forty-year-old woman surrounded by couples and families at her little sister’s wedding who starts feeling like a fish out of water and succumbs to societal pressures to have a child. She puts her heart, soul and all her savings into it, only to find that motherhood was not quite what she expected.

Anfamol was first performed at the , can you tell us how you found adapting your play for TV? Did you ever envisage that Anfamol could be a TV series?

I never thought it would be a TV series. I got lucky when the  Drama Commissioner came to see the play in and loved it. At the time I was working as a writer for the Welsh continuing drama Pobol y Cwm and one of the producers, who’d also seen the play, approached me and said she’d had a conversation with the commissioner about the show. She asked if I wanted to work with the team and develop the stage show into a TV series. It didn’t feel real to be honest. It felt like a dream. As a writer you have lots of promising conversations like this and most of them never come to anything, so I tried not to get too excited. And then a few months later my contract was signed, and we were in development.

What steps did you take adapting it from stage to screen?

The monologue was an hour and a quarter so what we found when we tried to stretch the original narrative over five half hour episodes was that there wasn’t enough story. So, we had to add new characters and new strands. That was hard, because the new bits couldn’t feel like add ons; they had to suit the world and be relevant to the themes.

It was so much fun bringing all the characters to life in the script. In the monologue we only get Ani’s version of all the characters but suddenly, they were fully rounded, three-dimensional beings inhabiting the world. Because Ani talks to the audience in the play, I wanted to keep that element of breaking the fourth wall, but it was tricky to work out who she’s talking to and why and to perfectly balance the ‘to cameras’ throughout the episodes. One huge change was moving the story from 2020 to the present day. In the play Ani tries to escape motherhood by going back to work but then lockdown hits and sends her into a deep loneliness and isolated state. We thought setting the TV show during the pandemic would be a bit stale, so it was about finding another situation to give us that total isolation, which I think we managed to do.

Anfamol was the first full-length Welsh-language play to be staged in front of a live audience after the pandemic, how do you find writing in two languages? Do you prefer writing in one over the other?

I’m a half Welsh, half English mongrel and I grew up in a fully bilingual family and home. My husband is also a non-Welsh speaker. My kids go to Welsh language school, so we speak Welsh, but when my husband’s around we switch to English (unless we don’t want him to know what we’re saying, that’s handy). Because of this I’m comfortable writing in both languages. In fact, I like mixing them up because that’s a true representation of the Wales we live in. That’s why Anfamol is about 80% Welsh, but I’d say about 20% of the scenes are in English.

You’ve been a part of a number of ΒιΆΉΤΌΕΔ Writersroom schemes (Welsh Voices, Wales Writer in Residence and now Drama Room), can you tell us about any highlights you’ve had with your time with us? Or any pieces of advice/sessions that have particularly helped with your writing career?

Winning the ΒιΆΉΤΌΕΔ Wales Writer in Residence was a real career changing moment for me. From then on, it’s been a real chain of events, suddenly people sat up and started emailing, calling, and asking for meetings. A highlight for me was an agent session we had with where I met my amazing agent Mark and got signed by United. Without winning that award I wouldn’t have been commissioned to write Anfamol the stage show, which led to the TV show, which will lead to who knows where if it’s a success.

At the moment I’m working on a brand-new English language pilot script MS I Love You through ΒιΆΉΤΌΕΔ Drama Room. It’s a semi-autobiographical story about a young girl who must learn to forgive her estranged alcoholic dad when he’s diagnosed with MS. I’m working with an amazing script editor Kate O’Hara from and this experience has been invaluable. I’m no good at reading blogs or books on structure and narrative as I find them dull. I like learning through doing, which is why these ΒιΆΉΤΌΕΔ Writersroom schemes work so well for someone like me.

Do you have any advice for any writers hoping to follow in your footsteps?

Early on send your scripts to friends or people you trust who know what a good story is and get them to tell you what they loved but also what they didn’t get or didn’t understand. Watch as much TV Drama as possible. Practice. I started by writing short plays for theatre scratch nights and would go along and see the actors reading my lines and I’d watch and gauge the audience's reaction. Submit your scripts to all the competitions, especially all the ΒιΆΉΤΌΕΔ Writersroom call outs. Never give up if you love it and believe you have talent. You’ll get countless rejections but as Dory says in that fish film, ‘just keep swimming.’

The box set is available on  and iPlayer with English subtitles.

Let’s start with the important questions first. Which Hogwarts House am I? Hufflepuff. What is my chocolate bar of choice? It’s got to be a KitKat Chunky (but other brands are available). As you can see, neither writing nor comedy is my forte! I am in awe of writers who are able to craft and conjure up imaginative worlds, compelling characters and captivating storylines for all mediums including the screen.

Working with writers, whether it be across the ΒιΆΉΤΌΕΔ Writersroom or in Drama Commissioning, is one of the reasons that attracted me to this job. It’s impossible not to sound really cheesy but what I love about working in drama, and in my new role, is being part of the creative process and working on a diverse slate of TV drama ideas with a wide range of exciting talent at all stages of their career.

Here in Wales, we have an incredible wealth of talent and produce award winning drama content. Being Welsh myself, I am particularly excited to have the opportunity to foster and develop Welsh talent, and create a portfolio of bold and distinct dramas which reflect Welsh cultural diversity and ensure that it has a UK and global reach.

My very first job in the industry was working as a researcher for the ΒιΆΉΤΌΕΔ in Cardiff, so it’s wonderful to be back here twenty years later. Over the years, I have worked in both film and television development and production, for companies including , , the ΒιΆΉΤΌΕΔ, and most recently as a Development Executive at .

If you want to know what opportunities there are for writers, or in commissioning, please check out our website for details of our development groups and latest opportunities (from the ΒιΆΉΤΌΕΔ and elsewhere). We are currently shooting , written by Daf James who previously took part in our ΒιΆΉΤΌΕΔ Writersroom Pilot scheme and was part of our Voices in Wales. This is a great example of how we have been able to help develop a Welsh writer and turn one of their ideas into a ΒιΆΉΤΌΕΔ drama - we want to see lots more of these success stories, so do come forward with your ideas!

Find out more about the work of ΒιΆΉΤΌΕΔ Writersroom and our team across the UK

How did you find writing as a partnership? Was it something you had ever thought you would do before?

Leila: Genuinely so lovely. I think there's been a really strange push for atomised working in the recent past. Perhaps the 'Phoebe Waller-Bridge' effect? The idea that there's more value in art if it's someone's sole creation. I just disagree so hard. Collaboration and connection is absolutely the only way to tell stories that authentically ring true in our society.

Sion: I enjoyed it immensely. It was great! It helped writing with Leila, who's not just a great writer, comedian and performer, but she's also a great person as well, who I now consider a great mate of mine.

Writing can be very lonely as you are away from people for long periods. What was great with this was a chance to have someone else's company whilst writing, but also somebody to bounce ideas with, discuss ideas and characters with, to ask questions about characters and the story to, and to receive questions back in return about any of my suggestions about the characters and story. It was great to be creative with someone else whilst writing and working things through as we went along.

I had thought of writing with others before, and I've chatted with friends about sitcom ideas etc in the past, but actually writing a script with someone else - I've never done that. Now having written with someone else, I'd be eager to do it again - and most definitely with Leila.

What were the logistics of writing as a team – did you always write together or did you edit each other’s work?

Leila: So we absolutely had a moment at the start when we were like 'Cool. How on earth do we do this?' But we just chatted and laughed and found we had musical interest in common and ended up writing together the whole way through. Just us on Zoom, taking it in turn to type so our hands didn't ache.

Sion: Since I was in North Wales and Leila was in London, we just wrote over Google Hangouts and Zoom. So, we had a virtual writer's room together. At the start it was very much 'How do we do this?', but since neither of us had previous experience writing with someone else, this helped. It allowed for us both to approach it, with both of us, in the same position. We did it our way, rather than someone using a previous way of writing with someone else.

We laughed and chatted for hours, and we made a WhatsApp group, and during the day we'd be messaging each other or leaving voice messages with ideas and suggestions. We still do that now! And we also even wrote at Green Man Festival. The first time we met in person was at Green Man Festival, a few months after we started writing together and meeting to write over Hangouts and Zoom.

How has working together changed the way you approach scripts? Did it enable you to take more risks for example?

Leila: I think it allowed us both to focus on the funny. We spend most of our sessions just trying to make each-other laugh. It made the prospect of broadcast less scary because you're not trying to please the masses, just one person who you respect.

Sion: It’s made me consider things more, having that person opposite ask questions or come up with suggestions. I've always been open to questions and suggestions, but now even more so.

It helped that neither of us were precious about our ideas which meant we were constantly talking about what we were writing, this meant 'VanDullz' was a real joint writing effort and a sitcom which came from both of us. Back at the start of the year, we didn't know each other, but now Leila is one of my great mates. And we've written this together, a sitcom that's come from us both. That makes me proud.

Any stand out moments?

Leila: We just spent the whole time cackling, quite frankly. We were like naughty school children, seeing how cheeky we could get away with being in our writing. But you'll see that in the show, I reckon. Also once we got on location, seeing and sitting inside the Van (which is called Heledd and is played our dear friend, the incredible Kiri Pritchard-McLean). The art department made it look exactly what it was like in our head. That was cool.

Sion: The whole experience was great, working with Henry Widdecombe and his production company - , who were amazing and so supportive of our idea was awesome. The crew were all superb. The cast were all superb and really got under the skins of their characters. Carys Lewis, our director, was superb. And of course, writing with Leila was so fun and exciting!

During the filming, I stayed on the peripherals, wanting to give our DOP (Rik Burnell - who was great) and Carys and the crew the space they needed to work. I didn't want to be in the way. When it came to the filming, at that point the script was written so it was a case of handing it over and trusting that everyone will take it further and bring it to life. Which they totally did! I just stayed on the peripherals, watching from a safe distance. I was keen to see how it looked, but also wanted to be completely respectful of Carys, Rik and the crew and their creative working process.

There was a moment, early on a Saturday morning (the 3rd morning of early starts!) when we were filming down Aberystwyth sea front, the sky was a light blue, and it was just stunning. I decided to walk up a bit to the set and got a quick glimpse of how it looked and it was that moment I thought - 'Yep!'. It was exactly how Leila and I had pictured 'VanDullz' looking. We always wanted this to be about Wales, but the Wales between the picture perfect postcard Wales. Away from the well-known sights. That's where these characters exist, they live away from the picture perfect postcard Wales. They're in their own world. Their own bubble. I hope people like it and want to spend more time with the 'VanDullz' in the future.

