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Posted by admin  /   April 06, 2017  /   Posted in Screenwriters and Industry Interviews  /   Comments Off on DAVID ARMSTRONG

A series of 13 dramatic monologues about life and death. Please listen, enjoy and spread the word!

A one day SCRIPT EDITING course that I’m running at the Indie Training Fund in London on April 27th (and June 22nd)


Hi There,

This week, a guest blog by writer DAVID ARMSTRONG. Prompted by the tribute podcasts, David has sent me a couple of pages he wrote about his own father in 1993. I thought this was a lovely piece of writing and very much worth sharing with you.

It also serves as an introduction to, in my opinion, one the best and certainly most under-rated  crime novelists in the UK. David has written an outstanding series of crime novels which I spent many years, frustratingly and unsuccessfully, trying to persuade ITV to commission. Incidentally, he is also father of Jesse Armstrong, novelist and screenwriter (mainly in partnership with Sam Bain) who has written one of my favourite TV screenplays of recent years, ‘The Entire History Of You’ in Black Mirror, series 1. Talented family!

Here is a link to David’s Amazon author page –

Among his book highlights are SMALL VICES – for me, his best crime novel (although UNTIL DAWN TOMORROW is the first in the ‘Frank Kavanagh’ series). The personal / relationship side of the story has real complexity, humanity and humour, and the crime story is compelling. NIGHT’S BLACK AGENTS is a wonderful stand-alone period crime novel; and HOW NOT TO WRITE A NOVEL is a really insightful guide for writers in any genre (including screenwriters).

‘November 1993, Birmingham.

 Dad tells me there was recently a fight at The Sons of Rest.

It sounds like a funeral parlour, but it’s actually a social club for men of retirement age. Dad spends a lot of his time up there.  Mum reckons it’s ‘saved’ their marriage.  I’m not sure how much there was to save.

They say the worst thing you can have is a happy childhood: you spend your adult life trying to recreate that happy time. My adult life has invariably felt better than my childhood.

Anyway, The Sons of Rest is a big wooden shed in the middle of Lightwoods Park, and it has a snooker table, and the guys make some tea there, and there’s a committee, to see how things should be conducted. In a way, it’s like real life and a bit like the rest of the world, except I don’t think they talk much about Third World debt relief.

I suppose they talk about why the fuck everything’s down the tubes these days, just the same as everyone else does.

Dad’s on the committee.  He’s a big man, and in spite of all the little very complex bets he always places, and buying the Sun every day, he exudes a certain gravitas.

When he was twenty-five, he came to work in Birmingham and lodged at my mum’s mum’s house.  Maybe they had a relationship beyond paying-guest and landlady’s daughter?  In any event, in 1940, right in the middle of the Second World War, they got married.

Mum looks pretty in her gingham dress, perched on a boulder by Dad’s side one Sunday up on the Malvern Hills.  Dad has a kindly face, big trousers and lovely hair, and maybe they had some happiness in one another’s arms that day.  I’d like to think so.

But in my childhood, it seemed that they were arguing all the time.  And if they weren’t arguing with one another, they often argued with the people next door.  We children were given to understand that our immediate neighbours, the Freemans, were strange, difficult people, but I always suspected they were very ordinary people and it was us who were odd, because there were either tense atmospheres in our house and unpleasant rows, or loads of kids playing in the garden and going on expeditions to the river Severn at Bewdley, or the Lickey Hills or Red House park.  There weren’t many quiet, in-between times, which is what the Freemans seemed to have the whole time.

Anyway, nowadays, Dad spends a lot of time up at The Sons of Rest, except when he’s in the bookies or in the greenhouse that Mum had made for him for his seventieth birthday.

According to Mum, one day Dad said that he wanted to grow some vegetables, (I just don’t hear him saying this, somehow,) so Mum ‘gave’ him a little bit of the garden which she tends to think of as her own.  It’s a bit at the end, up against the neighbour’s hedge.  It’s very much in the shade, and there’s an apple sapling there, but it’s better than nothing, and Mum says, ‘It’s a start.’

I’m not so sure about this, ‘It’s a start,’ theory.  I reckon that at the start you probably need all the help you can get, so you should be given some fine tilth and plenty of light, not some dank spot at the far end of the garden under the hedge where the snails lurk and all.

Anyway, Dad has this place about five-feet by eight, and he put a few beans in, and a few potatoes and some radish and a little row of peas.  The few plants that germinated in the sunless chill were pretty spindly as they struggled up for the light.

And the peas that the slugs didn’t eat were more like pips than peas, really; the potatoes were small and had wireworm, so they were inedible.

Anyway, as a birthday gift and to give him the encouragement that he clearly needed in his late-blossoming horticultural career, Mum had one of the several men she knows who do jobs for her, make Dad a greenhouse.  Then he could be at the Sons of Rest or the bookies or in his greenhouse near the bottom of the garden.

