�鶹Լ�� Writers Feed

What does being a TV Script Editor in Kids & Family entail?

2024-03-11T12:34:25+00:00

Luke Frost has worked on shows including Phoenix Rise, Biff & Chip, The Amelia Gething Complex and Class Dismissed. He explains the role of a Script Editor in Childrens and Family scripted TV, in both development and production.

I’m really lucky to be able to work across development and production, and the Script Editor role for each of these can be quite different.

If you’re in development you’re sourcing new projects and working with writers to come up with ideas for shows. So this involves reading lots of books, new ideas, sample scripts, meeting different writers and thinking about what the audience and commissioners are looking for. For me, meeting writers and chatting about new ideas is the best part of the job – anything is possible at this stage! You’ll also be developing ideas with writers and supporting them through the (sometimes long and arduous) development process.

A Script Editor isn’t there to write the script, it’s about being a fresh pair of eyes on things like character, story and structure, but mainly it’s asking questions to help the writer shape a project. And also, in the back of your mind, you’re thinking about what similar ideas are out there, how you can make an idea stand out and how you might pitch it to commissioners and production partners.

Phoenix Rise - watch now on �鶹Լ�� iPlayer

The Script Editor job on a Kids & Family production can vary depending on the show, but it’s all about getting lots of scripts to be the best they can be within pretty tight deadlines. So, you’re giving notes and asking questions to help the writer develop their script, but as they could be writing one episode in a 10, 20 or even 52-episode show, you’re also thinking about continuity across the series, the production or financial implications of scripts, consistency of characters and tone, series arcs and links between episodes. On a production you might be doing research into certain activities or themes and looking for compliance issues (so in Kids & Family making sure we don’t glamourise or encourage dangerous behaviour that might be imitated at home is important). And as a show starts shooting, you’re the link between the writer and the wider crew - answering questions about the script, managing schedules to hit deadlines, involving the writer in any changes, making script amendments and generally trying to wrangle Final Draft into doing something it doesn’t want to do!

Biff and Chip - watch on �鶹Լ�� iPlayer

How did you get into script editing for Kids & Family content?

When I was looking for jobs I’d never even heard of a Script Editor. I was working in my local hospital but knew I wanted to tell stories so initially I studied to be a journalist. It was only when I realised I wasn’t confident enough to talk to people and would therefore be a terrible journalist that I took a course in TV writing and learned how scripts and stories work. I applied for loads of jobs as an Assistant Producer thinking this was an entry-level assistant role (spoiler – it’s not) and eventually got a job at the �鶹Լ�� recruiting and managing staff for C�鶹Լ��. C�鶹Լ�� were developing a sketch show called Class Dismissed and some very kind people let me sit in the writers' room where I met some brilliant writers and producers, saw how a show was developed and even wrote some sketches myself. After that I started to read more scripts, meet more writers and it only took me another 5 years asking myself "can I do actually this?" before I got my first script editing job. So it takes as long as it takes.

The Amelia Gething Complex - watch on �鶹Լ�� iPlayer

What skills do you need to be a Script Editor?

You do need to be able to understand and analyse scripts and stories and how they work. You can get that from courses, websites and books, but also from just reading loads of really good scripts (and some not so good ones). And just think about what you like, don’t like, what works well about a script and how you might communicate that to a writer. Those communication and people skills are really important. There is a lot of trust between a writer and a Script Editor, it can be personal and exposing for a writer to constantly be showing their work and getting feedback, so it is important to be honest but supportive. You could be writing anything from book reports to script notes to pitch documents so writing skills are also handy. And then it’s definitely the ability to juggle lots of things at once with a real attention to detail, even a tiny mistake in a script can cause massive headaches for the cast and crew!

Class Dismissed - Watch on �鶹Լ�� iPlayer

Do you have any advice for people looking to get into script editing?

There isn’t a ‘right’ way into script editing. So whether you start out as a runner on a show, an assistant at a production company, script reading for a theatre, recruitment (like me) or any of the thousands of other jobs that exist in TV, all that experience can be really valuable as a way to learn about the industry and can often lead to opportunities that might help you move towards script editing.The team I work in all have different backgrounds and experiences and it just makes us better at looking at a wide range of ideas and perspectives I think.

My main advice would be to read loads of scripts – good ones, not-so-good ones, TV, radio, theatre, experienced writers and less experienced writers. You’ll start to get a sense of why some work and how you’d change others, but you’ll also build up your knowledge of the brilliant writers out there and who you might want to work with one day. The other thing is to try and understand the market. Before you approach any producers or companies, look at what they’re making, who their competition is and what else is out there. Kids & Family content and what our audience want is changing all the time, so when we meet people we want to know that they understand what we’ve made, what shows they think are missing and what our buyers might want from us.

Explore our online Script Library

From Book Editor to Script Editor

2024-03-05T15:38:07+00:00

Ellie Drewry outlines her pathway from book to script editing and what the disciplines have in common.

Ellie took part in the 2023 Duly Noted scheme from Rope Ladder Fiction and Eleven Film, a development programme for aspiring script editors, which opened again for applications this week.

I worked in book publishing for years. When I was a book editor I assessed, commissioned and edited promising manuscripts across genres and formats. Being inquisitive and interrogating writing choices with love and care was my favourite part of my job – making stories the best and the most emotionally impactful they can be.

Before I made the leap from the book industry to scripts via the incredible training of Eleven Film’s Duly Noted programme, the gulf between industries seemed insurmountably large. But I knew that on a core level, my role’s end goal remained the same; asking the public to spend their little free time with characters I help shape and worlds I help build. Supporting writers and shepherding new, impactful stories into the world is a joy!

Attending Duly Noted’s Script Editor Forum in the autumn, hosted by Rope Ladder Fiction and Eleven Film, reminded me that script editors are the custodians of the story. It is our job to remain unflappable under pressure as the bridge between the writer and the production company. It is important to measure the success of an editorial project in not only the final product but in how seen, supported and held each writer feels throughout the process so that they can move on to their next project with more confidence than the last.

The Duly Noted script editor forum held in Manchester in November 2023

Creating books and scripted content is a very similar creative process. Both mediums require intense collaboration and, therefore, stamina – being a writer’s cheerleader through many notes and rewrites and staying true to the original vision is a huge part of being both a book and script editor.

IP development in TV often starts with brilliant source material, and I have found that my foundation in books has helped me understand the adaptation process and what needs to change on a structural level when translating a story across formats. In prose, we can often crack open our protagonist’s head and learn their wants and desires through reading their inner thoughts and learning how they act alone. On screen, we don’t have the luxury of living inside a character.

Working in publishing also exposed me to literary trends. I saw everything from vampires coming back in a huge way (though this time they weren’t sparkly), to themes of ambivalent motherhood, to waves of mythology retellings. Because TV shows and films are, with a few notably huge exceptions, quicker to make and produce than books, being on top of new publishing is a great way to predict the next big thing in TV and film. I’d recommend reading all the major publishers’ catalogues to stay on top of what’s releasing in the next year and a half – most catalogues can be found on each publisher’s website – and to do some research to figure out which publishers and imprints are building a list that aligns with your interests and needs. Interested in prize-winning literary fiction? Try Hutchinson Heinemann. Looking for quality commercial fiction and non-fiction? Try Wildfire.

Ellie Drewry

A huge difference between the book world and the scripted world is that in TV the roles of a development script editor and commissioner are split across different parts of the industry. When I was a book editor, I was both the commissioner and the editor, so I was thinking simultaneously creatively and commercially from the very first read. Which books would this sit beside in a bookshop? How will it stand out in an impossibly saturated market? Which trends can I spot simmering under the surface, waiting for the perfect story to catch and fling them into the mainstream? I think this vigorous and often ruthless assessment criteria has helped me in TV and film to always place the projects I work on in a cultural context.

New visual content in the age of streaming is now competing against the greatest TV shows and films of all time – viewers have the choice between trying a new release that hasn’t yet been reviewed or revisiting something they know. As creators of TV and film, we are competing for people’s time against classics, as they are just as accessible and often just as culturally relevant. Viewers are no longer tuning in to whatever is airing on a Saturday night – everything is accessible, and everything can be revisited.

This is a dynamic book editors know well. I have met so many readers over the years who proudly declare that they only read the ‘classics’ and non-fiction books about self-optimisation – particularly as our education system so often sucks the joy out of books for reluctant readers. Reading is often seen as worthy, and something that we should be doing to grow, so when editing and developing fiction I knew I was competing for people’s time against the Brontës, Austen, Orwell – even though, of course, books can and should be everything from laugh-out-loud funny, to smutty, to gentle, to profoundly moving – so no pressure! The bar for excellence is higher than ever, and helping writers craft the very best version of their idea is a skill set I am very grateful to have honed in publishing and transferred over to TV and film.

Developing a manuscript that will jumpstart joy and create lifelong readers was an amazing part of being an in-house book editor. My years in publishing were accidentally wonderful training for my current role as a script editor because both roles demand a huge amount of emotional intelligence. Writing is hard! And so being a supportive and understanding voice in a sea of rewrites and drafts is essential. Giving notes to a writer that might be challenging to receive requires a deep understanding of the manuscript and how exactly the notes being given will change the story being delivered. Some writers want solutions; some just want a kind but firm nudge in the right direction.

The Duly Noted opportunity for aspiring script editors is open for applications now and closes at 10am on Friday 22nd March 2024

Check out a thread on Twitter/X with highlights and key takeaways from the Script Editor forum

Top Tips for Building an Editorial Career in Scripted TV

2024-02-19T12:15:00+00:00

As part of a short series of blog posts related to script-editing we asked experienced Story Producer Alexis Hood to share some advice on getting started on the editorial side of television, in both development work and production.

When you’re starting out, the TV world can feel incredibly intimidating, and difficult to get your head around. If you’re reading this and wondering whether you’ll ever be able to break in – trust me, this is the hardest part, and I’m here to tell you that it gets easier!

The first step is to begin making some connections, while doing lots of research, and getting any experience you can.

There is no one ‘best’ route into a creative role in TV: everyone comes to it in different ways. For example, I used to be a journalist, then moved into drama working as a researcher, which meant I got to know writers that way. With that in mind, here is some advice:

1) CULTIVATE YOUR KNOWLEDGE

You want to be developing a deep love and understanding of story, and this means watching loads of TV, and devouring books, plays, and films.

Watch the great classic TV shows and movies from the past as well as the present, so that you can understand where the language of TV has come from. This is especially important if you want to work with writers, who are often voracious readers, and fans of films and TV.

If you can afford it, go to the theatre, especially theatres that showcase lots of new writing. To work in TV development, you will need to start thinking about the writers whose work you love and admire, and who are the new, exciting writers coming up. TV is different from film, in that we are ALL about the writer.

2) MAKE CONNECTIONS

This probably feels like the trickiest part. If you can, you should attend any networking events that you can manage. Ask people already working in the industry if they would be kind enough to have a coffee and a chat with you. (They should be kind enough incidentally, as we all had people help us too when we were new!)

Look people up who have the kind of career you might be interested in, and when you write to them, use their first name, rather than anything more formal. We’re pretty informal as an industry.

You want to start building a network of contacts, over time.

3) WHEN YOU MEET PEOPLE, DO YOUR HOMEWORK

If you have a meeting with someone, it’s always wise to look them up, and find out what they personally have worked on, and what their production company has made. Remember that it’s a small industry, and lots of people know each other, so if you’ve impressed one person, they’re likely to mention you to other people they know, and to recommend you for opportunities.

4) FIND YOUR TRIBE

Potential mentors are great, but so too are your peers – it’s a brilliant idea to start cultivating a network of people who are also starting out, because you will come up in the industry together, provide invaluable support to each other, and often become great friends.

5) GET ON SOCIAL MEDIA

There are quite a few Facebook groups advertising TV jobs, and it’s definitely useful to see what the community is discussing on sites like X, Threads, and Bluesky. Jobs are mentioned on these sites too. It’s also helpful to look at trends, and what’s happening in the States, as the USA and UK are closely linked when it comes to television. One recent example is the Writer's Guild of America writers’ strike in the USA, which had a big impact over here too.

You should create a LinkedIn profile for yourself and start adding connections as you make them.

There are great resources for those looking for entry-level jobs, such as Film London’s Equal Access Network, Creative Access, apprenticeships with ScreenSkills, and of course the �鶹Լ��’s early career schemes like �鶹Լ�� Get In. Look for schemes, and also check out organisations championing greater diversity in TV, like DANC (the Disabled Artists Networking Community).

6) BE PERSISTENT AND TENACIOUS

You might find it takes a while to find your way in, and that is completely normal. The big thing is to be persistent and keep trying.

7) ACQUIRE PRACTICAL, HANDS-ON SKILLS

As a new entrant to the industry, you can best recommend yourself to potential employers with a great attitude and an eagerness to learn. You also want to start gaining skills as soon as possible – creative skills like understanding how to read and analyse a script, practical skills like how to use Final Draft, and how to take great notes in meetings, and administrative and organisational skills like how to manage a diary. Be prepared to work very hard!

8) GET YOUR HEAD AROUND ENTRY-LEVEL JOBS

Your first step in an editorial career in TV drama might be in one of the following roles:

As a runner in-house at a production company.
As a freelance reader of scripts for a company or a broadcaster.
As an assistant at a production company (a Team Assistant, Development Assistant, or a Personal Assistant).
An assistant at a Literary Agency (e.g somewhere like Independent Talent or Casarotto).
As a runner or Production Assistant on a show.
As a researcher, although these roles are few and far between.
As a Trainee, when this kind of role is offered by a TV company.