Watch Vandullz on ΒιΆΉΤΌΕΔ iPlayer

Watch more shows in the Festival of Funny on ΒιΆΉΤΌΕΔ iPlayer

and ΒιΆΉΤΌΕΔ Writersroom Wales joined forces over Summer 2021 to find two ambitious and exciting, up-and-coming TV writers with a strong connection to Wales. As part of World’s commitment to developing its creative base in Wales the award is an investment in original writing talent. The two winning writers will now be offered a paid development deal to work on original ideas aimed for ΒιΆΉΤΌΕΔ Network TV.

After a highly competitive process in which ΒιΆΉΤΌΕΔ Writersroom Wales received a large number of scripts, six writers were selected and invited to pitch their original TV ideas to a judging panel which included Ben Irving (Drama Commissioning Editor for Wales, ΒιΆΉΤΌΕΔ) and Laura Cotton (Head of Development, Wales for World Productions).

The judges are delighted with the two winners and look forward to the innovative work they will undoubtedly create.

Meet the winners below:

I’m thrilled to be working with World Productions on a series that has the potential to reflect Wales in a way that hasn’t been shown before and take an interesting spin on drama with distinct and compelling characters at its core. World Productions is a well-renowned production company that have produced some of Britain’s best dramas, so it’s an absolute privilege to be given this award at this exciting stage of my career.

World’s commitment to celebrating Wales and championing different voices is one of the reasons why I applied for this award and why I am so excited to work with them to develop a series that means so much to me. I’m really looking forward to seeing what comes from this award and the creative process.

Zia Holloway

Zia Holloway is an emerging television screenwriter. She is a Script Angel scholar and was a recent student of the NFTS Screenwriting MA. She has worked with a range of exciting production companies such as Bad Wolf and has original series in development with The Forge, The Ink Factory, and Studio 21. She has gained experience across a range of mediums including television, animation, and theatre. Zia specialises in writing drama, magical realism and sci-fi and her characterful writing has received praise for weaving the fantastical with the recognisable to create rich worlds and authentic stories.

Having long admired World Production's stellar output, it is such a privilege to be afforded this opportunity, through the ΒιΆΉΤΌΕΔ Writersroom, to develop my idea with them. My goal is to create a captivating, contemporary and sometimes humorous Welsh drama, reflecting life in today's Wales, which will connect with audiences across the UK. I'm very excited to start this journey and learn from the experienced team at World.

Clare Byrne

Clare Byrne started her career as a writer and director in theatre whilst studying for a BA in Politics at the University of Warwick. After which, she co-founded the theatre company Ginterval and went on to work in various theatre and TV jobs in London. In this time, she wrote several pilots and short films, including the short Y Mor, shot in Pembrokeshire.

In 2018, she began developing a crime drama series with Germany's TV60 and Südhang Films. Recently, with the help of a BAFTA scholarship, she gained an MFA in Screenwriting from the University of Southern California. Clare spent the last year on location in Sweden, serving as an Associate Producer on showrunner Adi Hasak's upcoming psychological thriller series, The Box, starring Anna Friel, for which, she also co-wrote the final episode. She is currently back in Wales working, thanks to the powers of Zoom, with Hasak on several other TV shows whilst developing her own projects.

Find out which which writers reached the shortlist of the World Productions Wales Writers' Award

Along with a longlist of 15 writers, our shortlist have attended a workshop hosted by , Head of Development, Wales for World Productions, Ben Irving, Commissioning Editor for ΒιΆΉΤΌΕΔ Drama in Wales and writer , on the development and commissioning process with a particular focus on work in Wales.

Two writers will now be chosen for a paid opportunity to develop an original series idea with World Productions.

This scheme is run by  in partnership with ΒιΆΉΤΌΕΔ Writersroom and ΒιΆΉΤΌΕΔ Drama Commissioning to search for the most exciting writers with a strong connection to Wales to develop bold, original drama and comedy-drama television series for ΒιΆΉΤΌΕΔ network broadcast.

If you would like further information about any of the writers, please feel free to contact writersroom@bbc.co.uk or their agent.

Clare Byrne started her career as a writer and director in theatre whilst studying for a BA in Politics at the University of Warwick. After which, she co-founded the theatre company Ginterval and went on to work in various theatre and TV jobs in London. In this time, she wrote several pilots and short films, including the short Y Mor, shot in Pembrokeshire. In 2018, she began developing a crime drama series with Germany's TV60 and Südhang Films. Recently, with the help of a BAFTA scholarship, she gained an MFA in Screenwriting from the University of Southern California. Clare spent the last year on location in Sweden, serving as an Associate Producer on showrunner Adi Hasak's upcoming psychological thriller series, The Box, starring Anna Friel. For which, she also co-wrote the final episode. She is currently back in Wales working, thanks to the powers of Zoom, with Hasak on several other TV shows whilst developing her own projects.

Zak Ghazi-Torbati & Kate Reid

Zak Ghazi-Torbati is a half-Iranian/half-Welsh actor, writer and lyricist. Growing up in Barry, South Wales, Zak studied with the Young Actors' Studio at the Royal Welsh College. Zak co-wrote and performed the comedy musical Hot Gay Time Machine alongside Toby Marlow and Lucy Moss, writers of the musical SIX. The show originally debuted at the Edinburgh Fringe, where they won both the Eddies Award and the Brighton Fringe Award for Excellence. They subsequently won the LGBTQ+ Award at the Brighton Fringe 2018. The show went on to enjoy sold-out runs in the West End (Trafalgar Studios), Crazy Coqs, The Other Palace and Soho Theatre, London. Collectively, they have also written comedy songs for Courtney Act’s Christmas Extravaganza on Channel 4 and her most recent world theatre tour/concept album Fluid.

Most recently, Zak was runner-up for the David Nobbs New Comedy Writing Competition and is currently developing a pilot, The Other Half, for UKTV and TriForce Creative Network as a finalist of WriterSlam alongside Kate Reid.

Kate Reid is a writer/performer who trained at Bristol Old Vic Theatre School. Since graduating in 2018, she has co-founded the production company Plain Heroines and developed work for theatre and television. She has written and performed in A Girl, Standing (Theatre503), Refract (King’s Head Theatre), January (White Bear Theatre), The Cleaner (The Miniaturists at The Arcola), Entropy (Park Theatre Script Accelerator) and The 4th Country (VAULT Festival). She was a finalist for the Royal Court’s Lynne Gagliano Award 2019 and The 4th Country was a finalist for the Charlie Hartill Award 2020. The 4th Country is transferring to Park Theatre in January 2022. She was also a runner-up for the David Nobbs New Comedy Writing Competition, and was a finalist in SISTER and South Of The River Pictures’ inaugural SCREENSHOT Competition. She is currently developing a pilot, The Other Half, for UKTV and TriForce Creative Network as a finalist of WriterSlam with Zak Ghazi-Torbati.

Zia Holloway is an emerging television screenwriter represented by Emma Obank at . She is a Script Angel scholar and was a recent student of the NFTS Screenwriting MA. She has worked with a range of exciting production companies such as Bad Wolf and has original series in development with The Forge, The Ink Factory, and Studio 21. She has gained experience across a range of mediums including television, animation, and theatre. Zia specialises in writing drama, magical realism and sci-fi and her characterful writing has received praise for weaving the fantastical with the recognisable to create rich worlds and authentic stories.

Rebecca Ingram is a Writer and Creative Producer who creates compelling international high-end drama series set in particular worlds. Her work has been optioned by prominent international production companies, and currently has a supernatural series in development in Germany. Born of Welsh parentage, Rebecca has strong ties to her family and roots in North Wales, where she moves between there and Australia.

Her recent community crime drama Undercurrent - shortlisted for the Australian Writers Guild’s 2021 premier Monte Miller Award - is now in development with New Zealand production company Sweetshop & Green. In 2017 her work scored an Australian Directors Guild Fellowship to attend the U.S Stowe Story Lab, as well as shortlisted for AWG’s TV series competition, where she was inducted into the prestigious AWG’s ‘Pathways Program’.

In 2019 two of Rebecca’s crime series - Dog Box & Secret Threads - received significant development funding from Screen Australia and Screen New South Wales to work with some of Australia’s most exciting writers to develop her work. Her TV production credits as a Producer’s Assistant include shows such as Channel Nine’s 2019 highest ranking drama of the year Seachange, and the 2017 AACTA winning series Deadlock for ABC TV. She has also worked for several years as a Development Producer for Magpie Pictures productions.

Carys Lewis is a Welsh-Canadian BAFTA nominated writer and director. She recently directed a ΒιΆΉΤΌΕΔ Wales comedy pilot, VANDULLZ, and was the inaugural Filmmaker in Residence at Welsh National Opera, where she created a trilogy of films.

Carys is developing her directorial feature debut, Blue Mother, with the support of Ffilm Wales. She is co-writing a film and TV adaptation of How We Say I Love You, which recently advanced to the second round of the 2021 Sundance Screenwriters Lab. Carys is currently developing a half-hour dramedy, Black Male Baby, with CBC, and is working with Vortex Media on a buddy road trip movie, Sisterhood Crossing.

Her short film, Fluorescence, premiered at LFF and her BFI comedy, STUFFED, was nominated for a BAFTA Cymru award. Carys’ LGBTQ+ film, Afiach, premiered at the Iris Prize Festival. She will be directing an episode of CASUALTY later this year.

Carys divides her time between Cardiff and Toronto.

Carol Vine is a screenwriter and playwright, based in Powys. She completed an MA in Screenwriting at the University of the Arts, London. Her screenplays have been shortlisted for the ΒιΆΉΤΌΕΔ Talent Sitcom Writing Initiative and the ΒιΆΉΤΌΕΔ Story2K2 Screenwriting Competition. Her recent screenplay, Immaculate, was one of the runners up in the Thousand Films Screenwriting Competition and her latest screenplay, Moose Moose Alpaca Unicorn, was selected as a quarter finalist in the international Screen and Story Film Festival Screenwriting Competition, as well as reaching the top 2% in the ΒιΆΉΤΌΕΔ Writersroom for drama comedy submissions. As a playwright, successes have included Rigor Mortis (runner up for the Papatango Prize) and The Spring Tide, produced at the Old Red Lion Theatre by Oliver Taheri Productions. She received a grant from the Peggy Ramsay Foundation to write the play All the Superheroes, and her latest play, Sugar and Spice, earned its way to the longlist for the Welsh Writer in Residence. Carol is currently developing a project, Play4Change – providing Forum Theatre plays for children in primary schools to help them deal with important issues through drama.

