How long does it take to write a script?

An original spec screenplay, be it for film, TV or a short, is going to be a long-cooker. Audio and stage too. It takes time, if you actually want to create something good and interesting to potential collaborators, producers and companies. Time to create engaging, textured characters, time to create a compelling plot, time to craft great dialogue, everything is time.

So why is this seldom discussed in screenwriting discourse? There's endless debates about act structure, scenes, pacing, character construction and the validity/evil of screenwriting gurus, but why not about how long an average script could take to write? After all, many new writers are writing in spare time/when not at work, so that writing time is precious; cut up further if they are reading books, doing classes or researching. There's also windows of opportunity that are time sensitive: contests, schemes, even when shows might potentially be staffing. Having a reference point, an expectation, is useful.

The obvious answer is it varies depending on medium (a ten mins short versus a 60 mins pilot verses a two hour film) but that comes with caveats: a TV pilot may be a shorter script, but not a shorter project. It doesn't exist on its own, you have to have some kind of treatment/bible explaining where the show will go in 3-100 episodes time. A more useful and clear answer is to break down what goes into writing a script: it's not just the drafts, but all the research, brainstorming, outlining (or improvising, if you swing that way) and rewriting that goes into it. Rather than an abstract, let's think about it as a timeframe for a project.

Each of these steps, in my experience as a writer, can vary wildly. They are, however, usually not a few days long: I don't think it's wise, or healthy, to have one month to write an entire, polished screenplay from scratch. That type of pressure leads to stress and rushing, and in the world of specs, sloppiness is your second biggest enemy (first is writing a boring story). When you're not being paid, ultra-strict deadlines are not something you have to live by. They can be useful for discipline but they, by themselves, do not guarantee a better script: Only putting in the hours can.

So, what's my rough measurement (again, just my experience here)? Anything that is pre-script draft (all of the research and prep work, even if you don't use outlines) could easily be, minimum, two months but that could stretch out further, depending on how elaborate and ambitious you're making your script, and what detail you need to create authentic characters and worlds. Let's say three, for safety and maximum bug-ironing. After that, a vomit/rough draft could easily be done in a few days, maybe only three. After that, however, as you polish and rewrite, it will start to take longer. Usually my rewrites take about two-three weeks for big drafts, and then a week for polishes/tweaks. Bear in mind also I'm not just doing one script: I rotate between different spec projects in a day. Plus, you likely won't be writing continuously: you'll want a few days off here and there to let the most recent draft sit and get some fresh eyes on it.

You also have to factor in time for notes, whether you use a service or just put it up on a group. That could be days or weeks before you get feedback, depending on circumstance. Let's say two weeks as an estimate. And if you've gotten some pretty tough notes that require you dig deep, back to the rewrites you go, sometimes back into outlines and treatments.

So from that, what's a reasonable, minimum estimate for how long a script takes to write to a good standard? Well about six months as a barest of bare minimums, but experience has taught me that sudden swerves, and life circumstances, could easily bring that number up to eight, ten or even twelve months. Now, is that so terrible? You may be frustrated or really desperate to see a return on your hard work, but like it or not, patience is a vital skill for a screenwriter. Letting delusions of grandeur drive you is a surefire way to mess up and feel bitter.

And that, in the end, benefits no one.

New Year, New Articles and a New Schedule

A belated Happy New Year to all! If you're still managing to hold to your new diet or exercise regime, consider yourself a hero - I just don't have the patience.

So, what to expect from the blog in 2023? Well, there will be more screenwriting pieces up this year. I personally think I've focused a lot on the industry angle, and have strayed from talking about craft and offering practical writing advice. While that was part of this blog's goal, as stated before, I do want to share what I've found works for me and what I've learnt over the last few years as I've had to re-adapted to writing after the pandemic left me in a state. I'd also like to review some more screenwriting-related literature I've been reading, and not simply how-to books either.

What may not have escaped more longtime readers of this blog is that the output has sputtered some - the usually bimonthly pieces of past years have trailed off, with bigger and bigger gaps between uploads. Last year, I got swamped with gigs and this year, I have a big slate of specs I'm aiming to get through before the summer. Some in  genres i've not tried before, so that's both exciting and fraught. As a result, regular blogging will have to take a backseat: no way I can juggle this and all that new creative work at the same time. 

HOWEVER, be assured this does not mean you'll have to wait for several months - I will be endeavoring to prepare more pieces in advice and upload, ideally, once a month or so moving forward. Possibly every other month - just have to see. It will come, that I do promise you.

Screenwriting Professionally: 2022 edition

Another year, another time to reflect on the highs and lows of my screenwriting efforts. Some big pushes, some amazing experiences, and some terrible reversals. I was also able to finally travel again after nearly three years of being stuck in London, so huzzah!

I had dubbed 2021 as being 'one step forward and two steps back'. Is that also an apt summary of 2022, per what I just wrote? Well, that'll take a bit longer to explain. No more preamble, let's just go!

Jan-Mar (Winter): 

In past entries, I've written that this is the 'quiet' period of the year for me. Not so this time - a few days in, an email lands in my inbox and BAM, won ITV Original Voices and got to be one of the four placements on Emmerdale. It would be an even split - part done at home, part hauling myself up to Leeds and getting to work in ITV Studios. I got the second slot, meaning my tour of duty would start in March.

Don't think that meant I was slacking off though: I was grinding away a pitch for my episode of Doctors. I had sent a script off to a lovely producer on River City. I also got hired to consult on a children's book about disabilities, being published by none other than Penguin Random House (thank you Laura Henry-Allain). A picture book for little kids and their families, it offered a simple and colourful introduction and guide to disabilities, what they entail and how to make a better world for them. It aimed to be supportive, thoughtful and celebratory - no tragedy or sadness, here!

I wished for so long to have things pep up at the start of a year - well, I got it!

Apr-Jun (Spring):  

Busy busy busy! Emmerdale was a rollercoaster, going from storylining to script editing to finally a trial script. Always on my toes and always new challenges, surrounded by a fantastically helpful team. Those were some lively rooms, with no shortage of jokes (and sweet treats to boost morale!) and I even got to visit the interior sets - the Woolpack, the various houses, the prop room, all very cool.

And if you think that was all on my plate, oh ho ho no! I was doing a long overdue rewrite on the pilot script for Brenda and Effie, aiming to extract more from the wonderfully wacky world of Paul Magrs' unique imagination. River City got back to me in remarkable time, we got chatting and I was eventually able to set up for my own episode (bypassing the shadow scheme used by other soaps). It was frantic and tiring, but you know what? It was also exhilarating. Years of strife and struggle, doubt and fears over my own ability, and here was not one but two major UK dramas validating my ability.

It wasn't all sunshine, however: on top of a string of annoying stomach bugs, I also found Doctors sputtering a bit - there was a change in script editors, which left my pitch needing to undergo more rewrites. To be clear, the new person (or interim, rather) was very nice and helpful, but it was now approaching half a year since I'd been given the go-ahead to do an episode, and still it wasn't moving as I'd have liked it to. In addition, due to the new workload, all work on original specs had to stop, meaning I was now two years without a new spec available for my agent. Still, better money coming in than not.

