Hi there,

This is the second of my weekly newsletter \ blogs for 2012.

Earlier last year I spent a really interesting and enjoyable week in Singapore teaching a script editing course to Singapore TV Drama professionals. While there I also met an American screenwriting partnership, BRIAN SAWYER & GREGG ROSSEN.

BRIAN & GREGG are experienced and successful screenwriters, resident in LA, working right at the heart of the US TV and film industries.

They very kindly agreed to do an interview for www.script-consultant.co.uk and they offer a fascinating insight into the differences – and similarities – between working as a screenwriter in the US and the UK.

They are also brilliant and experienced teachers of screenwriting – as well as running regular courses back home in California, they have taught all over the world – from Singapore to Iceland to Bermuda.

I’m hoping to set up a course for them in London later this year when they will offer an insight into how UK-based screenwriters can break into the huge US market – which should be well worth catching!

Watch the website for further information on this in the coming months.

In the meantime, here is the interview they did for me. ENJOY!

Gregg Rossen and Brian Sawyer are both graduates of USC’s School of Cinema-TV. They recently sold their comedy script “Bulletproof Bride” to the Hallmark Channel and optioned their comedy “The Christmas Consultant” to MTV Networks. In addition, they are currently developing the television project “Skating Through Life” with ice skating champion Michelle Kwan, as well as “Model Family,” a TV pilot starring Jamie Kennedy purchased by 20th Century Fox Television. Prior to that, they sold their feature comedy screenplay “Diesel Debutante” to New Line Cinema, and “Guida” to Revolution Studios as a vehicle for Jennifer Lopez. Prior to this, they sold the dance-spoof pitch “Save the Last Dirty Flashdance for Footloose Billy Elliott” to Tapestry Entertainment. They also wrote the “Pixar’s 20th Anniversary Special.” Most recently Gregg and Brian sold their live-action tv pilot script “Home Turf” to Nickelodeon” in January 2012.

“Bulletproof Bride” has just finished shooting and will be released in June 2012.

How did you both start off as screenwriters? Did you train and if so where and for how long? How useful was this training?

We both went to USC School of Cinema for graduate school. It was useful but 3.5 years is a long time to go to “learn” about something that is best accomplished by doing. Still, it was really useful for meeting people and being a part of a community of filmmakers. One big regret is while at film school neither of us wrote a full feature screenplay ready to go out, though we both did make a lot of short films and learn filmmaking craft.

So after graduation we started to write, but it probably set our careers back a couple years not having left school with a batch of scripts ready to hit the spec market, which at that time was very hot.

What films \ TV shows influenced you? What were the films \ shows that inspired you to want to become screenwriters?

Shows that influenced us? TV-wise, a lot of them were British, from “Monty Python” to “I Claudius.” Actually, one of our earliest projects combined those two shows. A sitcom set in Ancient Rome… actually, the backwater Roman province where all the best Roman families sent their “little mistakes,” i.e. those family members who were too stupid or lascivious to handle it in Rome.

Did you both work as individual writers before working together? How did you get together? And what do you see as the benefits of working as a writing partnership? How does the process of writing together work? Please tell us a bit about the process involved.

Before meeting up at film school, we’d both been involved in various aspects of creative, or at least, media, endeavors. Just after finishing undergrad, Gregg worked for Britain’s TV-am, researching story segments for “Good Morning Britain,” and Brian edited the “California Pelican” humor mag at the Univ. of California at Berkeley when an undergrad, and worked in hometown Santa Barbara’s theater scene.

As for our career writing, we’ve mostly written as a team. In comedy it’s really useful to have a collaborator both for pitching or to brainstorm jokes, etc, and also it helps to generate material faster. Also a collaborator can tell you if something is funny, or tasteless, or just stupid. For other genres or more personal stories, there seem to be fewer writing teams, but those genres have never been that interesting for us.

Our process is that we brainstorm together, either in person or over email. When we find an idea we like, we’ll explore it further with an outline. As spec writers, we generate projects that we like and then write them, on spec, in the hopes of selling them down the line. For us to like an idea it has to pass the Cocktail Party Test, i.e. it has to be something we’re not ashamed to mention at a cocktail party. If we love an idea, we next enlist our reps to see if (a) they like it and (b) they think they can sell it. They both have excellent story sense as well as a sense of the market which we, as insulated writers, don’t have.

Do you mainly write ‘on spec’ or under commission? What genres \ areas do you write in mainly? How did you break into the industry? Where do opportunities lie for budding screenwriters in the current US marketplace?

Though there are always rumors of wonderful “open assignments” which studios pay top dollar to have rewritten, in our experience only a handful of writers really do that kind of work. Pretty much everything we’ve sold has been on spec. As far as genres, we write comedy for the most part, though we’ve optioned a couple books which we turned into dramas, one on the life of automaker John Delorean who hustled the British government into investing in his dream of creating a new car company in Northern Ireland in the turbulent 80s. But again, comedy is our forte.

Our first sale in the business was a pitch we sold to a small company at a time when the Scary Movie franchise was on fire spoofing horror films, and we came up with a spoof of dance movies. It was a tiny sale, but it gave us the sense that we could sell stuff in town just like everyone else. That’s an important psychic hurdle to leap. Being seen as a writer, and seeing yourself as a writer… those are not small leaps of faith to make, especially in Los Angeles where every person on the street professes to be working on a screenplay, and where the lion’s share of people you meet are in some way affiliated with the industry.

Energized by this sale, we wrote a screenplay called “Diesel Debutante” about a rich society deb who inherits a redneck racing team (i.e. “Nascar” sort of racing… an American version of Formula 1… big money is involved but it used to have the aura of being redneck and associated with the South… think of the old Smokey and the Bandit of movies). We loved the fish out of water collision of East Coast debutante and Southern racers, and a character who never had to work for herself who finds an unlikely outlet for her energies and dreams. That was our first major sale when it was purchased by New Line, and that’s what got us into the Writers Guild.

How important is pitching (particularly verbal but also written pitches)? I get the impression that you have to do a lot of pitching of completed scripts as well as pitching new ideas. In the UK pitching is more about new ideas, in order to get a script commission. Please could you give a few tips about what’s involved in successful pitching. And a few tips about how to run a pitching meeting successfully.

The fashions are always changing with regard to pitching– one month we’ll hear the studios only want pitches, the next month we’ll hear they only want to read completed screenplays. From the writers perspective a pitch is easier– you’re able to float an idea without the time commitment it would take to write a completed screenplay. Then on the other hand, we’ve occasionally been pulled into situations where a pitch drags on for so long, with producers endlessly “tweaking” aspects of the pitch, that we realize just writing the screenplay could easily have taken less time.

One thing we discovered a few years ago was that having visual aids of any sort changed the dynamic of a pitch, for the better. Especially if you could lay out the tone of the vision you have in your head. That’s when we called on our film school skills and started making short films to illustrate our ideas.

Studio executives are smart and well-read. They come from the best universities, and if you ran into them at a party you’d have fun hanging out, discussing literature or politics. BUT when you’re pitching to them, you need to give them the most salient, fun, interesting points of your story in the most succinct way possible, so that they can then SHARE your idea with their bosses and colleagues. Very few people have the power to say “yes” so you need to give the person you’re pitching to the best tools for adequately discussing your story once you leave the room. We discovered that short films are a great way to accomplish this, and you can check out some of our pitch shorts at the links below. Some sold, some didn’t. But at least we got the chance to put our stories out there and communicate what we had in our heads.

What are the scripts you have written of which you’re most proud? Why have the scripts that have done well for you, worked? Do you see any common elements in your more successful projects? Please can you tell us a bit about the work you’ve done as screenwriters, what excites you, what elements you look for in a story.

We find the scripts that we enjoy writing are also the ones which sell. We’re most proud of our comedy “Diesel Debutante” and also “Model Family” which was a comedy TV pilot sold to 20th Century Fox TV. These ideas to us were strong enough on their own that the drama/character/comedy were all inherent in the basic idea, rather than elements we had to rack our brains over. When we fall in love with an idea, it writes itself, and that fact is so apparent on the page. Characters that are distinctive, with their own unique voice, and a comedic premise which clearly can drive the story forward… that’s what it’s all about. These are the stories that, once we think of them, we MUST write them.

How important is a good agent \ manager for you? What qualities should screenwriters look for in an agent?

Having been at both the big agencies and the smaller ones, in our experience the best representation comes from someone who genuinely appreciates your work, because that passion translates from them to potential buyers, and generally gets the best results. Big agencies are prestigious, and the agents there savvy and tied in, although that may not necessarily translate into anything specific, while a smart insightful rep at a smaller agency can move mountains if in love with the material. It really is about who “gets” you.