The Lemonade Lads is due to be broadcast today, Monday 19th July on ΒιΆΉΤΌΕΔ Radio 4 and on ΒιΆΉΤΌΕΔ Sounds. My mum said she’s getting scones in for the event. I said it’s about lemonade - she said she prefers scones.

It doesn’t seem ages ago when I was walking back to my parent’s house to tell them I’d won Wales Writer in Residence. ΒιΆΉΤΌΕΔ Wales had told me they wanted to interview me about being shortlisted for the award but when I arrived, they ushered me into the studio, put me on air and told me I’d won. I think the video footage of me winning sheds some light on how overwhelmed (and inarticulate about it) I was. It’s been an incredible journey so far and I urge people to apply to these schemes as I never thought I’d win and it really has allowed me the proper time and support to develop my career.

I went into my first meeting with ΒιΆΉΤΌΕΔ Radio Drama in Wales around December last year and I think what I quickly realised was how interesting writing for radio is. I’d performed a few of my own monologues for audio but aside from that I had been writing a lot for screen up until that point, having spent the year prior in ΒιΆΉΤΌΕΔ Writersroom Welsh Voices, so for radio I had to start learning how to write for a relatively new medium to me.

The ΒιΆΉΤΌΕΔ sent me a huge archive of audio dramas and for about a week I exclusively wore headphones seeing how radio worked from a writing perspective. I then learnt how amazing it is to go from the idea, to working on the script, to it being recorded and then to hear all the magic that is created by post-production. I’ve really loved that - hearing it come to life - I think audio is such an immersive, unique platform for storytelling and it’s safe to say I’ve fallen quite in love with it.

This play is a product of lockdown in a way, not so much in its subject matter, but its entire conception, process and recording took place remotely. I’d actually met my director, James Robinson, in real life at a Welsh Voices session but for this project we did everything over zoom. The biggest challenge for me was the distractions that come with working from home. In fact, as I write this the building work that went on during the time I was writing and recording The Lemonade Lads is still in full swing, and I’m thinking back to last Christmas when I was putting together the first seeds of this story, shopping online for ear defenders, whilst everyone working remotely across the country was trying to concentrate through their own working from home distractions.

James and I did all the redrafts over email and zoom and then when it came to recording, the cast and production team were in their homes, everyone surrounded by several pillows (Connor Allen by a whole mattress, Steffan Rhodri in a tent), crossing our fingers for as minimal external noise as possible. Luckily, we weren’t interrupted too much and over the course of the two recording days it was an unbelievable joy to hear the words that I’d written tucked away in my bedroom being said by an amazing cast who breathed so much life into the story.

So, as I sit listening to The Lemonade Lads being broadcast into people’s living rooms on Monday, nervously working my way through several scones - I will be thinking of how very grateful I am to all the people who helped get my work to this point. The panel for the Wales Writer in Residence Award, Helen Perry (former Development Producer for ΒιΆΉΤΌΕΔ Writersroom Wales), James Robinson, the production team, the amazing actors and the glorious people who sell ear defenders online. It’s been an overwhelming experience for me and I have developed a deep appreciation for a medium that is so rewarding for a writer to work in.

Listen to The Lemonade Lads on ΒιΆΉΤΌΕΔ Radio 4 on Monday 19th July 2021 from 2pm or on ΒιΆΉΤΌΕΔ Sounds

Find out more about Faebian Averies on our blog

Keep an eye out on our website and social media for announcements about the next Wales Writer in Residence opportunity

I am absolutely thrilled to be a part of ΒιΆΉΤΌΕΔ Writersroom and in particular leading ΒιΆΉΤΌΕΔ Writersroom Wales. Every job I’ve had, be it in theatre or TV has taught me time and time again that every piece of work lives and dies on the strength of its story. It’s an incredible privilege to be the one hunting out the stories that are currently untold across Wales.

Over the last ten years I’ve worked across the TV industry, starting out in production across films and comedy before moving over to Script Editing comedy drama and most recently as Story Editor on Casualty. I was told very early on in my career that if you want to prove yourself and nail story structure, then continuing drama is the place to earn your stripes. It couldn’t be more true and I have loved the excitement (read chaos) that comes with working on a production that size.

I’ve been fortunate enough to work with some brilliant writers, and love the process of breaking a story. As Story Editor, my job mainly centered around just this, finding a way through script and story problems. I am almost happiest when it all goes wrong and you get the chance to re-evaluate exactly what you’re trying to do, not to say that I don’t love getting it right first time, but that process of working with writers is, without a doubt, the very best part of the job.

I am excited for this change of focus, to read work from a multitude of writers and the story that only they themselves could tell. ΒιΆΉΤΌΕΔ Writersroom is an phenomenal place and I have already seen first-hand the impact it can have on confidence and careers. The ΒιΆΉΤΌΕΔ can feel impenetrable (I certainly felt that at times) as can the world of TV - ΒιΆΉΤΌΕΔ Writersroom can provide the gateway that gives existing talent that extra push they need and I’m thrilled to be a part of that.

In Wales there is a glimmer of normality on the horizon as theatres begin to get back in the rehearsal room which is just so exciting, as much as I have been astounded by the work I can watch in my pyjamas from the sofa, I cannot wait to be back in the room along with everyone else.

For us, we’re very optimistic about the months ahead and the resilience that the industry has shown through the pandemic. At ΒιΆΉΤΌΕΔ Writersroom we’ve been reading the scripts submitted for Script Room where the standard was extraordinarily high, making it a tough but thoroughly enjoyable job. Our Wales Writer in Residence Faebian Averies has , with Radio Four recording everyone from their homes - which is just incredible.

Over the next few months, Emily Angell (the Development Co-ordinator in Wales) and I are hoping to kick start some more Wales based initiatives as well as begin scouting for the next group of Welsh Voices. There is a huge amount of talent and drive across Wales - and with the increasing amount of work that is being made here now, I am excited to find, and work with, those writers who will create it.

Meet the team at ΒιΆΉΤΌΕΔ Writersroom

Find out about our new Head of New Writing who will be based in Salford and the four new assistant commissioning roles to lead on new writer development and support the existing commissioning editors for each of the Nations, who sit within the drama commissioning team. These new roles are part of the ΒιΆΉΤΌΕΔ's plans to strengthen ΒιΆΉΤΌΕΔ drama's commitment across the whole of the UK.

In 2019 my debut play Safe From Harm won the ΒιΆΉΤΌΕΔ Wales Writer in Residence competition. As part of the prize it’s commissioned for broadcast on ΒιΆΉΤΌΕΔ Radio 4.

Now, pre-pandemic the play was due to be recorded in the world leading, high tech recording studio in the shiny, new ΒιΆΉΤΌΕΔ Central Square building in Cardiff. It was supposed to be the first ever audio drama to be recorded there. The ΒιΆΉΤΌΕΔ Writersroom team had an exciting press launch planned and were all set to secure some big name actors.

Our recording date was set - March the 24th and 25th 2020.

In the lead up my director emails me -

‘Let’s hope this thing peaks and dies down before our recording date!’ She says.

Her positivity was admirable, but gosh, how little we knew back then about the disruption and heartache this virus would cause.

And so, of course, the pandemic forces us into national lockdown and the recording of Safe From Harm is postponed. But if this global pandemic has taught us folk working in the media or the arts anything, it’s that -

The show must go on!

Months pass and lockdown is eased. A new recording date is set for the beginning of December 2020, but this time the play will be recorded remotely.

So how did this new, rather unconventional way of recording a ΒιΆΉΤΌΕΔ Radio 4 play actually work?

I’ll tell you...

Firstly, actors are cast. Some are down the road from me in Cardiff and others are in London. Next the actors are couriered state of the art microphones and they’re sent instructions on how to make soundproof recording studios at home. They are to situate themselves in cupboards, wardrobes or any other small space and surround themselves by duvets and pillows. It’s far from the glamorous life of an actor we all envisage, yet the highly skilled team of performers make it work. After all, isn’t that what 2020 was all about? Adapting to change and getting on with it.

Next, a few days before the recording date, the team are sent links and log in instructions for a jazzy recording platform called Pre Rec. The main actor, director, assistant and sound engineer however, are all allowed to be in the Cardiff Central Square studio - socially distanced and adhering to the rules of course.

On the recording day I’m nervous and excited. It’s just me, my laptop and the dog in my - not very state of the art - kitchen. I’m disappointed I won’t get to meet the actors face to face and get the full experience of recording in the flashy studio. However, once we’ve all popped our earphones in, if you close your eyes it actually feels like we’re in the same room together. We introduce ourselves; we chat, we giggle and soon we’re used to this new norm - the virtual greenroom.

Next the assistant and I set ourselves up on WhatsApp chat. Now, normally in a recording studio the actors in the studio can’t hear the team in the booth unless a button is pressed. This way the team can discreetly discuss any notes that need to be passed on to the actors. However, on Pre Rec we can all hear each other all the time. And so, in this unconventional set up I’m to text the assistant and ask her to feed back notes to the team in the booth, then those notes are fed from the director to the actors. It’s strange at first, but it works pretty well.

We’re ready to go.

Phones are put on silent. Everyone has warned their families, partners and home-schooled children to be quiet because the virtual ‘red recording light’ is about to go on! There must be no - singing, shouting, talking to hard-of-hearing people on the phone, dishwasher unstacking, ukulele playing and definitely no DIY. I pop a note on the door telling the delivery guy not to knock.

During recording the microphones are hugely sensitive. They pick up everything from the actor's gurgling stomachs to script pages gently turning. In contrast to recording in a studio there seem to be more challenges with mic levels. Scenes that contain shouting result in distortion, but we overcome these small hurdles without much delay. We pull it off. Not even deterred when we have to retake due to the Cardiff ironmongers shouting, ‘ANY OLD IRON!’ in the street or when someone’s neighbour decides to rather noisily hang a shelf.

Safe From Harm takes two whole days to record and it sounds incredible. The team is superb. The actors are amazing. The challenge of performing dialogue when you can’t look in the eyes of your co-actor is real, yet they perform the text with ease delivering lines which are palpable and naturalistic. I cry during the final scene - moved by the actors performances, relieved that we finally got here, overwhelmed by the year we’ve had and happy that my dream of becoming a real-life writer has finally materialised.