Jul-Sept (Summer): 

And here comes the not-fun part of this trip down memory lane. I wrapped Brenda & Effie and then dove into River City. Got my first payment for the script, which I proudly showed my folks - I HAD MADE IT! What was meant to be the culmination of my journey thus far, the next step into television drama, however, turned into a crushing defeat. So enraptured in my own desire for success was I, I wasn't taking my notice of my own wellbeing. After three years of no real break or holiday (if I wasn't writing, I was planning or doing some other work), my mind was out of it. I hadn't seen my brother or my nephew in even longer, missing out on seeing him grow up. I wasn't spotting things in my work, and that's when mistakes started happening. Big mistakes.

I wasn't happy - every rewrite just didn't sit right with me. Something was missing, something wasn't clicking. I hadn't got the voice of the show right, even if I was writing passable drama with proper structure. With feedback and deadlines tight, an ability to recalibrate was also not on the cards. I was up at dawn, pounding out words without the passion or fun that should come with the craft. It was monotonous, draining and my desperation to finally conquer a personal milestone was likely all that was keeping me chugging. Until I got the phone call that is.

It hurt. The River City staff were kind and graceful, don't misunderstand, but I was kicking myself. I hadn't seen the problems, and now, it was too late. I made a decision: I had to get out. Get out of London, get out of the UK, just get away from writing for a while. Recharge. Re-evaluate. Clear my head and see what changes needed to be done. So, I joined my family over in Spain for their holiday, met up with my brother (but not my nephew, alas) and took the clean country air. No internet, just food and folks. It was exactly what I had been needing for a long time.

Oct-Dec (Winter again): 

Coming back to the UK (and boy howdy, had things happened in my absence!), I knew what I needed to do: Get my passion back and write original specs. How? By completely upending my writing methodology and routine, taking help from The Organized Writer by Anthony Johnston. A complete rethink of how I scheduled my day and how much work I took on: if I was to make things right and put myself back on track, I needed to work smarter, not harder. Split the day up by projects into short, manageable chunks.

Result: most output I've done in a long time, with stress down and some comprehensive treatments finally written. They currently comprise a cosy crime, a thriller and a teen drama, with some other stuff kicking around. After such a long gap, it feels incredible.

And  that's not all either: been talking to some shows, so see what comes of that; done some more consultation work on the disability book as well as on a children's project. Doctors is still an unknown, though conversations have been happening.

 

'One step forward and two steps back': to answer myself, is it an accurate summary of 2022? I mean, did I really go backwards at all? I am still grateful for the successes I did have, even with my loss. I got right into the beating hearts of major shows and learnt a lot, even revising and changing some of my own methods along the way. I didn't hit my big target, but I hit smaller ones along the way.

Most important, and this is another point I raised in the last recap: I implemented long overdue changes to how I work. It's a shame it took what it took, but I'm glad for it. We can get so buried in our work and dreams that we forget to take a step back and realize that something isn't working anymore. We need to be able to tap the brakes and rejig: even a few days away can do wonders to clean the cobwebs.

What do I want out of 2023? Well aside from the usual of gigs and pay, being able to get the new specs, however they turn out, out into the industry. Variety is not just the spice of life, but also of an artistic career, and I want to get into more exciting and thrilling genres of TV. I know I have more to offer and i want to showcase that. Film? One day perhaps...

PAYMENT AND DOING FREE WORK - Screenwriter's Survival Kit

HERE COMES THE MONEY! Money money money money! 

Hey, you've got to eat and live too, you know: your worth, what you can expect and command, is a vital part of being a professional screenwriter. You deserve to be remunerated for your work and should never take less than what you're worth.

But how do you find out? Can a new writer be worth much? And should said new writer be offering their work for free, for the sake of 'exposure' or 'credit', the two tantalizing carrots that many a filmmaker and aspiring producer dangles.

FIRST, KNOW YOUR WORTH

This one is really easy: The Writer's Guild of Great Britain (and their American counterpart, the WGA) has rate cards for basically every medium - film, radio, TV, games etc. Just go over to their website and there is it, simply find one that matches your project. You might get tripped up by the differing names of the agreements (like BBC, ITV etc.) so if in doubt, and if your project is more on the indie side, just use the PACT rates. They tend to have the most adjustability.

If it's from a legit production company with a bit of branding and cash to their name, then they will usually already have the cash amount sorted in advance (in compliance with the Guild, but double check just to be sure there's no funny business), though they may ask you still. In that case, choose the highest as pertains to the medium of the project (TV, film etc.).

WHAT IF THEY CAN'T PAY?

This is a sticky one, because there are exceptions and particulars to consider. The big one is: do you know the person? 

If they are a good friend or family member and just need help on something, then I say alright. A freebie there is understandable.

If you do not have a pre-existing relationship, if this is someone who is approaching you out of the blue, then it's best to fully suss out the project and do your homework:

• Do they have any sort of online presence?
• Do they have any kind of track record?
• What is their budget range and market?
• How fast do they want turnaround and how long is the project meant to be?

Anything like a full feature film or a TV pilot should be remunerated - that's where I say a flat out NO to free work should be placed. It's a lot of effort to write either of these and you get nothing of substance out of it (and word to the wise, if they offer a 'net percentage' or something post-release as the main pay, that's a no too. Too shady and unreliable).

If it's a web series or short film... first, check out the rates and see what could suit the budget. Talk it through with the person - if they say no, then you have to consider the following: 

• Is the workload worth it? 
• Will it stop you from pursuing anything else in the meantime? 
• Can it be fitted into your schedule and life? 
• Does the person have a game plan for the project? 
• Do they want to take it on festivals, promote, create buzz? 
• How will they do it? 

If they want you to give up your time, the least they can offer in return is professionalism.

YOUR DESPERATION

This is a dangerous siren call - no matter how much it looks like you'll never break in, never leave yourself vulnerable to exploitation. For every scumbag who will screw you hard, there's someone out there who will treat you well. If the person looks or sounds dodgy; if they are vague on details; if they sound like they are promising the world, stay away. STAY FAR AWAY FROM THEM.

Do not let yourself get scammed. Nothing is worth that. NOTHING.

5 More Things I wished Amateur Screenwriters would JUST. STOP. DOING.

One of my most popular pieces on this blog was about five things I wanted newbie writers to stop doing. These were bad behaviours, choices and general non-nos that only guaranteed a one-way ticket away from the industry. My goal with this blog is to, hopefully, inform and aid newer writers in their decisions and save them time by avoiding doing the really dumb stuff. Stuff so dumb you'd think no would ever do that, and yet, a casual look in screenwriting groups and forums always yields these fruits.

So, just like Hollywood, why not cash in with a sequel?