Do you have suggestions for new screenwriters just starting out about how to go about learning the craft of screenwriting – any drills or good practices you’d recommend?; any books in particular they should be reading? Do you think screenwriting classes are a good idea in principle?

We like the book series “Save the Cat”– it’s all very practical (and accurate) info written by a writer who sold material relatively recently and his advice seems very in tune with the market. As far as classes we would say stay away from any classes except for Philip’s and ours Just kidding. Classes can be good, but try to take classes that have an eye towards the marketplace, because ultimately the goal is to get one’s work sold. Sorry if that sounds crass, but it is the reality of developing a career as a screenwriter.

By the way, we should mention we met Philip in Singapore when we were all teaching classes there. With so few natural resources the Singaporean government has a major stake in developing its human capital, a smart move which acknowledges that screenwriting is not something you necessarily succeed at overnight… it takes an investment of time, energy, time, mindpower, time, talent, time, etc.

Please can you tell us a little about your teaching work, and perhaps discuss how your teaching and writing feed each other. What do you learn for your writing from helping other writers?

Teaching is great because as much as we preach the importance of good structure, we will still forget to employ it, and the classes we teach remind us of what to emphasize in our own work. Oh yeah, our main character still doesn’t have a well-defined arc. Or, that dialogue absolutely sucks. As teachers, we often see in the missteps our students take the same missteps we take daily. It’s nice to feel insightful and all-seeing as an instructor (as writers, ego boosts are few and far between). But it’s easy to be insightful with someone else’s work. Teaching helps us improve our own writing immeasurably, reinforcing the tools in the writer’s tool box.

Feel free to check out these links of pitch trailers we’ve done:

“MODEL FAMILY”

In a family of perfect supermodels, it’s hard to be the ugly duckling.. (Fox TV)

http://vimeo.com/14906301

“COMMON LAW”

A woman on the verge of marrying Mr. Perfect discovers she’s accidentally already married to the slacker she let live in her basement the past seven years.

http://www.funnyordie.com/videos/aff2c9ae16

“THE GENERAL”

When a tough 3-star General gets fired and returns to civilian life, he takes on a new challenge: to get his son a girlfriend.

http://vimeo.com/15135318

“SKATING THROUGH LIFE” with Michelle Kwan

Can a beautiful, smart ice skating champ navigate the world of endorsements, charity, diplomacy, and training–and carve out a normal life to boot?

http://vimeo.com/5321647

http://www.hallmarkchannelpress.com/PageList/PressReleaseDetails.aspx?ID=365&PageID=116

If you have any follow-up questions for Brian & Gregg, please send them to me through the website or via email and I will ask them to respond…

A quick reminder – our Feb 4th & 5th London screenwriting course, ‘The Authoritative Guide To Writing & Selling A Great Screenplay’ is only a week or so away and very nearly sold out. Book now if you want to attend.

Followed by ‘How To Give A Great Pitch’ London March 10th and…

‘The Authoritative Guide To Writing And Selling A Great Script’ in Belfast March 24th & 25th.

http://www.screenwritinggoldmine.com/screenwriting-workshops

All the best

Phil

Phil Shelley

January  27th 2012

]]> http://www.script-consultant.co.uk/2012/01/27/screenwriter-interview-brian-sawyer-gregg-rossen/feed/ 0 http://www.script-consultant.co.uk/2011/10/11/phil-gladwin-interview-glasgow-screenwriting/ http://www.script-consultant.co.uk/2011/10/11/phil-gladwin-interview-glasgow-screenwriting/#comments Tue, 11 Oct 2011 11:21:05 +0000 admin http://www.script-consultant.co.uk/?p=304

INTERVIEW WITH SCREENWRITER PHIL GLADWIN

I first met screenwriter Phil Gladwin when we worked briefly together as script editors in the BBC Drama Series Department in the late 1990’s.

Even then Phil’s ambition was to write for the screen and he has since gone onto work on a number of the UK’s top TV shows, as well as writing for theatre and radio. His credits include The Sarah-Jane Adventures, The Bill, Casualty and Trial & Retribution.

We teamed up recently when Phil came to talk to writers on the first Channel 4 screenwriting course; and since then we have run two weekend screenwriting courses together in London; and are running another in Glasgow on the weekend of Nov 12^th & 13^th.

http://www.screenwritinggoldmine.com/workshops-and-seminars

Q: Phil, What were your earliest influences – the shows, films, books, whatever, that inspired you into wanting to become a screenwriter?

As long as I can remember I just liked the physical process of writing. I remember being round at a friend’s house with my family when I was about 8, and finding an old typewriter. While everyone else was running around playing I spent a good hour copying out a newspaper article, finding each letter as I went, and being somehow deeply thrilled by the process. The first thing I actually wrote was a direct copy of a funny poem in a comic. I showed it to my mum and insisted it was all my own work. I still remember – with some degree of pain – the look on her face as she tried to believe me.

Apart from the obligatory school English essay (weekly agony, 7-9pm on a Sunday evening) I didn’t really try writing again. But I was reading like a monster, literally everything I could find. One summer holiday, aged about 10, I hoovered up a couple of Noddy books, a James Bond book, and Slay-Ride by Dick Francis. Then it was Marvel comics for quite a few wonderful years, (and I know why when I look at some of them now – those Marvel writers had an astonishing gift for muscular storytelling. No fluff there!) alongside all those Victor Gollancz yellow-jacketed science fiction books. I finally came out of that via Ray Bradbury, and then to A Level English where I discovered non-genre stuff could be exciting too. In particular, EM Forster, Shelley, Joyce and TS Eliot – the usual A Level stuff.

When I started writing again I was really more interested in being in bands, so it was all song lyrics for a while. (Neil Young and Bob Dylan were my inspirations there.)

Luckily it didn’t take me long to realise that I had zero musical ability, so then it was short stories. I spent a good 10 years writing science fiction short stories and trying the occasional SF novel – selling about three in the process. It was only when I started to write screenplays that it finally all seemed to make sense.

And only when I got the job at the BBC that I seriously thought it might just be possible to make a living doing this hobby of mine.

Looking back, that’s a very long journey!

Q: So – working as a script editor at the BBC. Was this a deliberate strategy to kick-start your career as a writer?

Yes. Three sales in ten years?? You didn’t have to tell me there was something wrong. Some grave hole in my understanding. And I knew that without filling that hole I’d probably never get any further. I thought I wasn’t going to get any better training than I would receive at the BBC. If I couldn’t make it as a writer after working there then, well…

Q:…And how useful to you was your work as a script editor for your subsequent screenwriting career – both in terms of the craft and industry contacts?

Vital. Absolutely vital. I spent the first six months there as a Script Reader (like the Writers Room now) and over that time had to summarise perhaps 200 scripts. That discipline of extracting and summarising a story into a half page was the first step towards understanding what a story was. After that I worked on a show about Edwardian nannies called Berkeley Square, and a script editor on that called Suzanne Van De Velde introduced me to the notion of beat sheets, and how by going through a script you could pull out the beat sheets and thereby see the skeleton of the story. A few more years of that kind of pulling stories apart on shows like Bugs, Casualty, and The Bill, and I finally could knew how to write a story that people actually wanted to read!

Q: Do you have any particular tips for new screenwriters trying to break into the industry at the moment?

• Write every day, for at least an hour. Seriously. You’ll only understand the benefit of that once you have been doing it a week. A couple of days off, and you’re dead again. Just try it.
• Brand yourself. You are in a truly competitive market, which is made even harder by the recent cancelling of certain long running shows, and the current tendency of new series to be written by just one or two writers to concentrate the authorial voice. Whatever is unique about you, play on it, don’t hide it, bring it out. I’m not so sure of the value of that online presence re Twitter and so on (though you do want to google well, so get your own domain name etc,) but when you walk into a conference, or a meeting you want people to recognise you, and to know why they recognise you.
• Write at least two great spec scripts. Make sure they are as good as you can get them. Pay a couple of professional script editors to look at them, and if they give you notes that agree, act on those notes.
• Network like crazy – by which I mean attend every industry related event you can find and concentrate on finding people to make friends with.
• Set yourself a clear writing target, find out the people who can hire you for that target, and get to know them, and get your work read by them.
• Be proactive. Marketing yourself is 50% of the job. That never stops. If you don’t like that, you’re not alone. But if you won’t do it, if you think that you can sit in your bedroom and just send your work out, well, that’s like planning your life based on winning the lottery.

