ACSAA, previously known as AWGACS, was established in 1996 as the copyright collecting society for screenwriters from Australia and Aotearoa New Zealand. Looking for AWGACS? You're in the right place. We've rebranded to the Authorship Collecting Society Australia Aotearoa (ACSAA), a name that better reflects who we represent: screen authors across Australia and Aotearoa New Zealand. Nothing changes for members. Your membership, royalties and contact points all stay the same. Only the name is new. Notices for members A reminder for members to sign the new membership agreement: New membership agreement Copyright Collecting Societies Code of Conduct — Call for Submissions 2026 AWGACS subscribes to the Copyright Collecting Societies Code of Conduct, with compliance independently reviewed each year. Interested parties are invited to make submissions to the Code Reviewer regarding the period 1 July 2025 to 30 June 2026. To make a submission, contact the Code Review Secretariat at secretariat@copyrightcodeofconduct.org.au . Submissions close 31 July 2026 . To read the full notice, click here . WHAT IS ACSAA? The Authorship Collecting Society Australia Aotearoa (ACSAA), previously known as the Australian Writers' Guild Authorship Collecting Society (AWGACS), was established in 1996 as the copyright collecting society for screen authors from Australia and Aotearoa New Zealand. Since then, we have collected over $33 million dollars for members and authors from around the world. Join now to protect your right to secondary royalties - it's free! Join ACSAA Now Unable to contact list NEWS New name, same mission: we are the Authorship Collecting Society Australia Aotearoa (ACSAA). The Australian Writers' Guild Authorship Collecting Society (AWGACS) is updating its name and logo to become the Authorship Collecting Society Australia Aotearoa (ACSAA). For 30 years, 'By authors, for authors, for authors' royalties' has guided our work representing screen authors across Australia and Aotearoa New Zealand. In our 30th birthday year, we're changing our name to better reflect who we represent. Every royalty collected, every right defended, every voice added t 6 hours ago COPYRIGHT COLLECTING SOCIETIES CODE OF CONDUCT - CALL FOR SUBMISSIONS 2026 Compliance by participating collecting societies with the Code’s standards of conduct is the subject of an independent annual review. May 21 More Posts

FAQs | Resources & Forms FAQs What are secondary royalties? Secondary royalties arise from the secondary usage of your audiovisual work. In Australia, secondary royalties are generated from government use, educational use and retransmission. In New Zealand, you may receive royalties for educational usage. Many more types of secondary usages exist around the world. Will I receive money every year? The nature of secondary royalties is unpredictable but if we have distributable royalties for you, we will let you know. How do you know what I’ve written? Our extensive database is kept up to date by our staff but we also rely on our members letting us know when they've written something new. Can my royalties go to my agent? We will transfer your royalties into your nominated bank account. How much does it cost to join ACSAA? It is free to join ACSAA. Resources & Forms New membership agreement ACSAA Writing Credits Form

Partner Collecting Societies Governance & Policy Annual General Meeting (AGM) About ACSAA | How it works | Who can join | Board & staff ABOUT ACSAA The Authorship Collecting Society Australia Aotearoa (ACSAA), previously known as the Australian Writers’ Guild Authorship Collecting Society (AWGACS), was established in 1996 and is a not-for-profit collecting society for screenwriters. AWGACS rebranded to ACSAA in 2026. ACSAA collects and distributes international and domestic royalties for Australian and Aotearoa New Zealand writers. ACSAA collects royalties from the following schemes under the Copyright Act: Educational copying and communication royalties (under Part IVA): Educational institutions copying programs and make them available or to store online. Government copying royalties (under section 183): Copying from radio, television and the internet for government use. Retransmission