Until 1969, the Guild had entered into and signed eight different contracts and contracts with individual networks and production companies during the development of new programs. Richard Lane consolidated these contracts into a standard sectoral agreement based on British agreements. At first, there was considerable support within the industry, but later the Federation of Commercial Television Channels (FACTS) blocked the issue of the residue of new negotiations, particularly with the CBA. It was not until the early 1970s that the CBA finally signed the guild`s model contract. Shayne Armstrong is an award-winning Australian screenwriter for film and television, specializing in horror, thriller and science fiction. As half of the Armstrong-Krause screenplay partnership (with SP Krause), his credits are the feature films Acolytes and Bait 3D, the TV movies Johnny Bravo Goes to Bollywood and Exchange Student Zero, as well as the sci-fi series for children`s television and doctor Who Spin-off K-9. Along with his writing partner, Shayne is the two-time winner of the AWG John Hinde Award for Excellence In Science-Fiction and his sci-fi short rare rarer Monsters was awarded best short film at the 2013 AWGIES. Shayne is a screenplay consultant and author and creative advisor for Disney X-D (GREAT Britain/Europe and the United States) and Cartoon Network (Asia Pacific). He is a professor and script tutor at the University of Queensland and the New York Film Academy (Gold Coast). He has a master`s degree in art in the screenplay of QUT, Brisbane. A scenario-specific coverage chain is essential to ensure that there are no last-minute complications during the production/financing phase.
During the production/financing phase, historical agreements are carefully monitored by the financiers` lawyers to ensure that the production and operation of the film does not create third-party claims. If the scenario is rewritten after the final credit decision, the arbitration can be reopened within 48 hours of the last changes.   To obtain a common screenplay credit, the writer/director must have contributed, according to the WGA, more than 50% of the script in accordance with the intended script components: dramatic construction; original and diverse scenes; Characterization or drawing links dialogue. Referees cannot agree. If this happens, they call the counsellor to discuss, while remaining anonymous, the reasons for their decisions to reach a decision. In the absence of a unanimous decision, a majority decision is adopted at this stage.    The Board`s decision, once written confirmation has been received by the Screen/Television Credit Administrator, is communicated to interested parties.   A participant may then apply to an internal political review board of the Writers Guild within 24 hours of the referees` decision being passed on.   This office is made up of three members of the Television Screen Appropriations Committee, which generally includes the chair or vice-chair; No one should be interested in the decision. The Policy Review Board serves only to determine whether there has been a “serious deviation from guild policy or procedure, as stated in the [Screen/Television Credits Manual]” by the arbitration process, and does not read any of the written documents submitted and does not judge the authors` contributions.
   The Policy Review Board may issue a decision on board overturned, but only if the decision-making policy has been broken; If they find this, arbitrators may be asked to reconsider, or a new selected arbitration board.     Unlike in the United States (where the terms of the WGA trade union agreement prevail), British scenario agreements generally exclude the minimum conditions of trade unions.