9) START UNDERSTANDING THE MORE SENIOR CREATIVE ROLES, AND THE DIFFERENCE BETWEEN DEVELOPMENT AND PRODUCTION

When you’re building an editorial career in TV drama, it’s critical to understand the more senior roles, how you fit into the company structure, and the kinds of jobs you might be aiming for in time.

A great start is understanding the difference between development and production.

Development is when you’re pitching projects to broadcasters, networks and streamers, when you’re storylining and developing scripts, and very often, when you’re working in-house at a company.

Production is when the project is actually getting made. Production work is often freelance, or PAYE on fixed-term contracts.

IN DEVELOPMENT:

In-house at a company, the most senior jobs are usually Head of Drama, Creative Director, Executive Producer, and Director of Development. These people set the creative direction of the company, run the development slate, pitch to broadcasters, and usually Executive Produce shows. There are also Development Producers, another senior role, where people work directly with writers to progress projects, and might manage their own slate.

Mid-weight roles include the role of Development Executive, whose responsibilities include looking for new talent and developing projects with writers.

Junior roles include the roles of Development Assistant and Development Coordinator.

IN PRODUCTION:

On a show, the Executive Producer is the person ultimately responsible for overseeing and delivering the show. (N.B there are often multiple Exec Producers). The Producer is the person responsible for the show’s day-to-day management, and for managing the budget, alongside the Line Producer.

There will be a script team, led by the Story Producer, who manages the creative process, and who will work closely with the Showrunner and other writers to deliver the scripts. There is usually a Script Editor, who manages the technical side of the scripts (what we call the ‘amends’, i.e live changes to the script that are made throughout the shoot), and may also give notes to the writers (more on this below!), as well as liaising closely with other departments in Production, for example, the Art Department. You can also be a Script Executive – similar to a Script Editor, but more senior.

Sometimes there will be an Assistant Script Editor too; this is great entry-level creative role in Production.

The script team are the guardians of the story and are responsible for the integrity and good health of the story and the scripts.

In time, you’ll need to start understanding how the work of the script department dovetails into the wider production process on a show. As a creative, you should definitely aim to get as much production experience as possible, because this will enable you to come up with brilliant story solutions in high-pressure situations.

10) WORKING WITH WRITERS AND SCRIPT NOTES

Working with writers to develop stories and scripts is a huge part of any creative role in TV drama. This includes giving script notes, which means feedback on the latest outline, treatment, or script draft the writer has been working on.

My advice on notes:

Tell the truth, but be positive, and always say what you like, and what you think is working, as well as the things that need sorting out.
Understand that it’s a process, and that it takes time to arrive at a finished script. Most scripts go through multiple rewrites.
Developing a relationship with a writer is also a process. It takes time to develop the trust that is at the heart of a writer/script person bond, and it’s normal to experience some resistance from writers when you’re first getting to know them!
Notes form part of a conversation in a wider collaborative process between you, the writer, and often many other people, such as studio execs, commissioners, etc. Notes are for another human being, so they should not be your lit crit essay on the script, or your musings on the state of the universe. Great notes are respectful, actionable, and specific. You are there to champion the writer, and to help them realise what they are seeking to accomplish creatively.

And with all of this in mind…

11) BRUSH UP ON YOUR PEOPLE SKILLS, TACT AND DIPLOMACY

You will need these skills to pursue a creative career in TV drama, and they will help you to create fantastic, long-lasting professional relationships, and to diffuse tensions with difficult personalities.

12) BE A GOOD HUMAN

It’s no secret to say that TV hasn’t always been the easiest industry to work in. I’m so encouraged to see how many of the young people coming into our industry exemplify the kinds of values we need more of - integrity, generosity, and kindness.

Alexis Hood is an experienced story producer, who has headed script teams on award-winning projects for traditional broadcasters and streamers, and who has worked in development and production for numerous companies. Her most recent credit is A GENTLEMAN IN MOSCOW for Paramount Plus and Showtime, starring Ewan McGregor.

9 �鶹Լ�� Film scripts and scripts from 16 �鶹Լ�� TV Dramas including The Power of the Dog, Rye Lane, Blue Lights and A Very British Scandal now in �鶹Լ�� Writers Script Library

2023-12-15T10:00:00+00:00

We're delighted to announce that we've just added a big new batch of scripts to our popular online script library in time for some Christmas reading. They include nine scripts from �鶹Լ�� Film and over a dozen from recent �鶹Լ�� TV Drama.

The scripts include the following from �鶹Լ�� Film: Ali & Ava, Aisha, Benediction, Blue Jean, Blue Story, Herself, Make Up, Rye Lane, The Power of the Dog.

And the following from �鶹Լ�� TV Drama: The A Word, Beyond Paradise, Blue Lights Series 1, Champion, Chloe, The Control Room, The English, Guilt Series 3, Inside Man, Mayflies, Rain Dogs, Ralph & Katie, The Sixth Commandment, A Very British Scandal, Waterloo Road Series 11, Wolf.

These new additions join the existing library of over a thousand scripts from across �鶹Լ�� TV, Radio and Film in one of the largest collections of its kind available on the worldwide web. It is only possible to make the scripts available due to the generosity of all the writers, production companies and partners and we would like to thank them again for their support in enabling this fantastic resource.

Find the links to the scripts and further details below.

�鶹Լ�� FILM

Ali & Ava

Both lonely for different reasons, ALI (Adeel Akhtar) and AVA (Claire Rushbrook) meet through their shared affection for SOFIA (6), the child of ALI’s Slovakian tenants, whom AVA teaches. ALI finds comfort in AVA’s warmth and kindness and AVA finds ALI’s complexity and humour irresistible. Over a lunar month, sparks fly and a deep connection begins to grow. However, the legacy of AVA’s past relationship and ALI’s emotional turmoil at the breakdown of his marriage begins to overshadow their newfound passion.

Written and directed by BAFTA-nominated Clio Barnard (The Selfish Giant), ALI & AVA premiered at the 2021 Cannes Film Festival Directors’ Fortnight and received multiple British Independent Film Award (BIFA) and BAFTA nominations, going on to win two BIFA’s including Best Actor for Adeel Akhtar.

ALI & AVA - Full details on the �鶹Լ�� Film website

ALI & AVA - Watch on �鶹Լ�� iPlayer

ALI & AVA - Read the script

Aisha

Written and directed by Frank Berry (Michael Inside), AISHA charts the experiences of a young Nigerian woman as she seeks international protection in Ireland. Caught in limbo for years in Ireland's immigration system, Aisha Osagie (Letitia Wright) develops a friendship with former prisoner Conor Healy (Josh O'Connor) who she meets at one of the accommodation centres. Aisha and Conor's growing friendship soon looks to be short lived as Aisha's future in Ireland comes under threat.

AISHA - Full details on the �鶹Լ�� Film website

AISHA - Read the script

Benediction

BENEDICTION explores the turbulent life of first world war poet Siegfried Sassoon, through the eyes of the revered writer-director Terence Davies (Distant Voices, Still Lives). Sassoon was a complex man who survived the horrors of fighting in the First World War and was decorated for his bravery but who became a vocal critic of the government’s continuation of the war when he returned from service. His poetry was inspired by his experiences on the Western Front, and he became one of the leading war poets of the era. Adored by members of the aristocracy as well as stars of London’s literary and stage world, he embarked on affairs with several men as he attempted to come to terms with his homosexuality. At the same time, broken by the horror of war, he made his life’s journey a quest for salvation, trying to find it within the conformity of marriage and religion. His story is one of a troubled man in a fractured world searching for peace and self-acceptance, something which speaks as meaningfully to the modern world as it did then. Starring Jack Lowden, Peter Capaldi and Geraldine James, BENEDICTION was the late Terence Davies’ final film.

BENEDICTION - Full details on the �鶹Լ�� Film website

BENEDICTION - Read the script

Blue Jean

Written and directed by Georgia Oakley, BLUE JEAN is set in England, 1988, when Margaret Thatcher’s Conservative government are about to pass a law stigmatising gays and lesbians, forcing JEAN (Rosy McEwen), a PE teacher, to live a double life. . But when a new student arrives and threatens to expose her, Jean is pushed to extreme lengths to keep her job and her integrity.
Following its World premiere and People’s Choice Award at the Venice Film Festival 2022, BLUE JEAN was BAFTA and BIFA-nominated, receiving four BIFAs including Best Screenplay for Georgia Oakley.

BLUE JEAN - Full details on the �鶹Լ�� Film website

BLUE JEAN - Read the script

Blue Story

Created, written, directed and narrated by award winning UK music artist Andrew Onwubolu, aka Rapman, BLUE STORY follows best friends TIMMY (Stephen Odubola) and MARCO (Micheal Ward) who go to the same high school in Peckham but live in neighbouring London boroughs. When Marco’s beaten up by one of Timmy’s primary school friends the two boys wind up on rival sides of a never-ending cycle of postcode gang war in which there are no winners, only victims.

BLUE STORY - Full details on the �鶹Լ�� Film website

BLUE STORY - Watch on �鶹Լ�� iPlayer

BLUE STORY - Read the script

Herself

Directed by Phyllida Lloyd’s (Mamma Mia!, The Iron Lady) from a screenplay co-written by lead actor Claire Dunne and Malcolm Campbell, HERSELF follows SANDRA (Dunne), a young Mum struggling to provide her two young daughters with a warm, safe, happy home to grow up in. Beneath the surface, Sandra has a steely determination to change their lives for the better and when it becomes clear that the local council won’t provide that home, she decides to build it herself from scratch.

With very little income to speak of and no savings, Sandra must use all her ingenuity to make her ambitious dream a reality. At the same time, she must escape the grip of her possessive ex-husband and keep him away from her and her girls. The lionhearted Sandra draws together a community of friends to support her and lend a helping hand and it is the kindness and generosity of these people and the love of her young daughters that help rebuild her own strength and sense of self.

HERSELF - Full details on the �鶹Լ�� Film website

HERSELF - Read the script

Make Up

The debut feature from writer-director Claire Oakley, MAKE UP follows RUTH (Molly Windsor) as she travels to a seaside holiday park to stay with her boyfriend TOM (Joseph Quinn) during off-season. Settling into her new environment she makes a new friend in the form of make-up enthusiast JADE (Stefanie Martini) but after finding evidence her beau might be cheating on her, RUTH’s desire to uncover the truth turns into an obsession and she begins to realise she might be looking for something else entirely.

MAKE UP - Full details on the �鶹Լ�� Film website

MAKE UP - Read the script

Rye Lane

Directed by Raine Allen-Miller from a screenplay by Nathan Bryon and Tom Melia, RYE LANE follows YAS (Vivian Oparah) and Dom (David Jonsson), two twenty-somethings, both reeling from bad break-ups, who connect over the course of an eventful day in South London - helping each other deal with their nightmare exes, and potentially restoring their faith in romance.
Released in March 2023, RYE LANE recently received 16 BIFA nominations and won two awards - Best Breakthrough Performance (Vivian Oparah) and Best Original Music (Kwes).

RYE LANE - Full details on the �鶹Լ�� Film website

RYE LANE - Read the script

The Power of the Dog

Written and directed by Jane Campion (The Piano) and based on the novel by Thomas Savage, THE POWER OF THE DOG stars Benedict Cumberbatch as charismatic rancher Phil Burbank who inspires fear and awe in those around him. When his brother George (Jesse Plemons) brings home new wife Rose (Kirsten Dunst) and her son Peter (Kodi Smit-McPhee), Phil torments them until he finds himself exposed to the possibility of love.

Following its World Premiere at the 2021 Venice Film Festival where Jane Campion took the Best Director award, THE POWER OF THE DOG went on to receive multiple awards including the 2022 BAFTA for Best Film and the Academy Award and BAFTA for Best Director.

THE POWER OF THE DOG - Full details on the �鶹Լ�� Film website

THE POWER OF THE DOG - Read the script

�鶹Լ�� TV DRAMA

The A Word

Family drama with a boy with autism at its heart.

THE A WORD - Watch on �鶹Լ�� iPlayer

THE A WORD - Read the scripts

Beyond Paradise

Death in Devon. DI Humphrey Goodman relocates from tropical Saint Marie to sleepy Shipton Abbott, cracking cases and hoping for happily ever after with fiancée Martha.

BEYOND PARADISE - Watch on �鶹Լ�� iPlayer

BEYOND PARADISE - Read the scripts

Blue Lights

For three police recruits in Belfast, the pressure is immense. Facing criminal gangs and divided communities, they don't know who to trust. The odds are, they won't all make it.

BLUE LIGHTS - Watch on �鶹Լ�� iPlayer

BLUE LIGHTS - Read the scripts

Champion

Sibling rivalry never sounded so epic. Candice Carty-Williams's electrifying drama of family and fame, with an original soundtrack from the biggest names in black British music.

CHAMPION - Watch on �鶹Լ�� iPlayer

CHAMPION - Read the scripts

Chloe

Live the lie to find the truth. Outsider Becky obsesses over influencer Chloe – until tragedy pulls her in deeper than she ever dreamed possible. Thriller starring Erin Doherty.

CHLOE - Watch on �鶹Լ�� iPlayer

CHLOE - Read the scripts

The Control Room

One call can change everything. In the emergency control room, Gabe deals with life and death. One day, the life on the line is his own. Gripping thriller with a stellar cast.

THE CONTROL ROOM - Read the scripts

The English

America, 1890 - two strangers are drawn together in a violent landscape built on dreams and blood. An epic tale of love, revenge and power starring Emily Blunt and Chaske Spencer.