STOP PROMISING STUFF TO PEOPLE THAT YOU CAN'T GIVE

I get it - you want to make a big impression. Collaborate and network with as many people as possible, say yes to as many gigs as possible because hey, credit's credit. You want to be the best, the fastest, the smartest, the deepest, the hardest, the wisest, the most honest, the--

CUT IT. Just, cut it there. 

Overpromising with your time and skillset is a surefire to mess up what ground you have gained, and what relationships you have built. One needs to be open at the start of their career, but you have to be realistic. As it's unlikely writing is your day job yet, your time on it is limited and precious. If you know that all you will have time for is one or two specs, focus on them. Don't try and write five or six shorts or a webseries, deplete your personal life and leave a bunch of people unhappy. Likewise, when you meet people in the industry, don't babble about something this is far, far away from being ready.

STOP GAMBLING EVERYTHING ON ONE CHANCE

Everybody wants the Cinderella story. I get the appeal: one lucky roll of the dice, one turn of the wheel, one magic ticket to everything you ever dreamed of. You pour your all into one script, convinced that this will be your ticket forward, and then submit it to the most prestigious contest or open call you can. The one that promises mentoring, commissions, money! The answer to your every problem, surely?

And when you don't make it through, it feels like the pits and you question why you even bothered. 

Look, disappointment is natural and it's an important feeling - there's no shame in being hurt. But don't build your entire writing schedule around just this one shot: network, look for other opportunities and, as I've said many times, keeping a rotating portfolio of projects to work on. You can have a script or contest you want above others, but getting rejected from the BBC Writersroom or Austin or the Nicholl is not the end of your career and proceeding to then throw tantrums about it online is no better. Give yourself a bit of time, relax, and get back on.

STOP ADAPTING IP YOU DON'T OWN

Fanfilms, even fanfiction, can be a lot of fun to write, but that's not what I'm talking about. Time and again you see people on forums ask how they can make a movie or show based on a still-copyrighted IP, or how they can pitch to said copyright holder (usually a big studio), as they already have, and I want to really emphasize this, written a script based on it. Before any kind of agreement.

I hope alarm bells are going off in your head after reading that: you just threw away days, weeks, months, on something that you are highly, highly, unlikely to be able to do anything with for years, if not decades. Is there a way to get the rights to something? Yes, you can contact the IP holder (like an author) and ask about how much the film/TV rights are, but usually this is purely at a pitch stage.  Without a body of work, without some kind of proof of your ability, this is a complete waste of time and your priorities are all wrong. Write original material, make people excited about YOU.

STOP SPAMMING PROS WITH YOUR SCRIPTS

Everybody wants mentors and everybody wants contacts. You want to get better and you want to know people. Sometimes, a pro writer can be open, whether through a reading service, a mentoring programme or just simply be conversant on social media. Or you do what I suggested with networking and reach out to development staff. Sometimes you may get luckier and find you and they get along and think on the same wavelength. So you take the shot and send a script. Only problem: you forgot to ask. 

Please people, always ask first. It's not hard. Pros are busy and that they are giving you their time is something to respect. Never, ever treat anyone in a way you yourself would not want to be treated.

STOP KILLING YOURSELF WITH OVERWORK

Hey, like poetry, this rhymes with #1. However, there is a difference between the two: this one is solely about you and your time, not what other people want from you/you need from them. 

A lot of writing advice, however well-meaning, tends to posit that the true writer, the true artist, is a single-minded machine and much devote every moment they can to working on their magnum opus. Typically, this comes from the perspective of someone who hails from a middle/upper class background and has the time, income and even support to do that. If you don't have that safety net, don't. It's not worth it. Write at your speed.

Well, wasn't that a mouthful? But I hope it's helped you. At least, it may have saved you some embarrassment.

BBC Doctors Writer's Scheme - An Inside Look

The biggest news of 2021, for me, was my successful completion of the Writer's Scheme for BBC One's Doctors. The long running medical drama about the goings on at a Birmingham GP surgery has been running since 2000 on weekdays, delivering five half hours of daytime drama a week. It's also become known as a 'gateway' show for those seeking to get into TV drama: a fast and cheap show with a good amount of freedom to pitch stories on. 

How do you get on it? 

The writer's scheme (or shadow scheme, as it was known in the old, old days), which is what it sounds like: a multi-week bootcamp, teaching you the ropes of the show as you develop a mock episode. You succeed, you get to do one for real. The other BBC soaps/continuing dramas also use this system to find new talent. 

But HOW do you get on that? 

Well, you have to be referred to it. Usually by your agent, but it can done by contacting a producer or script editor on the show directly, pitching one of your drama scripts and sending it in to see if they'll bite. Choose your best script, naturally, but if i had another bit of advice to give: give them something lean, of a modest budget and with a strong heart and sense of community/relationships. A VFX extravaganza with a lot of action won't do you any favours.

What's the actual scheme like?

I'll take you through each step, with a date stamp. In between each one, I had a phone meeting with my script editor, to talk over notes and discuss the best changes. Timeline wise, the official line is six weeks, but due to COVID and other production issues (remember, the script editor is working on real episodes while also doing your trial) this can fluctuate.

12/08/21 - Today, I delivered my first pitches. Doctors is divided into two components - the day story (the B plot, which is what you pitch) and the serial story (the story arc, which the storyliners work out in advance). You as the writer are told to submit several short pitches (about one or two lines) for the day story, an incident for the team at the Mill to deal with. The emphasis is on the character drama, however, not the novelty or rarity of the disease a character has. You're not writing The Strain here. You've basically got a 15 mins short film within the episode, so it has to be tight and emotional.

19/08/21 - Now that the pitch has been selected (one about an autistic boy and his son trying to figure out a path in life now that they are both older), I worked on a treatment. It's a 2 page document that outlines the whole story, with a clear beginning, middle and end. Because it's so short, it's really vital to make the emotional beats really clear - being vague or ambiguous is not good here. You also need to bear in mind that, well, one of your characters is a doctor - there are things medical professionals can and cannot do. Your script editor will point things out, but be sure to do some revision first.

(Quick time savers for you - they cannot hand out pills just like that; they cannot just leave the surgery save for house calls and double check which doctor has which specialties.)

 

31/08/21 - Treatment is approved, so went off and did a scene breakdown (basically a beat sheet of the entire episode, with both plot lines). What's interesting, when I look back at this stage, is appreciating how even 'quaint' or 'low-key' dramas, ones that are more relaxing or simple compared to the big flashy shows, still rely heavily on effective twists and structuring. Yes, Doctors has twists and surprises, because it's a drama. You cannot wing your way through this - 30 mins can be an eternity if done wrong.

14/09/21 - Breakdown got a thumbs up, with some notes. My script editor opted to go to script draft, so after writing, the first draft has now shipped. Getting into the actual script is a new challenge - unlike most TV drama scripts, the continuing dramas/soaps have different formatting. Instead of Final Draft and all the usual rules, Doctors' drafts are done in Word with a different set of guidelines - among the main ones is everything is centered right instead of the middle like FD; action lines are far, far more detailed as, given the show's tight budget, you have to be clear about everything needed in a scene; and you have to provide a cast and location breakdown at the front of the script - how many people, which regulars, non-speaking roles, bios. If it's in your story, you have to mention it here.