So, was recording my debut play the experience I had envisaged? No, definitely not. But then did anything turn out the way we thought it would in 2020? And anyway, I’m sure this is not the last radio play I’ll write. There’ll be other chances to record in that shiny, state of the art studio. I’m certain of it. And after a rather turbulent, tricky year this sure was a positive way to end 2020.

Safe From Harm will be aired on ΒιΆΉΤΌΕΔ Radio 4 on the 20th of Jan at 2:15pm and will be available on ΒιΆΉΤΌΕΔ Sounds for 30 days

Meet the first Wales Writer in Residence, Rhiannon Boyle, on our blog

Why do you write?

I began pursuing writing properly in 2018 but have loved words ever since I can remember. I read a lot as a kid and alongside my three siblings, constantly made up stories and imaginative games. I went to Stanwell School in Penarth which had an amazing drama department and it was there that I realised that you can make up stories and act them out for a living.

When I graduated from studying drama at university, I found the realities of balancing pursuing acting and the need to work full time in a ‘normal’ job really difficult. I feel actors begin to create their own work for many different reasons but for me it was wanting to take back that control over my performances and to do my acting work justice again. Whilst pursuing writing for this reason, I realised that having to work full time was the best thing to have happened to me as I had unknowingly been building up a huge backlog of life experiences, which have laid the foundations for my characters and stories and worlds going forward.

I surprised myself with just how much I loved writing. Now writing isn’t just a vehicle for my acting but a passion completely on its own. I am writing more and more for other performers and spend hours tucked away with my head buried in my laptop.

What was your first writing success?

I feel that my two hander ‘Detention’ was my first writing success in 2018. I hired out the downstairs space in Little Man Coffee Co in Cardiff and did two nights, mostly to friends and family. However, we had a 5* review from Cardiff Theatre Review which gave me the confidence to know my work might have potential.

How did you find out about the Wales Writer in Residence and what made you want to apply?

In 2019 Helen Perry, ΒιΆΉΤΌΕΔ Writersroom's Development Producer in Wales, suggested I apply for the residency after she saw me perform at a scratch night run by . At that time I didn’t have anything substantial and didn’t make the cut but instead Helen invited me into the Welsh Voices ΒιΆΉΤΌΕΔ Writersroom 2019. On the first day I was just chuffed with the free pen and notebook and a year later I cannot believe the toolkit of writing skills I have been equipped with. 2019’s winner Rhiannon Boyle attended all of our ΒιΆΉΤΌΕΔ Writersroom sessions and her enthusiasm for Wales Writer in Residence encouraged me to re-apply. This time I submitted a script that was written by me applying the skills I’d learnt that year and I made it all the way to the end. A testament I feel to the training and encouragement I have received from the ΒιΆΉΤΌΕΔ Writersroom.

How did you come up with the idea for your winning script and the characters in the story?

I came up with the idea of my script from when I was selling my things at bootsales with my sister to save to move to London. The bootsales were full of life and so many funny things happened to us. There’s an odd sense of community there and strange politics unique to the place. I also wanted to show a sisterhood on screen and it just be about friendship and how that kind of love can often eclipse romantic love. I’m friends with a lot of funny women and I wanted that to be a large part of the show.

How important do you think it is to tell authentic Welsh stories?

I am passionate about telling Welsh stories and putting Wales on the map. I believe we have a rich cultural history that is often not represented on stage or screen. I find Scottish and Irish cinema to be beautiful and want Wales to hold the same Celtic torch in the U.K. I aim with the work I create to do the beauty of Wales and our experiences justice, showing parts of our country that people may not always know about.

What are the best things you’ve seen or heard this year.

During 2020, like many people, I was really devastated by the closure of our theatres and had moved to London partially to enjoy the west end and other spaces. I have watched a lot of amazing online theatre and NT and RSC re-runs of previous shows.

The best thing I saw in 2019 was The Bridge’s version of A Midsummer Nights Dream. I went with my housemates who aren’t involved in the arts and they were blown away. I think that’s theatre at its best, especially Shakespeare, when it’s accessible and gets your adrenaline going. They even played Beyoncé at the end!

What else have you got coming up?

In the new year I have a few projects coming up. Most notably I have been shortlisted for Masterclass Pitch Your Play at Theatre Royal Haymarket and will be pitching my play ‘Two Flats on Clifton street’ to a panel in the hopes I’ll get a week of R&D on the Haymarket stage ending in a rehearsed reading in front of invited industry professionals.

What does it mean to you to be the Wales Writer in Residence and what are you looking forward to about it?

I am both shocked and over the moon to have won The Wales Writer in Residence 2020 and really can’t thank the panel enough for giving me this opportunity. Writing can be solitary and at times you can be overcome with self-doubt, so to have your work read and enjoyed by a panel such as the Wales Writer in Residence judges is such a lovely feeling and I can’t wait to get started on all the amazing opportunities I know the placements will bring.

Find out more about the Wales Writer in Residence

Listen to the ΒιΆΉΤΌΕΔ Radio Wales Arts Show Special on ΒιΆΉΤΌΕΔ Sounds

Six up-and-coming writers have been shortlisted for Wales Writer in Residence 2020 with the winner set to be announced on Sunday 6th December.

The six shortlisted writers are:

• Brennig Hayden
• Faebian Averies
• Greg Glover
• Katie Elin-Salt
• Cameron Loxdale
• Neil Williams

Find out more about them below.

The winner will be announced on air in a ΒιΆΉΤΌΕΔ Radio Wales Arts Show Special on Sunday 6 December 2020 at 6pm, which will include performed extracts from the shortlisted writer’s work, along with interviews plus a chance to hear thoughts directly from the judges.

The judges this year are Artistic Director of National Theatre Wales Lorne Campbell, Development Executive for ΒιΆΉΤΌΕΔ Studios Jenna Robins, ΒιΆΉΤΌΕΔ Radio 4 Drama Commissioner Alison Hindell, ΒιΆΉΤΌΕΔ Writersroom Wales Development Producer Helen Perry and special guest judge actor Rakie Ayola.

The winner will be awarded a total bursary of £12,000 to assist their year-long placement as Wales Writer in Residence. Over those 12 months they’ll be offered two bespoke placements; an initial 6 months with ΒιΆΉΤΌΕΔ Cymru Wales including working with ΒιΆΉΤΌΕΔ Studios, followed by 6 months with . Thoughout, they’ll have access to special mentoring and training, along with industry introductions. In addition they’ll be commissioned to write an original audio drama for ΒιΆΉΤΌΕΔ Radio 4, guaranteeing them a ΒιΆΉΤΌΕΔ broadcast credit.

Only in its second year, the Wales Writer in Residence is a prestigious scheme aimed at furthering a writer’s career across screen, sound and stage. It is a partnership between ΒιΆΉΤΌΕΔ Cymru Wales, NTW and ΒιΆΉΤΌΕΔ Writersroom Wales, created specifically to support writers.

ΒιΆΉΤΌΕΔ Writersroom Wales Development Producer Helen Perry said; “Wales Writer in Residence 2020 has uncovered a joyous amount of talent, in what’s been somewhat of a gloomy year. The reading process revealed brand new emerging writers and also the extraordinary progress made by writers already known to us. We’re so excited about the amount of talent in this shortlist. We’re very much look forward to working with all of them, not least the winner of Wales Writer in Residence 2020.”

Lorne Campbell, Artistic Director of National Theatre Wales said; “It's been a pleasure to be flooded with talent and ideas through this process, and incredibly difficult to narrow the field to this exceptional shortlist. Each writer has brought authenticity and originality, and I've loved diving into their worlds. We're massively excited to welcome one of these artists into the company next year, and to work with many more of them in the future. Thank you to every writer who shared something of themselves with us by entering.”

Brennig Hayden is a writer from the Bridgend area of South Wales. The first of his family to attend university, achieving a first-class honours degree before entering the TV/Film industry as an assistant director. Over the course of ten years, he utilised the skills learned on TV sets to further his knowledge of writing, squeezing time to write into weekends and late nights after wrap, fuelled by strong black coffee.

Brennig’s writing led to his invitation to attend a writer’s retreat in America and attend the Berlin Film Festival in 2018. This summer, he had his first screenplay optioned by an L.A. based studio, a low budget horror movie that will hopefully be made next year. Brennig’s ultimate aim is to create work that reflects the lives of the working-class people he grew up with, and to have their stories told in film, TV, theatre and radio.

Faebian Averies is an actor/writer from Penarth who began writing in 2018. In 2019 she was invited into ΒιΆΉΤΌΕΔ Writersroom Welsh Voices following a showcase of her work with Chippy Lane Productions. Faebian’s writing highlights include writing for podcast, creating sketches and having work commissioned by ΒιΆΉΤΌΕΔ Wales. Most notably, this year Faebian made the final 0.8% out of 3500 applications for the ΒιΆΉΤΌΕΔ Comedy Room 2020 and has just been shortlisted to the final 6 for ‘Pitch your play’ for Masterclass at Theatre Royal Haymarket. During lockdown Faebian was also invited onto a development scheme with Kiln Theatre and has been working on a TV comedy script. In her spare time Faebian enjoys travelling, eating and watching a lot of TV. She is committed to making and performing work that brings a smile to your face but may also give you a new perspective, promoting the fact we Welshies have stories worth telling and using writing as a foundation for change.

Greg Glover is a writer from Newport who in 2018/19 was one of the ΒιΆΉΤΌΕΔ Writersroom Welsh Voices. He has had numerous plays staged in venues that include the Sherman Cymru, Bristol Old Vic, The Riverfront going all the way back to the infamous Dirty Protest yurt. He won the Chippy and Scratch Best Playwright Award and has been shortlisted in the last few years for the Hartswood Award amongst others.

He has had several It’s My Shout films shown on ΒιΆΉΤΌΕΔ Wales as well as having a piece filmed for ΒιΆΉΤΌΕΔ Sesh. Having recently been forced online his Zoom play was put on by Flaw State Theatre.

Outside of writing and teaching he is extremely interested in disability-rights as well as trying to help disadvantaged young people access careers in the media.

