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SSP/NTS Standard Contract for the Production of New Plays

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Updated in 2026

STANDARD CONTRACT FOR THE PRODUCTION OF NEW PLAYS AGREED BY THE SCOTTISH SOCIETY OF PLAYWRIGHTS AND THE NATIONAL THEATRE OF SCOTLAND LTD ratified in 2023, updated in 2026.

A contract made on [date] between:

National Theatre of Scotland (including its producing subsidiary company NTS Productions Ltd) (NTS) of Rockvilla, 125 Craighall Road, Glasgow G4 9TL (hereinafter called “the Producer” of the one part)

and

[Writer of ADDRESS / c/o Agent] (hereinafter called “the Writer” of the other part)

Whereas: –

[delete if not required – The Producer has acquired a licence from XXXXX (hereinafter called “the Author”) to present a live stage production adapted from the literary/film (delete as appropriate) work by the Author entitled XXXXXX (hereinafter called “the Work”) for such stage adaptation (hereinafter called “the Play”) to be commissioned by the Producer from the Writer.]

1.      Consider and Rights

a)      Consideration

In Consideration of payment of [£X,XXX] (being the total commission amount) by the Producer to the Writer (as provided in clauses 2 and 3) for a work at present titled [XXXX] (provisional title, hereinafter called “the Play”), that is [X minutes in length], the Writer grants to the Producer the rights set out in Clause 1(b) below.

b)      Rights

The exclusive right to present by the Producer on tour in the United Kingdom, a production of the Play [(in the English / and XXXX language)], provided that this right will expire 39 weeks (not more than 39) after the Play’s first performance. This right may be extended by mutual agreement in increments of 13 weeks on payment of £500 per increment. 

2.      Payment

The payment referred to in Clause 1 hereof shall be made to the Writer as designated in Clause 2 a), b) and c). All payments below are made as pre-payments for work yet to be undertaken and not as payment for work already completed.

a)      Signature Instalment

[£X,XXX] (being 40% of the total commission) on commission of first draft and in any event no later than fourteen (14) days from signature of this agreement and receipt of an invoice. This draft will be delivered on [XXXX/a date mutually agreed with the Producer]. The Producer shall then have 30 calendar days (not more than 30) to decide whether to proceed.

[Where a treatment has previously been commissioned, add the following – It is understood that £1,000 of this instalment has been pre-paid to the Writer as an advance against their commission as per their treatment contracted signed on XXX]

b)      Agreement to Proceed

[£X,XXX] (being 40% of the total commission) on mutual agreement between the Writer and Producer to proceed with notes on the first draft and receipt of an invoice. The Producer and Writer shall within 30 calendar days where possible (but no more than 45 days) following delivery of the first draft, meet to share notes, and mutually agree changes for draft two (the Rewritten Draft). 

The Writer shall deliver the Rewritten Draft on a mutually agreed date. 

In the unlikely event that the Writer and Producer are unable to agree an approach to the second draft, the Producer will release the commission, without making payment under clause 2 a) (ii), whereby all rights will revert to the Writer with full rights of use.

c)      Pre-production Draft

[£X,XXX] (being 20% of the total commission) on acceptance of the delivered Rewritten Draft of the Play (within 30 days of delivery) and receipt of an invoice, it being understood that this instalment covers all additional mutually agreed revisions/redrafts.

d)      Failure of Payment

Should the Producer decide not to proceed and/or fail to make the payment provided for in clause 2b) above in a timely manner and/or having agreed to proceed, fails to make the payment due under 2c) above within thirty days of delivery of the Rewritten Draft, the rights in the Play shall thereupon automatically revert to the Writer and the parties shall have no further obligation to one another. 

All of the sums are non-returnable and non-recoupable in any event.

e)      Further Writing Work

Should the Producer make all the payments in a timely manner as provided for above it is understood that if reasonably requested the Writer shall be obliged to attend (subject to their reasonable availability) developmental workshops and a reasonable number of rehearsals and previews for the purposes of making further mutually agreed revisions (for which their attendance will be paid separately – see clause 6). 

All of the above sums are non-returnable and non-recoupable in any event. 

f)      [delete if not required – Multiple Writers

Should one of the Writers leave the project before the full commission is paid, the outstanding fee payments will be paid to OR will be divided equally between, the remaining Writer/s.]

3.      Scripts

The Writer will provide all drafts of the play as mutually accessible electronic documents. All drafts will remain the property of the Writer. The Producer shall have the right to make as many copies of the script as are required which will remain the property of the Producer. The Producer will provide the Writer with a copy of the final production script.