28/09/21 - First draft notes received a few days back, now completed rewrites on the second. By and large, my script editor was happy with the progress. The main notes were mostly relating to character voice accuracy (a common pitfall that can be remedied by just binging episodes on iPlayer) and the tone of some scenes. Only one scene needs drastic altering as it wasn't working and felt out of place.

The interesting thing is, while you are given a bible and clear guidelines to follow, once past the first draft you're allowed to be a bit looser with them, if the episode demands it. A character you may have had forced on you in the serial outline (since a Doctors episode is split between two plots, as discussed above) can be taken out. The goal of the first draft is just to see how everything you've created (for the day) and been asked to put in (the serial) work together, and see where the balance is off. It's more flexibility than I had expected, to be honest.

19/10/21 - And after a short phone chat with my script editor, I got the go-ahead to do a real episode! Starting back from square one, of course, but I was amazed at how quickly this came together. In total about two months, so longer than the official length, but not by much. Honestly, I'm still surprised I got greenlit for the real deal on the second draft.

One of the best takeaways from all this has been learning how to turn around something fast while working to a high standard and deadline. While I prize myself as a fairly quick writer, this served as a reminder not to take shortcuts or assume too much with your work. Detail and clarity are king. Where it goes from here, well, I'll just have to wait and see.

Hope that was interesting for you. Any questions, sound off below!

Screenwriting Professionally: 2021 edition

In what's become an annual tradition, I recount the highs and lows of my screenwriting efforts in the last year. A special year indeed: 2021 was my first year as an agented writer, thanks to the great Andy Townsend. It marked my first steps into broadcast drama and was the first time, in nearly a year, that I was able to start working outside again, as is my preference. The COVID pandemic had been, and still is, profoundly surreal, and trying to get back into 'the swing' after such a seismic shift in culture and society has been tricky.

Has it been a better year than 2020? A firm YES - vaccinated, got talking to industry folk again and my productivity was up a good 100% compared to said prior. Was it a good year, for me? Did I achieve my own goals and did I grow as a writer? That is much more complicated to answer.

 
Jan-Mar (Winter): 

At first, the year started relatively quiet and slow - with my vaccine eligibility still months off, I was endeavouring to power through my action drama pilot, best as I could. I had been tinkering away on it since last autumn, believing it was a great new challenge, as well as showcasing my ability to write setpieces and something with a faster pace. Writing from home, given I live in a flat with others, was incredibly difficult: always distractions.

On the flip side, however, I progressed through the BBC New Voices scheme from last year. Now I got to do a Writer's room for series 2 of Jojo & Gran Gran (a Cbeebies megahit). Working with the producers and script editors of the series to conjure up stories and learn the particular flavour of the show was indeed a lot of fun. I even got to make the acquaintance of its lovely creator, Laura Henry-Allain.

Apr-Jun (Spring):   

Now this period ended very differently to how it started: work slogged on with the action pilot, but that lack of 'space' was possibly the worst it ever was. Work that should've been a few hours took days, if not weeks, to turn around. No matter how bad I wanted it, it was hard to muster up the energy. Add to that, a family health scare, and it was rough.

There appeared to be two bright spots amidst all this. Two things that could turn it around: first was my agent liked an old crime spec I had on the backburner, which needed some punch ups. The other was a new disability initiative on one of the continuing dramas, which itself was partially following through an earlier script submission I had made to the production team, which they had liked. If I could land these, the blockage would finally clear and I'd be back, right into the heart of the action. A new submission in a lucrative genre, and a shot on a beloved show.

And it all went wrong.

The timing of the scheme conflicted with rewrites, and due to a misguided sense of hope, mixed with a few drops of arrogance, I decided to put the crime pilot aside again. In the moment, it seemed like the right choice: the pilot was revealing deeper layers of problems, and the circumstances around the scheme, I thought, meant I was a shoe-in. I also, for reasons that make even less sense, decided to go full charge with the action pilot, thinking it was near finished (forgetting my own rules on having a varied slate). A few things happened regarding said scheme, which I cannot put up for public knowledge at this time, that meant it was not to be, and for reasons which I still have questions over.

At this point, I was feeling miserable. I had taken a gamble and it completely blew up in my face. Thankfully, it wasn't all gloom: I had kept in touch with a script editor-turned-producer from Doctors, who I sent over a script to. My own manners and diligence had, at least, granted me this much needed lifeline.

Jul-Sept (Summer): 

And here begins my Doctors journey. The script was liked, passed onto another script editor, Mary Flannigan, and ta-da, I was on the Writer's scheme. I've got posts planned to detail the process further, but over the coming months, I would pitch, draft and rewrite a trial script for the show under Mary's guidance. After what had happened with the 'other' show, this was such a boost and I loved the experience. 

Plus, with my first shot in, I could start to think about getting outside again. I went, for the first time in my life, office hunting. It's a minefield, to put it lightly. Eventually, however, I found just the place and began to work from there.

As for the action pilot... I had begun to reversion it, trying to solve a problem around the protagonists that emerged in notes. What started out as something closer to Donnie Brasco was starting to drift into more of a mother-son story with this element of homegrown fascism. It wasn't a bad approach, and I thought it would add a lot of intensity and action to the project. However, what I should've realized, as the drafts and brainstorms worn on, was that I had screwed up. Not here, but back to the project's origins. I hadn't done my due diligence and was building on weak foundations, with a script that ended up more mimicking other shows than being its own thing.  

How had this happened: anxieties. I was worried about getting work and chasing shows I liked, that I wasn't paying attention to the right things. A writer must endeavor to maintain a clear and cool head in tough times, otherwise this can happen.

Oct-Dec (Winter again): 

The action pilot, not unlike a plane featured in it, finally crashed here. A last ditch effort to rescue the project by doing more a Shakespearean family tragedy, trying to add dimension to the lead, was a no-go. I felt awful: months of work and after all that, nothing to show for it. In two years, no new spec.

Doctors, thankfully, rode to the rescue again: I completed the scheme and secured the big prize: getting to write my first broadcast TV drama script. As of writing this, still on the treatment stage, but considering how fast the scheme went by, and what had happened earlier in the year, it was nothing short of a miracle. In addition, ITV called out yet again, with me landing on the 2021 Original Voices scheme, this time for Emmerdale. After a fun zoom workshop, I got to draft half an episode of a hypothetical episode.  In that same week, I attended the launch of Underlying Health Condition, and did some pitches for a major northern production company, so hey, the year ends on a bang!

Returning to the above question, did I accomplish everything I wanted? No. The saying 'one step forward and two steps back' is an apt summary of 2021: I am grateful for the success I did have. Breaking the continuing drama deadlock is a huge win, whatever else can be said. But where I failed, indisputably, was in craft: I did not grow as much as I had wanted to, and in turn, hurt my slate. I forgot basic principles and charged into situations with the wrong mindset. Never put your eggs on one basket, always spread yourself out and never take anything for granted.