Dad is six-foot-two and a half.  When we were kids, he was the only person in Great Barr who had a twenty-eight-inch wheel on his bike. He’d never learned to drive, but he knew that, compared with folk in the south, Birmingham drivers were slow-witted and would never survive driving in London.

So, we didn’t have a Ford Consul or a snazzy Vauxhall Cresta, but Dad did have a 28 inch Raleigh cycle, of which we could be – sort of – proud.

There was only his small patch of earth to put the greenhouse on and, Dad being tall, Mum decreed that the greenhouse be made high and narrow instead of the more conventional longitudinal shape.

The only problem Dad has with this vertical greenhouse is that, since the outhouse has been given over to the children’s tractors and trikes (used by the kids whom Mum, in her mid-Seventies, still child-minds,) Dad has to park his current bike (no longer a 28” wheel model) in the greenhouse along with his tomato plants and seed trays.

The cycle has its rear wheel on the ground, while the handlebars and front wheel are up in the air. It looks as if it’s peering out, waiting for Dad to come down and do some potting.

So, these guys had a fight.  Dad’s told me about the one man before.  His name’s Eric, and he’s always putting Dad off his snooker shot, just as he’s going to take it, by telling him what an easy shot it is.

One day, Eric said something equally irritating to another bloke, and this bloke clocked him one.

The guy who hit Eric was only little, but he gave a good account of himself according to Dad, ‘especially as he’s only got one leg’. (I hadn’t time to enquire how anyone can play snooker with only one leg,) before Dad added, ‘He’d have been alright if it hadn’t been for his heart.’

‘His heart?’ I ask.

‘He’d had a triple-by-pass,’ says Dad.

Eric was banned for a year (which, at that sort of age amounts to a lifetime ban, I imagine).  And it transpired that he’d already been banned from a club in the next parish.  The man’s a seventy-eight-year-old tearaway who’s picking fights with triple-by-pass amputees.’

A huge thank you to David Armstrong – and I hope this will make you want to check out his excellent novels.

The next newsletter will be on Friday April 21st.

All the best




April 7th 2017



Posted by admin  /   March 24, 2017  /   Posted in Thoughts on Screenwriting  /   Comments Off on STORIES & SONGS

A series of 13 dramatic monologues about life and death. Please listen, enjoy and spread the word!



Hi There,

It’s been another busy couple of weeks since my last newsletter –


This is an excellent annual film festival for student film-makers from all round the world. I was on a panel giving feedback to the 2 winners of a short film script competition on Sunday March 12th. These two writers were brave enough to submit themselves to script notes in front of an audience of about 70. The two winning scripts were imaginative, original and very promising – and the two writers receptive, smart and impressively articulate in a high-pressure situation!

The session took place in a beautiful room with amazing views in St Johns College – the culture shock of walking into the world of Cambridge academia from suburban North London was striking.


And then the following Thursday I had an equally enjoyable day running two courses for the newly established Belfast section of BBC Writers Room. An all day course with 10 selected Northern Irish screenwriters, and then a one hour talk to a larger group of writers.

Northern Ireland has a thriving screenwriters’ community and it’s great to see that the BBC Writers Room is already starting a number of new initiatives to try and help these writers get their work out there.


A one hour play at the Dorfman, National Theatre. 5 actors in their 70’s and 80’s, with no previous improvising experience, being put through their improvisation paces. Some of the scenes and stories that came out of the evening were completely captivating – moving, magical and at times very funny. There was something about actors of this age improvising (really successfully) for the first time in their long careers, that was particularly powerful and poignant.

Can I ask you to indulge me this week? What I’d like to write about isn’t directly about screenwriting although I do think there are all sorts of applications in terms of stories and careers.

The weekend before last I went to two of the best shows I’ve ever seen. I don’t think I’m normally into hyperbole (?) but these two shows really were wonderful. Neither were about scripts as such – they were two music shows. On Friday March 10th SURVIVING TWIN, a 90’ show about fathers and sons by Loudon Wainwright III, one of my favourite singer-songwriters. His songs, mostly on this subject, interspersed with his readings / performances of his father’s writing – articles that Loudon Wainwright II wrote in LIFE magazine from the 60’s to the 80’s – when magazines like LIFE  and TIME  were at the cutting edge of journalism and US society, and LWII was a well-known name.

Some of the articles by LWII are about his relationship with his own father (the original Loudon!) – and then Loudon III sings about his relationship with his son and grandchildren – so many generations of the Wainwright family are covered! The show is a tribute to his father, re-introducing his father’s writing to a new audience – and the chosen articles, for instance, about the death of a beloved family dog, about buying a suit in a London tailor’s, about the birth of his son (Loudon III) – are wonderful, thoughtful, moving and funny pieces of writing – in fact they share many of the same qualities of LWIII’s songs – funny and wonderfully well-observed slices of life.

If families didn’t break apart, I suppose there’d be no need for art’ As one of his lyrics goes – and so many of his songs are about the pain of relationships – usually with the women in his life but also with his family – children, parents.