The Writer hereby gives permission for the Producer to make printed transcripts of the play available at each performance for d/Deaf audience members and audiences to increase access to the production.  

The Writer hereby gives permission for The Producer to share the script with potential partners and co-producers with the understanding that it will be shared with professional discretion and the writer will be notified wherever practicable

4.     Artificial Intelligence  (A.I.)

a)        No part of a draft of The Play, the final playtext or draft Play materials may be reproduced or uploaded into artificial intelligence technologies or systems for any purpose, without prior explicit written agreement from the playwright discharging this Clause.

b)        In order to prevent any draft of a commissioned play being uploaded into A.I. software, for whatever purpose, by the Producer or anyone working on the Production, the Writer must include the following language at the start of every draft of The Play, which will alert any users that they are attempting to break the law:

‘The playwright additionally expressly reserves this work from “the text and data mining exception” in accordance with Article 4(3) of Directive (EU) 2019/790 on copyright and related rights in the Digital Single Market (Copyright Directive).’

c)      This text at Clause b) should be reproduced in full by the playwright in all drafts of the Play and published playtext. It should be included in full in all copies shared with cast or production teams, whether in print or digital.

d)      The only exception to Clauses 4 a), b), c), is if it is required by the access providers for the production, for instance (but not limited to) audio description software or programmes related to British Sign Language (BSL). This usage should be strictly limited and carefully monitored. 

5.      Writer’s Approval

a)      The choice of director, designer and actors for the Play shall be subject to prior agreement between the Producer and the Writer provided that:

  1. The Writer shall be aware of the Producer’s artistic policy and financial resources
  2. The Producer and Director shall have due regard to the integrity of the Writer’s work
  3. Neither party shall unreasonably delay or obstruct agreement.

b)      No changes to the text or the title of the Play may be made except with the Writer’s permission. Any such changes no matter at whose suggestion shall automatically become the sole property of the Writer. The Writer shall have no moral or financial obligation to anyone suggesting/making such changes.

6.      Rehearsals and Development

a)      The Writer shall have the right to attend rehearsals at all times, subject to notifying the Director and Producer of planned attendance. .

b)      The Writer shall at all times pay due consideration to the Producer’s authority at the place of rehearsal. In the event of any dispute between the Writer and the Director or the Producer, the Producer and the Writer’s Agent will work together to provide a mutually agreed solution. If no resolution can be found, or the Writer is not represented by an agent, the dispute will move to arbitration as outlined in clause 21. 

c) In return for the attendance of the Writer at development workshops for the Play, the Producer will pay the Writer a daily development rate (this becomes a weekly rate for 3 or more consecutive days) (not less than the daily NTS minimum wage for development currently existing for artists (outlined in Addendum 1)). The Producers shall also cover the cost of any travel expenses directly incurred by the Writer in attending development workshops of the Play as agreed in advance by the Producers. Development periods will be contracted separately.

d) In return for the attendance of the Writer at rehearsals and/or rewriting during the rehearsal and preview period, the Producer will pay the Writer a daily fee (not less than the daily NTS minimum wage currently existing for actors (outlined in Addendum 1)) to a maximum of 15 days unless otherwise agreed. Should additional attendance be required, this must be agreed in advance between the Producer and Writer, and will be paid at the same daily rate. These payments shall be made on a weekly basis at the end of each week of the rehearsal period and on receipt of an invoice. The Producer shall also cover the cost of any travel expenses directly incurred by the Writer in attending rehearsals of [XXXX] as agreed in advance by the Producer. A writer’s attendance contract will be issued ahead of rehearsals starting. Where the Writer is separately contracted and paid for an additional role during rehearsals, Writer’s rehearsal attendance will not apply, unless expressly agreed in the new contract.

e) Frequency of attendance payments shall be agreed in advance with the Writer or the Writer’s Agent to be mutually agreed with Producer.

7.      Expenses

The Producer shall reimburse the Writer for such expenses as the Writer may reasonably incur whilst engaged in other work related to the production such as contributing to the programme, doing interviews, attending production meetings or carrying out research for the Play at the Producer’s request. These expenses are to be agreed in advance.