Q: When you read a script by a new writer what qualities are you looking for? What makes a script leap off the page, and capture your attention?

Sharp, concise writing. No fluff. Vivid dialogue. Strong characters. A story that kicks in early and keeps on cranking. A powerful, involving opening. And yes, you really, really can tell that some people can’t write after just half a page.

Q: What is the work of which you’re most proud and why?

Transmitted, the Trial and Retribution about the bad Nanny. It seemed to have a powerful emotional effect on a lot of people. There was an episode of the Bill I wrote about death – combining an extended interview with a serial killer (brilliantly played by Hywel Bennett), and a strange vagrant (the wonderful Giles Ford)who was obsessed with killing animals and fancied a policeman next– that I liked in a different way. It was a very dark hour, had a lot of ambition, and I thought it worked pretty well when I saw it.

Q: What is your broad overview of the current UK film & TV industry? What strategies can new writers use to get themselves and their work noticed at the moment?

Things move on, and the reality of it is that Come Dine With Me and the X Factor and all that stuff is what people want to watch. Hell, I want to watch those shows. I’ve been watching a lot of Jonathan Creek lately as research for something I’m speccing up, and it’s clear how far the industry has moved in the last 12 years. If you don’t stay current, and tell stories that in some way reflect the current state of the nation’s sensibility, well, it’s going to be all the harder for you to break in.

Don’t get nostalgic about the way it used to be and spend a year lovingly crafting a Morse tribute, or even a Wire tribute  – take a hard look at what is actually happening NOW, watch CSI, watch The Killing, watch Wallander, watch Spiral, watch Dexter, and Luther and so on, and see how you can move the game forward.

Q: Do you have any tips for new screenwriters trying to sell ideas (as opposed to completed scripts)?

Don’t bother. You’re not going to get listened to.

If you must bother, then write it into a 2 pages pitching summary and get a meeting off the back of that and your two great specs. Work the idea up at the meeting and get the nod to expand that document into five, or ten pages.  If you get paid it probably won’t be for many months, and many pages, but that’s how the game works now, even for very experienced writers. These days you’re basically forced to fund your own development and write a lot for free. (Not so different from when I started then!)

Just a quick reminder about the Glasgow screenwriting course I’m running with Phil G – the £30 ‘early bird’ discount window closes at the of  the week so, if you want to sign up, make sure you beat the deadline!

http://www.screenwritinggoldmine.com/workshops-and-seminars

Currently on CBBC is screenwriter ALISON HUME’s new 13 part series, THE SPARTICLE MYSTERY. This is a really excellent new series from one of British TV’s most exciting and original writers.

ALISON trained at what was then the Northern Film School and the Carlton new writers course before getting her first broadcast credit with a memorably and characteristically hard-hitting  story about paedophilia on ‘The Vice’ (Carlton\ITV). Work since includes the award-winning BEATEN (BBC1) about domestic violence; feature film PURE (dir. Gilles MacKinnon) about drug addiction, her own BBC1 primetime series, ROCKET MAN, starring Robson Green; the much-praised SUMMERHILL (CBBC\BBC3) and much else besides.

I talked to ALISON about the particular challenges of THE SPARTICLE MYSTERY which she executive-produced as well as wrote, and more generally about her career as a screenwriter and advice she has for aspiring screenwriters.

There is so much in here that is of real value and insight to writers, both new and more experienced. Read and enjoy!

Alison Hume – The Sparticle Mystery + A Screenwriter’s Career

You’ve written a lot of both adult and childrens drama. Do you see a distinction between the two? Do you approach each differently?

No, I approach every new project in the same way -  with great excitement slowly turning to self doubt and finally, blind panic. Seriously, good drama is good drama and children are the hardest audience to please.

What was the idea behind the show? What inspired you to write it?

The idea came from the Large Hadron Collider at CERN which is the biggest experiment in the world. There was a lot of media speculation about what might happen when they switched the LHC on and that got me thinking. What would children like to happen? For their parents, carers and the world’s adults to disappear off the face of the earth of course!

How would you describe the show?

William Golding on acid.

You are also part of the production company behind the show. How did you get it commissioned? What is the process you had to go through to get it green-lit by the BBC?

After the success of SUMMERHILL, Stephen Smallwood and I decided to seize the day and pitch the idea ourselves. I was in the bizarre position of being in competition with myself. I was also in contention with a SUMMERHILL spin-off series through Tiger Aspect. The process is treatment, script, bible. I was simultaneously doing both. Tiger Aspect obviously had resources and staff, whereas Sparticles Productions was just Stephen and I. While Tiger were producing glossy submissions, Stephen was running around looking for a photocopier. When we got the phonecall – mine was a one word response beginning with “s” and ending with “t”. Now we had to make it.

Have you enjoyed the experience of being a writer and producer simultaneously? What are the pros and cons of being a producer on a show you’ve also written?

Now I have had three months to scrape myself off the ceiling I can honestly say I have enjoyed the whole experience. It was good to be able to contribute to key areas such as casting, hiring, the look of the show, filming itself and post production. It made a change to be immediately offered a chair on set! The only con I think of is that when I was writing I was self-editing thinking “we can’t afford to do that”, and I had to remind myself that a writer’s job is to push, push, push the ideas.

You share writing credits with two other writers. How did you scout these other writers? Did you read a lot of scripts? How did you find the experience of having other writers working on your show? What qualities were you looking for in writers to write for the show?

Stephen and I read a lot of scripts by children’s writers and got depressed. There’s a lot of dross. I was quite shocked. Debbie Moon’s script stood out as it was obvious she understood children and used humour well. She is also a sci-fi buff, I wanted to mentor a new uncredited female writer.  Jonny Kurzman was a proven writer on MI High. Stephen and I liked his writing – he’s a great “big ideas” person.

How closely did you work with them? Did you enjoy this process?

The three of us worked closely as a team and I ran a series summit in York to kick off the process. During the scripting process we talked weekly by video conference as I wanted Debbie and Jonny to feed into the whole series and not just feel like “guns for hire” on an authored series. We talked through our episodes, asked for help and offered solutions. Jonny also brought one of his many dogs onscreen to cheer us up.

In order to make the series a completely unified “story of the week” plus a complex serial arc-ed “work of art” I ‘overwrote’ Debbie’s and Jonny’s scripts. I didn’t want to at first, but I bit the bullet, and was respectful and brutal at the same time, if that is possible. It felt very lonely sometimes as I was definitely the “keeper of the flame”.

Was the content of the show governed by the budget? How conscious did you have to be of budgetary restrictions when writing?

We had the license fee plus a bit more from our distributor Cake – about three million pounds. I know Stephen had sleepless nights over whether we could actually make this very ambitious series, with an all child cast and shot at various locations in a world where all the adults have disappeared, for the money we had. It is only because he is such an experienced and exceptional producer that we did. He always found a way to deliver the vision.

Do you think differently when writing scenes for children than adults?

When I write for children I try to imagine myself back to the ten year old girl in the garden shed dreaming up weird and wacky worlds. Yes, I had a tragic childhood!

What inspired you initially? What were the film \ TV scripts that you aspired to? How did you first get into screen-writing?

I watched “Band of Gold” by Kay Mellor and finally decided I had to get out of journalism and realise my ambition to be a screenwriter. In 1995 I did a two year Masters in Scriptwriting for Television at Leeds Metropolitan University.

Where \ How did you learn the craft of screen-writing? Is this something you picked up instinctively or was there someone \ something in particular that taught you a lot?

My tutor Brian Dunnigan pushed me to dig deeper and to stop relying on laughs. That’s probably where it all went wrong! I’d write comedy full time if only I was good enough. There isn’t enough laughter in the world, let alone on television

What advice can you give writers starting out about learning the craft?

Become an expert in your chosen field. It’s a profession like any other. I learnt most from being a sad, film geek and watching everything, and I mean everything, new on television. When writers tell me they don’t watch much TV I know they won’t make it. I dissect great television and try to learn from it. Once a week I see a film with my girlfriends and we discuss it over a drink. It doesn’t matter what film it is. It made it to the big screen and there’s always something I learn, even how to survive in the Bolivian jungle with a bunch of donkeys and a headscarf (CHE 2). I fed that film right back into THE SPARTICLE MYSTERY (Episode 8 “The Unsuitables”)

How did you first break into film \ television? What were your first experiences of contact with industry professionals?

After my Masters degree I was accepted onto the Carlton New Writers course. From this I got my first idea into development, but it wasn’t picked up by the Network. Neither was the second or the third but I kept at it, and finally got hired to write an episode of THE VICE. My first experiences with industry professionals were good. People wanted me to succeed. It’s a hard, shitty industry at times, but some of the people in it are diamonds.