The readings and the songs connect wonderfully – and the show is a reflection on the joys and difficulties of the father / son relationship. I watched it with my son, and spent the evening dabbing my eyes, laughing, ending in a spontaneous standing ovation.

If you don’t know LWIII’s music, here are a few songs you could try on youtube (or wherever). Now in his early 70’s LWIII has written literally hundreds of songs. And the vast majority of them are wonderful – he writes about all the staples of popular song but with such humour and complexity.

2 nights later my elder son (who happily for me shares much of my musical taste) went to the last ever concert by Stornoway. The band existed for 10 years until last Sunday and hail from Oxford. My son and I first became aware of them at the time (8 or so years ago) when he was just off to uni in Oxford. I first heard them (as one of the few unsigned bands ever) on Jools Holland’s LATER, playing the wonderful ZORBING and FUEL UP. ZORBING starts with the lyrics, ‘Conkers shining on the ground, The air is cooler, And I feel like I just started uni.’ Stornoway’s songs are wonderful – they’re also a strong reminder for all of my family of a particular time in our lives. For my son, they bring back his days at uni, for the rest of us, they bring back the days when he first went to uni and we missed him. And they also bring back to us the road trip we did in the US, driving from New Mexico to California, when Stornoway’s first album, Beachcomber’s Windowsill, was the only CD we listened to for two weeks in the car.

The band are a huge talent, they have written so many wonderful songs but have decided to go their separate ways. Enjoying their songs and the intense emotion of the evening, it seemed scarcely credible to Jake and I that such a hugely talented group of musicians could be giving this up.

The evening was made more poignant for my son meeting up with several old uni friends who he hadn’t seen since uni, including one who had travelled from Boston USA especially for the show!

It made me think about the power of art – and the different perceptions of it. Clearly, among the audience there was a feeling that this music was the soundtrack to our lives, of real emotional importance. Stornoway’s split made me question whether the band realise how rarely gifted they are!

But both shows also made me think about the mystery of mass appeal and audience response. Because, while Loudon Wainwright and Stornoway are two of my favourite artists – in any area (music, films, books, TV etc) – neither are household names.

Why aren’t Loudon Wainwright (and Randy Newman) as big as Springsteen? Is it because their songs are more complicated, darker and more introspective? Why was the small Leicester Square theatre only 2/3 full for Loudon on Friday night, when in the summer I’d been part of an 80,000 crowd at Bruce Springsteen’s Wembley show? It’s a mystery to me.

It also made me think about both the positive – and negative – influences of the internet. Clearly musicians and bands no longer make even a fraction of the money they used to make pre-internet. Album sales are a thing of the past. The only real money to be made is by playing live – and, wonderful though that must be in many ways, it must also make life difficult when you’re constantly travelling, parading yourself in public. The lead singer of Stornoway, Brian Briggs, is that rare, contradictory creature (a great basis for a screenplay character!) – the reluctant rock star.

We need to consider the possibility that TV and films may go the same way as music. On the one hand, the reach of the internet is wonderfully liberating. But making a living out of your art is a whole lot harder when music, writing and film is so instantly accessible to all (so much new work – especially feature films – is now illegally downloaded). For so many in the world of writing, this is such a huge, tricky issue – particularly, for instance, in journalism and poetry.

A few Stornoway highlights –

Thank you for indulging me – in two weeks time I’ll be focusing on something more akin to screenwriting!

All the best




March 24th 2017




Posted by admin  /   March 10, 2017  /   Posted in Thoughts on Screenwriting  /   Comments Off on STORIES, EVENTS, PLACES…

A series of 13 dramatic monologues about life and death. Please listen, enjoy and spread the word!



Hi There,

This week an account of the some of my script-related activity over what has been a hectic but very enjoyable couple of weeks.

A big word of thanks to everyone who has listened and so generously spread the word about my TRIBUTE PODCASTS. We have received so much positive feedback about them which is really gratifying. For instance this week, Laura Boswell at 4Talent said, ‘they are wonderful’ and tweeted about them to 4Talent’s 65k+ twitter followers; the London Book Fair will be tweeting about them today; I’ve written an article about them for Phil Gladwin’s excellent OPEN DOOR monthly screenwriting newsletter and several of my favourite writers and script editors have got in touch to say nice things about them – so thank you!

This week I ran my final session of 8 with the MA dramatic writing students at Central St Martins / University of the Arts, London in the lovely Granary Square building at Kings Cross. They have been working recently on team-written drama series pilot episodes. It’s great to see how much of a creative spark they get from bouncing ideas off each other and collaborating, how working together enhances and improves the quality of the ideas.

I’d also like to flag up a book that has come out of this course, a chapter of which I wrote – each chapter is a from a talk about an aspect of dramatic writing that we gave a couple of years ago. Discounting my contribution (!) there is some great advice in there from people like John Yorke, Kate Rowland, Stephen Jeffreys, Nina Steiger, Ola Animashawun and more.

I’ll be writing more about this book in a future newsletter.