8.      Publicity

a) The Producer will consult with the Writer with regard to the promotion and publicity of the production.

b) With the possible exception of small newspaper adverts or “teasers” and digital display ads, the Producer shall cause the Play to be advertised as …….. by [XXXXXXX]

c) The Producer shall accord the Writer credits of equal prominence to those accorded to the director or leading actors.

d) The Writer reserves the right to use a nom de plume provided that this is specified in advance of signing the contract.

e) The Producer will remove the Writer’s name from the publicity or will take all reasonable measures if the Writer disclaims the production.

f) The Writer agrees not to enter into any arrangements on the Producer’s behalf in connection with the Play or Production. The Writer also agrees not to make any statements in public or for publication (including any form of social media outlet) about the Play/Production prior to the Play/Production being formally announced by the Producer, without prior agreement from the Producer. The Producer and The Writer agree not to make any derogatory statements in public or for publication about the Play/Production until the initial run, or any extended licence period of the Production has ended.

g) The Producers shall make every effort to procure any appropriate broadcast payments for the writers if an extract of the play was transmitted outwith the standard agreements for promotional usage. These fees would be in line with current union agreements with PACT/BBC.

h) A biography and/or photograph of the Writer, approved by the Writer, shall be inserted in the programme whenever a biography and/or photograph of lead creatives appear..

9.      Filming/Recording

a)      The Writer agrees to allow the Producers (and any third party appointed by the Producer) at any time during the term of the Producers’ licences or options under this Agreement, to make an audio-visual and/or an audio-only recording of:

  1. selected rehearsals of the Production of the Play 
  2. the Production of the Play in its entirety 
  3. performances of selected extracts of the Play,  

These recordings can be used, in full, in perpetuity, for research, not-for-profit educational and archive purposes.  This may include inclusion on our Education Portal https://www.nationaltheatrescotland.com/education-portal-access.

b) The Writer also grants the Producer (and any third party appointed by the Producer) a non-exclusive licence in perpetuity for the following uses of extracts from recordings made under clause 9 a) (such extracts not to exceed five minutes running time individually, nor shall the total length of extracts exceed fifteen minutes running time or (if shorter) 10% of the total running time of the Production) 

  1. To promote the Production or the Producer’s programme of which the Production is part.
  2. To promote The Producer, the art form and/or the artists

c)      The Writer will not receive a fee for the broadcast of any extract of the Play/Production of the Play in accordance with clause 9 b) if the broadcast is covered by the fair dealing provisions of the Copyright, Designs and Patents Act 1988 and no other member of the creative team or the Producers receive payment from the Broadcast Partners

d)      If clause 9 c) does not apply and a fee or royalty is therefore required, the Producers will ensure that the Broadcast Partner agrees to pay the Writer a fee for each extract of the Play/Production of the Play broadcast in accordance with clause 9 b) such fee to be agreed in advance by the Writer with the Broadcast Partner (and the Writer’s agreement shall not be unreasonably withheld or delayed).

e) The Writer grants the Producer rights to initiate at least one live stream of a portion of rehearsals, of no more than thirty minutes in length, for broadcast on the Producer’s and its partners’ online channels or platforms, subject to the mutual consent of the full Company. Any other exploitation of such recordings shall be negotiated in good faith.

f) The Writer also grants the Producer (and any third party appointed by the Producer) the rights, during the term of the Producers’ licences or options under this Agreement and subject to the mutual consent of the Creative Team to:

  1. capture an audio-visual or audio-only recording of a live performance of The Production
  2. reproduce the original Production in order to capture an audio-visual or audio-only recording

g) The use of such capture for exploitation across digital platforms such as cinema, television, online, social media, video on demand, podcasts or on or by another medium now or hereafter known, must be negotiated in a separate agreement with the Writer.

10.    Complimentary Tickets

The Writer shall be given at least two complimentary guest tickets for the opening night of the production and may personally attend any performance of the Play, seating accommodation being subject to availability. 

11.    Royalties

provided that

  1. If there is more than one Writer contributing to the Play or the Production, the Writer’s royalty may be less than 10% (to be mutually agreed by the Contributors and the Producer).
  2. Where the Play is performed with the approval of the Writer (such approval not to be unreasonably refused) before a non-paying audience (e.g. in the case of schools, community venues or roadshows) the Writer will receive a payment in lieu of royalties. This payment will be mutually agreed on by the Writer and the Producer in advance of any such performance.
  3. If more than one play is included in any performance, the royalty (including the agreed minimum royalty) shall be apportioned between the Writers of the Plays the split of which is to be mutually agreed in advance by The Writers of the Plays or their representatives.

b)      The said royalty shall be payable to the Writer (or the Writer’s agent) within:

  • twenty-eight days of the last performance of the Play’s run upon receipt of a valid invoice

or

  •    Within twenty-eight days of the last performance at each touring venue upon receipt of a valid invoice.