Katie Elin-Salt is from Bridgend and started her creative career as a proud member of Bridgend Youth Theatre, working professionally as an actor since graduating from RWCMD in 2010. Katie has been writing seriously for about 3 years - after discovering in her late 20s that she actually had a lot to say about the world! She is currently a 2020 Writer in Residence at Theatre Clwyd and a member of both the Royal Court/ NTW Welsh Writer’s group and Chippy Lane Welsh Female Writer’s group. Her debut play “Sprinkles” is currently under development with Dirty Protest. In her spare time Katie is a co-host of creative podcast The 98% and an ambassador for two Welsh charities - Bridgend Women’s Aid and Oshi’s World. She would like to thank her family, friends and most importantly her cat, Sir Tom-Cat Jones, for their support and love always.

Cameron Loxdale is a comedy writer from Swansea. He has written on several ΒιΆΉΤΌΕΔ radio shows including The News Quiz, Newsjack and Breaking The News.

He is part of the 2019/2020 ΒιΆΉΤΌΕΔ Welsh Voices group and was selected after his sitcom script Gaffer was longlisted for the Wales Writer in Residence Prize last year. Cameron is currently working on developing a TV comedy script which was recently optioned by a production company. He is interested in writing exciting comedy and drama for television, theatre and radio. His name is an anagram of Relaxed Cool Man which is weird as he is barely one out of the three.

Neil Williams has been writing for most of his life and has created and developed a wide range of material that encompasses comedy, drama, thriller, horror and children’s television, some of which have been optioned and developed over the years by companies such as Hat Trick, Red Planet and The Forge. He wrote THE HUNT FOR A NEW BOB CRUTCH which won the It’s My Shout ‘best film’ award, was networked on ITV Wales and selected for the Best Short Drama category at the Celtic Film and Media Festival. His feature debut REACHING HIGHER received a BAFTA Cymru premiere and was networked on ΒιΆΉΤΌΕΔ2 Wales. He wrote two episodes of Tony Jordan’s hit ΒιΆΉΤΌΕΔ Wales drama series CRASH and was funded by NTW to workshop THE PARKING LOT, a site-specific play set in a car park. Neil has had placements on the ΒιΆΉΤΌΕΔ Casualty Shadow Scheme and on three ΒιΆΉΤΌΕΔ Writersroom residential workshops – Casualty/Holby City ‘Red Button’, CBEEBIES ‘Get a Squiggle On’ and ‘New Welsh Writers’. He has independently published several novels and survived lockdown by creating and writing 15 episodes of a comedy web-series ISOLATION NATION – a fictional weekly video diary starring Christian Patterson. Neil lives near Bridgend with his wife, daughter and dog. He enjoys watching 80s films and trying to play guitar. Neil, not the dog.

Cyhoeddi rhestr fer Awdur Preswyl Cymru 2020

Mae’n bleser dweud bod gennym ni newyddion da. Rydyn ni’n falch o gyhoeddi rhestr fer Awdur Preswyl Cymru 2020. 

Byddwn yn cyhoeddi'r enillydd ar yr awyr ar raglen arbennig Radio Wales Arts Show ar ΒιΆΉΤΌΕΔ Radio Wales ar ddydd Sul, 6 Rhagfyr 2020 am 6pm. Cewch gyfle i wrando ar ddetholiad o waith yr awduron yn cael ei berfformio, cyfweliadau â’r awduron a chlywed barn y beirniaid eu hunain. 

Y beirniaid eleni yw Cyfarwyddwr Artistig National Theatre Wales, Lorne Campbell; Swyddog Gweithredol Datblygu ΒιΆΉΤΌΕΔ Studios, Jenna Robins; Comisiynydd Drama ΒιΆΉΤΌΕΔ Radio 4, Alison Hindell; Cyfarwyddwr Datblygu Writersroom Wales y ΒιΆΉΤΌΕΔ, Helen Perry; a beirniad gwadd arbennig, yr actor a’r cynhyrchydd Rakie Ayola. 

Bydd yr enillydd yn cael bwrsari o £12,000 i helpu i dalu am ei leoliad am flwyddyn fel Awdur Preswyl Cymru. Yn ystod y 12 mis, bydd yn cael cynnig dau leoliad gwaith pwrpasol; chwe mis i ddechrau gyda ΒιΆΉΤΌΕΔ Cymru Wales, yn gweithio yn ΒιΆΉΤΌΕΔ Studios, ac yna 6 mis gyda NTW. Bydd yn cael gafael ar brofiadau mentora a hyfforddi drwy gydol y cyfnod, yn ogystal â chyfarwyddiadau’r diwydiant.

Hefyd, bydd yn cael ei gomisiynu i ysgrifennu drama sain wreiddiol i ΒιΆΉΤΌΕΔ Radio 4 gan warantu credyd darlledu ar y ΒιΆΉΤΌΕΔ. 

Dim ond ail flwyddyn cystadleuaeth Awdur Preswyl Cymru yw hon. Mae’n gynllun nodedig sy’n ceisio rhoi hwb i yrfa awdur, boed hynny ar y sgrin, mewn sain neu ar lwyfan. Mae’n bartneriaeth rhwng ΒιΆΉΤΌΕΔ Cymru Wales, NTW a Writersroom Wales y ΒιΆΉΤΌΕΔ, yn arbennig i gefnogi awduron. 

Dyma’r awduron ar y rhestr fer: 

Brennig Hayden

Awdur o ardal Pen-y-bont ar Ogwr, de Cymru yw Brennig Hayden. Ef oedd aelod cyntaf ei deulu i fynd i brifysgol, lle graddiodd â gradd anrhydedd dosbarth cyntaf cyn mynd i'r diwydiant teledu/ffilm i weithio fel cyfarwyddwr cynorthwyol. Mae wedi defnyddio'r sgiliau y mae wedi’u dysgu ar setiau rhaglenni teledu dros gyfnod o ddeng mlynedd i ddatblygu’r hyn mae’n ei wybod am ysgrifennu, ac mae wedi bod wrthi’n brysur yn ysgrifennu ar benwythnosau ac yn hwyr gyda’r nos ar ôl gorffen ffilmio, gyda choffi du cryf yn ei helpu.

Mae gwaith ysgrifennu Brennig wedi arwain at wahoddiad i encil i awduron yn America a gwahoddiad i Ε΄yl Ffilmiau Berlin yn 2018.  Yn ystod yr haf eleni, dewisodd stiwdio yn LA ei sgript ffilm gyntaf, sef ffilm arswyd cyllideb isel a fydd yn cael ei chreu y flwyddyn nesaf gobeithio.  Yn y pen draw, mae Brennig yn gobeithio creu gwaith sy’n adlewyrchu bywyd y bobl dosbarth gweithiol y cafodd ei fagu â nhw, a dweud eu stori mewn ffilm, ar y teledu, mewn theatrau ac ar y radio. 

Faebian Averies

Actor/awdur o Benarth yw Faebian, a dechreuodd ysgrifennu yn 2018. Yn 2019, cafodd ei gwahodd i ymuno â Lleisiau Cymreig Writersroom y ΒιΆΉΤΌΕΔ ar ôl i’w gwaith gyda Chippy Lane Productions gael ei arddangos. Mae uchafbwyntiau Faebian yn cynnwys ysgrifennu ar gyfer podlediadau, creu sgetshis a ΒιΆΉΤΌΕΔ Wales yn comisiynu ei gwaith. Yn fwyaf nodedig, eleni llwyddodd Faebian i gyrraedd y 0.8% olaf allan o 3500 o ymgeiswyr ar gyfer ΒιΆΉΤΌΕΔ Comedy Room 2020, ac mae newydd gyrraedd y rhestr fer o 6 ar gyfer ‘Pitch your play’ Masterclass yn Theatr Frenhinol Haymarket. Yn ystod y cyfnod clo, cafodd Faebian wahoddiad ar gynllun datblygu â Theatr Kiln hefyd, ac mae hi wedi bod yn gweithio ar sgript gomedi ar gyfer y teledu.  Mae Faebien yn mwynhau teithio, bwyta a gwylio llawer iawn o deledu yn ei hamser hamdden. Mae hi wedi ymrwymo i greu a pherfformio gwaith sy’n rhoi gwên ar eich wyneb, ond a fydd hefyd yn rhoi persbectif gwahanol i chi o bosib, gan hyrwyddo'r ffaith fod gennym ni'r Cymry straeon gwerth eu hadrodd a defnyddio ysgrifennu fel sylfaen dros newid. 

Greg Glover

Awdur o Gasnewydd yw Greg, ac ef oedd un o Leisiau Cymreig Writersroom y ΒιΆΉΤΌΕΔ yn 2018/19. Mae nifer o’i ddramâu wedi cael eu llwyfannu mewn lleoliadau fel Sherman Cymru, yr Old Vic ym Mryste, The Riverfront a hyd yn oed yr holl ffordd yn ôl yn iwrt drwgenwog Dirty Protest. Enillodd wobr Dramodydd Gorau Chippy and Scratch ac mae wedi cyrraedd y rhestr fer ar gyfer Gwobr Hartswood, ymhlith gwobrau eraill, yn ystod y blynyddoedd diwethaf.

Mae nifer o’i ffilmiau It’s My Shout wedi cael eu dangos ar ΒιΆΉΤΌΕΔ Wales, ac mae un o’i ddarnau wedi cael ei ffilmio ar gyfer ΒιΆΉΤΌΕΔ Sesh. Bu’n rhaid perfformio ei ddrama Zoom ar-lein yn ddiweddar, a hynny gan Flaw State Theatre. 

Pan nad yw’n ysgrifennu ac yn addysgu, mae ganddo ddiddordeb brwd mewn hawliau pobl anabl, ac mae hefyd yn ceisio helpu pobl ifanc difreintiedig i gael gyrfaoedd yn y cyfryngau. 

Katie Elin-Salt

Daw Katie o Ben-y-bont ar Ogwr, a dechreuodd ei gyrfa ysgrifennu creadigol pan oedd yn aelod o Theatr Ieuenctid Pen-y-bont ar Ogwr. Mae hi wedi bod yn gweithio fel actor proffesiynol ers graddio o Goleg Brenhinol Cerdd a Drama Cymru yn 2010. Mae Katie wedi bod yn ysgrifennu o ddifri ers tua thair blynedd - ar ôl iddi ddarganfod bod ganddi lawer iawn i’w ddweud am y byd pan oedd hi’n ei ugeiniau hwyr! Ar hyn o bryd, mae hi’n Awdur Preswyl 2020 Theatr Clwyd ac yn aelod o grΕ΅p Awduron Cymraeg NTW/Royal Court a grΕ΅p Awduresau o Gymru Chippy Lane.  Mae ei drama gyntaf “Sprinkles”, wrthi’n cael ei datblygu gyda chwmni Dirty Protest. Yn ei hamser hamdden mae Katie yn cyd-gyflwyno podlediad creadigol, The 98%, ac mae hi’n llysgennad ar gyfer dwy elusen yng Nghymru - Cymorth i Fenywod Pen-y-bont ar Ogwr ac Oshi’s World.  Hoffai ddiolch i'w theulu, ei ffrindiau, ac yn bwysicaf oll, i’w chath, Sir Tom-Cat Jones, am eu cefnogaeth a’u cariad bob amser. 