How do you feel about the whole process of redrafting, responding to notes?

I don’t think there is enough redrafting. Too much television is made from scripts that need to go through more drafts in my opinion. I hate hearing laziness on screen. Great writing arrives in the redrafting. Good notes get you there quicker. Prescriptive notes with no solutions mire you in the mud of self-doubt and general despair where being a check-out operator is the new job of choice, but there is only ever one solution, to write yourself out of it and back into the daylight.

What is your experience of working with script editors, producers, directors, executive producers etc?

I have only had one bad experience. This was with a script editor who had no sense of humour on a comedy drama. I have turned down a lot of work “in the bearpits” to concentrate on developing original work. This has protected me from the darker side of the profession.

How did you get an agent? What does your agent do for you? What should a writer look for in an agent? What expectations should a writer have of their agent?

My agent was recommended to me by a script editor who liked my work. Before that I was turned down by at least five, so I gave up, and negotiated my first contract myself. A writer needs an experienced, savvy agent who loves their writing, understands their ambitions and lifestyle, and is prepared to go into battle on their behalf. My agent Rochelle Stevens has been instrumental in developing my career path and earning potential. She’s a friend too. I’m lucky.

What have you learnt over your professional experiences, script commissions? What do you do differently now to when you started writing?

If you put in the hours, the weeks, the months and the years you get better. I am ruthless with my time. I have to be. I have three young children. I don’t have time for writer’s block. I pay too much in childcare to waste time. I sit down and I write. Sometimes it’s rubbish but at least I’m writing. I have always done my own research and lots of it. After THE SPARTICLE MYSTERY I am a mini expert in particle physics. If anything I do more research for children’s drama. Children smell a fake in a jiffy. These days I can afford a warm blanket for my knees when writing through the night and a better bottle of wine to celebrate when the first draft is finished

Do you often have more than one project on the go? How do you find juggling more than one project at a time?

I only ever have one greenlit project on the go at a time because I can’t do more than one to the standard I demand of myself and be a good enough mum at the same time. I do have several projects in development though. I have more ideas than I can develop. I keep them all in a shoebox under the bed.

What tips do you have for writers trying to sell new ideas and scripts?

If it’s a film – would you pay to see it at the cinema when it’s cold and raining ? I wrote one of those once and a man and a dog saw it. If it’s telly, how tight is the premise? Does it have a clear concept? Calling card scripts should be personally handed over if at all possible by someone who knows you and likes your work. Very hard when you are just starting out but networking is really important. In every town in the UK will be someone who works in the industry who will know someone who knows someone. You need to find them and get them to read your work.

My main advice is to never give up. Most people do, and if you don’t and you’ve got a modicum of talent, you’re already on your way to success. Then work your arse off. And then some.

Thank you so much Alison – great stuff!

Philip Shelley

script-consultant.co.uk

March 2011

** Find out more about Alison and her production company  at http://www.sparticlesproductions.com/

This week’s interviewee is the British screen writer ASHLEY PHAROAH. Ashley has a fantastic track record in UK TV drama and is originator of some of the best and most successful TV drama of recent years – not least LIFE ON MARS and  ASHES TO ASHES.

Here Ashley talks about many of the shows he has worked on with many invaluable tips for screenwriters at any stage of their careers…

- What inspired you? How did you first get into screen-writing?

I was one of those strange children who always knew what they wanted to do. I remember when I was 8 and writing in my diary that I was going to be a writer when I grew up – either that or play rugby for England. To be honest, the latter was looking far more likely for a time.

- Where \ How did you learn the craft of screen-writing? Is this something you picked up instinctively or was there someone \ something in particular that taught you a lot?

I sort of stumbled into screenwriting. I always assumed I’d be a novelist or a poet or a journalist. I’m from a small town in Somerset and the idea of writing films or TV just never entered my head. Then, when I was at University, I listened to a lot of Radio 4 plays and thought I’d give it a go. I knew nothing about scripts or how to format them. But I obviously had some sort of instinct for story structure. I sold that play to the BBC. And then a friend was reading a movie magazine and pointed out there was a place called The National Film School where you could train to be a screenwriter. I’d found my place in the world.

Am I right in thinking your first TV job was on Eastenders? What did you learn and gain from writing on the show? What are the pros and cons of writing on continuing series like Eastenders?

After a few years writing low-budget movies that never got made I found myself at Elstree, writing for EASTENDERS. I think I was there, on and off, for about three years in the end. I learnt a lot about writing in a team, about story-lining, about actors. It was a very happy time in my life. I know there remains a residual snobbery about writing for soaps but it’s not shared by me. I sometimes come across new writers who say they only want to write their own stuff or movies or whatever. And I say – Tony Jordan; Russell T Davies; Jimmy McGovern; Matthew Graham; Paul Abbott…
Of course, writing soaps is a specific sort of screenwriting and some of the habits picked up there need to be “unlearnt” when you leave. Like characters not being in consecutive scenes; like remembering it’s “show, not tell”, rather than the other way around!

It would be good to touch on a career progression from writing episodes on continuing series to writing on new series and then creating your own series and original shows.

I suppose my writing career has a very traditional curve. I started on EASTENDERS, then wrote for CASUALTY. Then crossed from multi-cam to film, quite a big gap in the 1990’s, to write the first series of SILENT WITNESS. Then I got to create my own show – WHERE THE HEART IS – for ITV. That was a long-running hit and meant that I was in demand to create long-running series. DOWN TO EARTH; PARADISE HEIGHTS; LIFE SUPPORT; LIFE ON MARS; BONEKICKERS; ASHES TO ASHES; WILD AT HEART… I feel tired just reading the list! I’ve also done some adaptations – TOM BROWN’S SCHOOLDAYS and UNDER THE GREENWOOD TREE, both of which were wonderful to write.

How do you feel about the whole process of redrafting, responding to notes?

Notes never get easier, alas. When I was starting out I was so grateful to have a job that I did EVERY note, good, bad or indifferent! I’m a bit more confident now and will fight my corner if I need to. But I also know it’s a collaborative process and I’m never too proud to incorporate good ideas from other people. But there are a lot of notes these days – script-editors; producers; executive producers; directors; broadcasters; actors. It just comes with the job.

What is your experience of working with script editors, producers, directors, executive producers etc?

On the whole it’s been very enriching and I feel I’ve been lucky to work with some brilliant people. Every now and again it can get frustrating, obviously, which is why it’s so important that you all share the vision for the show. That way it should always be about quality and not ego.

How did you get an agent? What expectations should a writer have of their agent?

I’ve been with the same agent all my career. She saw my graduation film from The National Film School and liked it. It’s been a very important relationship in my life. In the early days my agent steered my career, towards good people. She was never interested in making a quick buck, but always saw the career as a thing in itself.

Do you often have more than one project on the go? How do you find juggling more than one project at a time?

I’m a terror for having a lot of things on the go at one time – I’ve always been a bit like that. At the moment I’m in pre-production on a new ITV series; I’m in post-production on a BBC show; watching edits of WILD AT HEART episodes; I owe a movie script; there’s this novel idea that keeps murmuring to me; I’ve been sent several novels with a view to adapt etc etc. I like a little chaos and fear, it keeps me on my toes.

When you’re thinking about new ideas, in particular new series ideas, are there elements you are always looking for? What sort of ideas appeal to you as a writer?

When I’m considering a new series the prime question is… has it got legs? Is there enough conflict in the pitch that it could still be sparking in 3 years, or 6 or 10. So WILD AT HEART is about a slightly dysfunctional family trying to survive in the African bush. That could go on for ever, as all families generate endless story. LIFE ON MARS… a rough, instinctive cop forced together with a smooth, techno cop. Endless conflict.

How much do you look at the market, what broadcasters may be looking for? Or do you just pitch \ write what you feel passionately about writing?

I tend to develop ideas that I’m really interested in, rather than chase markets or slots. But I’ve been doing this a long time so I’ve probably got commercial instincts, now. Writers can waste a lot of time and energy trying to double-guess broadcasters and audiences. I just write what I want to write and hope to hell I can persuade someone to make it. But I’m also in the fortunate position of broadcasters telling me the areas they might be looking at, the gaps they perceive in their output.

And particularly, based on things you have talked about on the BBC script editing courses, it sounds like you like to do a  lot of prep work in terms of treatments, structuring etc before writing the script – please could you tell us something about this, how you like to work and why you like to work this way.