THE ENGLISH - Watch on �鶹Լ�� iPlayer

THE ENGLISH - Read the script for episode 1

Guilt

The contemporary thriller returns for its third and final outing. Brothers Jake and Max find themselves back in Scotland where the welcome isn't as warm as they'd hoped for.

GUILT - Watch on �鶹Լ�� iPlayer

GUILT - Read the complete scripts

Inside Man

Everyone’s a murderer, you just need a good reason and a bad day. From death row to a quaint English village, Steven Moffat's devilish drama with David Tennant and Stanley Tucci.

INSIDE MAN - Read the scripts

Mayflies

The friendship that defines your life - and will push your loyalty to the limits. Life-affirming drama with a killer 80s soundtrack, starring Martin Compston and Tony Curran.

MAYFLIES - Watch on �鶹Լ�� iPlayer

MAYFLIES - Read the scripts

Rain Dogs

It's normal to hate the people you love. A makeshift family bound by defiance, chaos, poverty and pain. A wild, swaggering tale of love and friendship, starring Daisy May Cooper.

RAIN DOGS - Watch on �鶹Լ�� iPlayer

RAIN DOGS - Read the scripts

Ralph & Katie

There's no rule book for marriage, as two newlyweds navigate their way through love and independence. An uplifting story of life with Down’s syndrome from the makers of The A Word.

RALPH & KATIE - Watch on �鶹Լ�� iPlayer

RALPH & KATIE - Read the scripts

The Sixth Commandment

An inspirational teacher is courted by a student, triggering a complex criminal case. A sinister real-life story starring Timothy Spall and Anne Reid.

THE SIXTH COMMANDMENT - Watch on �鶹Լ�� iPlayer

THE SIXTH COMMANDMENT - Read the scripts

A Very British Scandal

Sex, secrets and suspicion - the true story of a duchess publicly shamed in a high society divorce that gripped the nation. Starring Claire Foy and Paul Bettany.

A VERY BRITISH SCANDAL - Watch on �鶹Լ�� iPlayer

A VERY BRITISH SCANDAL - Read the scripts

Waterloo Road

Riots, scandals, fractured families and familiar faces - Waterloo Road is back with a new term and a whole new attitude. Who said education was easy?

WATERLOO ROAD - Watch on �鶹Լ�� iPlayer

WATERLOO ROAD - Read the scripts

Wolf

Life is full of surprises. A gruesome shock for a wealthy family, and a young detective with horrors of his own. It's a deliciously bloody, twisting race against time.

WOLF - Watch on �鶹Լ�� iPlayer

WOLF - Read the scripts

�鶹Լ�� Writers: What happens on our Voices programme?

2023-12-01T12:00:00+00:00

Our annual Open Call opportunity for script submissions is currently open (the deadline is Tuesday 5th December at noon).

During the submission window we've been running a series of drop in events for writers to ask any questions they have about the opportunity. The final one is taking place on Monday evening at 5pm, full of details of how to take part are here.

One of the most frequently asked questions during the drop-ins has been 'What is the outcome from the Open Call?'. The answer to that is that successful writers may be invited to interview for a place in one of our development groups, either Scripted (previously known as Drama Room) or Voices.

And to follow that up 'What does a place in one of your groups actually involve?'

To try and answer that question, read on to get a sense of what happens if you are invited to take part in our Voices development group.

The Voices writer development programme runs once a year and lasts for about six months. The aim is to offer an insight into how the television industry works, providing participants with the core tools and knowledge to begin their TV writing journey. The writers who take part are mostly identified via our annual Open Call opportunity plus some additional scouting work (for example at the Edinburgh Fringe). We run six Voices sub-groups from six hubs across the UK: Northern Ireland, Wales, Scotland, England - North, England - South and London. Each of these groups is managed by the staff who are based in each of our hubs. There are normally around 12 writers in each sub-group, so around 70-72 writers in total.

Voices sessions are a combination of local sessions (with the other writers in your hub) and full-cohort sessions. We usually try and bring the local groups together in person at least twice, with the majority of the rest of the sessions taking place online. Sessions generally run weekly over lunchtimes or in the evening to fit around the group members' other commitments, be that work, childcare or other factors. During their time on Voices, writers develop a television series outline which involves some homework, alongside viewing recent TV dramas for discussion and analysis during the sessions. Writers are not paid to take part but the programme is completely free, plus we cover any necessary travel and accommodation costs.

We are currently finalising the writers who will take part in Voices 2024, which will kick off in January. These are writers who submitted scripts to our Open Call which closed back in December 2022. Due to the number of scripts we receive (over 4000 in each Open Call), the reading process takes around six months. We firstly determine the writers who we want to consider for the Scripted group before moving onto Voices, so interviews for Voices take place in the autumn ahead of the writers beginning the programme in the following January.

Sessions

(Based on Voices 2023, this is just an outline and will vary depending on the availability of guest speakers etc.)

Week 1 (Local): In Person - Meet the writers who are part of your local Voices hub. These meet-ups are at the �鶹Լ��'s various offices across the UK (London, Belfast, Cardiff etc) The group get the chance to introduce themselves and find out about the other writers in their hub. We explain the Voices programme and what is expected from the writers. There is also the chance to find out more from alumni from previous years.

(�鶹Լ��work to start thinking of 3 ideas for a TV series that you want to develop.)

Week 2 (Full): Big Ideas 1 - What Works on TV.

Week 3 (Full): Big Ideas 2 - What Works on TV (with a presentation from the �鶹Լ�� Audiences Team).

Week 4 (Local): Sharing ideas with your local hub.

Week 5 (Local): Sharing your initial ideas with the �鶹Լ�� Writers' team in your area and receiving feedback to select one idea to take forward.

Week 6 (Full): Story & Structure 1, Introduction

(�鶹Լ��work - some viewing of recent TV drama)

Week 7 (Full): Story & Structure 2, Unpacking a First Episode (following viewing homework)

Week 8 (Full): Focus on Characters in Drama

Week 9 (Full): Story & Structure 3, John Yorke's 10 Questions (following viewing homework)

(�鶹Լ��work to apply the 10 Questions to your chosen development idea)

Week 10 (Full): An introduction to TV Drama Development documents and Writing a Series Outline

(�鶹Լ��work to start working on a Series Outline)

Week 11 (Local): Story & Structure 4, Peer Group sessions on the 10 Questions

(�鶹Լ��work to work on the first draft of your Series Outline, 2 weeks writing time during the Easter holiday.)

Week 14 (Full): Pitch to Production with �鶹Լ�� Commissioning Executives

Week 15 (Full/Local): Guest speaker and first feedback session on Series Outlines

Week 16 (Full/Local): NFTS Working with a Script Editor and feedback sessions on Series Outlines

(�鶹Լ��work to work on second draft of Series Outline)

Week 17 (Full): Script to Screen, Getting your Script Made (with a guest writer and producer)

Week 18 (Full): How to Get an Agent (with guest speakers)

Week 19-21 (Local): Writing weeks and online drop-ins

Week 22 (Full): The Business of Being a Writer (with guest speakers)

Week 23 (Full): What Makes a Good Spec' Script & Writing the Pilot Episode

Week 24 (Local): Meet Local Producers and final farewell session (In Person)

Working with a Script Editor

Through our relationship with the National Film and Television School (NFTS) a sub-section of the Voices writers also get the opportunity to work directly with a Script Editor from the NFTS Script Editing course to develop their series outline idea and write the pilot episode as a spec' script. The writers retain all rights in the resulting script and can submit it into our next Open Call or send it, as an example of their work, to agents or industry ahead of general meetings if they wish. The script will not be considered by �鶹Լ�� Drama Commissioning who only accept projects via an attached production company.

We asked several of the former Voices writers to describe the experience and what they gained from it.

Florence Bell - Voices (London hub) 2022

I was paired with Camille following on from London Voices and had the chance to develop my script from treatment to draft and series outline with her. I found that she 100% understood the story I was trying to tell and over the course of working together we really discovered the core of the idea.

Nailing the premise in that way allowed us to streamline the series arc so that we told one narrative elegantly. She also gave me invaluable guidance on stuff I wouldn’t have seen for myself, like holding back on character introspection early on - ‘we still have a whole six eps for them to discover that!’

Most of all, I loved being part of a two person team. Writing and hitting deadlines can be an isolating experience and being accountable to not only myself but someone else who knew and cared about my story was great. I came out the other side of the process with a spec script I’m very proud of and a view of the series that I’m really excited about. I was able to craft my story in ways that I’ll take with me into every project.

Alex Clarke (Voices - North of England hub 2022)

Being on the �鶹Լ�� Writers/NFTS scheme was a pure joy! Scripts need support to emerge, and the scheme offered me incredible support. I love the script I created.

The process was robust and collaborative, full of respect and flexibility. My script editor was creative, enthusiastic, and open-minded. Despite us coming from different backgrounds the script benefited from this, he helped me see how some moments could be interpreted differently by demographics outside my awareness and vice versa (there’s nothing worse for a script than an echo chamber).

My editor’s ability to listen and be curious enabled trust and this meant we could interrogate the work without fear, all ideas were welcome until collectively discarded. We also had fun, plotting, playing, laughing, and worked fast (around my crazy day job hours) which helped the script grow stronger, it’s always best to strike while the iron’s hot.

Once the script was pitch ready, it was then snapped up for further development with Warp Films, and I know the �鶹Լ��/NFTS scheme played a role in getting me there. I’ve often said that great scripts need great teams and I’ve been fortunate enough to have great teams throughout the script’s whole development. The NFTS scheme was truly life changing and I only wish I could do it all again!

Kevin Shen - Voices (London hub 2022)

After finishing London Voices, I had the opportunity to work with a script editor from NFTS to build my pitch into a full pilot and series treatment, and it turns out writing is a whole different ballgame when you’ve got someone else on your team!

My script editor really took the opportunity to get to know me and my writing (she even came to a playreading of mine to further understand my voice!), and helped me execute ideas that I wanted to try but wasn’t quite sure would work. She gave me assignments and exercises to explore these and to flesh out my characters and their journeys. It was great to have a partner who was really rooting for my script and keeping me accountable, while offering insightful feedback and acting as a sounding board throughout. Not to mention, our notes sessions were always a great excuse to meet up and eat!

It was the first time I’d worked with a script editor, and it offered me a new, more structured way of writing as well as the experience of receiving and incorporating feedback in various forms during the writing process. It’s also been very helpful when in meetings with development execs to be able to say that I’ve had a really positive, collaborative experience working with a script editor, preparing me for what’s to come!

Matthew Smith

Before being paired with my script editor, my TV drama idea was a grizzly, absurd, cheesy and contradicting fatberg. Then here comes NFTS student Henry Holmes. Henry translated all the cryptic industry spiel and pretentious auteur jargon (that us writers hear so bloody often), and shared clear, practical opinions throughout our time working together.

Despite Henry was a friendly and patient script editor, the miserable git in me was preparing for him to contort my rumpled fatberg into a sterile, vanilla, TV-friendly script. We’ve all heard those anecdotes before. Thankfully, I was wrong.

The grizzly got more grizzle. The absurdity was raised and praised. Cheesy scenes evolved into sincere moments of fidelity, and contradicting genres were shamelessly elevated. Henry understood what interested me as a writer. We recognised the potential of my show and leaned in further and further and further.

I’d absolutely recommend this NFTS pairing to other writers. My idea still rumbles with its grizzle and contradictions, but this fatberg is now a beautiful and titillating fatberg; a show which is an accurate representation of my voice, and a calling card script that’s secured multiple meetings with production companies.

Find out more about our Voices development group including the writers who have taken part

See details of all our development groups

Find out about our Open Call and submit your script before noon on Tuesday 5th December

Read New Scripts in our Library

2022-12-22T11:34:33+00:00

Looking for some reading over Christmas and New Year? We've just dropped a batch of new scripts into our online script library from �鶹Լ�� Dramas released during 2022. The best way to learn how to write scripts is to read them!

This is Going to Hurt

Painfully funny, heartbreakingly honest – welcome to the weird world of an NHS labour ward. Ben Whishaw stars in Adam Kay's raw, ridiculous rollercoaster diary of a doctor’s life.

Based on Adam Kay's book and set in London during 2006, This is Going to Hurt was critically acclaimed and a hit with audiences, particularly for the central performances by Ben Whishaw and Ambika Mod. The drama was recently named as number 10 in the Guardian's list of the 50 Best TV Shows of 2022.

This is Going to Hurt - Read the scripts

Watch This is Going to Hurt on �鶹Լ�� iPlayer

The Responder

Under pressure, fraying at the edges. In relentless night-time Liverpool, copper Chris is paired with a rookie. Will they save or destroy each other? Starring Martin Freeman.

Written by former Merseyside Police Officer Tony Schumacher (a previous member of �鶹Լ�� Writersroom's Northern Voices), The Responder hit our screens back in January. It went on to be named Best Drama 2022 at the Edinburgh TV Festival and came in at number 5 in the Guardian's run-down of the best TV shows of 2022.

The Responder - Read the Scripts

Watch The Responder on �鶹Լ�� iPlayer

Life and Death in the Warehouse

The story of trainee warehouse manager Megan, who, desperate to keep her new job, bullies her pregnant friend Alys, to get her pick rate up, putting Alys and her baby at risk.