royalties in Australia (under Part VC): Retransmitting free-to-air broadcasts on subscription services. ACSAA has agreements with over 30 collecting societies from around the world to collect royalties for members. About AWGACS HOW IT WORKS ACSAA collects secondary royalties from Australia, Aotearoa New Zealand and countries across the globe to distribute to its members. Secondary royalties (also known as statutory royalties) are a complex revenue source governed by laws, conventions and agreements that differ between countries and collecting societies. Although each secondary royalty payment can be tiny, they can add up to a substantial payment to writers. It would be impossible for most writers to track down all the secondary royalties from so many sources and countries by themselves, which is why societies such as ACSAA to do this on their behalf. Secondary royalties are separate to residuals (or primary royalties), which are what producers are required to pay writers based on what they have negotiated in their contracts. ACSAA operates under the obligatory governance and financial standards required by law, including annual reports to the Australian Securities and Investments Commission (ASIC). We voluntarily submit ourselves to the Code of Conduct for Collecting Societies and provide annual reports to the Hon. Kevin Lindgren QC for reviews and audits. We are a full member of the International Confederation of Societies of Authors and Composers (CISAC), the world’s leading network of authors’ collecting societies, and abide by its professional rules and resolutions with annual compliance surveys and audits. ACSAA is a member of Writers & Directors Worldwide (W&DW). WDW campaigns around the world for fair remuneration for authors. How It Works WHO CAN JOIN Membership is open to: Any screenwriter from Australia or New Zealand (although, we are open to all nationalities), A full member of the AWG, An editor who is also an ‘author’, Any other person whom the Board considers fit to be a member, The beneficiary or executor of the estate of a person referred to above. ACSAA collects for: Feature films, Short films, Television series and serials, Miniseries, Telemovies, Documentary television and film. Who Can Join BOARD Sam Meikle Chairperson Sam Meikle is a highly experienced writer and creator with hundreds of hours of produced credits across a broad range of television dramas, comedies, animation and web series. He has worked extensively in development for many of Australia’s leading production houses, and written and interviewed for documentary works. His short films have screened at festivals around the world and he’s been engaged to develop multiple feature film projects. Sam holds a Masters in screenwriting from the AFTRS (2000), he’s a graduate of the NIDA Playwrights’ Studio (2000), he's been nominated for three AACTA Awards and 12 Australian Writers’ Guild Awards, winning four. Most recently, Sam was a writer, an Executive Producer and co-showrunner of Wakefield for the ABC, BBC Studios and Showtime, and a co-creator, head writer, and Executive Producer of MaveriX for the ABC and Netflix. Kodie Bedford AWG-appointed Director Kodie was born in Western Australia, with strong family ties to the East Kimberley. Working mostly in television, Kodie’s credits include Mystery Road (ABC), Squinters (ABC) and Grace Beside Me (NITV/ABC). She made her directorial debut with a short horror film, Scout. Kodie received the Balnaves Fellowship for 2019 to develop her own play with Belvoir Theatre, Cursed! which was staged for the Belvoir Theatre 2020 season. Most recently, Kodie co-wrote and script produced ABC Iview series All My Friends are Racist which was nominated for Best Short Form Comedy for the 2021 AACTA awards and she also script produced and wrote for Warwick Thornton’s vampire show Firebite for AMC+. Shanti Gudgeon AWG-appointed Director Shanti Gudgeon has written for Foxtel comedy/drama series SLiDE for Playmaker Media, Conspiracy 365 for Circa Films, Dance Academy for Werner Productions and ABC3, Trip for Biscuits for ABC3, and Nowhere Boys for Matchbox Pictures and ABC3. Nowhere Boys won the AACTA Award for Best Children’s Series and the LOGIE Award for Best