I’m a very lazy writer and I can’t stand doing lots of drafts so I tend to work very hard on treatments etc. I spend a lot of time moving cards around on my kitchen table, finding the structure. In some ways it’s my favourite part of the creative process. Then I’ll write up a treatment, which I’ll do several drafts off, until everyone is happy. In some ways the script is just about adding dialogue. I know some writers love the terror of just starting with a blank page but I’m not built that way. I like the safety-net of a structure that I know works. Doesn’t mean I don’t go off on tangents or change things but I know the net is always there!

AND it would be really good to know something about your trip to the US last year, about the meetings you had, the projects you worked on, how the business is different over there, how you found the screenwriting culture over there as someone used to the UK TV and film culture??

I spent a very happy summer in Los Angeles last year, pitching and finally writing a pilot, for ABC. It’s very different from the UK. More pressurised, more serious. But the writer is given a lot of respect as they are also meant to “show-run” – to produce. The biggest difference was that it felt a little less collaborative, at least in development. The network would tell you what they didn’t like but there was no real dialogue as there is with the best of the British commissioners, like Ben Stephenson and Laura Mackie. But I suspect it’s just different, not better or worse, and it’s exciting being in a city where THE industry is your industry. And the sun shines.

A big THANK YOU to Ashley for taking the time to answer these questions!

Philip Shelley

script-consultant

Jan 31st 2011

Hugely successful TV screenwriter TONY MCHALE, who has written on so many of the top UK TV drama shows of the last 20 years, answers my questions about his career, the state of the industry and tips for new writers. Tony is passionate about the industry and writing and I’m sure you’ll agree his passion shines through in what he has to say here. Thank you very much Tony! And I hope you all enjoy this interview…

Why did you want to write for the screen originally? What films \ TV shows inspired you?

I started life as an actor, although I always did write. This was in the 60’s and there wasn’t the plethora of media degrees, writing courses etc. The idea of earning a living out of acting seemed a crazy notion to relatives and the majority of my friends. It was the era of –  you should get a steady job – being an actor was just pie in the sky.  Being a writer … there was more chance of being an astronaut, or at least that’s what was drummed into me.  So despite being part of the first real generation of TV viewers, it was the stage that I was trained for and therefore what I knew most about. I was from my early teens an avid reader of plays and I believe, although I have never formally trained as a writer, this is where I subconsciously learnt about structure, character and dialogue.  As an actor in the early 70’s I worked, as most young actors did at the time primarily in theatre, so I wrote plays for the stage. Then when I started acting on television, a few years into my acting career, I started reading more and more TV scripts and started to understand the nature of TV writing, so I decided to try and write for the television. So basically I believe I have always been a writer and my move to wanting to write for the screen was when I started to appreciate and understand what that entailed.  Not necessarily the art of selling TV scripts, but the actual art of writing them. I have always believed that story is the ‘god’ of writing. If the story isn’t strong enough, then for me you have nothing. The art of telling story on the TV is different to the art of telling a story on the stage or radio or even film. But primarily the main thing is to have a good story in the first place.

The TV that inspired and certainly made me want to write for the small screen were the early Dennis Potter plays, Tony Garnett and Ken Loach’s work on The Wednesday Play, but I also loved Z Cars, Softly Softly, The Avengers, The Prisoner (the original series) then into the 70’s Trevor Preston’s Out and Fox.  As for films … the first film I ever saw was Moby Dick … and I thought it amazing … I was five or six it made a huge expression on me. Much later the films that have had a lasting impression on me are Godfather 1 and 2, Apocalypse Now, Chinatown, Blade Runner, Casablanca, Psycho and more recently The Usual Suspects. As you see my taste is very mainstream.

How did you get into writing and then the TV drama business?

As I mentioned above I always did write, but when I started working as an actor on TV I started writing TV scripts on spec. I was always a lover of thrillers, so I did tend to write that genre, although I did have a go at series ideas … a couple of cop shows I remember. None of these were snapped up, in fact they were mainly returned with polite letters.  What I didn’t realise was that although these were being rejected I was actually building up some kind of relationship with various people at various TV companies, albeit a relationship built on rejected scripts. Eventually I received a phone call and was asked to go in for a meeting about one of my thrillers called Dog In The Dark.  This led to a commission and a huge learning curve. But it was the start of my career as a screenwriter. It gave me an agent and also paid me, even though the script was never made.

What sort of shows have you worked on?

Over the years I have worked on practically every type of drama show on TV.  From EastEnders to Silent Witness, from The Bill to Dalziel and Pascoe.  But I’ve also done shows like Perfect Scoundrels, All Change (a comedy drama for kids) Boon and my own serials like Headless and Resort To Murder.

What have been your most enjoyable shows to work on and why?

It’s always nice to work on original shows, but I think each show probably has it high and low points.  EastEnders at the very beginning was a terrific show to work on, but I’ve had some great times on shows like Waking The Dead, Silent Witness and Holby, plus lots more. It’s really to do with the set up of the show, the material that is on offer and the people you’re working with. Naturally being a writer you have your own ideas, so if those somehow match up to the ideas of the producer/script editor, then it really helps.  But it’s not always the case.  Compromise is something you have to learn to handle … but it’s not always easy.

What scripts are you proudest of and why?

I was very proud of the scripts I wrote for Resort To Murder.  I thought they were inventive and the world was new and seriously on the edge.  My agent at the time said they were director proof, but that unfortunately was proved not to be the case.  It turned out to be quite a saga, which I think I should save for another day. There was a radio play I wrote a trillion years ago called No Get Out Clause, which I also loved. It was about a father and his daughter and how he was trying to deal with her drug problem. It played with time and I loved the way the piece wasn’t clear-cut. It wasn’t neat and tidy. More recently I did a Christmas episode for Holby called ‘Elliot’s Wonderful Life.’ It was an idea I had years ago that I couldn’t persuade anybody to go with, which was to take a regular character from an on going drama and give them the Frank Capra treatment. I thought Elliot was the perfect character for the idea and I was really thrilled with the outcome.  Also on Holby we did an assisted suicide story, way before anybody did one, it was Elliot’s wife who went to Switzerland … just thought it was done really well and I was pleased with the script … it was one of those that just wrote itself.

What have you been working on most recently and what are you working on next?

I’ve just finished a Holby script, but I’m normally working on a number of projects at a time.  So here goes  - there’s Bloodbath The Musical (check out the website www.bloodbaththemusical.com), Siphonheads, a new project for the internet, The Little Black Fat Pussy Cat a new stage play, Network, a new radio play commissioned for Radio 4, Adam Adamant a revamped version of the 60’s cult classic and a further half dozen or so treatments that are out there trying to tickle someone’s interest.

What advice would you have for budding writers starting out in the business now?

I know it’s a cliché … but writers write. What this will do is help you improve and also hone your skills and if you seriously believe you have a talent, then perseverance is the name of the game. You must keep going and try to get enjoyment out of the process of writing.  Also don’t put all your eggs in one basket. Keep coming up with new ideas … and keep writing.

Is it important to have a good agent? What qualities should you look for in an agent?

A good agent can open doors for you, but they can’t write scripts for you. Yes it’s important to have an agent who believes in you. As for what you should look for in an agent it’s difficult to pin point.  Firstly if you’re starting out just get an agent, it’s always better to have someone else in your camp than nobody. Then it’s about developing a relationship with that agent. Personally I need to like the people that are involved in my career, so that’s something I would look for. Then if they’re getting you meetings, it’s really down to you.

What qualities do you need to succeed as a writer in TV drama?

If I might just look at this question in a slightly different way, what I think is lacking a lot in new writers today is passion.  They say they have passion because they get upset when someone changes a word or a comma, that’s being precious, not passionate. I believe the problem with degree courses and media courses is it gives people an outlook on the industry similar to the outlook someone joining the civil service has.  This isn’t helped by the way the industry is now structured. You start at this point, then you move up to the next grade.  It’s like some progression through a factory – very wrong and not very creative. Writing should not be about achieving grades or how much cash you earn. The cash is a great by-product, don’t get me wrong I love it, but it shouldn’t be your driving force.  If it comes great … if it doesn’t do what you want to do which should be to write. Which brings me back to perseverance and compromise … both are essential if you want to succeed.

What tips do you have for writers trying to sell new ideas and scripts?

It seems obvious, but make sure the treatment or the script is the best it can be.  If you’re a totally new writer then I would send scripts. People will need to see if you can write or not.   Treatments are hard to sell even for established writers, which is why book adaptations are quite a good bet. They know what they’re getting. Other than that, listen to what the criticisms are and use them to fire off your next idea.

What tips do you have for writers to survive and flourish in the industry?