Cameron Loxdale

Awdur comedi o Abertawe yw Cameron Loxdale. Mae wedi ysgrifennu nifer o sioeau radio i'r ΒιΆΉΤΌΕΔ, gan gynnwys The News Quiz, Newsjack a Breaking The News.

Mae’n aelod o grΕ΅p Lleisiau Cymreig y ΒιΆΉΤΌΕΔ 2019/2020 a chafodd ei ddewis ar ôl i’w sgript comedi sefyllfa, Gaffer, gael ei rhoi ar y rhestr hir ar gyfer gwobr Awdur Preswyl Cymru y llynedd. Mae Cameron yn gweithio ar ddatblygu sgript rhaglen gomedi ar gyfer y teledu, a gafodd ei dewis yn ddiweddar gan gwmni cynhyrchu. Mae ganddo ddiddordeb mewn ysgrifennu rhaglenni drama a chomedi cyffrous ar gyfer y teledu, y theatr a radio.   Mae Relaxed Cool Man yn anagram o’i enw, sy’n rhyfedd iawn, oherwydd o’r braidd y mae’n un o’r tri.                   

Neil Williams

Mae Neil wedi bod yn ysgrifennu erioed fwy neu lai, ac mae wedi creu a datblygu amrywiaeth eang o ddeunyddiau sy’n cwmpasu rhaglenni comedi, drama, drama gyffrous, arswyd a rhaglenni teledu i blant. Mae cwmnïau fel Hat Trick, Red Planet a The Forge wedi mynd ati i ddewis rhai ohonynt a’u datblygu dros y blynyddoedd.  Ef oedd awdur THE HUNT FOR A NEW BOB CRUTCH a enillodd wobr ‘ffilm orau’ It’s My Shout. Cafodd ei dangos ar ITV Wales a’i dewis ar gyfer y categori ‘Drama Fer Orau’ yn yr Ε΄yl Ffilmiau a Chyfryngau Celtaidd.  Cafodd ei ddrama gyntaf REACHING HIGHER ei dangos am y tro cyntaf gan BAFTA Cymru a chafodd ei darlledu ar ΒιΆΉΤΌΕΔ2 Wales.  Ysgrifennodd ddwy bennod ar gyfer cyfres ddrama boblogaidd Tony Jordan ar y ΒιΆΉΤΌΕΔ, sef CRASH, a chafodd ei dalu gan NTW i gynnal gweithdai THE PARKING LOT, sef drama Benodol i safle, wedi’i lleoli mewn maes parcio. Mae Neil wedi bod ar nifer o leoliadau gwaith gyda’r ΒιΆΉΤΌΕΔ, er enghraifft cynllun cysgodi ar gyfer Casualty, tri gweithdy preswyl Writersroom y ΒιΆΉΤΌΕΔ - ‘Botwm Coch’ Casualty/Holby City, ‘Get a Squiggle On’ CBEEBIES ac ‘Awduron Newydd Cymru’.  Mae wedi mynd ati i gyhoeddi sawl nofel yn annibynnol a goroesodd y cyfnod clo drwy greu ac ysgrifennu 15 pennod o gyfres gomedi ar gyfer y we,  ISOLATION NATION – dyddiadur fideo wythnosol ffuglennol, gyda Christian Patterson.  Mae Neil yn byw ger Pen-y-bont ar Ogwr gyda’i wraig, ei ferch a’i gi.  Mae’n mwynhau gwylio ffilmiau o’r 80au a cheisio chwarae gitâr.   Neil, hynny yw, nid y ci.

Dywedodd Helen Perry, Cynhyrchydd Datblygu ΒιΆΉΤΌΕΔ Writersroom Cymru; “Mae Awdur Preswyl Cymru 2020 wedi datgelu swm arbennig o dalent, yn ystod blwyddyn ddigon diflas. Datgelodd y broses ddarllen awduron newydd sbon sy'n dod i'r amlwg a hefyd y cynnydd rhyfeddol a wnaed gan awduron sydd eisoes yn hysbys i ni. Rydym mor gyffrous am faint o dalent sydd ar y rhestr fer hon. Rydym yn edrych ymlaen yn fawr at weithio gyda phob un ohonynt, ac yn anad dim Awdur Preswyl Cymru 2020.”

Dywedodd Lorne Campbell, Cyfarwyddwr Artistig National Theatre Wales; “Mae wedi bod yn bleser gweld bwrlwm o dalent a syniadau drwy’r broses hon, ac yn anhygoel o anodd i leihau nifer y cynigion i’r rhestr fer eithriadol hon. Mae pob awdur wedi dod â dilysrwydd a gwreiddioldeb, ac rydw i wedi bod wrth fy modd yn cael cipolwg ar eu bydoedd. Rydym yn hynod gyffrous i groesawu un o'r artistiaid hyn i'r cwmni y flwyddyn nesaf, ac i weithio gyda llawer mwy ohonynt yn y dyfodol. Diolch i bob awdur a rannodd rywbeth ohono'i hun gyda ni trwy gystadlu."

Would you Breastfeed a Potato?

Written and performed by Faebian Averies

"Having worked in childcare for nearly a decade and being an aunt to a set of triplets, this is my bystander’s ode to parents everywhere.

'Would you Breastfeed a Potato?' tells the story of a woman who finds an abandoned baby. Instead of locating the mother, she keeps it, only to find out that there may have been a reason it was discarded in the first place."

Faebian was invited into ΒιΆΉΤΌΕΔ Welsh Voices following a showcase of her work with Chippy Lane Productions. Prior to the ΒιΆΉΤΌΕΔ Writersroom, Faebian had written a one act play, Detention, which received a five-star review on its opening night. Faebian has since had Detention Transferred, written for CLP’s podcast project and previewed her one woman show in London. During lockdown Faebian was invited onto a development scheme with Kiln Theatre and has had her work both longlisted and shortlisted by various companies. Most notably Faebian made the final 0.8% of applications for the ΒιΆΉΤΌΕΔ Comedy Room and has been longlisted for both Wales Writer in Residence and Masterclass at Theatre Royal Haymarket.

Jake had Love

written by Connor Allen and performed by Lloyd Everitt

"I wrote this piece after thinking how easy it would be to just splurge who you really are on a first date. Triumphs and insecurities. Lay it all out on the table and then you both know where you stand and if it’s something you want to pursue. But that would never happen. Would it?

Online dating can’t be that hard can it? Even for hopeless romantic Jake, who is still trying to get over his ex."

Since graduating from Trinity Saint David as an Actor, Connor has worked with many companies in Wales and beyond. He is a member of National Youth Theatre of Great Britain and was also the winner of TriForces’ Cardiff Monologue Slam. As a writer Connor has written for many companies such as Dirty Protest, National Theatre Wales and ΒιΆΉΤΌΕΔ Wales. Connor wrote Dom’s Drug Prayer for Sherman Theatre’s TEN / DEG series. He’s had an ACW funded debut play and two Literature Wales commissions. He’s also part of The Welsh Royal Court Writers Group.

23.27

by Rhys J Edwards, performed by Siwan Morris

"Mari is a trainee-surgeon living with OCD. When a young boy suffers a cardiac arrest on her operating table, she battles to prove her condition is no barrier and desperately tries to save his life.

I was inspired by personal experience to write about Obsessive compulsive disorder and was particularly interested in writing a character that balanced their condition with working in high-pressured profession like medicine."

Rhys is a Cardiff-based writer who trained at RADA. In 2019, he was shortlisted for the ΒιΆΉΤΌΕΔ Wales Writer in Residence for his radio play Forget Her Not. His credits include: Forgetting Heledd (Camden Fringe Festival, 2019), Not John (RADA Festival, 2017), The Count of Monte Cristo (Edinburgh Fringe Festival, 2015) and the Radio Cardiff soap Sophia Square (2012-14).

Relight my Fire

written and performed by Sarah Louise Madden

"To rise from the ashes, Rhiannon must overcome her fear of being burnt and embrace the fire within.

Inspired by my own delightfully absent father, I wanted to explore how childhood demons can haunt our adult selves."

Sarah Louise Madden is a writer, actor and a recovering, secondary English teacher. She was long-listed for Wales Writer in Residence in both 2019 and 2020. This year, she was in the top 2% of entries for ΒιΆΉΤΌΕΔ Writersroom's Drama Room, the top 4% of the ITV Red Planet Prize and was a semi finalist in the Blue Cat International Screenplay Competition. She recently wrote for Sherman Theatre’s TEN series.

Rodri

written and performed by Rhys Slade Jones

"Rodri's body doesn't quite fit. Rodri longs to live by the sea. Rodri is reeled into a spinning class and discovers that his legs are jelly. Literally.

The idea for Rodri came to me as I sweated and panted on the bank of the River Exe, after an afternoon of drinking at the beach and an ill advised spinning class."

Rhys Slade-Jones is an artist hailing from the south Welsh valleys. They create work that straddles craft, theatre and film. Balancing the line between the confrontational and the convivial, they make work that is fun, silly and full of heart.

Mandolin Gwen

written and performed by Remy Beasley

"This piece is called Mandolin Gwen. Gwen is a defiant, curious Welsh woman living in the 1700's whose bones and Bonnie Tyler are telling her there's more to life than living under patriarchal rule. And today is her wedding day. Or is it?

Mandolin Gwen was born moons ago when I was reading about Nos Calan Gaeaf which is historically seen as the first day of Winter in Wales. There was much superstition in the stories associated with single women being bad omens and tales of hags and witches. The story moved on but the character of Gwen stuck. A running theme for me, Gwen is a woman trying to liberate herself back to her wild, untamed ways."

