A  new case study from the Accessible Writers’ Lab (AWL) found a “clear consensus” that writing rooms in the Canadian television industry must adapt in order to remove barriers for disabled creatives.

The study was released Tuesday (March 14) from Accessible Media Inc. (AMI), which was run in partnership with ReelAbilities Film Festival Toronto and the Miles Nadal JCC, and was sponsored by the Canada Media Fund.

It’s the first-ever case study report from the lab, which is a national program for six writers with disabilities as well as established showrunners/senior writers to experiment with what an accessible TV writers’ room might look like.

The AWL is designed and led by disabled writer, performer and consultant Ophira Calof. The 2022 program was co-designed in collaboration with the writers, said the report, which also included results of research questions and a post-program survey filled out by participants.

Barriers for disabled creatives outlined in the report include conventional working structures, with long days and production overtime. Many writers also “reported that they are routinely solicited as consultants on disability-focused productions, instead of as credited writers,” said the report.

The majority of accessibility requests received in the lab were related to overall program design and attitudes around accessibility, while the most frequently requested accessibility measure was for scheduled breaks, said the study.

Among the key findings was that an accessibility plan should be developed and budgeted for at the start, “while recognizing that individual needs can and will change throughout,” and that writers need “agency over how their accessibility needs are met.”

Opening up engagement options outside of scheduled meetings to “allow writers to be part of a collaborative process” was also suggested, as was “creating space for multiple communication methods.”

Other key points included ensuring that “no writer should be expected to bear the full weight of the representation of their community alone.”

When it comes to navigating capacity needs, 100% of survey respondents said scheduled breaks, the ability to turn their camera on/off during Zoom meetings and a “come as you are” policy were helpful, while 80% of respondents said having the “no explanation needed exit/break options” was helpful.

In determining better practices around working with access support staff such as a notetaker in a creative, collaborative process, the study found working with an interpreter who understands communication styles is essential, as is budgeting for access support staff and interpreters in advance.

A consistent team of access support staff allows for a smoother creative process, and moderating conversations helps ensure comments aren’t missed, said the study.

Recommendations for better Deaf culture and communication through sign language(s) included screenwriting software that would allow video to be embedded within the script document itself, and hiring sign language coaches and Deaf consultants to join writing sessions.

Participants also said writers with lived experience of the story being told should lead the process, and that it’s important to have a support person available for the writer’s emotional needs, especially if the content is dealing with traumatic issues.

The writers who participated were Carrie Cutforth, Connor Yuzwenko-Martin, Katarina Ziervogel, Kitoko Mai, M.C Cruz, and Wake Lloire. The AWL industry guests included Anthony Q. Farrell, Jennica Harper, Nadiya Chettiar, Nathalie Younglai, and Marsha Greene.

Industry guests offered several suggestions to help them increase accessibility and disability inclusion within their own writing or producing practices, including establishing clear funding mechanisms for access support workers, such as sign language interpreters, notetakers and emotional support workers.

Other suggestions from industry guests included creating networking opportunities with disabled creatives as well as a database of disabled creatives. They also expressed a need for support for navigating accessible technology and establishing disability-focused mentorship programs as well as educational resources around accessibility, disability storytelling and culture.

Completed late last year, the study also noted that intentionally accessible, low or no-cost, disability-led training opportunities are in great demand, and that virtual writing rooms reduce barriers for many writers.

“Through this program it became clear that embracing accessibility leads to innovation,” said Calof in a statement. “This allows writers to bring their full selves to the creative process and increases opportunities for the abundance of talented disabled writers across Canada to share their stories.”

Image courtesy of AMI. Top (L-R): Connor Yuzwenko-Martin, M.C Cruz, Wake Lloire; Bottom (L-R): Katarina Ziervogel, Kitoko Mai, Carrie Cutforth