Following previous �鶹Լ�� Three factual dramas like Murdered by my Boyfriend and Murdered by my Father, Life and Death in the Warehouse examined the experience of the invisible army of warehouse 'pickers', every second of whose working lives is timed and monitored in order to enable today's obsessive online shopping habits. Written by Helen Black (a winner of our Kudos North Writers' Award) and inspired by real-world accounts of working conditions it has gone on to be nominated as Best Single Drama in the Broadcast Awards 2023.

Life and Death in the Warehouse - Read the Script

Watch Life and Death in the Warehouse on �鶹Լ�� iPlayer

Crossfire

A holiday turns from heaven to hell with a gunshot - and the consequences will linger long after the final bullets are fired. Nail-biting thriller starring Keeley Hawes.

Thriller Crossfire hit �鶹Լ�� One screens in September. Written by Louise Doughty it was her first original series for television following successful adaptations of her novels, including Apple Tree Yard.

Read the scripts for Crossfire

Watch Crossfire on �鶹Լ�� iPlayer

Doctor Who

Following the conclusion of the thirteenth series of the revived era of Doctor Who (which began in 2005), three 2022 special episodes were broadcast, bringing to a close both Jodie Whittaker's incarnation as the thirteenth Doctor and Chris Chibnall's as the Doctor Who showrunner.

Chris Chibnall wrote all three episodes with co-writer Ella Road for Legend of the Sea Devils.

Read the scripts for Eve of the Daleks, Legend of the Sea Devils and The Power of the Doctor

Watch Doctor Who on �鶹Լ�� iPlayer

Red Rose

School is about to finish for the last time. For many teenagers, this signals the beginning of the next stage of their lives. For a group of working-class friends in Bolton, there is no next stage. The summer stretches out in front of them with an infinite sense of possibilities, but when one of the gang downloads the mysterious Red Rose app, plans change. What starts innocently as a game of admiration rapidly descends into something much darker.

Written by Bolton-born brothers the Clarkson twins Red Rose launched on �鶹Լ�� Three and �鶹Լ�� iPlayer in August.

Read the scripts for Red Rose

Watch Red Rose on �鶹Լ�� iPlayer

Conversations with Friends

Prepare to get intimate. Two students and a married couple enter a tangled web of friendship, infidelity and lies.

Following the huge success of the previous adaptation of Sally Rooney's novel Normal People the same team adapted her debut 2017 novel Conversations with Friends for �鶹Լ�� Three, launching in May. Writers include Alice Birch, Mark O'Halloran, Meadhbh McHugh and Susan Soon He Stanton.

Read the scripts for the first 3 episodes of Conversations with Friends

Watch Conversations with Friends on �鶹Լ�� iPlayer

Wreck

Welcome aboard the ship of nightmares. Searching for answers about his missing sister, Jamie joins the crew on a mysterious cruise liner. Conspiracy, comedy and a slice of slasher.

Created and written by Ryan J. Brown a second series of Wreck is now in development for the �鶹Լ��.

Read the script for episode 1 of Wreck

Watch Wreck on �鶹Լ�� iPlayer

More recent additions to the script library

Other recent additions to the Script Library include:

Sherlock - Read all 4 Series of Mark Gatiss' and Steven Moffat's modern retelling of Sherlock Holmes.

Dracula - Transylvania, 1897: terror awaits. The blood-drinking count has set his sights and teeth on London. A spine-tingling reimagining of the classic, from the creators of Sherlock.

Luther - Read all five series of Neil Cross' critically acclaimed detective series, Luther.

Latest Opportunities

Keep up to date with writing opportunities from �鶹Լ�� Writersroom, across the �鶹Լ�� and the wider industry on our Opportunities page.

Coming up in the New Year is the Comedy Collective Bursary from �鶹Լ�� Comedy Commissioning (open from 9th - 30th January), the Writers' Access Group from �鶹Լ�� Writersroom (open from 24th January to 18th April) and the Hot House from Climate Spring, �鶹Լ�� Writersroom and BFI Network (open from 10th - 31st January).

If you're thinking of entering the Comedy Collective Bursary then brush up your knowledge of great Comedy scriptwriting with the TV Comedy section of our Script library including Alma's Not Normal, Back to Life, Detectorists, In My Skin, Inside no. 9, Motherland, People Just Do Nothing, Rev, Two Doors Down and many more.

Casualty at 35 - Top Ten Most Memorable Episodes

2021-08-11T20:49:08+00:00

The recent special feature-length episode of Casualty, that aired on August 14, marked both the show’s 35th anniversary and the beginning of the 36th Series.

And what an incredible 35 years it has been! Thrilling, thought-provoking and often heart-breaking, the show has gained a reputation for its combination of powerful, intimate, emotional storytelling; alongside huge stunts and one-take specials, which has gained us multiple award nominations and wins and critical acclaim.

First broadcast on �鶹Լ�� One on 6th September 1986, Casualty has gone on to become the world’s longest running medical drama. Moving from our original Bristol base to our current home at Cardiff’s Roath Lock studios in 2011, the show goes from strength to strength.

To mark the 35 years, we’ve mined our archive to bring you our choice of Ten Memorable Episodes; ranging from Series 4 back in 1989 up to the BAFTA winning first episode of the last series, broadcast on 2nd January 2021, which focussed on the devastating effects of the Covid pandemic on the staff and patients of the Holby-set hospital. Also included in the ten episodes is the unforgettable and controversial finale to Series 7, which saw a riot reduce the hospital to a smouldering ruin and the opening episode of Series 18 (previously voted the ‘Best Ever’ for our 25th anniversary) as a double train crash causes devastation.

The �鶹Լ�� Writersroom have made the scripts for these ten episodes available in their online script library and have also asked all the writers involved to introduce their own episode.

Please let us know if you agree with our choice and share your own memorable episodes in the comments below.

Series 4, Episode 11 (Episode 51) ‘Banking for Beginners’ written by Bryan Elsley (original broadcast 24/11/89)

Alex is left with lots to think about when she is offered a new job in banking, but can she leave the hospital? Meanwhile Jimmy annoyed that nobody considers his opinions and tells Alex that he is considering a career in nursing.

I think Banking For Beginners was my first script for Casualty. I can confidently say that I had no earthly idea how to go about writing it. There was no Writersroom to upskill you in those days. Luckily for me, my script editors were Sally Haynes and Jane Tranter; to this day the best script people I ever worked with. I went on to write for I think 3 or 4 further series of Casualty. I’d love to say it got easier, but it never did. I always struggled with it, but now and then I got it right. Casualty is one of the most demanding technical writing gigs you can be on. But the rewards were massive, I believe my last ever episode got 18 million viewers. Not bad. Everybody on Casualty was absolutely lovely, even when Jane Tranter was on my Ansaphone saying “Pick up Bryan, we know you’re there!”, when my script was 5 days late. I used to put the script on the train at Oxenholme in the Lake District to send it to London, Red Star. That’s how you delivered before the internet. Things have changed a bit.

Congratulations to everyone at Casualty. I was and am extremely proud to have participated in some way. It showed me how to become a professional screenwriter.

Bryan Elsley

Read and Download Series 4, Episode 11 ‘Banking for Beginners’ here

Series 7, Episode 24 (Episode 104) ‘Boiling Point’ written by Peter Bowker (original broadcast 27/2/93)

It's Rob's last day and he has a surprise patient. It looks like the end of the road for Holby City Hospital when a riot ends up in casualty.

My first episode of Casualty and the first ever thing I had on telly went out in November 1992. Under the brilliant guidance of Sally Haynes and Laura Mackie, I was then commissioned to write three further scripts, the final one of which was to be the season finale for the new extended run of 24 episodes. The area I lived in in Leeds had suffered a crime wave driven by mainly bored adolescents and after they broke in and stole my new telly while I was in the house, I wanted to write about the feelings of violence and desire for vigilante justice that their actions aroused in me - a liberal teacher who had only stopped running down the road after them when I realised I was wearing slippers . . . This became a story of how revenge just escalates violence and in my story this culminated in the burning down of the hospital. I think Pete Salt had spoken about increasing threats of violence in A & E so that fed in to the idea. But most of all, I wanted to write about what happens when people stop communicating. There are parts of the script I now cringe at - I think some of the dialogue is on the nail and I think I would like to contextualise the perpetrators a bit more. But I am on the whole proud of this. There was such a fuss in the papers that my Dad rang me after three days - this was a man who normally only used the phone after a football match or on Christmas Day, “They’re not going to sack you, are they? Only I saw that Yentob feller on Right To Reply and he didn’t seem to be sticking up for you."

Peter Bowker

Read and Download Series 7, Episode 24 ‘Boiling Point’ here

Series 15, Episode 36 (Episode 320) ‘Breaking the Spell, Part Two’ written by Katharine Way (original broadcast 28/4/01)

Concluding the two-part story. Holly regains consciousness, only to find she's been kidnapped by Tom, and seizes a dangerous opportunity to escape. Patrick makes a grave error once he realises she's missing, and blames rival suitor Ed, while Colette pulls out all the stops to salvage her relationship with daughter Natalie.

Writing the final episode of any Casualty Series is a real thrill. Characters get killed off and/or written out. In this case, Holly's crazed anaesthetist stalker, Tom, made an unexpected (and, for some, lethal) reappearance. I had a blast writing this episode. The characters did not have quite such fun inhabiting it. But hey...that's drama.

Katharine Way

Please Read and Download Series 15, Episode 36 ‘Breaking the Spell, Part Two’ here

Series 18, Episode 1 (Episode 401) ‘End of the Line, Part One’ written by Ann Marie di Mambro (original broadcast 13/9/03)

First in a two-part story which sees emergency staff members involved in a devastating train crash. Still full of excitement following their recent engagement, Fin and Comfort escape from a compromising situation in a toilet cubicle during the derailment to find a train full of panicking commuters. Meanwhile, a passenger struggles to keep calm as the full horror of her predicament becomes clear.

Writing for Casualty and being lead writer on it are highlights of my writing career, as I've always loved that show. The End of The Line was the first time I got to write the opening episode of a series, which is very exciting as the production team really do push the boat out. When I delivered the first draft, Mal Young who was then head of drama series, decided it should be a two-parter and not a single episode. It meant a major re-write but he was right as the train crash was so ambitious and the stories it generated so impactful that it needed to breathe over two episodes. I've always loved writing for Comfort, the paramedic, who features in one of the stories. It was the producer, Steve Lightfoot's idea to see the actual crash from inside the toilet on the train where Comfort is having a sexually charged moment with her new fiancé. I am proud to have been part of the team that brought that episode to the screen.

Ann Marie Di Mambro

Read & Download Series 18, Episode 1 ‘End of the Line, Part One’ here

Series 20, Episode 44 (Episode 538) ‘Perfect Day’ written by Gaby Chiappe (original broadcast 29/7/06)

Nathan goes on the warpath after his needle-stick injury. Maggie's Hep B clinic is abused. Kelsey takes bets on Greg's sexuality. An innocent prankster becomes trapped in the boot of a stolen car.

The year I spent on Casualty was the most stable period I’d had as a writer to that time. Working to deadline is always stressful, but I remember that year as being restful - time to think and time to breathe. I loved the collaboration with the medical advisors - particularly Simon Odum and Dr Phil, fifteen years on I still remember certain conversations I had with them. Re-reading this script now I can tell was enjoying myself.

Gaby Chiappe

Read & Download Series 20, Episode 44 ‘Perfect Day’ here

Series 26, Episode 8 (Episode 789) ‘Charlie’s Angels’ written by David Bowker (original broadcast 8/10/11)

Scarlett doubts her nursing abilities, and her resolve is tested during her shift. When faced with a stab victim, does she have what it takes to save their life?

If not for the loyalty of my executive producer Johnathan Young, and my brilliant script editor, Ailsa Macaulay, this Casualty episode might never have been made. Back in 2011, a couple of our �鶹Լ�� colleagues were of the opinion that angels had no place in a medical drama. But the angels were only ever a device to reel viewers in - the story was really about grief and how human beings need to mourn in order to heal. And although it’s lovely that the episode is still remembered, to me, the most memorable thing about Charlie’s Angels was not the writing, but Derek Thompson’s marvellous performance as Charlie.

David Bowker

Read & Download Series 26, Episode 8 'Charlie's Angels' here

Series 31, Episode 1 (Episode 1005/06) ‘Too Old for this Shift’ written by Matthew Barry and Andy Bayliss (original broadcast 27/8/16)

Feature-length episode. As Charlie celebrates his 30th anniversary, the department is thrown into chaos, and the team face their biggest challenge yet.

What an honour and a privilege to be trusted to write such an iconic moment in this great show's history. And more importantly, what an amazing team of people who turned some words on a page into something so visually spectacular. That will always be the overriding memory for me - how everyone on set and behind the scenes, put every last ounce into making it what it was. No greater satisfaction than that. Never been so proud to be part of such a thing.

Andy Bayliss & Matthew Barry

Read & Download Series 31, Episode 1 ‘Too Old for this Shift’ here

Series 31, Episode 38 (Episode 1043) ‘Do Not Stand at my Grave and Weep’ written by Dana Fainaru (original broadcast 17/6/17)

Ethan looks for answers about Cal's last moments as he plans his last goodbye.

Casualty is a show very dear to my heart. Throughout the years it's retained something pure, immediate, heartfelt - both in terms of storytelling and team of people to work with. I distinctly remember this episode because there was no story for Ethan on the table apart from a funeral. Both myself and the story editor, Roxanne, couldn't stand the thought of such a brilliant character (and actor) having to mope for an entire episode. Recently before that, we had a story conference and this amazing young woman came to talk to us about HIV in young people, I remember it touched us all so much and I was like - bagsy that story!