I spent an enjoyable evening at the packed-out Le Cafe Parisien in Portsmouth, oraganised by New Writing South, talking to the Portsmouth Writers Hub about screenwriting.

I was on the BAFTA Rocliffe TV drama forum reading panel – which involved another fun evening sitting round the BAFTA boardroom table with industry peers (various writers, producers, agents, script editors) reading the first ten pages and then discussing and comparing the scripts. This was a lot of fun – particularly the discussion of the scripts, comparing our responses – and (again) realising, however well and constructively we all try to articulate our responses, how incredibly subjective the response to any script is!

On Sunday I’m on a panel at the Watersprite Film Festival in Cambridge – if you’re there, please come and say hello.

Yesterday I ran a STORY, CHARACTER & IDEAS masterclass at the Indie Training Fund in London. This is always a fun day at which I get the delegates, through various exercises, to create stories and characters. As ever I was blown away by the quality of the ideas that came out of the day. Some examples – a brilliant 30’ series idea, an anthology series of relationship stories, all of which are incited by technology / apps (fitbit, grindr, etc). This was co-developed by script editors from two different indie drama companies, whom I suspect may now be competing against each other to get this idea away with a broadcaster! A love story set against the backdrop of an iphone factory in China, a feature film about an alcoholic Nascar driver, and his troubled relationship with both father and son, set on the Gold Coast of Australia. And many more – the oddness and specificity of the ideas that came out of the day was very exciting.

But one of the things this day of trying to tap into creativity always reminds me is how much there is to be learnt about dramatic narrative from all areas of life – and, in my life, the world of sport so often stands out for the way it illustrates the best and worst of human behaviour –

I was reminded of the Anthony Minghella quote I included two weeks ago about the narrative ‘shape’ of football matches by Tuesday evening’s game under the floodlights at picturesque Craven Cottage on the banks of the Thames with its listed Archibald Leitch frontage on the Stevenage Road (if you only visit one football ground, this should be it – I am biased though). It was a crunch match against fellow promotion rivals and former giants Leeds United, who brought a whopping 7,000 supporters with them which made for a cracking atmosphere. Fulham gifted Leeds the most bizarre own goal with not a Leeds player in sight in the 4th minute (very Fulham-ish) then proceeded to relentlessly batter the Leeds defence for the next 90 minutes. Leeds fulfilled the role of pantomime villains / antagonists with some shameless time-wasting and a sending-off – before Fulham equalised with the proverbial ‘worldie’ in the 95th minute – literally the last 10 seconds of the game. The emotional outpouring was spontaneous – and the narrative structure, although bounded by the most predictable, rigid parameters (two teams, two halves, 90 minutes) once again demonstrated its ability to produce the unexpected, and moments of high emotional intensity (an understatement for my response to that last minute goal).  For a few brief minutes the match caused me to pretty much lose it – how many works of drama do the same? Not many!

This was brought home to me even more vividly by an ill-judged trip yesterday evening to the very posh Curzon Mayfair to watch VICEROY’S HOUSE. I have to admit I only saw about 45 minutes before leaving, some of which I slept through (!) but this seemed to be the most reactionary, narratively unsophisticated British film I’ve seen for a very long time. Loads of creaky expositional dialogue about the politics of the time, with the posh Brits as the big, important characters, and the Indians as the the secondary, comic relief. I found this almost embarrassingly reactionary / imperialist. A dinosaur of a film. Have you seen it? Am I being unfair??

The other stories that are really interesting me this week, and which I think are absolutely fascinating in terms of character and personal politics are the ongoing, simmering scandals surrounding Team Sky / British Cycling and Mo Farah’s coach Alberto Salazar. Both stories, it seems to me, reflect the apparent need we have to create national sporting heroes (are you aware of just how many athletics medal winners at the 2012 London Olympics have since been stripped of their medals for drugs offences?) – it seems increasingly clear that these successes are built on very shaky foundations. Both these stories shine a light on some fascinating, flawed and contradictory characters and relationships (Dave Brailsford, Bradley Wiggins, Chris Froome) and both stories have a lot further to run. And they have such interesting application for dramatic story-telling. Have a watch of the parliamentary sub-committee interviews with Brailsford, Shane Sutton and British Cycling fall-guy Simon Cope – and think about the sub-text of the conversations! They are so rich with unstated meaning (and dishonesty – a staple of the best dramatic stories!).

The next newsletter will be on March 24th.

All the best




March 10th 2017


Posted by admin  /   February 24, 2017  /   Posted in Thoughts on Screenwriting  /   Comments Off on STORY NOTES 24-2-17


A series of 13 dramatic monologues about life and death. Please listen, enjoy and spread the word!


Hi There,

First off can I say a big thank you to all of you who have got in touch with me about the Tribute podcasts. We’ve had some really nice responses, and I hope that the word of mouth will continue to be good, and that we’ll manage to get these listened to by significant numbers. I’m very hopeful that I’ll be doing a 2nd series – watch this space!