Remy is an actor and writer, who trained at RWCMD. Since popping her cherry in 2016 for Welsh new writing company Dirty Protest, Remy has been developing work with numerous television production companies such as Sharon Horgan Merman, Ruth Jones at Tidy and currently has a development under option with Jax Media. Last year she performed her debut one-woman show ‘Do Our Best’ at Edinburgh festival, produced by Francesca Moody of Fleabag fame for which Remy gained rave reviews. From there she has had the opportunity to work on exciting projects including Mackenzie Crooks ‘Worzel Gummidge’ and this summer she wrote 'Unbound' for National Theatre Wales’ and Sherman Cymru's ‘Rituals’ project. She has been supported by new writing company Paines Plough and the inimitable Dirty Protest.

Find out more about the Welsh Voices

Listen to audio monologues from the Welsh Voices 2019

In Tim’s own words:

Before writing Rare Beasts, I spent time working with , a charity that offers accommodation and support to young people aged between 18 to 25-years-old in North Wales. I was attached to a specific programme designed for young homeless mothers and their children, supported by ΒιΆΉΤΌΕΔ Children in Need.

What struck me about the time I spent with these remarkable young women was how important the relationship, with the GISDA staff was to them. Many of these teenage women had been brought up in chaotic homes or had been kicked out of their home. Having one person to rely on was a vital help to their overall well-being.

The circumstances these young women found themselves in often had a devastating effect on their confidence, self-worth and self-esteem. GISDA staff would build up young peoples’ confidence and encourage them to do something seemingly small, such as leaving the accommodation with their baby and go to a local café.

The support and community created for these young Mums will have a lasting impact on their lives. Because their accommodation crisis was just what we see, GISDA understood that getting housed was actually the beginning, rather than the end of the journey. Once GISDA had taken ‘homelessness’ out of the picture for these young people, there was space for them to think about who they really are as an individual, and how they wanted to shape their future.

I remember talking to one young mother about her plans to become a photographer. By supporting this young woman with her immediate housing crisis, and then working with her to build confidence and skills, GISDA enabled this young woman to imagine a future without trauma and insecurity. And that, in some ways, was a greater gift than accommodation. In my notes from my meeting with her, the first thing I wrote at the top of the page was ‘homeless Mum’ and the last thing I wrote a few pages later was ‘Photographer’.

The difference between those few pages was the tenderness and care we all take for granted from loved ones, but for some people it’s a rare beast. And it made me think how lucky we all are for the people who work at charities like GISDA.

I've done a number of projects that have been research-led and I've learned it's always important to go there without a fixed idea of what story you want to tell, you have to just go into it, trusting that someone or something will spark an idea. So I had no idea what I wanted to write about when I started meeting young Mums through GISDA, but I just asked as many questions as I could, to try and understand what life was like for these young people.

After a few days, I started to gather some ideas that were recurring, ideas about how marginalised and isolated these young women felt by society, and how these feelings made the simplest things difficult, such as going to cafes and ordering food. Being a teenage Mum brings about all kinds of prejudice and it struck me how lonely these young people were, at a time in their lives when they should be surrounded by friends.

I knew I didn't want to write a script that was restricted by naturalism - I feel just because some people's lives are played out in the margins, it doesn't make them any less colourful. I was spending a lot of time in North Wales, on research days and I was walking through Caernarfon, when I saw a young Mum sat on a bench and I just thought how she needed someone to talk to, and maybe that should be someone extraordinary, or something extraordinary and then for some reason, I couldn't help but think of a polar bear companion. I mean who wouldn't want a polar bear companion? And once I had that image I was able to write the story I wanted to write.

Rhodri Talfan Davies, Director ΒιΆΉΤΌΕΔ Cymru Wales said: “This emotional, yet brilliantly simple short film packs a powerful punch. Another strong creative collaboration from ΒιΆΉΤΌΕΔ Children in Need, ΒιΆΉΤΌΕΔ Cymru Wales and ΒιΆΉΤΌΕΔ Writersroom Wales, it’s an insight into the day-to-day experiences of those living in difficult circumstances and the film is a tribute to all involved.”

Find out more about ΒιΆΉΤΌΕΔ Writersroom's work with Children in Need

Wales Writer in Residence Longlist announced

During what has been a tricky and unprecedented period it has been a joy to read the submissions for the Wales Writer in Residence 2020. Thank you to all who entered. The standard was extremely high this year.

After careful consideration we are delighted to announce the twenty writers who have been longlisted and who will now proceed to the next stage of the initiative.

• Anna-Lisa Jenaer
• Brennig Hayden
• Cameron Loxdale
• Carol Vine
• Carys Lewis
• Catherine Dyson
• Connor Allen
• Corey Terrett
• Faebian Averies
• Greg Glover
• Jon Berry
• Katie Elin-Salt
• Lowri Jenkins
• Neil Williams
• Rachel Harper
• Rebekah Harrison
• Rhys Edwards
• Rhys Warrington
• Sarah Louise Madden
• Zia Holloway

The final shortlist will be announced in early October with the winner announced at the beginning of November.

We’re also delighted to share the news that our guest judge this year is Welsh actor and producer , most recently seen in the ΒιΆΉΤΌΕΔ’s Anthony, Noughts and Crosses, and National Theatre Wales’ .

Rakie will be joined on the judging panel by NTW’s new Artistic Director , ΒιΆΉΤΌΕΔ Radio 4 Drama Commissioner Alison Hindell, Development Executive at ΒιΆΉΤΌΕΔ Studios Wales and ΒιΆΉΤΌΕΔ Writersroom Wales Development Producer Helen Perry.

This prestigious scheme, now in its second year, offers the winning writer the opportunity to develop their writing skills over a portfolio of media; stage, sound and screen.

During their year-long residency, the winning writer will receive over £12,000, get to spend six months working with the ΒιΆΉΤΌΕΔ, including time with ΒιΆΉΤΌΕΔ Studios, followed by six months with . They’re given access to industry expertise and support to develop their ideas and talent alongside a ΒιΆΉΤΌΕΔ-broadcast credit in the form of a ΒιΆΉΤΌΕΔ Radio 4 drama commission.

Cyhoeddi Rhestr Hir Awdur Preswyl Cymru

Yn ystod cyfnod anodd a digynsail, bu'n bleser darllen y cyflwyniadau ar gyfer Awdur Preswyl Cymru 2020. Diolch i bawb a gymerodd ran. Roedd y safon yn uchel iawn eleni.

Ar ôl ystyried yn ofalus rydym yn falch iawn o gyhoeddi'r ugain awdur sydd wedi cyrraedd y rhestr hir a fydd nawr yn symud ymlaen i gam nesaf y fenter.

• Anna-Lisa Jenaer
• Brennig Hayden
• Cameron Loxdale
• Carol Vine
• Carys Lewis
• Catherine Dyson
• Connor Allen
• Corey Terrett
• Faebian Averies
• Greg Glover
• Jon Berry
• Katie Elin-Salt
• Lowri Jenkins
• Neil Williams
• Rachel Harper
• Rebekah Harrison
• Rhys Edwards
• Rhys Warrington
• Sarah Louise Madden
• Zia Holloway

Cyhoeddir y rhestr fer derfynol ddechrau mis Hydref gyda'r enillydd yn cael ei gyhoeddi ddechrau mis Tachwedd.

Rydym hefyd yn falch iawn o rannu'r newyddion am ein beirniad gwadd eleni, sef yr actor a'r cynhyrchydd Cymreig, Rakie Ayola, a welwyd yn fwyaf diweddar yn Anthony y ΒιΆΉΤΌΕΔ, Noughts and Crosses, ac On Bear Ridge National Theatre Wales.

Yn ymuno â Rakie ar y panel beirniaid fydd Cyfarwyddwr Artistig National Theatre Wales Lorne Campbell, Comisiynydd Drama ΒιΆΉΤΌΕΔ Radio 4 Alison Hindell, Swyddog Gweithredol Datblygu, ΒιΆΉΤΌΕΔ Studios Cymru Jenna Robins a Chynhyrchydd Datblygu ΒιΆΉΤΌΕΔ Writersroom Cymru, Helen Perry.

Mae'r cynllun pwysig hwn, sydd bellach yn ei ail flwyddyn, yn cynnig cyfle i'r awdur buddugol ddatblygu ei sgiliau ysgrifennu dros bortffolio o gyfryngau; llwyfan, sain a sgrin.

Yn ystod ei gyfnod preswyl o flwyddyn, bydd yr awdur buddugol yn derbyn dros £12,000, yn cael treulio chwe mis yn gweithio gyda'r ΒιΆΉΤΌΕΔ, gan gynnwys amser gyda ΒιΆΉΤΌΕΔ Studios, ac yna chwe mis gyda NTW. Bydd yn cael mynediad at arbenigedd a chefnogaeth y diwydiant i ddatblygu ei syniadau a'i dalent ochr yn ochr â chredyd darlledu gyda'r ΒιΆΉΤΌΕΔ ar ffurf comisiwn drama gyda ΒιΆΉΤΌΕΔ Radio 4.

Now, instead of giving you a blow by blow account of the day I thought I’d just hit you with my top five highlights -

1. The Effervescent Russell T Davies

Charismatic, funny and inspiring. The day kicked off in the Reardon Smith Theatre with a keynote speech by the Welsh TV scriptwriting genius Russell T Davies. There were many golden nuggets of advice for budding writers but the main ones that stood out for me were -

● Keep practising. Write anything. Just write every day.
● Watch lots of TV. Drama, comedy, soap. Everything.
● Start every day on page one and cut as you go. Always tighten and aim to make your script as fast and pacy as possible.
● Focus. Keep asking - what’s it about? Then make damn sure your script is about what you say it’s about.
● Characters - make the characters cleverer than the writer and make the protagonist cleverer than anyone in the room. Use psychology to work out why characters do what they do.
● Keep stage directions to a minimum. Let the actors work it out.

2. My interview with ΒιΆΉΤΌΕΔ Drama commissioner, Ben Irving

When Helen Perry at ΒιΆΉΤΌΕΔ Writersroom Wales asked me to interview Ben Irving I must admit I was quite nervous. I needn’t have worried. He was such a warm and personable guy. We talked about the commissioning process and the ΒιΆΉΤΌΕΔ’s commissioning priorities. Some of which are - quality, targeting younger audiences and a push to represent the whole of the UK both geographically and demographically. Ben showed us clips of some of his recent commissions including - Dracula and Noughts and Crosses.