It really chimed so much with Ethan's own predicament so it was one of these times where things just really fell into place naturally. When I was watching this episode back one thing really shone through - just how much the cast love each other. There was so much warmth in it I'd love to take the credit for that and say it's the writing - but really, it's just the alchemy of the show and the entire bunch of people who make it.

Dana Fainaru

Read & Download Series 31, Episode 38 'Do Not Stand at my Grave and Weep' here

Series 34, Episode 36 (Episode 1175) Jade Meets her Birth Mother’ written by Charlie Swinbourne and Sophie Woolley (original broadcast 11/7/20)

Jade meets her birth mother and finally uncovers the truth behind her past, whilst Charlie is reminded of Duffy when treating a man who has recently received a heart transplant.

I’d never had the chance to write for Casualty or collaborate with Charlie Swinbourne before, so I was delighted when Loretta Preece invited me to co-write on this.

It was thrilling to see the end result – beautiful acting, John Maiden’s direction and �鶹Լ�� Research and Development’s innovative audio recording and design.

Sophie Woolley

This episode of Casualty stands as a marker for where the TV industry should be heading.

It is a story about a deaf nurse, which was not only written by two deaf writers, but directed by a deaf director and starring two brilliant deaf actors. I’m very proud to be one of those writers.

It all happened because the team on the show, Loretta Preece in particular, believed in us and gave us the opportunity to tell our story from an authentically deaf perspective.

Jade’s story is about how deafness has impacted on three generations of a family, and how those generations see deafness differently. It’s about a deaf nurse and how her day is different to that of those around her. It’s also a story with heartbreaking moments, and funny moments too.

We can only thank the team, and everyone involved for giving us the opportunity, as well as the �鶹Լ�� Writersroom for setting up the Writers Access Group, that Sophie and I were part of. I hope that people who read the script enjoy it and use it as fuel for telling their own stories in the future.

Charlie Swinbourne

Read & Download Series 34, Episode 36 "Jade Meets her Birth Mother" here

Series 35, Episode 1 (Episode 1182/3) Covid Special written by Kevin Rundle (original broadcast 2/1/21)

Connie struggles to protect her team when the coronavirus pandemic hits Holby ED, Will becomes disillusioned with his work and Fenisha rushes to keep her baby safe.

From the very first conversations, this felt like it was going to be a special episode to be a part of - the ambition was to convey what the first period of lockdown was like for NHS staff in an emergency department. The storyline I was given was exceptional, the sort of outline that gives you tingles... And the first research discussion with the medic, who had lived through pretty much every event that was eventually portrayed on screen, was eye-opening and awe-inspiring. The challenge for me was; don't muck this up!

Thanks to the support of a very gifted script editor, the guidance of the entire production team, headed up by Mat McHale and Loretta Preece, a phenomenal director in Steve Hughes and a cracking cast who were all on fire... we seemed to do an alright job. When the episode was shot, it felt a bit like a retrospective on the pandemic, it was late August, early September 2020 and things were returning to normal... it eventually transmitted a few days before the third, and longest period of lockdown. We had no idea things would continue to be so tough for the incredible staff of the NHS.

Kevin Rundle

Read & Download Series 35, Episode 1 "Covid Special" here

Watch Casualty’s 35th Anniversary Episode on �鶹Լ�� iPlayer

Find more blog posts about writing Continuing Drama here

Script Room - An update from a reader

2021-03-17T14:36:06+00:00

We received a record 5167 submissions to our latest annual Script Room window for Drama and Comedy Drama. Our Reading Team have been working as fast as they can and we'll let everyone know the outcome as soon as possible.

While you wait for the results we asked one of the newest members of the team for some thoughts and impressions on the experience so far.

Nothing beats the feeling of opening a new script. It’s a fleeting moment of absolute possibility – what could this story be? Who will I meet? Where could it take me? What might I learn, re-frame, understand or discover there?

As one of the newest members of the reading team at �鶹Լ�� Writersroom, I’ve found myself in a group of readers without having met anyone face-to-face. What a strange and wonderful time it is to join this new digital space, and to think deeply about story with a new bunch of brilliant strangers. And of course, we’re all now used to the challenges and possibilities of online meetings: multiple-person conversations become harder and working WiFi can make or break you, but on the other hand – the digital set-up also provides the opportunity to listen more deeply, perhaps thinking more carefully about how to usefully contribute to the conversation.

In fact, much like being a writer, being a reader is a lonely job. Readers’ meetings provide the necessary space for us to champion the scripts we’re most excited about, reflect on patterns in recurring themes, stories or ideas, and celebrate and dissect the shared experience of the reading process.

Unique to this year however, are questions of if, and how, writers are responding to the Pandemic. In order to feel truthful, do stories set now have to be entirely re-framed? Can we write truthful, contemporary scripts set post-2020 that don’t directly acknowledge how the world has changed? Spoiler alert – there are no answers here, but it feels like a useful time to reiterate that the word ‘truth’ when referring to storytelling is so often confused with the word ‘fact’. The former encourages writers to use their sharpest tools of imagination to explore the past, present and future, and the latter can perhaps shrink or limit. The very nature of storytelling is that it’s all welcome, provided the writing remains curious, and focuses first and foremost on character and story, and not purely on concept or argument.

Actually, much of the work I’ve read for the latest Script Room so far has not been about the Pandemic. I’ve been excited by the patterns in scripts grappling with connected themes, as opposed to noticing the usual trends in ‘types’ of story. The recurring themes this year seem to be the ones we’ve all been simultaneously experiencing, albeit in different ways – the push and pull of closeness and isolation; communication; ageing; family and friendship; ‘human’ vs. digital. The sweet spot, as ever, exists in the voices that manage to tap into our collective experience through a particular character, or characters, who offer their unique perspective.

I’ve also really appreciated scripts which entirely transport me to another world or time-period. There’s been an abundance of sci-fi and fantasy narratives, often set against a high-stakes political backdrop. In our readers’ meetings, we’ve been talking a lot about ‘genre’, and how scripts that explore a familiar genre but through a new lens feel really exciting right now. Writing in this kind of territory, consider asking yourself what new perspective you can bring, as opposed to how you can slot yourself into the pre-existing structure of your chosen genre.

My experience across all of my reading work this past year (both for screen and stage) tells me that it does seem to be a time of real variety in storytelling, making it surely one of the most fascinating times to be a reader. This job always kind of feels like being the very first one to arrive at the party - except this time, it’s like none of us really know what kind of party it is, where exactly we are, who else will be there, or most importantly, if we’re going to get any cake*.

*Please let there be cake.

Find out more about Script Room - our annual open submission window for Drama and Comedy Drama scripts

Read Scripts from �鶹Լ�� Dramas in 2020

2020-12-21T12:30:09+00:00

To celebrate �鶹Լ�� Drama in 2020 we've gathered together a collection of scripts from shows which were broadcast across the year, many of which are newly available.

We would like to thank all the writers and production companies for their generosity in giving their permission to make these scripts available.

You can read over 700 other scripts in our ever-growing online Script Library.

Us

Three weeks, six countries - one divorce? Sometimes you need to spend time together to see why you're falling apart.

Adapted by David Nicholls from his own hit novel, Us was broadcast on �鶹Լ�� One beginning on 20th September (and was a bittersweet reminder of the great cities of Europe, during a year when travel was so restricted by Covid). Us is still available to watch on �鶹Լ�� iPlayer.

Us - read the scripts by David Nicholls
David Nicholls introduces Us on our blog
Listen to David Nicholls on our Ask the Write Questions podcast where all the questions come from the audience

The Salisbury Poisonings

The Salisbury Poisonings

In March 2018 Salisbury became the site of an unprecedented national emergency. This three-part dramatisation focuses on the extraordinary heroism shown by the local community. The Salisbury Poisonings was broadcast on �鶹Լ�� One over three consecutive nights from 14-16 June 2020 and is still available to watch on �鶹Լ�� iPlayer.

The Salisbury Poisonings - read the scripts by Adam Patterson and Declan Lawn
Find out more about how we made The Salisbury Poisonings in a blog post by writers Adam Patterson and Declan Lawn

Noughts and Crosses

Noughts and Crosses

In a dystopian London, Sephy and Callum fall in love despite the odds. Can they breach the divide between the black elite and white underclass?

Based on Malorie Blackman's novels Noughts and Crosses was broadcast on �鶹Լ�� One beginning on 5th March 2020.

Noughts and Crosses - read the scripts by Lydia Adetunji, Nathaniel Price and Rachel De-Lahay.

The Nest

The Nest

A couple find out how far they are willing to go to have a baby. Emotional thriller about love, trust and the true cost of buying whatever you want. The Nest is set in Scotland and stars Martin Compston and Sophie Rundle. It was broadcast on �鶹Լ�� One from 22nd March 2020.

The Nest - read the scripts by Nicole Taylor

Roadkill

Roadkill

An embattled Tory politician tries to leave his past behind. Political thriller by David Hare. Roadkill was broadcast on �鶹Լ�� One beginning on 18th October 2020 and is still available to watch on �鶹Լ�� iPlayer.

Roadkill - read the script for Episode 3 by David Hare

Industry

Industry

Prove your worth. Five graduates want a job at a top investment bank - but the boundaries between colleague, lover and enemy blur. A stylish take on a world you think you know. Industry was broadcast on �鶹Լ�� Two beginning on 10th November 2020 and from 9th November on HBO. Industry is still available to watch on �鶹Լ�� iPlayer and has been renewed for a second series.

Industry - read the script for Episode 4 by Mickey Down and Konrad Kay

Our Girl

Our Girl

Drama following the extraordinary adventures of female medics in the British Army. New in our script library are the scripts for the final series, series 4 of Our Girl which was broadcast on �鶹Լ�� One beginning on 24th March 2020. You can watch the complete Our Girl on �鶹Լ�� iPlayer.

Our Girl - read the scripts - Our Girl was created by Tony Grounds
Our Girl - An interview with the show's creator, Tony Grounds - on the �鶹Լ�� Writersroom blog

Silent Witness

Silent Witness

Forensic pathologists face personal and professional challenges in a moody, tense thriller that moves from the crime scene to the lab. Silent Witness returned for its 23rd series beginning on 7th January 2020. New in our Script Library are four scripts from Series 21 and 23 by Timothy Prager, alongside a selection of scripts from previous series. Production of Series 24 is underway. You can watch nearly all the previous series now on �鶹Լ�� iPlayer.

Silent Witness - read a selection of scripts by various writers

Casualty

Casualty

Continuing drama series about the staff and patients at Holby City Hospital's emergency department.

New in the selection of Casualty scripts available in our Script Library is the Rose d'Or nominated episode by Charlie Swinbourne and Sophie Woolley, who were part of our Writers' Access Group. The episode was broadcast on 11th July 2020 and is still available to watch on �鶹Լ�� iPlayer.

Doctor Who

Doctor Who

An extraterrestrial Time Lord explores the universe through time and space righting wrongs.

Available in our Script Library are the complete scripts from the latest series, Series 12 of the Doctor Who 'Revived Era', which was broadcast on �鶹Լ�� One from 1st January 2020, as well as a selection of scripts from other series. These include at least one example from Doctors 9 to 13 and classic episodes including 'Blink', written by Steven Moffat and the first draft of Series 10, Episode 1 with its original title.

You can watch the complete Doctor Who since its revival in 2005 on �鶹Լ�� iPlayer.

Doctor Who - read a selection of scripts and read and watch interviews with Doctor Who writers

My Left Nut

My Left Nut

Teenager Mick discovers a swelling on his testicle and tries to ignore it. After all, there’s an upside to rumours about the bulge in your trousers going around school.

My Left Nut was released on �鶹Լ�� Three and �鶹Լ�� iPlayer on 1st March 2020 and is still available to watch. My Left Nut won Best Drama at The 2020 Royal Television Society Northern Ireland Awards and was nominated for Best Drama at The 2020 Broadcast Digital Awards.

My Left Nut - read the scripts by Michael Patrick & Oisín Kearney
Find out more in an interview with the writers who were part of our Belfast Voices writer development group

In My Skin

In My Skin

The coming of age story of 16 year old Bethan as she deals with the comical but painfully real anxieties and insecurities of teenage life.

Following the success of its pilot episode, which was released on �鶹Լ�� Three in October 2018, In My Skin went on to a full series of five episodes which were released on �鶹Լ�� Three on 29th March 2020. You can watch the whole series on �鶹Լ�� iPlayer.

In My Skin - read the scripts by Kayleigh Llewellyn

Death in Paradise

Death in Paradise

Read a selection of scripts from Death in Paradise from Series 1 through to Series 9 (broadcast from 9th January 2020), new in the script library in 2020. You can watch the complete Death in Paradise on �鶹Լ�� iPlayer. Death in Paradise returns for its 10th series from 7th January 2021.

Death in Paradise - read a selection of scripts by various writers

Read over 700 other scripts from TV and Radio Drama and Comedy in our script library

Have you been inspired by reading these scripts? �鶹Լ�� Writersroom's annual script submission window (Script Room) is open now until 5pm on Wednesday 6th January.

Find out full details

Top Tips for Writers

2020-12-16T17:01:22+00:00

With our annual script submission window (Script Room) open until 6th January at 5pm we asked some top TV writers for their top tips. Watch the video below.

Writers Vinay Patel, Kirstie Swain, Charlie Swinbourne, Nicole Taylor and Marnie Dickens with their top tips.

Our annual script submission window is open to all writers aged 16 or over and resident in the UK or Republic of Ireland.