As part of the marketing drive, we’ve decided to feature one of these monologues per week on social media etc for the next 13 weeks. The first one to be featured is Katy Walker’s wonderful VALEDICTION FORBIDDING MOURNING. As one BBC producer expressed it in an email to me this week,

Valediction Forbidding Mourning is a terrifying mystery, answered.  The release of information and the development of the sense of loss are both beautifully judged.  The writing is of a very high standard indeed…. What an original range of writing.  It’s odd listening to them so closely together as it’s a really profound meditation on death from tons of perspectives.

Thank you Steve – I couldn’t have expressed it better myself!

VALEDICTION FORBIDDING MOURNING also features a wonderful performance by FINTY WILLIAMS. Finty was a force of nature when she came into the studio for the recording, and myself, Katy and Will Mount (writer, actor, musician, studio producer!) were all blown away by her performance in the room – and it comes across even better in the recording. Will and I were both embarrassedly dabbing our eyes, hoping neither had noticed, every time we listened to it.

Can I also recommend Robin Bell’s brilliant interview with Katy Walker about the script for her monoloogue.


I’ve seen a lot of films recently, which have made me think about what works in story. One of my recent favourites was 20TH CENTURY WOMEN. It had a classic US indie sensibility – whimsical and very light on significant plot. But the characterisation was great – it was so eccentrically specific that it felt true. And it reminded me that, if you get the characters right, if you really know your characters, then, to some extent, the story will look after itself. This was about a group of characters at a very particular point in time (1979), the dynamics of their relationships, with a voiceover that told you what happened to the characters later in their lives. There was something poignant, sad and satisfyingly omniscient about this future perspective. A film that makes you look back over your own life, and think about the changes that happen (or don’t).

Another very interesting film – LION. I thought the first (Indian) half of the film was a master-class in clear, simple, affecting story-telling that was all about character action and so little about dialogue. In comparison the 2nd (Australian) half felt to me unconvincing, predictable – and verbose.


Sad to note that FRENCH’S THEATRE BOOKSHOP will be closing down in April, and that the brilliant SOHO CREATE media festival will not be going ahead this year. In these straitened times, we need to keep fighting and making a noise for places and events like this…so many good things disappear for bad, profit-centric reasons, never to reappear. In particular, so many wonderful specialist bookshops have closed down in the last 10 or so years (eg OffStage Theatre bookshop in Chalk Farm, Sportspages in the Charing Cross Rd, etc) I’m reading Alan Bennett’s wonderful KEEPING ON KEEPING ON at the moment, and there’s a furious sub-text (and text) that runs through his diaries about the barbaric closing-down of libraries and other organisations and buildings that have meaning – but aren’t obvious money-spinners, and how wrong this is.


I’ve now got a raft of writers doing my 6 month script mentorships. It’s very exciting working with writers for an extended period, rather than just giving them feedback on a single draft of a script. It’s been particularly gratifying working with writers at the ideas stage, making sure they’re building their stories on solid foundations.

For me, the biggest thing to make sure of at this initial stage is that the idea you’re pursuing as a writer has real emotional meaning for you and isn’t just your attempt to second-guess the industry. Perversely, there’s sometimes something off-putting about a polished, commercial pitch from new writers (certainly this is true if the idea feels too familiar). One of the things I think potential employers want from a calling card script by new writers is something that only that writer could write, that is unique to that writer.

Two of the more exciting projects that have arisen out of discussion with writers recently have been an epic story about an IRA informant for the British army in Belfast in the 1980’s; and a story about a daughter’s relationship with her mother, and how this relationship is changed when the mother is diagnosed with early-onset Alzheimer’s.

Both ideas arose out of quite difficult, intense meetings, in which I challenged the writers to go beyond their more familiar, ‘commercial’ ideas – both ideas feel unique to these two writers, and I have high hope for the projects.


The best thing I’ve seen on TV in the last few weeks – a wonderful documentary about the relationship between David Baddiel and his father, who suffers from a rare form of dementia – moving, strange, thoughtful and, surprisingly, very funny – this was inspiring from a character / story-telling POV. If you missed it, you can still catch it on All 4

 I’ve also been listening to Liz Warner’s inspiring BAFTA speech about creativity and the state of TV today –

I found this talk really energising and thought-provoking. It made me think about the different ways in which we can all produce content, the different platforms now available. I recommend you download it and listen at your leisure (along with the tribute podcasts!).

Finally, in the week that non-league Lincoln City made it into the last 8 of the FA Cup, a rather brilliant quote from the late, great Anthony Minghella –

‘Football has high drama, but in the most rigid of forms. In football there is unity of time, place and action, as Aristotle recommended for drama. Very few outcomes are possible – it’s rare for more than four or five goals to be scored in a game – yet moment by moment it is very exciting. That is a real lesson to writers. I wish every film had as exciting a shape as most football matches.’