Royalty payments shall be accompanied by a statement of the said box office receipts, certified by the venue manager and where relevant, under the terms of 11(a)ii, a statement of attendance figures certified by the Producer.

12.    Options

a) The Writer hereby grants to the Producer the exclusive right to acquire the following options (in consideration of the payment made under Clause 2, provided that the Producer shall have mounted a production of the Play for a minimum of 15 paid public performances within the period stipulated in Clause 1(b) or as allowed for in 15 (a) and (b), and have paid all fees and royalties due to the Writer promptly and in full).

b) The following options shall be acquired in each case by giving written notice to the Writer at any time up to 13 weeks after the Producers’ last performance of the Play.

Option 1£1,000Scotland
Option 2£1,000            England & Wales (excluding London West End)
Option 3£5,000London West End (including a pre-London tour not exceeding 8 weeks for a straight play or 12 weeks for a musical)
Option 4£1,000Northern Ireland and Republic of Ireland
Option 5£3,000Europe (excluding above territories)
Option 6£2,400USA (excluding Broadway) 
Option 7£5,000Broadway (including a pre-Broadway tour not exceeding 8 weeks for a straight play or 12 weeks for a musical)
Option 8£2,400Canada
Option 9£4,000Rest of World for English-speaking/XXXX language productions

c) Each of the options is separate and must be bought separately, by payments of sums not less than those mentioned above, which sums are a non-returnable advance against royalties. On signature of an option agreement, the Producer acquires the exclusive right to perform the Play in that territory for a period of 12 months from the date of the option agreement and on such terms and conditions as shall be separately negotiable with the Writer. No rights may be assigned to any third party until the Producer has concluded negotiations with and paid monies due to the Writer.

d) The agreement must be executed within 4 weeks of notification of option purchase and no performances of the Play shall be given until an agreement has been signed by both parties.  If the Producer fails to enter into a written agreement within the said period, and such failure is not attributable to any default or delay on the part of the Writer or Writer’s agent, then the Producer’s rights shall lapse and all right of presentation of the Play in the said territories shall remain with the Writer with full rights of use. 

d) Once an option has been acquired and the Play performed within the licence period, the Producer may re-option the same territory within 13 weeks of the last performance. The re-optioning process should adhere to the same timeline as Clause 12 c).

e) Where the Production is offered to any geographical area for less than 15 performances, the Producer and Writer can enter negotiations for an agreed fee per performance of not less than £75 per performance. 

f) Rights to licence option territories not licenced by the Producer, remain with the Writer.

13.    Producer’s Participation

a) If the Producer shall have presented the Play for at least 15 performances and in accordance with Clause 1(b) of this Agreement, then the Producer shall, for a period of 5 years from the last performance of the first scheduled run of the Play, receive 12.5 % of the gross amount of the Writer’s income (excluding re-write fees) deriving from any subsequent worldwide exploitation of the Play (including foreign language productions) by way of

  1. performances on stage; 
  2. exploitation of the Play by way of film or television or other audio-visual means including digital streaming;
  3. audio only exploitation of the Play including without limitation radio, sound recording or podcasts;
  4. any other so-called subsidiary rights exploitation provided that the aforesaid exploitation is not undertaken directly by, or in association with, the Producer.  

For the avoidance of doubt, only if the Writer is offered an option/licence/broadcast fee for any of the above, will a percentage of this income be due to the Producer. The Producer shall have no share of any fees received by the Writer for services for rewriting the Play for television, film, radio, video or any other media.

b) The Producer’s right to a participation share of the gross revenue pursuant to clause 13 of this contract for any and all qualifying exploitation periods will not take effect until the gross revenue deriving from the exploitation of the following rights of the Writer has exceeded in total the sum of £30,000 (“the Participation Threshold”): 

  1. the right to perform the Play on the professional stage in the United Kingdom granted to parties other than the Producer (excluding any performances presented or co-presented by the Producer); 
  2.  the worldwide right to exploit the audio-visual rights throughout the world;
  3. the worldwide right to make and distribute all forms of audio exploitation of the Play in the English language, including by way of example radio, sound recordings and podcasts; 
  4. the right to perform the Play in English on the professional stage outside the United Kingdom granted to parties other than the Producer (excluding any performances presented by or under licence from the Producer);
  5. the right to perform the Play in translation on the professional stage granted to parties other than the Producer; 
  6. the right to publish the text of the Play in book form; and 
  7. the right to make and distribute merchandise connected with the Play (except for any revenue from merchandise marketed by or under the authority of the Producer). 