Try and enjoy writing and try not to take things personally. I know that’s difficult because the work is and should be personal, but there are so many factors involved in why things are or are not made.  If you do write on the continuing shows, then remember we can’t all write everything.  Not every show will be suitable for you. Try and find the ones that are.  Whoever you are there will be good times and bad times, you will work with people you respect and people who you believe to be idiots … again it’s not personal, it’s the way it is. When you fight your corner, make sure it’s a fight that’s worth having. Don’t close your mind to other people’s ideas, they could be good ones.  And remember in British TV the Producer calls the shots … again it’s just the way it is.

Perhaps you could us a little about your spell as executive producer of HOLBY, how you enjoyed it, what the job involved, and more broadly how you see writer’s roles changing in the future in terms of the showrunner or exec prod roles.

The four years I spent on Holby as exec were both fantastic and fascinating. I learnt so much and enjoyed the process. It was the nearest I believe the UK has come to the American showrunner.  I was ultimately responsible for all aspects of the show, because I also held the title of story consultant.  Therefore I had final say on everything from storyline to casting, from set design to editing, from directing to make up.  Of course the Americans are not doing fifty-two hours a year, so I think you can only carry on in that capacity for so long before you need a break. It literally was 24/7.  The only thing I didn’t do, which is what the American showrunners do is re-write. It would certainly have been easier at times if I could have done, but that’s not how we operate in this country and until that changes then I can’t ever see us adopting fully the American style showrunner.  Also I think the idea appeals to a lot of writers, but I’m not sure if they were to actually do the job it would be as appealing.  Along with the nice side of the job, come quite unpleasant tasks and also some quite boring tasks. I personally would love to run another show, for me it was a great opportunity and a terrific experience, but I think we’ve got quite a way to go before it becomes the norm in this country.

TONY MCHALE

——–

Philip Shelley

script-consultant

Dec 8th 2010

DAMIAN WAYLING INTERVIEW

Damian is a writer whom I first met when he was on the Carlton new writers course some years ago. It was clear then that he had real talent – a highly original, distinctive voice, and strong story-telling instinct. He has gone on to have the success his talents and dedication deserve and here are his thoughts on various matters connected to screenwriting…

Why did you want to write for the screen originally? What films \ TV shows inspired you?

I wanted to write for the screen because… I’m not sure I know. I loved the dialogue heavy films of Billy Wilder, all those sharp pulp-noir movies, and Preston Sturges and Ben Hecht screwball comedies – so I suppose I wanted to write that kind of crackling dialogue delivered by smart people. I still do, but now I also know that the most powerful moments in movies usually have no dialogue.

How did you get into the TV drama business?

By degrees. I worked as a graphic designer doing record sleeves for pop bands before getting a job working on a TV show. The show was Network 7 – a youth current-affairs show produced by Janet Street-Porter. Lots of people in TV started there. One of them, Eric Harwood, formed a documentary company and my first writing work was on programme proposals for him. Then he was surprised to find himself a producer on a TV drama for Channel Television. It was set on Jersey – lots of kids arrive and get jobs for the summer. The scripts were by a very experienced Coronation Street writer and were very bad. Lots of Famous Five style plotting. Eric knew I was ‘trying to write’ and asked me to help him rewrite them. We locked ourselves in a room and produced six half-hours in about three weeks. The Exec Producer weighed them in his hand and said ‘yeah, they feel about right’. What we wrote got shot, and that’s the way I thought it went. It’s never happened that way since. One of the cast was Tom Ward in his first role. I’m currently writing for him on Silent Witness.
After that I found an agent, who I still have. There were a number of false starts on shows like Casualty and Peak Practice before I finally got my first screen credit on The Bill.

What sort of shows have you worked on?

Lots of crime shows – The Bill, Waking The Dead, Trial & Retribution, Silent Witness. I suppose you get known for something and get approached for more of the same. But that’s ok, crime shows are not really about crime they’re about the things that led to the crime: love, hate, revenge, fear, lust, greed – all the universals.

What have been your most enjoyable shows to work on and why?

More recently I’ve done more non-crime scripts. One was for a BBC series that was about to be made when the US co-production money fell away. It’s a contemporary remake of Vanity Fair. Nobody gets murdered and it was a pleasure to write. It was a semi-adaptation and there was always the book to lean on when things got tricky. I hope it will get made. Another is Garrow’s Law – an 18th century legal drama. It’s ‘law’ rather than ‘crime’ and the legal and period language was a pleasure to play with. The story was based on an actual treason trial and there were hundreds of pages of transcript to read. I think I managed to do it justice, fit in a B story and keep the love interest going – all in a fifty-seven minute script!

What scripts are you proudest of and why?

The Garrow’s law script came out pretty well. There were three writers on the series and we were all cautioned by a very good script executive, Hilary Norrish, to be careful not to write ‘period drama scenes’. An excellent warning.
I also developed a project some time ago with a producer who has since become a friend. The notion was ‘the English MASH’ set in 1940 when it seemed inevitable that German troops would sweep across the Channel. Lots of the country houses of England were requisitioned and turned into Emergency Medical Services Hospitals. The lady of the house would look after the interests of the nursing staff, the army would run the place and between them treat the flow of wounded.
It’s a period that’s always interested me and I did a lot reading before sitting down to write a pilot episode. It came out very well and it always gets a very positive response when it’s sent out as a writing sample. Nobody’s yet done anything so rash as say they want to make the series!

What have you been working on most recently and what are you working on next?

Currently writing for Silent Witness. It’s a death in custody story and has a go at the IPCC. After that I have to write a draft of a film script that I seem to have been working on since I was a teenager. It’s a revenge thriller with a backstory set twenty years ago. It’s been picked up more times than Amy Winehouse. I’m swapping lots of emails with the producers about the ending, but it’s a great story and the script is in the best shape it’s ever been – so I will deliver the best draft I can and they’ll go out and try and sell it.
Apart from that I’m trying to get ‘a number of original projects’ made.

What advice would you have for budding writers starting out in the business now?

Be patient, but not too patient. Remember you’re involved in a trade – you’re trading what you can do – write – for what the producer has – money. That should put you on an equal footing. Don’t walk away from a script meeting with a story you’re not excited by. Don’t assume your script editor is either always right or always wrong.

Is it important to have a good agent? What qualities should you look for in an agent?

Yes it is, but the problem is defining ‘good’. I only have experience of my agent, who is terrific, and stories from other writers about theirs. I’m with a relatively small agency and quite happy about that. I would worry about getting lost in the list in some of the bigger outfits.

What qualities do you need to succeed as a writer in TV drama?

Hmmm. An absence of preciousness about your scripts is a good start. Build them with love and care, but be prepared to rebuild them – a lot.
An ability to empathise with all the characters in your stories – even, possibly especially, the bad guys, losers and monsters.
I know some very sociable people who are successful screenwriters, but not many. My appetite for socialising is satisfied fairly easily. Which is just as well because the job involves spending long hours in your own company. I envy writing teams, but don’t think I could make that work.
If you have curiosity you’ll find story possibilities in lots of places.
You need persistence in the face of apparently irrational and ill-considered rejection.
An enthusiasm for watching good TV drama.
Some talent…

Philip Shelley
script-consultant.co.uk
Oct 7th 2009

TERRY CAFOLLA is one of the most talented screenwriters working in British TV drama today. As you’ll see from this interview, his talent is driven by a passion for his craft, and the awareness that as a writer you never stop learning. I first met Terry when he was on the Carlton screenwriters course. We worked together on a wonderful crime drama script set in Belfast, and he has since gone onto have the successful career he deserves, with credits on shows such as  Messiah and the new UK version of  Law & Order, which will be hitting our screens shortly. There are many gems in this interview for budding and more experienced screenwriters. Enjoy!

- What inspired you? How did you first get into screen-writing?

Television has always been a massive part of my life. As a kid I remember watching shows like Roots, The JFK story. Star Trek. The Rockford Files, Rockcliff’s Babies. The Twilight Zone. My folks had great taste. But the telly in the corner wasn’t on constantly – everything in my house was appointment TV, so TV felt special.

Growing up, writing for TV never seemed an option for somebody from Armagh. Writing seemed a bit alien to honest. I began by writing poetry. Short lines. Short thoughts. That’s me all over. This really, I mean really bad poetry coincided around the time that shows like NYPD Blue and Homicide started on telly here. American TV drama was what I fell in love with and it was the American shows I turned to to learn from …. Previously I had always been a viewer, those shows made me want to write for them. NYPD could bring me to floods of tears. I remember thinking – I want to be able to move people like that. These were the first shows that felt authentic about life to me. Those shows opened my eyes to other home grown drama such as Cops, The Grass Arena and Cracker.