 If I want 2022 to really hit the heights, changes will have to be implemented and certain tenets revisited. Discipline needs to be re-instilled: I fought hard to get here, and I'm not backing down.

I'm working on BBC's Doctors

So, I finally have some work news and it's a whopper: I have just gotten a place on BBC One's Doctors, following completion of their writers scheme. Basically, it was a trial to write on the long running drama about a medical practice in Birmingham. The series follows the lives of several GPs and staff at the Mill Health Centre. There's love, there's laughs, there's loss and always a new patient with some new problem every day of the working week! 

 

As I succeeded to the script editor's satisfaction with said practice episode, now I get the real deal: pitching (and hopefully then scripting) my first broadcast drama credit.

 

 

 

It's been quite a trek to get here, having tried to get on the scheme two years ago, and not landing it. (On the flip side, it's a reminder to be gracious, as that script editor went onto become a producer and put me forward this time when I showed him a new, and better, script). I do intend to do a full post on the scheme and how the process to develop a Doctors episode works, but sufficed to say, do not let the quaintness fool you: this is a tough and demanding gig.

 

However, I'm really excited to get cracking on the real deal in the coming weeks, and big, big thanks to Mary Flanigan (no J, as she made very clear!) and Simon Curtis, for giving me this opportunity, as well as Michelle Goode of Writersofluid, whose notes helped polish the drama script that got me onto the trial in the first place. And in true awards tradition, not forgetting my friends and family, who've cheered me on through not just this, but last year and a bit as I've navigated a turbulent industry and media landscape.

4 Screenwriting Negatives FLIPPED into Positives

Screenwriting can, as fun as it is, be a negative space on a personal level. It's easy to get downtrodden, even disillusioned, by rejection, bad notes and even scripts that take a lot longer to write than you had initially planned for. It's easy to let it get into you and seem more damning and impossible than it really is. Often, even simple sentences have torpedoed your confidence for a day or more, depending on what that project meant to you.

However, like making or practicing pancakes (see? Not just for a title pun), there are always different approaches to something that seems like there's only one way, but is actually just hiding alternate methods.

So, let's run down some common ones that may seem like disasters, but in actuality, have something more to offer to those more determined and diligent:

• When you don't place in a contest, it doesn't mean you wrote a bad script. 

Nice and easy one to start with: Contests are often the first port of call for new writers. They are also lotteries, whether they are paid (Script Pipeline, Nichols, Austin) or not (BBC Writersroom, ITV Original Voices): you and thousands of others gamble on having the winning combo. It can be easy to think that winning these is the only ticket, and not doing so is a sign that you cannot write worth donkey diddle. 

Not true, however: taste plays a part in any reading and sometimes, yours will not be to the reader's, never mind a myriad of other reasons why it's not meant to be. A spec pilot of mine that failed in contests got me my first adaptation gig, and another got me Pablo, for example. As I've discussed in other posts, there are more ways to find people in the industry, and they don't cost a penny. 

• When your email to someone bounces with an automated 'out of office' email, you might get extra info. 

In doing the above, you may have the bad luck of sending someone an email while they are away - holiday, maternity leave or no longer part of the company. It's annoying and can kill your buzz. You may get lucky in that the automated reply'll provide an alternate means of contact, such as another email for them, or of another person on the development team.

Okay, so what? What's so special? Well, in the event that it doesn't work with Person A (be it ghosting or them not being able to read), suddenly, you have a person B available to try instead, usually their assistant or a more junior member of the company i.e. someone looking for that next big thing. Just remember your manners.

• When you get notes critiquing your storytelling, it doesn't mean you can't write. 

Let's continue with an evergreen classic: you get notes from a service or writing friend on your script and it just isn't working. May be the characters or plotting or pacing or ending; anything. But don't worry: everyone screws up or misses something. It doesn't mean your whole script is useless or is not salvageable. Always look for the note behind the note, and sometimes, an absence of a note can be illuminating in its own right as the fault behind the other faults.

If you want a more detailed solution, check out Screenwriting is Rewriting by Jack Epps Jr. A great resource and hey, who wouldn't take advice from the writer of Top Gun?

• When you get a rejection, unless specified by the person, it doesn't mean the door is completely closed. 

You took a gamble and it didn't pay off: they didn't like your script. It can be for any number of reasons and it almost never is personal. Everybody gets it. It can be a devastating feeling.

However, that's far from the end. Say your thank you and then retreat for maybe 6 months to a year and come back, refreshed and with a newer, better and more appropriate project. Do ask if you can stay in touch, and always be polite and maybe even a little humourous in your catch ups. Half the job is networking and just being genuine.

Even in business, like in fiction, there is creative license. Use it.

Jed Mercurio and the Importance of Screenwriter's Etiquette (Part Two)

Don't think I need to explain who Jed Mercurio is if you're reading this blog: probably the most successful British screenwriter of the moment not named Nolan. Line of Duty returns for another series and so, press gets generating. One such was GQ Magazine interviewing Mercurio and talking about working amidst the pandemic, as well as some asides to his political and social views. 

On its own, just a simple piece, save for one topic: amidst talking about issues with modern journalism (a topic, to be clear, worthy of examination), Mercurio uses this as a segway to touch on his noted animosity with television critics, and in particular, highlighting an incident in 2019 where, well, I'll let the article explain:

That became particularly evident when, in December 2019, a storm erupted on Twitter after he called out the Guardian for including Line Of Duty in an article titled “The Biggest TV Disappointments Of 2019”, which also included Game Of Thrones and Killing Eve. In a now-deleted tweet, he directly addressed a young critic for her involvement in the article. In it, she suggested that the show had gone “catastrophically off-piste” by revealing that the mysterious “H”, supposedly the inside man at a high level in the police with links to organised crime, was not one, but four people. “The biggest disappointment these jokers really experienced in 2019 was when they realised what they do for a living,” he wrote, followed by another message directed at her that lead to several fellow journalists tweeting back angrily on her behalf, defending her right to criticise the show.

And then he capped off with this:

I don’t see why it’s OK for a journalist to participate in an article which is fundamentally sneering and not at least have some insight into what a c*** she’s being. If you go into the public domain having a pop at people then expect some comeback. There was actually an enormous pile-on from journalists saying, ‘She’s just doing her job. She’s a talented writer.’ She’s a piece of shit. Fuck her.”

Well... that went from one to fifty fast, huh? 

Indeed, why is this eerily similar... (he said, plugging his article about Joe Carnahan and El Chicano that this one is a sequel to.)

DISCLAIMER: I do not know either of the two main individuals. Nor am I here to demonize Mercurio or denounce his work or collaborators. Like with Twitter's 'Line of Duty was never good' takes, this misses the point and trivializes the real issue here.