For the sake of clarity, the Producer will not participate in the income received by the Writer from exploitation of the rights set out in clause 13b) a-g, it being agreed that such income is only relevant in that it counts towards the Participation Threshold.

c) Agents’ fees not exceeding 10% (or the percentage agreed between the Writer and their agent for services due) may be deducted before calculating payments due under (a) above to the Producers. All sums due to the Producer shall be paid not later than 60 days after their receipt by the Writer (or the Writer’s agent) and shall be accompanied by a statement of accounts signed by the Writer, the Writers agent or accountant.

d) The Writer (or the Writer’s agent) shall make every effort to inform the Producer of any exploitation of the Play, the proceeds from which the Producer are entitled to share in hereunder, on an annual basis under the exploitation period.

e)         Post Option Participation

Should the Producer take up the West End or Broadway option/s referred to in clause 12(a) (or any of the options referred to in clause 12 for Europe, USA, Broadway, Canada or Rest of English Speaking World), it is understood that the participation outlined in the above clause is cancelled and the terms outlining the Producer’s participation in agreements for the relevant territories shall be replaced as follows:

1.1    In the event that the Producer has exercised their option for the West End of London:

1.1.1 subject to the remaining provisions of this clause 1.1, the Writer will pay to the Producer a share of their gross revenue deriving from exploitation of the following rights at the percentages set out below:

a. professional stage rights in the Play in the English language (other than performances by or in association with the Producer) in the territories of the UK and Eire, British Commonwealth (excluding Canada) and  33 1/3%

b. Europe (excluding UK and Eire): 25%

c. the worldwide film, television and audio-visual rights and all forms of audio exploitation of the Play in the English language, including by way of example only radio, sound recordings and podcasts and any other such medium existing now or devised in the future: 20%

1.1.2 the entitlement set out at this clause 1.1 will apply for a period of five years from the date of the last paid performance in the West End of London, provided that the Producer give or authorise to be given not fewer than 15 consecutive performances in the West End of London.

1.2 In the event that the Producer has exercised their option for either USA or Broadway:

1.2.1 subject to the remaining provisions of this clause 1.2, the Writer will pay to the Producer a share of their gross revenue deriving from the exploitation of the following rights at the percentages set out below:

a. professional stage rights in the Play in the English language (other than performances by or in association with the Producer) in the territory of North America and Canada: 33 1/3%

b. repertory or stock and amateur stage rights in North America: 40%

c. the worldwide film, television and audio-visual rights and all forms of audio exploitation of the Play in the English language or dubbed or sub-titled from an original English soundtrack, including by way of example only radio, sound recordings and pod casts and any other such medium in existence now or developed in the future: 20%

1.2.2 the entitlement set out at clause 1.2 will apply for a period of seven years from the date of the first paid performance in North America, provided that the Producer give or authorises to be given not less than 15 performances in New York City within three months of the first paid performance in North America.

1.3 In the event that the Producer has exercised their option for rest of the world for English speaking productions:

1.3.1 subject to the remaining provisions of this clause 1.3, the Writer will pay to the Producer a share of their gross revenue deriving from exploitation of the following rights at the percentages set out below:

a. professional stage rights in the Play in the English language (other than performances by or in association with the Producer) in the rest of world: 33 1/3%

1.3.2 the entitlement set out at clause 1.3 above will apply during the subsistence of the Producer rights in the territory for the rest of world for English speaking productions, provided that the Producer gives or authorises to be given in the English-Speaking World not fewer than 15 performances.

1.3.3      If the Producer is or becomes qualified under clause 13 of the main body of the Agreement to receive participation, the shares payable under sub-clauses 1.1-1.3 above shall only be payable insofar as is necessary to secure that the Producer shall receive one such share in each case of double qualification.

For the avoidance of doubt The Producer’s right to a post-option share of the gross revenue pursuant to sub-clauses 1.1-1.3 above will not take effect until the total gross revenue generated from pre and post option income (as per clause 13 b) has exceeded the Participation Threshold. 