- Where \ How did you learn the craft of screen-writing?

Well first off, to go all writerly and picky on you, I still haven’t learnt the craft of screenwriting, (a few directors and editors will nod vigorously in agreement) Learning is an ongoing process. I’m still learning and probably always will be. The trick is to work with people better than yourself, so that you push yourself. I’ve been doing this as a job now for a few years and still got the best bit of advice I ever had from a writer just a few months ago – drama is light and darkness, and the darkness has to be earned. I started learning by watching TV. Studying it and then trying to apply what I learnt across to my own writing. Structure is my god. Still is. In particular the American TV one hour format. Even now the thought of writing 90 mins or 120 scares the crap out of me. But 12-15 mins per act leading to reveal/twist, that I can just about do.

OK I’m going to sound like a real nerd now and badly in need of a life, but this is what I did and this is what I still do on a regular basis. I watch an episode of something I enjoy, I break it down scene by scene, then within the scene, I break it down beat by beat. I do an outline based on it. I write up an outline as though I’d written it. It’s not procrastination its work – honest. When I like a show I break it down to see how it works, what choices were made.

- What advice can you give writers starting out about learning the craft?

As well as the answer to the previous question, watch TV. Listen to commentaries. Joss Whedon. David Milch. David Simon. Tim Minear. Jane Espenson. David Chase. Go listen to their commentaries. Read the scripts. There are websites where you can download the original scripts. Why they make the choices they did? Second, write as often as you can. Rewrite more. Then repeat.

- How did you first break into film \ television? What were your first experiences of contact with industry professionals?

My first contact with telly people was the Carlton TV screenwriting course. They had asked for an original or theatre piece. I decided to do a spec NYPD Blue script. I never liked the theatre, still don’t (sorry – but I’d much rather watch telly) The course asked for an original piece and I thought, I’m going to be writing others peoples’ voices for telly, I might as well write something for telly. What’s the worst that could happen? I was called over for an interview. Which was my first lesson. Don’t automatically think you have to give people what they ask for. Give them passion on the page and let the writing speak for itself. Everybody on the course was friendly and it was a huge learning experience for me. Even meeting people from TV and seeing that they took my writing seriously was a big boost.

- How do you feel about the whole process of redrafting, responding to notes?

If you can’t respond to people giving you notes on your outlines and scripts, then this job isn’t for you. TV is far more about rewriting than writing. I rewrite my own script over and over before I hand it to a script editor or producer. Then they give me notes. The thing is not to sit slavish and try to do everything they say. Often times the suggested solution is really about identifying that there’s a problem in the scene, or sequence and if you can go away and figure out how to solve it differently, all the better. Listen, make notes, if you have a solution there and then, speak up otherwise go away and think about it. I have to mull things over and try different things before I find my solutions. I’ve sat in a room with the writers on Law and Order though and every time there’s a problem, one of them will come up with the perfect solution on the spot. It’s quite annoying!!

- What is your experience of working with script editors, producers, directors, executive producers etc?

Television is just like any other job. There are people who are good at their jobs and people who aren’t. I’ve been lucky that when I had to make my break into telly, I was working with good people. The best people tend to be the nicest. And if you can work on the show where the showrunner is a writer, you’re off to a flying start. They know the problems you face, they’ve faced them a thousand times. They fight the same writer battles as you do whether that’s the fear of the blank page or by starting an unexpected phone message by assuring you there’s nothing wrong (writers always expect the worst!)

- How did you get an agent? What does your agent do for you? What should a writer look for in an agent? What expectations should a writer have of their agent?

As a writer, getting an agent should be the last thing on your list. Weirdly you don’t get an agent, they get you, and the way that happens is to write two or three scripts that are the best that you could make them. They should be able to be filmed tomorrow and the only way that happens is to write constantly and rewrite even more . My script from the Carlton course was passed on to an agent.

Agents will try to find you work, especially when you first sign, they’ll send your scripts out and arrange meetings and get you through the door. But getting the job is down to you. With my agent, I’ll go back and let her know if I want anything from her, she’ll get in touch and let me know if someone has been asking whether I’m interested in writing for a particular show.

As an example, I read somewhere that there was a chance of a new series of Law and Order based in the UK. I’ve always been interested in American cop shows so I asked my agent where to go with it. She found out who was involved and got me a meeting. But I had to ask her to do it – she wouldn’t have known I’d want to write for a series. Did she get me the job?? Yes and no. I had to go and meet the exec producers and explain why I should be one of the writers. I love the original and I presume that came across in the meetings.

The agent-writer relationship is like any other relationship, in my experience there’s no one model. Some agents read their clients scripts and give feedback, others don’t, the bottom line is that they are there when you’re in trouble or need help. They’ll deal with all the negotiation about fees and contracts that writers don’t have the skill or the confidence to sort out. My biggest advice when it comes to agents is not to expect them to be mind readers. If you want something from them, ask. The other thing to remember is that you are one of many clients so don’t impose too much on their time.

- Can I ask about money? Do you earn well? Was it hard to make the decision to give up your previous job and commit to writing fulltime? What advice do you give new writers about making this step?

This year, I’m making a comfortable living and will hopefully be able to pay off a chunk of my mortgage and treat myself to a new imac. But last year I barely made enough to scrape by and we survived mostly on my partner’s wage. Money comes in chunks – the outline, the first draft, the acceptance fee and best of all the principal photography fee when something is actually made. Some companies stump up straight away, others will keep you waiting for months. I’m still learning how to manage this. My biggest advice is to always keep something for a dry spell – I never want to be in a position of having to write something just for the money. And to remember you will have to pay income tax so put something aside for this as soon as you get paid!

Personally I’m not a big risk taker and I didn’t leave full time work till I knew I had a commission under my belt and my partner had a permanent job so the mortgage would get paid for a year. If things hadn’t worked out within that year I’d have had to reconsider. I don’t know if I can offer advice to anyone on this, I think you have to figure out what’s right for you.

- What have you learnt over your professional experiences, script commissions? What do you do differently now to when you started writing?

I have never done a job for money. It’s as simple as that. That’s not being snobby. It’s just I don’t want to wake up 3 months into script and not have the passion to go back to the computer screen. I’ve spent time on projects that in the middle of researching I suddenly realize, actually, this isn’t for me. Which is difficult for the people who’ve asked me to look at stuff. But I’d rather walk now than turn in a crap script. When all is said and done all you have to sell is your writing, and you as person who is either easy to work with or is a pain in the neck. I worry about the writing first and foremost.

- What do you do differently now to when you started writing?

Oh don’t get me started. I drive my partner mad with this. I do a thousand things the same and a thousand things differently. I’m so superstitious it is stupid. I’ll use the same types of pen and pads. The same whiteboard markers. If I’m working on two scripts I’ll work in different rooms to get a different head space. What’s the point of that – its all in my head?? Literally and metaphorically. I also love the noise of coffee shops – it becomes wall paper. People complain about the music but I really can’t hear it. I’ll have different coffee shops for different stages. One for thinking, one for outlining, one for writing. Same in the house. My office, the kitchen, the telly room, all have different jobs. I’ll compile a play list. I’ll listen to sad music as I’m writing sad scenes, fast music as I’m writing action scenes. The list is endless and gets more and more ridiculous.

- Do you often have more than one project on the go? How do you find juggling more than one project at a time?

I would say that this has been the hardest thing for me to learn and it is still something that I feel I have yet to fully get the hang of. It’s not bad when I’m moving between outlines on different projects I can spend a morning on one and move onto another in the afternoon. The problem for me is when I hit script stage. I focus to the detriment of everything else – bathing included. I think for me it all goes back to when I started writing I would work on one piece until I thought it was finished before moving on to the next script. This has been my hardest habit to break. I get so involved in the one piece of work, the rest suffers. At first I tried dividing up my projects into days. 3 days on one and 3 on the next, but that didn’t work for me. If I’m working on several projects I allow ideally a fortnight but definitely a week. I envy people who can move from project to project without any loss of quality.

- What advice would you give to writers starting out now?

I’m biased. But I’d say first and foremost, if you don’t love TV, you shouldn’t be working in it. I get annoyed with people who use TV to pay the bills while they work on their films, or walk off a script after they’ve done their requisite drafts and notes. I believe that TV is the best medium for telling stories and I want to work with people who feel the same away about it. Not somebody who treats it as a poor cousin.