 

Seeing someone of Mercurio's stature behave like this about one critic's review of Line of Duty is troubling. Just like with Carnahan's infamous blunder, it is another example of people at the top not setting the example to newcomers: yes, art is passionate and we get very invested in it. Yes, being upset at a bad review is understandable, but to engage in public shaming like this, and then hounding said critic off of Twitter, for the crime of being, what, the one person who wasn't raving about monster-hit and critical darling Line of Duty?

 

Mercurio should know better, rather than perpetuating this 'war' between media critics and creators that achieves nothing nor improves either discipline. In the same way it's not our job as writers to please critics, it's not their job to pat us on the head and give us cookies. Does that mean you agree with everything someone writes about your work and have no right to defend yourself? Of course not, but Mercurio's reaction reads as completely disproportionate to the situation.

 

(As an aside, can we also can it with the 'critics are failed artists' schtick? Besides being the weakest scene in Birdman, it's so hilariously untrue and, furthermore, ignores the ones who do both successfully. See Rod Lurie, C. Robert Cargill (back to him in a bit...) and the entire French New Wave that changed cinema in the 50s.)

What's worse, and especially bad for newer writers to be seeing and taking after, is that Mercurio claims in doing all this, he was giving the critic a chance to respond to him. Okay, but why then front load with ad hominems if what you want is a dialogue? Why not create an actual constructive dialogue with this critic so that both you and they learn from it, instead of shouting and calling them this-that-and-the-other? Sorry, but this isn't actually engaging with your critics: she was going to lose, no matter what she actually said or did.

Like I wrote in the Carnahan article, the truth of internet fire-fights is no one, regardless of position, comes out looking good. If you misconstrue critique of the work as personal attacks, proceeding to broadcast that ire everywhere, how can you expect to work with other people and improve both yours and their work? What are you telling peers about yourself when you do this? What does this say about your values? Conduct and etiquette matter; doubly so when you don't have the stature of a Mercurio to act as some kind of (albeit poor and in no way actually valid) excuse.

 

Indeed, I think newer writers very much need to bear this mind: perhaps not from your work getting reviewed by published critics, but any time you get feedback/criticism on a project. Script reading services, script editors, even just getting feedback in a writing group. The core principle is the same: You have to be able to listen and not freak out when someone doesn't like what you write. A great saying that stuck with me is, 'look for the note behind the note'. If you feel like a criticism of something you made doesn't make sense, rather than start attacking, like Mercurio did, put some distance between you and the critique and think: why would they say this? Is there a choice I made that made them take away that impression instead of the one I wanted?

 

But hey, if I can't convince you, because my work isn't on the same plateau as Mercurio, let's hear from a writer who is: here's what novelist and 'Doctor Strange' (An MCU film is, I'm sure, more than a match for LoD in notability terms) screenwriter  Cargill, has to say about taking criticism: 

 

As a capper, I think it's worth considering the personal effect here: being able to handle critique is not just important for having a career, a good image and navigating the industry - it's necessary for your own mental wellbeing. Using others for validation, especially when it involves critique, is a fickle thing and is more like a coin toss. When you land the tails of negative feedback, being snippy and hyper-defensive is going to do your own confidence no favours, and shows you lack perspective on your work and yourself. Writers can often get stuck in negative mires, worrying about our ability or worth, and anger, while understandable, is not the answer to these insecurities.

 

Have faith in your ability, be confident, but don't get into the mindset of you are always right. Writing, like so much in life, is a learning process, and art is really subjective. Understanding this will take so much of the anxiety off your shoulders when you're making stuff: not everyone will 'get' you, and that's fine. You don't need everyone to love your work and praise you. Instead, take pride in the little victories - finishing a page, or three, or ten a day. Writing a gag that makes a friend or collaborator laugh. A tight action scene. Do the work, listen and keep on writing - if you're not enjoying it, why bother?

HOW DO I DEAL WITH REJECTION? - Screenwriter's Survival Kit

This is inevitable.
You can do nothing about it.
It will happen.

Every writer, in every field, deals with this at least once (and that's being generous): rejection. The big R all writers fear (whereas Residuals is the R writers like). it's one of the hardest facets of being a working writer that newbies must make peace with.

 
Yes, you will work really hard on a script or other project (but as this is a screenwriting blog, let's mainly focus on that), only for someone to say no. I'll talk more about why shortly, but there's any number of reasons why rejections happen.

WHAT DOES REJECTION FEEL LIKE?

For as much writing as there is about rejection being a reality, I don't think there's much written on what it feels like in the moment; especially if you're new to the whole business. Naturally, I can't claim to represent every screenwriter in this: just my own experiences. However, for what it's worth, here's my take on the stages of rejection grief (mainly when you're a newcomer, though pros certainly feel the sting too), and what to do.

1. Shock - You open the email or envelope and get told the bad news. Usually, it will start with a courteous hello/how are you/hope you're well, and then tell you that they will not accept your screenplay at this time. Sometimes they will cite a reason (not for us/we already have something similar/we like the concept but...), but other times not. The initial shock of being told no will give way immediately to a sort of numbness, like time has slowed and you've divorced from reality. Afterwards, you will feel
2. Upset - Naturally, rejection hurts. You spent all this time, put in all this work, and they said no. This can hurt more if it's from a person or company you really like. You may feel a weight in the pit of your stomach, or even the trickling of tears at the corners of your eyes. Hey, it hurts - you're not a baby for feeling hurt by something that meant something to you. Then comes a burst of
3. Anger - You spent all this time, put in all this work, and they said no - HOW DARE THEY! You want to scream, want to explode with indignity and rage. You were sure you did everything write - proofread it over and over to make sure it worked; the characters were good; the plot was good; the pacing tight; the structure strong; no typos or errors. You were sure! SURE! And yet, it didn't make it. After the fire subsides (time taken can vary a lot), you will reach a state of
4. Acceptance - Having got the fire out of your system, calm sets in and you just say, 'well, that's a shame, but I must move on.' Maybe you go back to your current project, maybe you opt for a break; you just do something because you're a creative and it's what you do.

The main thing to remember with rejection is it's not personal. No one is out to get you, or humiliate you, or destroy your dreams. 

Sometimes, it just doesn't work out. 

BUT WHY NOT?

Maybe you need to get better at writing; maybe they weren't the person for the project; maybe it simply wasn't the right time in the market for the project; maybe you just didn't have the name recognition for it to be worth the gamble. 

BUT HOW DO I DEAL WITH IT?

Well, aside from going back to writing, one easy bit of advice is just give yourself room. Let yourself feel; let yourself have time to digest. If you're not on commission, then the script is being written on your time and thus, you are in total control. Step away for a bit; have a walk, eat something you like, maybe watch a movie or a show. Like after a night's binging, let yourself detox from a rejection. Give it a few days, I'd say.

As time passes, and you get more rejections (which you will), you will find the stages get less potent. The shock, anger and upset will start to fade: never fully gone, but they will not be as harsh on you. 

DO I NEED TO REWRITE MY SCRIPT?