The next newsletter will be on Friday March 10th

All the best




Feb 24th 2017

Posted by admin  /   February 08, 2017  /   Posted in Recommended Screenwriting  /   Comments Off on


Hi There,

This week I’m very excited to launch my TRIBUTE PODCASTS dramatic monologue project.

The website is now up and running at and you can also access and download the recordings via itunes.

These are 13 dramatic monologues – about life and death. Each of the short monologues (they’re between 7 and 13 minutes in length) are tributes / eulogies / reflections on a recently deceased (fictional character) by someone close to them.

Over the last year or so, I have become increasingly obsessed with podcasts – there are so many brilliant podcasts available now on such a huge range of topics, but, as far as I could see, very few drama monologues. I knew these were the sort of stories I’d like to hear on my ipod when commuting, walking the dog, driving, etc.

I am delighted with the 13 finished podcasts, I have enjoyed listening to them over the last few weeks, and I hope you will too.

One of the inspirations for this project – if that’s the right word – was the series of deaths at the start of 2016 – my mother, principally, but also David Bowie, Victoria Wood, etc. And in September 2015, one of my son’s best friends, 20 years old, had died in a boating accident in New Zealand. He’d died saving someone else’s life when him and a group of 10 friends got into trouble kayaking on a lake. It was only James and one other American boy who died, the rest survived. And James may have survived if he hadn’t swum back into the lake to try and save a friend. James was the nicest young guy you could ever meet. Gentle, kind, with a smile that lit up a room, his death at such a young age has really rocked his local community and of course devastated his family – his parents and two younger brothers.

So the tribute podcasts project is dedicated to the memory of JAMES MURPHY.

While all 13 of these podcasts have a death as their starting point, I hope you’ll find them uplifting rather than depressing. I hope they’ll make you think about the value of each and every life, how every single person’s life is extraordinary and unique in some way.

Most of these mini-dramas are about the legacy of love we leave behind.

As readers of this newsletter, can I ask you a favour? First, I hope you will find the time to listen to the podcasts and read the supporting text about each of them on the website. Second, if you enjoy them could I please ask you to spread the word via social media referencing the website or using #tributepodcasts.

In advance – thank you very much!

I have many people to thank – first and foremost all of the writers and actors involved. As you may remember, I put out a call in May last year for these scripts and the response was wonderful.  I received about 60 scripts and the quality was so good. And these 12 scripts are the pick of the bunch (although it was incredibly hard to choose). They show off some really exciting writing talent. The 13th script is one I snuck in there – producer’s privilege.

Some of these scripts are more biographical than others but they’re all distinctive and written with passion and humanity.

Secondly I need to thank the actors who all did this basically for free. Every single one of them turned up on the day having done thorough preparation work and without exception brought even more to the script than I’d ever seen in them.

I’d like to name-check all the writers and actors here.

All of these actors you will have seen or heard before and I was so excited that the quality of the scripts attracted this calibre of actors – Patrick Brennan, Neil Caple, Paul Chapman, Samuel Crane, Sam Hazeldine, Will Mount, Sally Orrock, Carl Prekopp, Laura Rogers, Joe Sims, Sarah Thom, Jessica Turner, Finty Williams.

And the writers (and I hope this project acts as an effective showcase for their outstanding talents) – Robin Bell, Daniel Brierley, Tony Clare, Carol Cooper, Marilyn Court-Lewis, David Hendon, Will Mount, Sarah Penrose, Liz Taylor, Katy Walker, Louise Vale, Ben Weiner.

Finally I particularly need to thank WILL MOUNT and PATRICK BRENNAN.

Patrick has cast the actors for our day of script readings on the last 6 years of the Channel 4 Screenwriting course. As well as being an excellent actor, he is an outstanding casting director. As ever, he persuaded so many really brilliant actors to take part in this project, but as always with Patrick’s suggestions, all who turned up on the day had put some serious thought into their characters, and their performances were brave and absolutely committed to the scripts. Nearly all of the writers attended the recordings, and it was a real treat for all of them to see their scripts brought to life.

As well as doing a brilliant job of casting and persuading some very busy, very talented actors to take part, Patrick gives a wonderful performance in Louise Vale’s REX.

Will Mount is one of the writers (of the excellent AN IRRESISTIBLE FORCE) and, luckily for me, happens to run a recording studio in Whitechapel. Will – incredibly generously – gave me 5 (long) days of his time to record and edit the monologues, and then spent much of the next couple of weeks after that fine-tuning each recording.

But not only that – he also acted my piece – and, I’m sure you’ll agree – did a brilliant job – AND wrote the musical theme for the series. Truly a master of all trades and the nicest, most patient guy, to whom I am massively indebted. Thank you Will!


Finally this week – a link to a blog I’ve written – THREE STEPS TO SCRIPT EDITING SUCCESS – for the BBC Writers Room

All the best




Feb 10th 2017


Posted by admin  /   January 27, 2017  /   Posted in screenwriting & script-editing courses  /   Comments Off on CHANNEL 4 SCREENWRITING COURSE 1st WEEKEND

Indie Training Fund – Story, Ideas & Character Masterclass London March 9th



Hi There,

We’ve just had the first weekend of this year’s C4 screenwriting course and it was a really exciting, thought-provoking couple of days.