I would say to get that first credit you have to do anything. You’ll work your bollocks of and learn loads. This is a job and it is hard work. You have to write, rewrite and rewrite again. If you believe that you’re a natural genius and your first draft will be enough, you’ll be disillusioned. In fact these are the people who you find complaining at writing groups about how producers wouldn’t know talent if it bit them. If you love TV. If you watch it all the time, if you study writing, if you rewrite and rewrite until your work is good enough, you will get found. Good writing always finds its way. Spend time on your scripts, spend time on the craft instead of complaining that people just don’t get your work or worrying about getting an agent. Apparently Dick Wolf has a sign on his desk that says – It’s the writing stupid. Couldn’t agree more.

- What tips do you have for writers trying to sell new ideas and scripts?

Personally I think if you’re a new writer, don’t try to sell new ideas. Get some time under your belt working with people on things they are passionate about and write on your new ideas in your own time. Realistically in TV now you are a lot more likely to get paid to write something that someone else has brought to the table, especially in the early days. But I’d also say choose what you write carefully, make sure there’s something there you can care about passionately or you won’t be able to do a good script. It might be writing on a long running series or it might be writing a one off script that someone else has already had green lit. But the first credit is vital to proving that you can cut it in TV so care about it.

It’s unlikely that you as a new writer will be given a series. Unlikely but not impossible. Of course, I still haven’t had an original series commissioned – so maybe I’m going about it the wrong way!!! But I trust my writing that something will get made one day, BUT as I said, what people say they want might not be what they want, so don’t stop trying.

- What tips do you have for writers to survive and flourish in the industry?

Someone once told me there are two approaches to writing for TV.  You’re either an architect or a builder.  That’s the line I take.  I take both seriously.  If I’m writing on someone else’s show, my job is to help realise the producer or the showrunner’s vision of their show, my job is to make life as easy as possible for them, by giving them a script that is as close as possible to what they want.   Yes there will be creative differences, you make your points, have your say, but at the end of the day, it’s their show.    TV is a team effort.  And I have to find a balance between being a team player and fighting for something in the script that I feel passionate about.    There will always come a point when there is one thing that you will feel can’t be taken from the script.  It’s never dialogue for me, it’s always something to do with theme, or a choice made by a character.  I’ve had to learn to listen carefully to what people are saying to figure out the problem they are trying to identify.  And to ask for time to think about an issue raised, so I can let it settle with me and see whether my concerns are justified.   I’ve been lucky that I’ve worked with some great people who have really helped me with this.  The bottom line is everybody is trying to make the script as good as possible, make the story as tight as possible, and make the characters believable.

Many thanks to Terry for taking time out of his intense writing schedule to do this interview.

CERI MEYRICK is a producer \ script editor with whom I worked at Carlton  TV Drama. Ceri now runs, with John Yorke, the BBC Writers Academy. Here are some answers to questions you may have about BBC Drama in general and the Writers Academy in particular. If you have any questions about the BBC Writers Academy not answered here, let me know and I can forward them to Ceri, and post them here at a later date.

Who are you and what is your experience / background in the business? What are your favourite TV shows / films? And why?

I started my career as a radio trainee for BBC Wales. Since moving to television, have worked as a Script Editor, Producer and Development Exec for the BBC, ITV, various independents, as well as RTE in Ireland. I’ve worked a lot with new writers (with Philip Shelley on the Carlton writers course, for instance) and on series, serials as well as single films.

TV- um- recently-ish – The Street, The Wire, The West Wing, Gavin & Stacey, Holby – when they separated the twins (sob), Spooks, Life on Mars, Battlestar Galatica, Doctor Who – anything with heart really.

Favourite Film – Some Like it Hot – need I say more?

How did you get involved in the writers academy?

I was offered the job of running it when it was in its second year. Didn’t know much about it, but as it meant working with eight new writers every year, I jumped at the chance. It is the most brilliant job and I love it.

How does the writers academy work? What is the process by which writers get chosen for it? How do you find the writers? Is there a link on the BBC website about it?

We advertise for writers to apply – to fill out an application form and submit an original piece of work.  Look out for the ads in Media Guardian, The Stage, Broadcast and on the BBC Jobs Website. There’s also information year round about us (including writers blogs and interviews) on the BBC Writersroom website.

Entry requirements are at least one professional drama commisison – either in TV, radio, theatre or film.

We got about 500 entries this year. Scripts are put through a first sift during which I and a team of readers read the first ten pages of each script – either pass through for a full read or reject. Those that make it through (around 200) are then given two full reads by members of the drama department. We then shortlist that down to thirty people, who I workshop for a day. From there we choose 15 to interview, with a panel consisting of all four Executive Producers from Doctors, Holby, Casualty and EastEnders, John Yorke (Controller of Drama ) and me. We choose eight writers for the course. The whole process takes two and a half months. It’s very thorough, and has to be as I’m always worried a really good piece of work might slip through the net.

What is the profile of the writers you are looking for? What qualities do you look for in the writers you choose?

Above all we’re looking for writers with a strong original voice. It’s not a writers course in the sense that we’re teaching anyone to write – they will already be able to do that better than most. We’re teaching them to free up their voice and use it to create something strong and original within Continuing Drama. They don’t need to be experienced television writers – several theatre and radio writers have done very well on the course. They need to be able to write very strong dialogue, with believable characters, be able to write emotion on the page, and have stories to tell.

What about the good writers who don’t quite make it? Are there any other BBC possibilities for them? What advise would you give them?

We run a mentoring scheme whereby we pair them up with a Script Editor in the Series & Serials side of the department, who will meet them and talk them through their original work. One person got a project off the ground that way last year. In Continuing Drama we also run shorter Shadow Schemes/courses for all four shows and some are given places on those. I try to keep in touch with as many of those shortlisted as possible, and encourage them to apply again the following year. Keep trying – I’d say to them – definitely.

How does the Writers Academy work? What is the process for writers over the duration of the course?
The course itself is thirteen weeks. It consists of lectures in structure from John Yorke, detailed lectures on Continuing shows from the production teams, lectures and talks from writers, directors, producers, actors, casting directors from all over the industry (e.g. Jimmy McGovern, Tony Jordan, Alan Plater, Sarah Phelps, Dearbhla Walsh, Tony McHale, Jed Mercurio, Dominic Minghella, Paul Bradley), practical workshops in script formatting, scheduling, medical research etc… and above all, lots of practical writing exercises. They get an hour’s one-to-one tutorial every week with John Yorke and I. During those weeks they will also write two episodes of Doctors – one of which will be made.

What happens to writers when they come out the other end of the course?

After the thirteen week course, the writers will then go on to write an episode of EastEnders, Casualty and Holby which will take up most of thefollowing nine months. If they do well, they will then get more commissions from those shows. If they do well they will get more work than they can handle.

Can you give some examples of success stories of writers from the first Writers Academy courses?

Twenty four writers so far have graduated. Of those, 22 are still writing for the department, pretty much full time. One graduate from the first year – Mark Catley – is now lead writer on Casualty. 10 graduates have been put on core deals for one or more of the shows, e.g. Matt Evans and Rachel Flowerday are core writers on EastEnders. Daisy Coulam is writing the pilot for the new BBC3 teen show. Ian Kershaw is a corewriter on Holby, but is also writing for Shameless.

AND more generally…

When you read scripts by new writers \ writers you don’t know, what do you look for in a script? Generally what qualities is a script editor looking for in a writer?
To be surprised. To be moved. To be told a story. Wanting to read on to the end to see what happens. Dialogue that sparkles. Characters that you can love. To lose yourself in the script and forget where you are.

What qualities / abilities do writers need to flourish in the world of TV drama?

Self belief. Resiliance. Knowing that your vision is the most important thing. Writing what you want to write and not what you think other people want. A genuine love for television drama.

Who are the writers you rate? Why have they done so well?

Jimmy McGovern, Tony Jordan, David Simon, Aaron Sorkin, Russell T Davies, Paul Haggis. They know what they want to say and they know how to get their own way so they can say it. They know how to get you hooked on their characters so you absolutely can’t leave anything they’ve written until the end.

What are the BBC looking for?

More long running series I believe at the moment.

Could you tell new writers something about the process they will go through in terms of no. of drafts, meetings etc. on an episode of a BBC show like ‘Eastenders ’ or ‘Casualty’?

The EastEnders script process takes about six weeks. You attend a commissioning meeting with the other writers on your block where you are asked to talk about how you will write you episodes and pitch ideas based around the story document you have been given. You then go to first draft and are given notes by your Script Editor. Second draft notes are given from Script editor and Series Producer. Third draft goes to the Executive Producer, and with changes, becomes the production draft.

Thank you very much CERI!

Regards

Philip Shelley

www.script-consultant.co.uk