You need to submit one drama or comedy-drama script of at least 30 full pages in length for TV, Film, Radio, Stage or Online with your personal details removed from the script (as they are read without these attached).

We are looking for the most exciting and distinctive voices - and scripts that express those voices. We are looking for writers to develop rather than specific projects.

The script you submit is a spec' (speculative) script, and you should not send it in with the expectation that it will be produced. However, original spec' scripts are the means by which writers get noticed, so you should always write your script with the same level of commitment as if it were for production, but don't be held back by considerations of budget, logistics or because you think "this isn't a script that the �鶹Լ�� would produce".

We don't accept scripts written for existing or previously produced shows/characters – we only want to see your original work.

At the end of the process, a group of writers (usually between 10 and 15) will be selected to join our next Drama Room writer development group for 2021.

Details of our Script Room and how to enter
Script Room Terms and Conditions including what we accept and what we do not accept and FAQs
View and download example Script Formats
Visit our Script Library to read scripts
Find out more about how we can (and can't) help your writing in a blog post from the Head of the �鶹Լ�� Writersroom
Get more help and advice on our blog including Get the Inside Scoop on our Script Room and advice on Getting Your Screenplay Ready

An update from the Head of �鶹Լ�� Writersroom - How we can (and can’t) help develop your writing

2020-12-08T15:04:21+00:00

(This blog post was first published in December 2018)

As our annual window for Drama Script submissions is now open, this felt like a good time to address some questions that we regularly get asked about �鶹Լ�� Writersroom, our open submission script system (the ‘Script Room’) and what the outcome is for successful writers.

Firstly - it’s worth saying again:

At �鶹Լ�� Writersroom we look for writers to develop, not specific projects.

Specific projects have to go to Production companies for development, not us.

Writer development at �鶹Լ�� Writersroom

We read your scripts to get a sense of your “voice” as a writer, and your potential to write for the �鶹Լ��.

You should send the script to us that you are happiest with – the one that you feel closest to, that represents you as a writer. Not the one you think the �鶹Լ�� would like best.

It can be for theatre, radio or film or TV - and you should regard it as a ‘spec’, or “calling-card” script – an example of your best possible writing regardless of budget, location or any of the other normal considerations of production.

Ten to fifteen writers who come through our Drama Script Room are offered a place in our Drama Room group. This is a six-month development scheme which includes one day each month of workshops, masterclasses, introductions to industry contacts and networking events.

We are sometimes asked to invite writers to submit sketches, ideas, monologues etc. for specific opportunities, and we offer those to our Drama Room (or alumni of our Comedy Room) as they arise.

We also provide professional, freelance script-editing support to develop a screenplay, which should be the first episode of a �鶹Լ�� TV series and will act as a TV “spec” script.

The aim is to encourage and champion talented writers with something to say, and put them in the best place to build connections, and win �鶹Լ�� broadcast commissions. If you are successful in gaining a place in one of our development groups we do our best to facilitate you getting a �鶹Լ�� credit, wherever we can find a suitable opportunity – it could be in Children’s, in Radio, TV or online

Project development for the �鶹Լ��

Writers often think that when a script is sent to us, we are reading it with the aim of potentially making that specific script for broadcast. That is not so.

At �鶹Լ�� Writersroom we work with Commissioning, both Drama and Comedy. We are based within the Commissioning department in the structure of the �鶹Լ��, but we don’t pitch projects to them.

The �鶹Լ�� Commissioning teams only consider ideas and scripts which come via production companies – either �鶹Լ�� Studios, or Independent companies. (There are a few exceptions to this, but they are very rare). The Commissioning Editors take pitches from the production companies, and make decisions on projects based on a combination of the idea, the writer and the company. They are assessed not just on the talent of the writer, but also the talent and track record of the people who will be responsible for making the show. This applies both to Drama and Comedy.

So, if you have, for example, a drama series idea that you want to submit to the �鶹Լ��, you must first get a production company interested. If someone in the company – maybe a Head of Development or an Exec Producer - thinks it’s a great idea, and they believe you can write it, they will work with you to develop the series, and to shape it to fit their knowledge of what the �鶹Լ�� is looking for. You should start being paid once you are writing more than a one-page outline.

The company will then pitch it to a Commissioning Editor, who, if they like the project and believe in the talent of the writer and Producer(s), will commission further paid development, scripts etc. Eventually, if the development process creates a brilliant show, and the Drama Commissioner and Channel Controller believe it will work for the audience, and there is a slot for it, and great talent is attached by then, and all the pieces fall into place - then it will be ‘greenlit’, in other words the commission will be confirmed and the project will go into Production.

The same process applies in Comedy. It’s a long, hard and competitive road.

Production Companies and Agents

So how do you find a suitable Production company?

One way of doing this is to find a show you like and look for who makes it. You are looking for a company, or a Producer, who will relate to your work, so search for the output that you relate to, and then find out who is behind it. If you like their work, they might like yours! Not all companies accept unsolicited scripts, but some do. Research is essential. You then send them your spec script and ask to come in for a general meeting. If invited in for a meeting, that is the point to pitch your ideas - and do bring several ready to talk about. Also, particularly with comedy, it is possible to self-shoot and publish your own work and send a link to filmed content. Several of the �鶹Լ��'s recent shows (for example People Just Do Nothing and #HoodDocumentary) began as self-published material.

Agents also have a role to play in getting your work to a Production company. But getting an agent can be difficult. They are often on the lookout for new talent but can be overwhelmed by unsolicited scripts from writers that they haven’t heard of.

However, both agents and production companies will talent scout from live performances, so do try to get your work performed – there are always opportunities on our website. When you have something being performed, invite agents and production companies.

(Also, invite �鶹Լ�� Writersroom - we can’t go to everything but we try to see a lot.)

Developing yourself as a writer

There are courses and classes and books that can help teach the craft of writing and provide some useful pointers on storytelling.

To develop your talent, grow your skills and find people to support and critique your work, it can be really productive to make links with local theatres, local writing groups, film-makers etc. Look online - there are often organisations you can get involved with in your area. Put on rehearsed readings, hear your words spoken, invite an audience and see how they react. It’s a chance to discover what works, hone your craft and find your voice as a writer. You can make short films and screen them – again, observe your audience. Learn what they react to.

There are also many competitions and scratch nights out there, a lot of which are free to enter, although some (for example BAFTA Rocliffe) may require an entry fee to cover costs.

The �鶹Լ�� and new writers

There have been some complaints that many of our Drama Room writers are already experienced – but that is often what makes their work cut through. They have spent time finding their voice, working out who they are as writers and developing their craft. But they are new writers to the �鶹Լ��.

There are various opportunities for new writers to get �鶹Լ�� credits, across the range of output – some of which are advertised on the �鶹Լ�� Writersroom website. But there are relatively few opportunities for people to write authored TV series. There are not many of these series, and they are immensely expensive to make. It is inevitable that the vast majority – although certainly not all - will be created and written by people who are already established. But these ‘A-list’ writers have all spent years getting to where they are, and they all have numerous examples of projects which never made it out of development.

Having said all that, the �鶹Լ�� remains one of the best broadcasters in the world for finding and giving opportunities to new writers and �鶹Լ�� Writersroom is a key part of that.

In the last 18 months, 321 �鶹Լ�� credits have been achieved for new writers via �鶹Լ�� Writersroom. That credit might be a TV script commission, or it might be a sketch on Newsjack, or it could be a four-page treatment – in every case, the writer was paid for their work. Some of those writers will have come through Drama Room and Script room, but others will have been developed through other initiatives.

Script Room

We are looking for the most distinctive, most interesting and promising talent for the �鶹Լ��.

Don’t write what you already see on TV. Don’t try to second-guess “what we are looking for”. Write something you are passionate about.

Our first read is the ten-page sift, so do make the first ten pages as engaging as possible. Avoid set up and exposition. If you have written set-up scenes, go back and cut them – audiences are sharp and will pick up what they need to know from small clues. Make sure things happen early, that there are great characters and great lines in those first ten pages, and a strong idea in there. Learn from the best – watch and analyse the opening of shows that you enjoy. Or browse our script library and see how writers you admire have started their shows.

And then kick off a gripping story. If you have a great twist - don’t save it for the end, your reader may not get that far. Use it to hook your audience in early. (You’ll find another twist for the end.)

But always, the most important thing is to work out what you want to say, and how to say it in your own unique way. That is what gives you your USP and makes you stand out from the crowd of script submissions.

So best of luck to anyone submitting a script to our next Drama window, we look forward to reading your work!

Read scripts in our Script Library

Watch interviews with writers and explore other writing resources

Get great advice on our blog

More writing opportunities from the �鶹Լ�� and across the industry (all free to enter)

Getting your Screenplay ready to be submitted

2020-11-20T14:20:11+00:00

Ahead of our next script submission window (from Monday 7th December to 5pm on Wednesday 6th January) we spoke to Philip Shelley for some advice on getting your script into its best possible shape. Philip runs the Channel 4 Screenwriting Course and is well-used to reading a large number of script submissions. He recommends some key steps that you can take to make sure that your script is presented in its best possible version, demonstrating a professional approach to your work.

In our submission window we accept scripts written for TV, Film, Radio, Stage or online. Although Philip has concentrated on screenplays in his advice, the general points apply, regardless of the format.

Make sure you only send your script to us once it is really ready. We don’t read early drafts, outlines, pitches, synopses, treatments etc and we won’t accept a resubmitted script in a later window.

I’m currently in the process (with the much-needed help of eight excellent script readers) of working my way through the thousands of scripts submitted for the 2021 Channel 4 screenwriting course and it has reminded me of just how important it is to present your script as well as possible.

How you present your story on the page is a vital part of the creative process of telling your story effectively.

Reading scripts continuously over six weeks is an intense, demanding (and hugely exciting and rewarding) experience. As a reader it’s demoralising having to pick your way through a script that is hard to read – whether that’s because of dodgy spelling, grammar and a mass of typos; a script that isn’t laid out correctly and professionally; writing that lacks economy, clarity and fluency; or, above all, writing that doesn’t enable the reader to visualise how this story will play on screen.

LAYOUT / FORMATTING

If possible then professionally-submitted screenplays need to be written using screenwriting software. The industry standard is Final Draft, which you may want to consider as an investment in your future; if it’s beyond your budget, there are viable alternatives that you can download for free from the internet – eg Celtx, Highland.

If possible don’t write your script in ‘Word’ – it won’t look right, however well you mimic screenwriting layout; and it will make the writing process much harder.

The more you use screenwriting software, the quicker you will develop and improve your use of all the necessary elements of screenwriting (scene headings / sluglines, action / directions, characters, parentheticals, dialogue, transition). All of these are the tools you need to write a screenplay – and you need to learn how to use them. Your expertise with screenwriting software will come from two things…

READING AND WRITING

Would you attempt to write a novel if you’d never read one? And yet I regularly receive scripts from writers who have clearly never read a screenplay. There is no substitute for endless reading and writing. You need to read the best screenplays to learn how the best storytelling works on the page (and even the less good screenplays are helpful to read). What you read will inspire and inform your writing, in terms of creativity but also, importantly, in helping you to think about how you present your story on the page.

What to include in the ‘action’ (what we more usually refer to as the ‘directions’ – but I think referring to it as ‘action’ is a useful reminder that the best directions are dynamic); thinking about the balance between dialogue and action (what do the best scripts look like on the page?); and becoming more adept and confident with the minutiae of scriptwriting software (eg dual dialogue, transitions within scenes, transitions between scenes and how to describe these on the page – there are decisions to be made, for instance about whether to include ‘CUT TO’ at the end of every scene – probably not necessary).

It’s a convention of screenwriting that you don’t include camera moves, angles, shot sizes, etc in the writing.

The more screenplays you read, the more confident you will be in writing your own, and the more you will think about what works and what doesn’t work in the way you present your story on the page.

Some scripts instantly look professional and reassuring in the way they are laid-out, in the balance between dialogue and action. Some instantly send the wrong signals – if there are page-long blocks of action or endless ten page two-handed dialogue scenes.
The �鶹Լ�� Writersroom script library is an invaluable resource!

PROOF-READING

This is a vital part of the creation of your script. The first draft you submit professionally should have been re-drafted and re-drafted until you are confident it’s as good as it can be (without driving yourself mad). Proof-reading is always more than just proof-reading – it’s about editing, honing and, above all, improving the script.

If possible, it’s always a good idea to print the pages out when you are proof-reading. Somehow your script will look different on the printed page and you will spot things you won’t have spotted on your computer screen.

(Some writers seem to think writing ‘Draft 17’ on their script will demonstrate an impressive thoroughness – whereas I think it is more often a hostage to fortune – ‘You’ve written 17 drafts and still haven’t picked up on the 7 typos on page1?!’)

If you are dyslexic or have real difficulties with spelling, grammar etc, I would strongly advise you to get someone else to do your proof-reading as well as you – but not instead of you; even if this is the case, proof-reading should be a vital part of your creative process.

Apostrophes, their / there / they’re, etc. You’re a professional writer – it’s really not hard to get these things right – a quick google or YouTube tutorial should put you right. There is the occasional error / typo in every single script – that is fine and to be expected; but consistent and multiple typos and errors make your script harder to read; if you can’t get this relatively easy part of the job right, it’s unlikely that you’ll get the (much more demanding) job of wrangling your story into its optimum dramatic shape right.