I'd say, if you sent it out to multiple people, wait. If they all come back rejecting it, it's worth having another look over. As the saying goes 'If one person says it's crap, it's an opinion. If ten people say it's crap, you've got a problem'. However, never try to rewrite something right after getting a rejection - it's too raw for you yet to be truly objective.

WILL I GET USED TO REJECTION?

Like anything in life, the more you do it, the more used to it you become. The hurt and annoyance will never fully vanish, because you are an artist and you are, always, exposing yourself in creating your art. However, experience brings maturity and with that maturity, coping mechanisms. You may think you won't, but you will.

BUT IF I CAN'T?

You will - that's just the immediate shock talking. Nor should you worry about 'lost chances': barring you being rude to the other person, new opportunities can and will emerge in time. Maybe this script wasn't for them, but another could be. 

And if not? There's always someone else out there.

Always keep pushing, and you will get where you want to be in the end.

Screenwriting Professionally: 2020 edition

Back last year, I did a big recap post, going over the highs and lows of my screenwriting efforts. 2019 had been a year of halves: a quiet first was followed by a busy and exciting second. I got to visit Coronation Street, met some new contacts and got signed to prep Never the Bride. With that high, I set out to make 2020 the big push: get representation, score another broadcast credit and set up the pieces for future gigs.

Oh, little did I know...

Jan-Mar (Winter): Like with last year, the year began earnestly enough. I sent out my 1950s period drama spec, which had netted me the Corrie placement last year, with the intent of placing on shadow schemes, as well as attaining referrals to show to an agent. I went about my usual routine of setting up more meetings with development folk at various production companies, while also keeping an eye out for new schemes.

Then, Covid happened, and everything came to a screeching halt. Well, almost: one of the few upsides was that development people were still working and, with shows not being greenlit or proceeding in any fashion, it meant they had more time to read scripts. Indeed, I got some of my fastest responses and turnaround in this period, with agents consistently showing interest and asking for reads.

Apr-Jun (Spring):  One of the most surreal chapters of my life. Each day blended into the next in one long haze. I was sending out stuff, as mentioned, but time felt utterly meaningless. Writing, likewise, suffered greatly. The siren call of vegging out on Youtube was often too great at times, and the sudden evaporation of work did little to counter it.

I'm usually a machine, able to reliably turn around a script in, give or take, a week. That's how it's been the last few years. Now, that same script would take close to a month to get into any sort of shape, because of how 'out of it' I was. I wanted to do it; I had the enthusiasm and the ideas, but not the drive. When the world looked to be on such a knife-edge, it had me even questioning at points 'why bother?' It was the lowest I had felt since circa 2016, when everything fell apart on the animation project.

However, it wasn't a complete wash: Never the Bride took a big step forward when, after rewriting the series treatment, I got given the go-ahead to write the pilot script. Escaping to the dark, twisted and goofy world of Paul's books did help me get somewhat in the groove.

Jul-Sept (Summer): Getting back on the bike and writing proved to be a challenge. I made several attempts when I wasn't working on Never the Bride, which I sent off in August. In the end, I managed to eek out a new draft on a first part of a three-part drama serial about a Spanish-British family coming to terms with an ugly past. It felt good just to have something, anything, down on the page in front of me: clicking 'Save As PDF' when I was done on Final Draft like some Olympic achievement. 

By this time, however, the agent race had cooled significantly - rejections came aplenty, though it was more down to the agents needing to prioritize existing clients, rather than due to poor work on my part. indeed, I received consistently enthusiastic and strong comments on my spec, which was a silver lining. Given I had tried to get an agent last year for a time, and was likewise met with no success, I was much more mentally fortified to deal with rejection this time. Indeed, it's important to remember none of this is personal - just wrong place, wrong time.

Oct-Dec (Winter again): Like poetry, time rhymed as the winter became so much like last year's: After so much fuss and bother, new opportunities began to manifest that gave 2020 a shot in the arm. I finally landed my first agent, Andy Townsend, in rather quick fashion after getting a referral from Toby Bruce at Dancing Ledge Productions; I then secured a place on the BBC New Voices Festival, a development opp for writers in children's television. The two day festival was very informative, stuffed with seminars from producers and script editors at CBBC and Cbeebies. The best part, for me, was a talk on animation by Andrew Burrell, of Danger Mouse, Demon Headmaster and Disenchantment fame. He brought a self-deprecating humour to the presentation that endeared him to all of us: plus, he was hugely detailed on his process of writing a script.

With the talks done, we were all sent a range of opportunities to apply for: joining writers rooms on several new shows; commissions on podcasts and webseries like My DG; mentorships with production companies; even the chance to work on a new Christmas Ballet to be broadcast on Cbeebies next year. I've been applying for the three I wanted, so now have to wait and see. Beyond that, me and Andy began reaching out to places, with several (hopeful) new projects next year looking for writers.

For all the things that can be said of 2020 (many with very colourful and fiery language), I can at least say it wasn't boring: scary, worrisome and annoying, to be sure, but never lacking in something to occupy my mind. Even if it wasn't the way I expected, or wanted, things to happen, I still achieved my main goals this year: secure representation and find new commissions. It serves as a reminder that you can get to where you want to be in your career: just be mindful of all sorts of left-turns and diversions that will get you there.

Got an Agent and BBC New Voices 2020 placement

Not in the way I expected, and not in this of all years, but I did it. I achieved that most treasured of prizes: 

I'm now a represented writer!

The man to whom I now am merged with is Andy Townsend of The Galton Agency, an agency best known for wild comedy writers and performers like Tom Mayhew, Sam Avery and Red Bastard (yes). They've been increasing their screenwriter roster and, thanks to a referral, got myself a meeting and we hit it off like rats in a pack, lunch in a sack (cookies if you get the reference).

And that's not all: just before I netted an agent, I also placed on one of CBBC's most prestigious and fruitful schemes, BBC New Voices. I'll let them explain it:

New Voices will be a six-month long professional development programme which will give writers the training and tools to create and sustain a long-term writing career within the Children’s sector. It will launch with a two all-day online festival on 12th and 13th Nov, giving valuable insight into the Children’s landscape. After the festival attendees will be given the chance to pitch and apply for commissions and paid work placements at CBeebies, CBBC, and with Independent production companies, to help build stronger relationships, attend story conferences / workshops and follow the process of creating Children’s television more closely. 

Now, I'm not here to gloat, and I mean that - this has been a turbulent and testing year for many out there, many not as lucky as myself. I've lost work, been unable to see family and suffered terrible anxiety, but I also still have a roof over my head, and paid work on the horizon. I acknowledge how fortunate I am and thank everybody who's supported me and helped me get better as both a writer, and as a person.

To Dominic Carver and Michelle Goode, who helped hone the scripts that got me this far; to Toby Bruce at Dancing Ledge Productions for setting this up; to Andrew Brenner, Helen Stroud, Barry Ryan and David Walton, who gave me breaks; to my friends and family who've cheered me through highs and lows these last seven-odd years.

A Screenwriter's Questions in the Time of Covid - What can you do?