14.    Producer’s Credit

Where the Play develops further (including transfers, broadcasting, publication etc.) the Writer will ensure that the first production and the Producer’s name are sufficiently accredited in the programme and publicity material with the words: “First performed by the National Theatre of Scotland” followed by the date of the first performance and the venue.

15.    Failure to Produce

a)      Should the Producer fail to produce the Play as agreed in Clause 1(b) of this contract and where this failure is due to matters outwith the Producer’s control such as, but not in limitation of fire, flood, explosion, national mourning or stoppages in consequent of a trade dispute then Clause 1(b) may be amended to allow for such period as the Producer has been precluded from presenting the Play.   After such a situation has continued for three months however, either party shall be entitled to give the other written notice terminating the contract without prejudice to any fees already paid.

b)      Should the Producer fail to produce the Play as agreed in Clause 1(b) of this contract and where this failure is due to casting difficulties or the like, the Producer, on payment of £250 (being a non-returnable advance against royalties) shall have the option to extend the period of rights for a further 26 weeks.

c)      Should the play not be produced in terms of Clause 1(b) or as allowed for in Clauses 15 (a) and (b), all rights shall revert to the Writer.

16.    Copyright

The copyright of the Playscript shall remain vested in the Writer and no rights are granted to the Producer other than those specifically granted in this Agreement.

17.    Moral Rights & Warranty

The Writer asserts the moral right to be identified as the author of the Play.   The Writer warrants that they are the sole author of the Play which to the best of the Writer’s belief contains no defamatory matter or infringes the copyright (or any other rights) of any person.

18.    Variations & Assigns

No clause of this contract may be altered or rights within it subleased or assigned unless agreed by both parties and expressed in writing.

19.    Successors

The contract shall be binding on the executors, administrators, permitted assigns and successors of both parties.

20.    Writer’s Agent

[XXXXXXXXXXXXXXX] is hereby authorised as the Writer’s agent.  All monies due to the Writer hereunder (excepting expenses and writer’s attendance payments if any) shall be made payable and sent to [XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX].  An invoice must be submitted for payment of each instalment, quoting the Purchase Order number provided and including an invoice date and reference number.  Invoices should be sent to invoices@nationaltheatrescotland.com and due payment will be made within 14 days of invoice receipt.  

[OR

The Writer confirms that for the purposes of this contract they will not be represented by an agent and that all fees due to the Writer shall be paid to XXXXX.]

An invoice must be submitted for payment of each instalment, quoting the Purchase Order number provided and including an invoice date and reference number.  Invoices should be sent to invoices@nationaltheatrescotland.com and due payment will be made within 14 days of invoice receipt.  

21.    Arbitration

Any dispute arising out of this Agreement shall in the first instance be referred to a Joint Committee composed of a minimum of three representatives each from the Scottish Society of Playwrights and the Federation of Scottish Theatre. Failing settlement, the dispute shall be referred to a single arbiter who will be sought from Scottish Mediation (https://www.scottishmediation.org.uk/find-a-mediator/). Such arbitration shall not prevent either party from subsequently taking the dispute to law, where the issue will be decided according to the law of Scotland.

22.   Split [include if multiple writers]

[At the date of signature of this contract the parties anticipate that each of the Writers shall make an approximately equal contribution to the creation of the Play. In the unusual circumstances that the royalty split contained herein does not fully and reasonably reflect the creative contribution of each of the Writers, the Producers may in good faith and in full consultation with the Writers re-evaluate the royalty split at any point until the first day of rehearsals so as to ensure that the royalty split pays due regard to the creative contribution of each of the Writers. In the event of an unresolvable disagreement regarding the royalty split Clause 21 should apply here.]

I, [XXXXXXXX], being the author of the work at present [XXXXXXX] hereby assert generally my moral right to be identified as its author.

AS WITNESS the hands of the parties aforementioned. 

Signed…………………………………………          

(The Writer)

Signed…………………………………………

(for and on behalf of National Theatre of Scotland)

Addendum 1

Development Rates [year]

Weekly (up to 6 days)                                 [£XXXX]

Daily (paid for up to 3 days)                       [£XXXX]

N.B.  4-6 day engagements paid at weekly rate

Rehearsal Rates [year]

[£XXXX] per day (the NTS daily rate for days worked non-consecutively)

[1] Where an adaptation is based on an existing work, ensure time period for presentation of the work across contracts. No more than 24 months with same rights as in clause 15b to extend.

[2] Where this is an adaptation, reference % due to the underlying rights holder as well as the Writers’ cut (usually 5% each)