Some observations from the weekend that I hope may be helpful to screenwriters –

I’ve been thinking about what the scripts by the 12 writers on this year’s course (selected from 1400 script submissions) had in common.

They were nearly all about big subjects, challenging ideas – female genital mutilation, a trans-gender character, racism, gender politics. If this makes the scripts sound a bit dull and worthy, that couldn’t be further from the truth. As well as mainly tackling big, important, controversial topics, all of the scripts were exciting, entertaining and compelling.

Others that didn’t necessarily tackle big subjects stood out in other ways – for instance – scripts on more familiar subjects that were brilliant examples of that genre – that demonstrated outstanding story-telling ability within a familiar area, and were fresh, original takes on familiar genres and stories.

The best of the scripts created wonderfully rich, engaging and original characters, and put them in challenging, provocative and difficult situations – that forced the characters into drastic action that revealed other sides to them.

Of the writers chosen for the course this year, 6 wrote screenplays, 6 wrote stage plays. Usually the balance is more heavily weighted on the side of screenplays. But this is perhaps a reflection of the thriving new writing culture in UK theatre – a culture that doesn’t exist in the same way in screenwriting in the UK. (A topic for another newsletter!)

To the course itself – we had a brilliant line-up of guest speakers. Starting off with script guru KATE LEYS, talking about story-telling for the screen. Kate has spent her working life thinking about how story works, and has worked with many of the very best writers mainly in feature films but also in TV. She had so many pearls of story-telling wisdom – invaluable for both writers and the script editors on the course. (We have 4 script editors working on the course, each of whom work with three writers, and who are also shadowed by 4 trainee script editors.) Kate addressed the absolute fundamentals of how story works in a way that is straightforward, jargon-free and highly insightful. If you ever get a chance to listen to her talk, or work with her, take it!

Next up was director MARC MUNDEN. Marc is one the top TV directors in the UK today, his most recent work being on C4’s 4-parter, NATIONAL TREASURE, and before that on the wonderful UTOPIA. Marc showed a clip of the brilliant opening sequence of UTOPIA S1 ep1 (mass murder in a shop – if you saw it, it will be imprinted on your memory!) and scenes from National Treasure. Both were master-classes in clear, dramatic and visual story-telling, and really instructive about his working relationships with writers (in these cases, Dennis Kelly and Jack Thorne). He talked about how important it was for writers to leave interpretive gaps in their work, and about creative collaboration at its best.

Finally on day one, 4Screenwriting alumna CHARLIE COVELL talked about her writing work since the 2014 course. (You may want to catch up and enjoy Charlie’s work – her outstanding feature film BURN BURN BURN  is now on UK Netflix; and her two brilliant episodes of BANANA are on All4 – Channel 4 catch-up). And on the Sunday, we had two other 4Screenwriting alumni do a talk together – CAT JONES (2012) and ANNA SYMON (2013).

All three have enjoyed significant screenwriting success since they did the course. They are all obviously, in their different ways, outstanding screenwriters. But in itself that’s not enough to achieve success. What they also have in common is a huge passion for writing and their craft, huge intelligence, great determination to succeed, and an ability to collaborate and get on with their co-collaborators – even when things get tough. And all three talked about the pitfalls as well as the successes – the bad notes you get, the projects that don’t get green-lit, the sheer intensity of the demands that are put on you. There is a fair level of stress involved, and while all three have been very successful, all three have also had their share of frustrations – and what is impressive about all three, is how they manage to rise above these difficulties and keep focused and determined – with the focus being on the continued quality of their work.

On Sunday we opened with Daniel Fajemisin-Duncan and Marlon Smith talking about their Channel 4 serial RUN (another show to watch on Netflix). It was really interesting to hear about the pros of being a writing partnership (of which there are many) and of their work across TV and feature films. What strikes me about Dan and Marlon is that beneath their undoubted talent as writers, they are hugely determined and focused on developing their careers and the range of their industry connections. They have a number of very exciting projects in development. They also clearly enjoy passing on their experiences to the newer writers on the course – and I think this sort of generosity of spirit is something a lot of the successful writers have in common.

They were followed by Channel 4 drama commissioner Liz Lewin. Liz, also a hugely experienced producer and script editor, accompanied by writer Lisa McGee (London Irish), was a force of nature – giving off huge energy and enthusiasm for the work she does with writers. She had also (incredibly generously) done a massive email around her many industry friends and contacts the evening before to ask them for their tips for writers just starting out in the industry. The resulting 6 page document was a screenwriting master-class in its own right. And here are a few of the many insightful quotes from it –

‘Eavesdrop. I got a character today just by listening to a lad on the till at Waitrose boasting to a Saturday girl.’

‘If your characters don’t care about what’s going on, the audience won’t care.’