The UK film and TV industries are on one giant hold, and understandably, you as a budding, or even moderately advancing, screenwriter are concerned. Can you talk to anyone? Will anyone read scripts? Can you staff on shows, or ask to staff on them if/when things resume? Will things resume?

I can't offer all the answers, but I can, at least, give some heads up about how you can deal with this present situation.

1. Is anyone still out there?
 Yes, yes there are. Production has stopped (nobody's filming and, ergo, no one is commissioning new material), but development people are still reachable and likely working from home, since you don't need an office to read a script or do other paperwork. Usual decorum rules apply, as discussed in past blogs, but you can still give a roll of the dice and ask a fitting producing or development person if they'd be interested in reading your script.

Indeed, now may be the best time, while people wait and plan. No troublesome commutes or sudden meetings or festivals/conventions - just zoom from home. Space to read is up - it will still take a while, but hey, he who dares...

2. Can I get on a show?
Staffing on a TV show as a writer is, well, out for the time being - that phase counts as part of production, and since nothing is getting made, shows are not getting green-lit/recommissioned and thus, not hiring. I should know, as I was in the middle of talking to a few about this before the penny dropped. How soon they will restart is anyone's guess (many hope some time in the summer, but the more elaborate, international shows may well be out till next year. All depends on if it explodes again or not).

However, all is not lost: keep an eye on the trade presses, as they will keep you up to date on if and when something is coming back. Have a short but sweet email on hand for when it's so, giving some quick praise and why you think x show is great, and why you'd like to write for it (indeed, here is where some part of your background could come very in useful. Do you have an experience or viewpoint that others may not?)

3. Can I still look for an agent?
While I've seen some on groups and threads say not to, I've chatted with some pro-writers who say it's not an issue or inappropriate. Plus, I've been doing it and had no problems with getting read requests. Just make sure you A) Have a damn good script and B) Read the guidelines on the agency website. Chances are, if they get back to you, they will make clear it will take a little longer than normal to reply to you. Like in normal times, patience is a virtue here.

Indeed, this and the first point tie together - getting a referral from someone in the industry will improve your odds of being read, so I'd advise doing it that way first, instead of just sending your script to an agency with nothing. Remember, you still need to stand out on the reading pile from all the slush.

 
4. What should I write? Is a bigger-scale script going to screw me?
With so much unknown yet about finances and travel, it can be really daunting to think about what shows will get made. All that matters, however, is the writing - a badly written cheap show or film won't impress anyone. Passion and emotion will out. Plus, as I've discussed in the past, be mindful of what your goals are at this stage - create and run your own show, or get on producers' radars and get staffed on similar shows and projects? Period pieces, fantasy and anything bigger budget will be much harder in the former category (usually, companies will just buy books and IPs for these), but can be useful on the latter.

Having a nice, tight, contemporary drama serial or feature is never not a bad thing to have on hand, and can work in both scenarios. However, don't trend-chase: if you want to stand out, write a script that is informed by a subject you care about or perspective only you can bring, thanks to your life experiences and history.

5. How can I write? I have no drive for it!
This is a malady which, I'm sure, many will have seen all over Twitter and the like - writers feeling helpless and lost, just ravaging the biscuit tin, or ploughing away on Animal Crossing or Doom Eternal. No matter how much they yearn, they can't summon up the drive to write. You can't set a routine or page count or just get up!

Well, let's turn to some pros for guidance on what you can do to try and get yourself back in some level of gear. First, let's start with a nice all-rounder from a selection of great writing talent, including aces like Sarah Phelps (The Pale Horse) and Chris Lang (Unforgettable). How are they managing?
https://www.alcs.co.uk/news/keeping-sane-solvent-six-audiovisual-writers-share-their-lockdown-advice

Also, screenwriting superstar John August (Aladdin, Big Fish) shares with us his 'writesprint', a planning system, and how it gets him going for the word toil:
https://johnaugust.com/2020/writesprint

And lastly, instead of a read, how about a listen with the excellent Write Along Podcast, hosted by Doctor Strange screenwriter and friend to the struggling artiste, C. Robert Cargill. It's exactly what it says on the packet - primers to help you get out of jams and sticky situations in your writing, as well as figuring out what method works for you:
https://writealongpodcast.com/

Hope those five are of use to you, and as said last time, if just can't, don't. Focus on you first and foremost. Take care all you.

(Not) Writing in the Time of Covid - And why you should not feel bad

Hey. Been a while. Longer than I had promised or planned for.

Funny how fast things change. I had articles in mind, projects I wanted to talk about, things I wanted to say as lockdown went into effect. But then, reality came in, and before i knew, March 31 became April 15, and then May 1. Time became a blur, broken up only by biscuits and watching back old Two Fat Ladies episodes. I just, for as much as I wanted to, couldn't find the will to write. I wasn't depressed persay, but I just couldn't type, or scribble. I just wanted to lay back and let the world run by.

My story is not alone, and sadly, many writers are in worse straits than I. Family, finances, food, relatives getting sick and then, sadly, not making it - it's heartbreaking how in 2020, so many social evils are still permitted to run through our society, hurting the vulnerable. These are tough, scary and unpredictable times, and you know what - there's nothing wrong with just waiting.

There isn't. At all.

AT. ALL.

Anyone who tries to guilt and call you a failure because you're not writing is, to put it mildly, a complete and utter tool. You owe no one anything - the industry will still be there, and it will still be, when you want to get back up. Right now, the focus should be on you - getting through, looking after yourself, and, most importantly, not stressing yourself or giving into harmful mindsets. If your idea of coping is playing games or watching movies or playing with your kids or pets, or even just laying back on cushions and chilling to something smooth on iTunes, do it. You are not committing a crime: you're just getting by.

And it is easy to think that all there is is darkness - news and the social media cacophony of the ignorant and the doomsaying can be crushing. However, there are, and is, bright spots: the timescale for a vaccine/treatment has been shrinking, down from 18 months, to 12 to potentially within 2020 (obviously, a cure existing and being widely distributed are different things, but still), in addition to the titanic research effort around the globe; global recovery rate of victims is 4x the death rate and has passed 1 million; the job market will now see the use and need for work-from-home, meaning certain sectors could be greatly levelled in favour of people with circumstances that would make office commutes difficult (financial, family, disabled); there's greater awareness of the challenges facing freelancers, and there's has been greater calls for not just support, but potentially rethinking the system and what securities they have. Plus, public sanitation and hygiene is probably the highest it's been in forever, and companies/local governments will have to maintain that if they want anything to happen economically so, again, another plus.

I know it's cold comfort for some, but we don't help frontline workers or the vulnerable if we only ever think in the purely negative. And, just as importantly, we don't help ourselves. Don't feel guilty for not writing, and don't feel guilty for being anxious. We all are. These are times humanity has not had to collectively live through since before the middle of the last century. But, like the tides of the sea and the consistent satisfaction of a chocolate digestive dipped in tea, there will always be a tomorrow.

Take care.