Children’s Series, while Trip for Biscuits has been nominated for an SPA Award for Best Children’s Television Productions. Most recently, Shanti wrote for the second season of Wolf Creek. Shanti’s screenplay, Scratches + Cuts, was selected for Film Victoria’s New Feature Writers Scheme and it was also nominated for an IF Award for best unproduced feature screenplay. Her feature script, Under The Black Flag, was selected by the Producer’s Guild of America for their International Co-Production Showcase. Shanti in development on the feature All I Know of the Devil, supported through Screen Australia. Briar Grace-Smith ONZM Membership-elected Director Briar Grace-Smith ONZM is a filmmaker and one of New Zealand’s most celebrated writers of award-winning plays, screenplays, short fiction and television scripts. Her most recent film, Cousins, an adaptation of the acclaimed New Zealand novel by Patricia Grace, was released in New Zealand in 2022 to unwavering critical and audience acclaim. Briar is an inaugural recipient of the Arts Foundation Laureate Award and was made an Officer of the New Zealand Order of Merit in 2018 for her contribution to theatre, television and screen. Claire Pullen Group CEO AWG & ACSAA Claire Pullen is the Group CEO of the Australian Writers’ Guild and the Authorship Collection Society Australia Aotearoa (ACSAA). She is a high-impact policy innovator and former media and communications director with over 15 years of experience in NGOs, working extensively to improve the rights of individuals and communities. Claire led the community campaign to decriminalise abortion in NSW and her policy paper list on firefighter occupational cancer now sits in legislation in all states and territories in Australia. She has won awards for her pioneering feminist and representation work, and has appeared in courts and tribunals throughout Australia. Claire has worked as a freelance journalist, has owned two microbusinesses and has represented the legal and disability communities as a Board member. Claire holds a Master’s degree in Labour Law and Relations from the University of Sydney, a first-class Honours degree and several other qualifications. A skilled lobbyist and high-impact campaign strategist, she has now turned her love of Aussie content towards the fight to improve rights and remuneration for Australian screen and stage writers. Staff And Leadership STAFF Claire Pullen Group CEO, AWG & ACSAA Molly Ulm Director, Industry and Operations Vanessa Tanner-Sousa Distribution Manager Bec Bagnat Research & Royalty Officer Karen Johnston Bookkeeper Phuong Tran Communications Officer Staff And Leadership

The Australian Writers' Guild Authorship Collecting Society (AWGACS) is updating its name and logo to become the Authorship Collecting Society Australia Aotearoa (ACSAA). For 30 years, 'By authors, for authors, for authors' royalties' has guided our work representing screen authors across Australia and Aotearoa New Zealand. In our 30th birthday year, we're changing our name to better reflect who we represent. Every royalty collected, every right defended, every voice added to ACSAA strengthens us all. This is a milestone for all of us, and as we move into our next chapter, we do it stronger together. What this means for members. Members don't need to do a thing. We have a new name and a new look, but we're operating the same, and nothing changes for members. Why we are making the change. Our new name and logo have been guided by these principles: Saying who we are: This rebrand gives us a distinct identity that makes it clear who we represent - screen authors - in conversations with government and industry. ACSAA will continue our close relationships with the Australian Writers' Guild (AWG) and New Zealand Writers' Guild (NZWG) and Australian Screen Editors (ASE). Clearly defining our full geographic reach: Our new name explicitly acknowledges the geographical scope of our membership. Reflecting our growing membership: Our membership now includes screen editors alongside screenwriters. We're here to answer any questions you might have regarding this change. Please don’t hesitate to get in touch with us at admin@acsaa.org.au if there's anything you'd like to know.