Watch an interview with Philip Shelley, recorded at our �鶹Լ�� Writersroom Scotland festival in 2019

GETTING THE STORY OUT OF YOUR HEAD AND ONTO THE PAGE

Despite what I said earlier, there is a role for a friendly reader of your script before you submit it professionally – someone to ask you questions about the clarity of the story that you may have become blind to, helping you to work out if you have confused the reader with lack of clarity or omitted what is actually vital visual information.

So often what is in your head doesn’t make it fully or clearly enough onto the page. And sometimes only a new reader’s perspective will help you see / realise this. It’s a tricky balance between over-burdening the reader with too much unnecessary and boring visual information (often about inanimate objects such as furniture) and omitting vital visual information (like which characters are present in the scene).

Help the reader to visualise the world of your story in a way that feels vivid and cinematic.

I have so many conversations with writers when I ask them to explain what they mean by a sentence in the action, what they are trying to convey. They then explain it to me lucidly and interestingly, and I say - why don’t you write it just as you’ve explained it to me. Think about the audience / reader’s point of view when re-reading and re-drafting your script.

DESCRIBING CHARACTERS

You should introduce / describe characters when we first meet them in the script (not in a long list at the front of your script – that’s for stage plays not screenplays.) These descriptions should be vivid and visual. They should help the reader visualise this character. They shouldn’t give us backstory and psychological information that won’t be accessible to the audience. Let the reader discover what there is to be discovered about characters at the same time as the audience.

THINK VISUALLY

The reader of your screenplay should be able to play it as a film in their mind’s eye. The reading experience should, as closely as possible, mimic the audience’s experience. The script is the blueprint for the film - enable your reader to experience it as a film.
With this in mind, I feel strongly that the ‘action’ / directions should only contain filmable action / visual information. You shouldn’t include unfilmable information, privileged information for the reader that isn’t accessible to the audience e.g. ‘Cindy, 33, long dark hair and, as we’ll discover, a serial cat killer...’ Omit – ‘as we’ll discover, a serial cat killer’ – you’re not going to know this by looking at her (NB This is a contentious issue – and I know many writers / producers may find this a bit too ‘hard-line’ – but I think this should be the writer’s default approach; any exceptions to this should be exactly that - exceptions).

CLARITY

Good screenwriting is not literary. The reader of your screenplay just wants to visualise how your script will play on screen; they aren’t interested in the range of your vocabulary. Err on the side of simplicity, economy and clarity. In a screenplay, grass isn’t verdant, it’s green. You’re not trying to win the Booker Prize.

YOU THE WRITER

As a general principle, deliver your story on the page with clarity, flair and economy and DON’T explain or interpret the story on the page – trust the reader to make their own interpretations of each character and situation.

For instance, you never need to start a direction with ‘We see…’. This is self-evident and instantly gives the sentence a passive rather than dynamic energy. Avoid florid or humorous writerly asides and comments on the action. Occasionally these add to the fun and texture of the reading experience – but more often they place the writer between the reader and the story in a way that is jarring and unhelpful.

FINALLY

One of the key aspects to writing your screenplay is thinking about making it dynamic. There should be movement – both actual and metaphorical – in the way you tell your story. Shifts in tone from scene to scene; both physical and psychological movement within scenes.

Focus primarily on the characters rather than the furniture.

The best scripts are easy to read.

Your screenplay needs to have clarity, fluency, simplicity, economy and dynamism.

Our next Script Room script submission window is open from Monday 7th December to Wednesday 6th January at 5pm

Get the Inside Scoop with some key information on submitting a script to us

Script Room: Get the Inside Scoop on our next Script Submission Opportunity

2020-11-13T11:00:00+00:00

Thinking of entering a script in our next submission window?

We've summed up the main points from our online webinar event from last Monday below, together with some top tips and advice.

�鶹Լ�� Writersroom Script Room

WHEN IS IT OPEN?

The Script Room scheme opens for submissions at 11am on Monday 7th December. The scheme closes for submissions at 5pm on Wednesday 6th January.

WHO CAN ENTER?

Writers of 16+ years of age.
Writers who are resident in the UK or Republic of Ireland. You don’t need to be British or born in this country but if your script demonstrates you have the potential to be developed as a writer we do want to build an ongoing relationship with you. For this reason you must have the right to work in this country.
A writer can only submit 1 script per submission window either as an individual or as part of a duo.

WHAT SORT OF SCRIPT?

It must be at least 30 pages long.
Please format it as well as possible. You don’t need paid-for scriptwriting software, there are templates available on our site or have a look at our Script Library for how to structure a script. There is free scriptwriting software available if you do a web search.
You can also write your script on ordinary word processing software (eg Word) if that is what you are most comfortable with. All scripts must be converted to pdf files to submit them to us.
Any medium: TV, Film, Radio, Theatre, Online.
An original idea which doesn’t infringe anyone else’s copyright. For example don’t write a script for an existing show or include characters from another story. We don’t want adaptations (unless they are of your own work), or re-imaginings, spinoffs, fan-fiction ideas etc.
Make sure you remove your details from the actual script. It is linked to your profile in the submissions system. Scripts are read anonymously.
We only accept scripts that have not previously been submitted to Script Room.
In this window we’re accepting Drama and Comedy Drama but not Sitcom.

WHY ENTER?

It provides an annual deadline. Something to work towards. Professional writers have to be able to hit deadlines.
You can build up a body of work and the more you write then the more you’ll develop your craft.
If you reach the full read stage you will receive feedback on your work.
It gets you on the �鶹Լ�� Writersroom ‘radar’.
We often see writers get further and further through the process over several years and eventually gaining a place in one of our development groups.
A small number of writers will be asked to interview and if selected will be asked to join our next Drama Room year-long writer development group.

WHAT ELSE DO I NEED TO KNOW?

Script Room is not a competition but a way of the �鶹Լ�� seeking out the most talented new and exciting voices.
Wait until your script is really ready before you submit, we don’t read early drafts, outlines, pitches, synopses, treatments etc and we won’t accept a resubmitted script in a later window.
Take care with your script. Spelling and grammar mistakes and characters whose names change mid-script can be off-putting and give the impression that you don’t really care about your work.
We are not looking for scripts to commission or produce but writers with potential (there's more about what we do here). Don’t be limited by considerations of budget, location etc. You don’t need to include a series outline (although you can if you want).
Your script will not be judged on its suitability for a particular slot on the �鶹Լ�� but purely on the writing.
When you enter you’ll need to include a logline for your script. You can find out more about loglines and get some advice on our blog. If you’re struggling to write your logline then that could indicate that there’s something wrong with your story.
Scripts go through a number of reading rounds. The first round is of the first 10-pages of every script. If your script progresses beyond that then the next round is 30-pages followed by a full read. Find out more in our FAQs.

CAN YOU GIVE SOME TIPS AND ADVICE?

Tip #1 Give us something new, not what you think we want or what you think the �鶹Լ�� would broadcast or a version of the latest popular show. Show us a view of the world, places and people that we haven’t seen or met before.
Tip #2 Tap into your unique, distinctive and authentic voice. Write from the heart and tell us a story which only you could tell. What story are you passionate to tell? What excites you, annoys you, upsets you, makes you laugh?
Tip #3 Lay the foundations early & hit the ground running. Remember that in the first round we only read the first 10 pages, so grab your audience, get your story going and get your characters in action and show us who they are by what they do.
Tip #4 Writing is rewriting. Please don’t submit your first draft. Put it away for a week or two and come back to it. Read it and revise it. Be your own Script Editor. Try reading it out with friends – what works or doesn’t work?
Tip #5 Entertain the reader. We want to read great stories, page-turners. Read scripts in our library of shows you like to see how they do it.

HOW DO I ENTER?

Visit the Opportunity page on our website for full details.
Read the Terms and Conditions.
If you haven’t entered before you’ll need to create a profile on our E-submissions system. You can only do this once the window is open. If you have entered before then you can login using the same details.
All script submissions are made as pdf files via our E-submissions system. Find out more on the Opportunity page.
You can enter at any time that the window is open. Don’t wait until the deadline day. Submit at least a few days in advance.
If you get stuck with your entry then you can email us for help but we may be very busy on deadline day and we can’t guarantee to be able to respond before the deadline has passed.
You’ll get an email confirmation for your entry with a unique submission number. Don’t forget to check your Junk Mail folder if you think this hasn’t arrived.
Make use of the resources on the �鶹Լ�� Writersroom website (advice, blogs, tips and tricks, Script library and so much more).
The full reading process can take several months so please bear with us to hear the outcome.

FINAL ADVICE:

Make sure the first ten pages of your script really capture your audience’s attention. Aim for something that’s exciting, concise, sets up your characters and their world. Don’t over describe.

More great advice on getting your Script ready on this blog post from Philip Shelley

Kicking off Comedy Room 2019

2019-11-21T14:45:18+00:00

Comedy is at its heart a social activity. So being the only writing duo to take part in this year’s Comedy Room, we may be at an advantage. For example, if someone tells a funny joke in the woods and no one’s there to hear it, is it funny? Is it even a joke? Or is it someone standing in the woods, talking to themselves, being a bit creepy? Now if two people are in the woods telling jokes, well that just seems like good wholesome fun, I'm sure you can agree.

Before we go any further, we should introduce ourselves. We’re John (Hickman) and Steve (Robertson), a couple of writers based in the North East. We were asked to write about our experiences, having attended our first day as part of the Comedy Room. And as the incredibly literal lads we are, we'll start at the beginning...

John Hickman (l) and Stephen Robertson (r)

The day began in a hotel in Stratford. Having just helped ourselves to the complimentary breakfast buffet, we scoured the room for others we thought might also be comedy writers. Seeing people sitting alone, looking vaguely familiar from the brief glance we got at their bios, we contemplated going over. But the thought of how cringe-inducing it would be if they weren't who we thought they were, kept us firmly in our seats.

We took the Central line in during morning rush hour. We're sure there's an analogy about things crammed into tins... no, it's gone. The entire journey, we were muttering “I couldn’t do this every day” to each other. But as we headed into the grand reception of Old Broadcasting House, our muttering became more of a “Ooh, I could actually quite get used to this”.

It felt like being back at school, waiting to meet our new classmates. But as people arrived, any apprehension we felt quickly evaporated. Turns out everyone's really nice. We even spotted a few familiar faces from the breakfast buffet, who'd likewise considered approaching vaguely familiar strangers. Good to know social awkwardness isn't exclusive to us.

We’re an eclectic bunch, from all over the country, different backgrounds and very different comedy paths travelled. And it quickly became apparent that as nice as everyone was, they were all well funny too.

The Comedy Room writers

As we settled in for the day in some sort of epic �鶹Լ�� boardroom, Simon Nelson and Amanda Farley – our Comedy Room parents – laid out our first day and beyond. The first session was with writer and stand-up, Grainne Maguire – an introduction to writing for topical radio. Something we'd tried before. And failed at. We'd spent a whole day trying to come up with gags for �鶹Լ�� Radio 4 Extra’s Newsjack, resulting in a solitary fart joke. Which not only stunk, but was about as topical as The Millennium Bug. We figured you either had the knack or you didn't. And we most certainly did not.

However, as Grainne explained how she finds the funny, the whole thing started to make some sense. Writing jokes is like working out. The more you do it, the faster and stronger you get at it. The newspapers were handed out and we set about finding stories that were ripe for the comedy picking. Yes, we might have something funny to say about Brexit and Trump, but so does everyone else. A story that is already weird and funny is already weird and funny, so it's actually quite hard to write a joke about that. And it's also tough to write something funny about something you care deeply about too.

The Comedy Room writers in the Council Chamber in Old Broadcasting House under the gaze of the �鶹Լ��'s first Director-General, Lord Reith

Grainne told us to look for the more obscure stories – the things most people might overlook. Under her guidance, we broke one such article down into three elements. In our case, it was royalty, retirement and horses. We were sceptical – there were no jokes here, surely? But as we began to freely associate, making connections to each element, asking ourselves what was weird about the story, what was scary and stupid, mixing in other topical stuff such as film releases and celebrity gossip – the gags emerged.

As we went around, sharing our jokes with the rest of the group, it was eye-opening how many different angles you could approach the same story from – none of them obvious and most of them hilarious. Turns out there's a knack to it. A knack we didn't have before, and a knack anyone can pick up. Give a man a fish and all that.

After a pretty amazing lunch in what appeared to be a kind of top-secret Hawaiian-themed �鶹Լ�� speak-easy, we met with sketch-writing aficionado Tom Coles. Tom explained most sketches have three parts: the introduction, the “meat” as Tom called it, and the ending. The introduction is where you introduce your characters, their relationships and establish the comedic premise. You want to do this as quickly as possible, twenty seconds max. The Meat is where you drop your best five or six jokes, each playing out that comedy concept and escalating all the way to the ending. The hardest thing to write. This is where you deliver your biggest, funniest joke, and if you can, give a twist to the original premise. It sounds quite simple as we write it down here, but when we'd sat down previously to write sketches, it hadn't seemed simple at all. All of this – there's a knack. You just need to know what it is. There's a theme building here...

The Comedy Room hard at work!

And finally the coffee arrived. Which was good. That epic �鶹Լ�� boardroom was about to turn into The Hunger Games. Have you ever seen a caffeine-deprived group of writers? Ugly.

After our energy levels and blood sugar had been boosted, Matt Clinch, development exec at Hartswood Films and Ed Morrish, Head of comedy at Somethin' Else, came in to talk to us about developing comedy for TV and radio. The pair offered some great insights into that all important producer/writer relationship. If you find a producer who gets you, hold onto them – it could be a partnership that lasts a lifetime. Like penguins.