3. The New Welsh Comedy Session

After lunch we headed back to the Reardon Smith Theatre for a session with comedy writers/performers Gareth Gwynn, Steve Speirs and Beth Granville. We learnt that ΒιΆΉΤΌΕΔ Wales is currently investing in new Welsh comedy and that the genre is having a real moment with the creation of shows such as - Tourist Trap, Foiled and the soon to be aired The Tuckers. Some great pieces of advice were - comedy is all about character, make location a main character and get your comedy out there and test whether it’s funny or not. These comedy talents made it clear that success is no overnight thing. Getting commissioned takes tenacity, determination and hard graft.

4. The Q & A with Andrew Davies

I was pretty excited to be in the same room as the guy who wrote the screen version of Bridget Jones’ Diary. Those books and films hold a very special place in my ladette, chardonnay soaked past. Andrew Davies was a funny - little bit sweary - lovely, warm man with many an entertaining tale to tell about his long and successful career. I loved the way he has embraced adaptations because he self admittedly - is no good at making up stories. Two pieces of advice he gave; which he said originated from Robert McKee; that stuck with me were : never take the resolution out of the hands of the protagonist and always put sex at the spine of the story.

5. An Evening with Rob Brydon and Ruth Jones

What can I say… what a pair of absolute gems! The day ended with a ticketed event where Huw Stephens interviewed this pair of Welsh comedy giants and it was nothing short of brilliant. Everything that came out of Rob Brydon’s mouth got a laugh. He delivered quick one liners and drew the audience in with his silly voices and hilarious asides. The pair took us back to their first meeting in Porthcawl Comp where they trod the boards together in musicals under the guidance of their beloved drama teacher - Roger Burnell. Roger actually happened to be in the audience. Every time they referred to him as their inspiration and early champion you could feel the pride and warmth in the room. They showed us clips of Gavin & Stacey - old and new - sang an ‘off the cuff’ harmonised duet and Ruth gave us an insight into the process of writing the new Christmas special with James Corden in LA. The evening ended with the iconic - Islands in the Stream, Tom Jones, Comic Relief clip, which really was the best way to end an amazing day.

Thanks to all at ΒιΆΉΤΌΕΔ Writersroom Wales for a great festival. I learnt loads. Laughed lots. And met some amazing people.

Rick Allden

In 2010, Rick wrote a series of short radio plays for Berlin University that toured South Africa in a giant football.  Rolling with it, he began to write short plays that have since been staged across the UK and US. In more recent years his plays have both lengthened and migrated homeward.  Death and The Monster and Humanzee were staged at Chapter Arts Centre, Cardiff and Rachel and The Photographer at Blackwood Miners’ Institute. Rick also has several short stories published, and was shortlisted for Wales Writer in residence 2019 for his audio drama Moonlight Grey. 

Rhys Slade Jones

Rhys is a bold emerging queer artist from the Rhondda valley, working cross-disciplinary through theatre, cabaret and craft. Winner of the inaugural COMMON Award in 2019, Rhys was supported by The Pleasance Theatre Trust to take their debut show The Land of My Fathers and Mothers and Some Other People to the Edinburgh Festival Fringe where it enjoyed critical success. Rhys learnt tits and teeth showmanship watching pub singers and psychic mediums in back rooms of rugby clubs.  Rhys’ performances tread the line between cosy and confrontational, making work that’s fun, silly and full of heart. 

Emily Burnett & Leyla Pope

Emily and Leyla started writing together after their individual scripts were shortlisted for It’s My Shout / ΒιΆΉΤΌΕΔ Writersroom 2018. Together, they kindled a relationship based on the hope of telling wholly inclusive stories with a diverse range of characters. With close family and friends as the impetus to highlight the importance of these stories, Leyla and Emily are passionate about female led, disability aware, multigenerational storytelling. This can be seen in the script they are currently developing, Going Country. 

Elgan Rhys

Elgan Rhys is a Cardiff-based writer-director-performer, Co-Artistic Director of Cwmni. Pluen Company, and Associate Artist at Frân Wen. Elgan’s play Woof at the Sherman Theatre, was described by The Guardian as “a triumph”. Pluen’s most recent production, Mags, which Elgan wrote, toured Wales and London and was described by Wales-Arts-Review as “a fearless play.” Recurring elements in his work are the amplification of young people’s voices and telling stories of contemporary queer life. 

Sion Edwards

Sion is  a bilingual writer from Dolgellau in North Wales. Sion’s sitcom Halfway was shortlisted for the ΒιΆΉΤΌΕΔ wales / Writersroom Find Me Funny initiative. Subsequently it was produced and broadcast in 2018 across multiple platforms as part of ΒιΆΉΤΌΕΔ Wales’ Festival of Funny. Sion was then selected for the six month development scheme ΒιΆΉΤΌΕΔ Writersroom  - Comedy Room 2018. Sion has written short plays for Dirty Protest Theatre, which were performed at the Galeri in Caernarfon, Eisteddfod in Cardiff and at Machynlleth Comedy Festival. Currently Sion is working on a new ideas for radio sitcoms or podcasts. 

Sarah Louise Madden

Sarah Louise is an actor and former secondary English teacher. On a longshot Sarah entered the Wales Writer in Residence 2019 and was subsequently longlisted for her drama You, the Jury: a provocative script about domestic abuse, gender, presumptions and justice. This acknowledgement has given sarah the confidence to transform her writing from a hobby, to putting her voice out there and finally articulating what she’s always wanted to say. 

Rachel Harper

Born and raised in Wrexham, Rachel initially trained as an actress and fight performer. After graduating she formed MISSMANAGED THEATRE COMPANY. Her first play The Edinburgh Test was shortlisted for the Charlie Hartill special reserve fund. Her following play Bounce was long listed for the Papa Tango prize. Rachel made her full length debut with Rattled at The Old Red Lion Theatre, a one woman show performed by herself for which she received an Offie Nomination for Best Female Performance. Rachel is currently developing several projects for film and TV. 

Connor Allen

Connor is an actor and writer from Newport who began writing in 2015 for an National Theatre Wales event; Stories of the Streets. Subsequently he has written short plays for companies such as Dirty Protest, Fio, No Boundries and Avant Theatre. Connor is currently working on his full length debut play Working Not Begging which will be in production in 2020. Connor is also part of the Gary Owen/Royal Court - Welsh Writers Programme. 

Alexandria Riley

Alexandria is an actor and writer based in Newport. Alex started writing at University and her first drama "What About Love"  was performed at Dolman Theatre Newport. Subsequently she wrote four shows for a local performing arts group, all of which sold out at "The Riverfront Theatre" - Romeo and Juliet - the streets,  Make or Break,  Sisters Acting Up, and Hard Knock Life. Most recently Alex  wrote and appeared in her own documentary Mixed which aired on ΒιΆΉΤΌΕΔ One Wales and ΒιΆΉΤΌΕΔ iPlayer. She’s also written an episode of Torchwood for their audiobook series named A Mothers Love. 

Jodie Ashdown

Jodie has had two short films produced, Leonard's Neighbours (It's My Shout, Best Film, 2016) and one minute film The Machine (Focus Shift Films, shown at BAFTA qualifying festivals). She also has another two in pre-production. Her first feature script, Walnut, made it through to the penultimate round of the 2018 ΒιΆΉΤΌΕΔ Writersroom Drama call out and she is currently writing her second TV pilot, Fathom. Jodie is currently a story editor on Casualty as well as a freelance script editor. She is a script mentor for It's My Shout and is on their board of directors

Rhiannon Boyle

In 2007 Rhiannon became Dirty Protest Theatre's first ever ‘Cherry Popper.’ Subsequently she has written many plays including - The Whole Truth, Latitude Festival, Un bach Arall, National Eisteddfod, Kindness, WMC, Druggie, Edinburgh Fringe 2019 and Disquiet at The Other Room. Screenwriting credits include S4C’s Gwaith Cartref and children’s comedy sketch show Cacamwnci. Rhiannon was awarded the inaugural Wales Writer in Residence 2019. Her winning script, Because of Him has been commissioned for broadcast on ΒιΆΉΤΌΕΔ Radio 4. She is currently on a 6 month bursary with ΒιΆΉΤΌΕΔ Wales before beginning a 6 month residency with National Theatre Wales.

Faebian Averies

Faebian is an actor who began writing in 2018. Her debut play Detention enjoyed sell-out runs in both Cardiff and London, achieving a 5* review on opening night and has now been picked up by a company in residence in Croydon.  A section of Faebian’s one woman show Two Flats on Clifton Street was selected to be performed at Chippy Lane’s ‘Who Run the World?’ event. It gained interest from industry professionals and has since been performed in its entirety in London. 

Cameron Loxdale

Cameron  is a comedy writer from Swansea who has written for several ΒιΆΉΤΌΕΔ Radio 4 shows including The News Quiz, Breaking the News and Newsjack.  He co-created The Royal Winthorpe Museum Podcast and his sitcom script Gaffer reached the final of the David Nobbs Memorial Trust competition.  Cameron writes and produces sketches, short films and podcasts. In 2019 he formed Encouraging Productions with the aim of making original comedy to get excited about. Cameron is currently working on comedy ideas for TV and radio. 

Rhys J. Edwards

Rhys trained at the Royal Academy of Dramatic Art, graduating with an MA in Text and Performance in 2017. He has written and directed various projects in theatre and audio drama. His credits include, Not John at the Gielgud Theatre (RADA Festival, 2017), The Count of Monte Cristo at Merchants Hall (Edinburgh Fringe Festival, 2015) and Insane Assumptions at the Mike Barlow Theatre (Cardiff, 2013). He also co-created and wrote numerous episodes of the Radio Cardiff soap Sophia Square. Rhys was shortlisted for the Wales Writer in Residence 2019 with his script Forget Her Not. 

Remy Beasley

Remy is an actor and writer, who trained at RWCMD. Since popping her cherry for Dirty Protest in 2016 Remy has been developing work with numerous television production companies such as Sharon Horgan’s Merman and with Ruth Jones at Tidy. This year she performed her debut one-woman show Do Our Best at Edinburgh festival, for which she gained rave reviews. She has been supported by new writing company Paines Plough and the inimitable Dirty Protest . Remy is currently working on a TV project headed by Mackenzie Crook for the ΒιΆΉΤΌΕΔ.

Welsh Voices is an invitational only development group. Writers are selected in conjunction with our partner organisations and predominantly chosen via their submissions to ΒιΆΉΤΌΕΔ Writersroom initiatives.

Find out more about ΒιΆΉΤΌΕΔ Writersroom Wales