Each of the copyright collecting societies, Australasian Performing Right Association Limited (“APRA”), Australasian Mechanical Copyright Owners Society Limited (“AMCOS”), Phonographic Performance Company of Australia Limited (“PPCA”), Copyright Agency Limited (“Copyright Agency”), Audio-Visual Copyright Society Limited (“Screenrights”), Australian Writers’ Guild Authorship Collecting Society Limited (“AWGACS”) and Australian Screen Directors Authorship Collecting Society Limited (“ASDACS”), subscribes to a code of conduct. In its original form, the Code came into effect in July 2002. The most recent update came into effect on 20 May 2025. A copy of the Code is available on each Society’s website or from the Code of Conduct for Copyright Collecting Societies website https://www.copyrightcodeofconduct.org.au/code and can be downloaded or, if requested, a copy can be supplied by post. Compliance by participating collecting societies with the Code’s standards of conduct is the subject of an independent annual review. The Code Reviewer for this purpose is former Federal Court judge and former President of the Copyright Tribunal of Australia, The Hon Kevin Lindgren AM, KC. His current task is to review the Societies’ compliance with the Code during the period 1 July 2025 to 30 June 2026. The Code allows for interested parties to make submissions to the Code Reviewer concerning a collecting society’s compliance or non-compliance with the Code. If you wish to make a submission, please inform the Code Review Secretariat by email [note new email address]: (secretariat@copyrightcodeofconduct.org.au). The Secretariat will send you details about the procedure for making a submission. The closing date for completing the submission process is 31 July 2026.

Joint statement from AMPAL, APRA AMCOS, ARIA PPCA, Australian Publishers Association, Australian Society of Authors, Australian Writers’ Guild, AWG Authorship Collecting Society, Copyright Agency and Screenrights. The Copyright Advisory Group (CAG) is seeking concessions that go significantly further than what the Australian Government consulted introduced into Parliament. Friday 20 March 2026 – Australian authors, songwriters, recording artists, visual artists, photographers, illustrators, playwrights, screenwriters and producers are in the sights of the country’s most powerful education bureaucracies. State and territory education departments and private schools, backed by a taxpayer-funded lobbying operation, are pushing to expand copyright exceptions well beyond agreed amendments to the Copyright Act, and it is creators who will pay the price. The Copyright Advisory Group (CAG), staffed by government lawyers, funded by taxpayers, and representing the combined weight of every state and territory government and every major private, Catholic and independent school, is seeking concessions that go significantly further than what the Australian Government consulted on, agreed to and introduced into Parliament. The intent of the Bill was clear: To confirm that an existing exception allowing copyright material to be used in classrooms without payment applies equally in online settings. The Explanatory Memorandum is explicit and the amendments were not intended to touch existing licensing arrangements. The Senate inquiry agreed, recommending the Bill pass as drafted. But now, the education sector wants more. The education sector spends more on cleaning schools each year than it pays to access the entirety of human creative output. And still, its position is that this is not enough. The answer is not to take money from some of the lowest-paid workers in the country. For just under $30 per student per year, every student in every Australian school has access to everything ever created, every book ever written, virtually every song ever recorded, every image ever published, every article, every poem, every illustration, every play, every documentary or film ever made and every screenplay. Not a curated subset. Not a limited catalogue. Everything. Teachers can copy it, share it, stream it in any classroom, in any format, online or in person, without seeking permission and without paying a cent beyond that flat annual fee. By any measure, it is one of the most comprehensive and accessible education licences anywhere in the world. This is not the first time. The same arguments were deployed in 2016. They resurfaced during COVID-19, when the same lobby sought to use the pandemic as cover. They are now being run again, in perfect step with big tech’s push to weaken creator protections in the development of Artificial Intelligence. The timing, each time, is not coincidental. The target, each time, is the same. The earnings of artists and creators who have no comparable institutional power, no government funding, and no capacity to absorb further cuts to their income. The author whose book is being copied, the songwriter and recording artist whose work is being streamed in a classroom, the filmmaker and television creators whose work inspires, the illustrator whose images fill the curriculum already provide access for a sum that would not buy a single textbook or a school uniform shirt. Asking creators to carry costs that are not theirs to bear is not progress. It is cost-shifting dressed up as principle. Local Australian creator groups including AMPAL, APRA AMCOS, ARIA PPCA, Australian Publishers Association, Australian Society of Authors, Australian Writers’ Guild, AWG Authorship Collecting Society, Copyright Agency and Screenrights will continue to oppose any expansion of copyright exceptions, in this Bill, in the CAIRG process or in any future reform, that undermines the licensing framework and further reduces the already modest incomes of the people who make Australian creative life possible.