Oh and here's a pro-tip: if you're pitching ideas, know when enough's enough. As much as you might want to write the next Alan Partridge, you don't want to be the next Alan Partridge, going all monkey tennis on their asses.

Having said that, we do have a great idea for a show... two words: Bee-keeping. Dean Gaffney. Where do we sign?

And that was that, our day was done. Well, almost. As we congregated at the top secret �鶹Լ�� speak-easy, finally we got around to something we did have a knack for – a few cheeky pints.

We discussed everything that had been crammed into our brains during the day, and while we might've been off the clock, you can't stop writers doing what they do. People were pitching ideas, jokes were told and friendships were blossoming before our very eyes. When this year’s Comedy Room draws to a close, we're pretty sure we won't be the only writing duo any more. Beautiful.

So with our flat caps on, whippets tucked firmly under our arms, we headed for the last train North, excited about what lay ahead of us. And we don’t mean the five hour journey.

Bring on the next one!

�鶹Լ�� Writersroom's Comedy Room is a six-month development scheme for writers identified through our open submission script room and other talent searches.

Our next open submission window will be for Drama scripts, between 9th December and 6th January

The Importance of Lead Characters

2019-07-25T11:47:21+00:00

As the results of the latest open submission window for comedy scripts are being sent out, we asked writer (and script-reader) Robin Taylor to explain the importance of a clear main character in your script and why this might help it to cut through.

During a recent, mysterious ceremonial meeting for the �鶹Լ�� Writersroom reading team, somewhere between summoning forth ancient spirits of creative writing and opening the second packet of generic supermarket oat biscuits, the discussion turned to the subject of lead characters. It was decided that, though a strong protagonist isn’t an essential element in a successful submission, a lot of scripts we receive could benefit from a clearer main character, for a number of reasons. Obviously there are innumerable iconic leads throughout cultural history, but they can be a tricky beast to get right: Not too passive, not too perfect, nor too difficult to care about. If you can create a unique and compelling protagonist, it can carry an idea to the proverbial moon and back. I flapped my gums on the subject a bit, then someone suggested I could write a blog post about it, so here we are! Let’s have a think about lead characters, shall we?

Do You Need A Lead?

The obvious starting point is to ask whether a script needs to have a main character? No, not necessarily. But can a lead character be a valuable asset, particularly to new writers? Absolutely! They can provide real focus and drive to a story, generating the classic concept of a quest, propelling events forward and increasing audience interest and investment. If you have a main character then you can always ask yourself how each scene and moment contributes to their plot, and avoid those all so tempting distractions. It also hopefully pushes you to have a character with a strong identity and perspective, which is always a real benefit in a script. You may want to follow through on your big bold idea for an ensemble or multi-tier piece, but this is a much more complex juggling act which requires parity amongst your characters so they all feel equally strong and three dimensional. And even in such scripts, chances are there is still a character at the centre of events holding everything together so it doesn’t feel too complex and difficult to follow.

Ensemble shows are somewhat rare these days, Derry Girls is one example, and arguably Erin is still the main character in that situation, acting as the core member of the group. It’s not impossible to create a story without a lead, almost anything is possible! But an audience does have a natural instinct to identify a lead. And when starting out it is often a case of trying to do something simple well, before moving onto more complicated endeavours.

Andy (Mackenzie Crook) and Lance (Toby Jones) in Detectorists

Although it simplifies things to talk about a main character in the singular, it is of course possible to have more than one. As mentioned when talking about ensemble casts, it can add levels of complication, mainly because for each additional lead you are effectively increasing your focal points and you’ll need to give them somewhat equal story time.

Frankly, if one character is particularly strong, the risk is that their supposed equals can seem weak in comparison. Also if you are maintaining multiple stories they need to have equally satisfying plots and conclusions. In some ways this can be a strengthening exercise, as it challenges you to match the standard of writing across the board. It certainly isn’t something to be afraid of, but should be approached with discipline and analytical thought. If you are writing with leads who are essentially a duo or group, bear in mind how important their relationships to one another should be. If you send them all off to have separate storylines and they therefore barely interact, it means we don’t really get to witness a vital dynamic which should theoretically be a huge part of the concept. While Andy and Lance in Detectorists [read the scripts here] have their own plots, their interactions are critical to the success of the show. Split storylines may very well be a feature in a well-established series, but when first introducing a relationship it’s nice to witness it in all its glory.

Lesley Manville as Cathy in Mum

Staying Active

So, when creating a lead, how do we make sure they can carry the piece? It’s certainly an intimidating responsibility. I use a term, which I think I made up, called Central Character Syndrome. This is where, as a writer, we are trying so hard to make our protagonist so relatable, sympathetic and basically an everyman (Or ‘everyperson’), that they end up being the most bland character in the story. One such symptom of this is when they essentially become a stoic rock around whom everyone else orbits - the voice of reason in a mad world.

Secondary characters often have the liberty to be as extreme and whacky as we like because they don’t have to be the figurehead of the story. But if all the lead character does is respond and basically roll their eyes at the stupidity that surrounds them, they’re not particularly active or interesting. And in fact it may not really be their story (the great Russell T Davies talks about this here). There are examples where the protagonist is a figurehead of sensible stability, such as Mum, but it is still Cathy's story because she is leading events and has an objective of holding together (and surviving!) her family. Also trying to bite her tongue is a huge part of who she is. It can be true, particularly in comedy, that it’s useful to have an anchor who keeps things rooted to reality if the other characters are so off the wall they’re at risk of stretching credulity too far. In such cases though it’s worth asking if that needs to be your lead. If they are effectively the ‘straight man’ (Gosh, a lot of these old terms are problematic!) they’re not going to get laughs or potentially stand out as much. This approach can work though, but it requires making that character the heart of the piece, and ensuring they are still interesting and involving, despite having bigger personalities around them.

Ghosts

A related problem to this is a lead who doesn’t do much - things happen to them, rather than them causing things to happen in the pursuit of their goals. Remember that the point of a main character is that we are seeing their story. They should be an active agent. Even if events beyond their control befall them, it is then about how they react and deal with these situations, and the problems certainly shouldn’t be resolved without them taking action. Alison in Ghosts inherits a house which is full of ghosts, neither of which she causes, but it is about what she does in this situation. If she spent the whole time doing nothing except being afraid, she is simply responsive and uninteresting. The fact that she wants to turn the house into a hotel and stands up to the ghosts makes her active and establishes her intentions. This ties in to giving your characters clear motivation, a topic you can read about in this blog post if you like!

Far From Perfect

Neutrality and inactivity are of course undesirable, but so are the very extreme ends of characterisation. One of these is making your lead wonderfully flawless. This is sometimes referred to as a Mary Jane character (Though more typically they are in a secondary role) If your lead is never wrong, can complete any challenge with ease and never faces any real troubles, that’s not particularly engaging. Flaws are what makes us human, generating hurdles which we must overcome. Even super heroes have weaknesses that they need to deal with, and they’ve been transformed by intergalactic nuclear snake bites, or whatever. A big reason why Bodyguard was so successful was that the lead wasn’t a dull, perfect hero, he had complexity and depth, strengths and weaknesses, and this made his journey unpredictable and exciting.

A perfect hero in comedy is particularly awkward because a fundamental element of humour is messing things up and getting into sticky situations due to character flaws. A key part of a main character is empathy, so the audience relates to and cares about their story, and most people can’t really relate to someone whose life is constant, struggle-free ease. This is also a big concern if there’s a feeling that the lead is essentially wish-fulfilling self-projection by the writer so everyone can see how smart and popular they are, (and that they’d never leave the washing up overnight because they just can’t face it). And if the character comes off as smug, arrogant or entitled, and never gets any form of comeuppance that can quite simply be a turn off for the audience.

Richard Wilson as Victor Meldrew in One Foot in the Grave

Monsters Are People Too

This leads us to the opposite extreme where the lead is simply so flawed and unlikeable that it’s really hard to care about their story.

It’s understandable why we might be more interested in nasty characters, they can be more fun and get away with more outrageous behaviour than your standard heroes. Antagonists, your typical villains, can be just as iconic as protagonists, sometimes even more so. And there are certainly examples of memorable monstrous leads, such as Basil Fawlty or Victor Meldrew, Jill in Nighty Night, or recently Miri in Back to Life. What’s important in those characters is that their humanity is usually still on display, as they have understandable desires and frailties. Basil Fawlty wants to be successful but is regularly thwarted by events and circumstances, and his responses to such predicaments are terrible. Victor Meldrew basically wants a quiet life, but struggles to get on with others and control his annoyance. There is a lack of malice in their behaviour, they don’t seek to hurt or upset others, but in pursuit of their aims they unfortunately create problems. It’s also significant that we see the sympathetic parts of their personalities - Basil has a kindred spirit in Polly, and no matter what Victor does, Margaret loves him and stands by him. This reminds us that they’re not all bad.

There’s a concept in writing that if a character risks being entirely unsympathetic, give them a dog, because it demonstrates that they care about something and aren’t entirely horrible and self-involved. (Though please don’t think all character flaws can be fixed by the simply addition of a fluffy pupper, you will need a bit more depth than that). But exploring their relationships with others is a good way to get a better understanding of a person. And all of these concerns come with the caveat that it can be possible to get away with a lead being rotten to the core if they are simply fascinating to behold and have an engaging story to tell. It’s still a tricky task to pull off without any trace of empathy or understanding of why they’re an unrelenting arse though!

Miri Matteson (Daisy Haggard) in Back to Life

Entry Level

When discussing lead characters it’s also worth taking some time to consider the use of entry level characters. These are essentially devices for introducing your audience to the world you have created. They are often new arrivals into the situation who can have information and exposition revealed to them in a more natural way than if characters were to explain concepts to each other that they are already familiar with for the sake of the audience’s understanding. Eleanor in The Good Place is a good entry level character as she has her strange situation of entering the afterlife quickly explained to her and we can then get into the meat of the story.

Although an entry level approach can be useful, think about whether it is really necessary for your script. If it’s not a particularly complex or unusual environment, your audience should be sophisticated enough to recognise it without this assistance. Most people are familiar with the concept of an office job, so don’t necessarily need to be introduced to that world by the arrival of a new employee. Also taking the time to introduce a character to the setup can potentially be time taken away from the main story which could be better used elsewhere. There is even the possibility that focusing too much on introducing a character to the world will lead to much more of an establishment episode, where you only set up the concept rather than telling an interesting and complete episodic story.

An entry level character can be a nice vicarious way to welcome the audience into the story and generate natural empathy, but if your characters are interesting and engaging, they should be able to create the same feeling naturally regardless. It can be tempting to assume an entry level character must be the protagonist, however a new recruit could easily be a secondary character, just for the delivery of vital exposition. They may not be the most interesting character though, and someone more established in the world may have a bigger and better story to tell. It may also be a case of quickly assimilating the character into the world. Rachel in Friends handily allows us to be introduced to the other characters, but almost immediately becomes a part of the gang. So although she acts as a way in, that is not a fixed role for her, mostly because she is not simply a device but a three dimensional character.

Phoebe Waller-Bridge as Fleabag

Making Your Lead Take the Lead

So once you’ve figured out the intricacies of your main character and got the balance of their personality right, it’s a question of how you make it clear they are your lead. This should seem self-evident: you give them the lead story. But this comes with certain expectations, and it’s important to establish focus and not muddy the waters. The most obvious and preliminary way of doing this is making sure the story starts with them. That doesn’t mean the very first moment, necessarily, as teaser scenes are often popular. But if the plot commences with one character and we spend significant time with them, the natural assumption will be that they are the lead. If we then shift away from them for a long time, or never see them again, it can create confusion or frustration. Similarly, if you spend time establishing a lead and then wrap up the story focusing on someone else, it may make us wonder whose journey we were supposed to have been witnessing.

If you use certain devices such as narration, flash backs or fantasy sequences for just one particular character, it is tempting to believe they must be our protagonist. Of course you can have an independent character as a narrator, but for example when Fleabag addresses us directly we know this is her story. If we were to then not see her or hear from her for ten minutes we’d wonder what on earth is going on. This ties in to the fact that some protagonists are so central it would not make sense to have any scenes which do not feature them. Some scripts constantly follow the main character, so any secondary stories only occur if they enter the lead’s sphere. Of course if you want to have a strong lead you can still have secondary stories. But they should be precisely that, secondary, and not begin to dominate the main plot. If a character naturally begins to pull focus while you’re writing, it could be an indication that your interest isn’t really in your lead. You may then need to recalibrate in order to put the focus onto the characters who you are more passionate about.

The Main Point

There is one obvious elephant in the room which should be addressed as it impatiently toots its trunk and flings peanut shells at us for attention. That is the fact that the biggest requirement of a strong lead character is that they are simply a strong character. As we’ve established, they should be active, have a clear goal, be relatable but also complex and have a story to tell. And indeed all of the principles that we should apply to our protagonist should ideally be present in every single character we create, because that’s what makes them interesting and compelling.

Returning to our opening question of how important a main character is in a script submitted to the �鶹Լ�� Writersroom, the answer must take into consideration some variables. The fact is that even if your protagonist isn’t as strong as they could be, we recognise that they can be tricky to get right. If there are other significant strengths in the script, particularly secondary characters who demonstrate depth and creativity, then there is a chance the script could still progress. But considering how useful a lead character can be in terms of shaping and focusing a story, and that a particularly strong one can be a powerful tool in selling an idea, it’s certainly worth the effort. Think of it as a fundamental challenge to try your best to get them right and give them the love and attention they deserve.