‘Agents like writers who as well as talented they feel are also hard working and proactive.’

‘You need to spend time thinking about how to work out what is unique about your voice.’

‘Don’t write a SINGLE line of dialogue until you have a COMPLETE, fully working outline!!!!’

‘Read as many scripts as you can. Read scripts every day.’

‘Once I’d given up the notion of trying to ‘please’ a reader, I was completely libertated. And that’s how I found my ‘voice’ as a writer.’

‘Write and write and write, and be your hardest critic, and don’t second guess, and don’t be afraid of failure.’

‘Don’t be precious. Don’t get despondent. Don’t waste all your time on twitter.’

…and so on. Six pages of this stuff from some of the most successful writers, producers and agents in the business. Absolute gold-dust for the writers and script editors on the course.

Then we had HILARY NORRISH, one of the best script editor / producers working in the UK, with a wonderful CV of outstanding shows, talking about the writer / script editor working relationship. Hilary has spoken on every year of the C4 course – she is a brilliant public speaker, a natural comedian, and hugely perceptive about how writers and editors work together at their best (based on a career of working with people like Alan Bleasdale, Paula Milne, Guy Hibbert, Simon Block etc).

At the end of both the days, the course writers sit down with their script editors to pitch the ideas they’re interested in writing about in their course script. Over the years, we’ve found that finding a really exciting idea that the writer is burning to write but that is also suited to C4 / E4 is probably the hardest part of the process. Sometimes just finding the right idea can take several weeks – but once a writer has settled on the right idea, the process is very exciting. We tried to tackle that issue this year by having a briefing evening for the 12 chosen writers before Christmas at Channel 4, where C4 drama head of development Matthew Wilson and script editor Natasha Phillips talked to the writers about the sort of ideas C4 are interested in, what constitutes a C4 idea, and the sort of ideas currently in development and production, and why they stood out from the crowd.

And the rage of ideas pitched by the writers was very exciting. I’ll report back after the 2nd weekend in June about the writing process and the resulting scripts – but for all of us working on the course, it’s the start of an exciting adventure that we hope will end up for the 12 writers with the sort of success achieved so far by Charlie, Anna and Cat.

The next newsletter will be on Friday Feb 10th – with exciting news of the launch of my TRIBUTE podcasts!

All the best




Jan 27th 2017


Posted by admin  /   January 12, 2017  /   Posted in screenwriting & script-editing courses  /   Comments Off on SCRIPT SHOWCASE

Hi There,

For the first time, in 2016, I ran what I am now committed to making an annual event –  a script showcase where, over a 1 hour lunchtime in December, I put on readings of 10 minute sections from the 5 best scripts to come through my website last year.

I ran it because I got to September and was struck by how many excellent scripts had come into my script consultancy service in 2016.

I was a little worried beforehand that maybe I’d built these scripts up in my head as being better than they were, but the event itself couldn’t have gone much better and I was relived as I sat listening to the readings that my assessment of the quality of the scripts felt vindicated.

I managed to get 6 really outstanding actors, who, with no rehearsal whatsoever, just a 30 minute meeting with the writers beforehand to ask any questions they had about the stories and characters, brought the scripts off the page with such life. For me, and for the writers, it was a real treat to hear the scripts performed by such outstanding actors.

I have to say as I sat listening to the readings, with a completely full theatre, sensing the audience’s attention and enjoyment, I felt a surge of pleasure. Any anxiety was forgotten because I was so thoroughly enjoying the readings.

The industry turnout was fantastic – we had representatives from BBC, ITV, Left Bank Pictures, Bandit Television, Vox Pictures, World Productions, Daybreak Pictures, New Pictures, Kudos, Euston Films, Tiger Aspect and many, many other production companies. With 4 of the writers unrepresented, we also had a very good turn-out of literary agents.

We had a table by the theatre exit piled with full versions of the writer’s scripts, and it was great to see the queue that formed at the end to get copies. And I got a load of emails straight after requesting electronic copies.

Three of the writers were kind enough to write up their own take on the event –

 Philip Shelley December 2016 Showcase – Jerry Hurley

 Philip read a feature script of mine and invited me for coffee to discuss it. He’d already told me he liked the script and so I hoped that during our meeting I could solicit his advice about all the ‘next steps’ I needed to take. Namely, getting an agent and getting the script into the hands of production companies that would either make it or give me work on other things. However, I came away from our meeting with an opportunity I couldn’t have imagined.

He asked if I’d be interested in having an extract of my script performed by professional actors in a lunchtime showcase event, attended by the professionals I was hoping to reach out to – and of course, my answer was a resounding YES! Finally, it felt like that thing I was working towards might just happen.

 And twelve weeks later I found myself in the front row of a West End theatre with six actors in front of me and a house packed with industry professionals behind.

 On the morning of the showcase, Philip, the actors and writers met to go through any last minute questions with the scripts. Everyone knew exactly what they were doing and the whole atmosphere was one of gentle excitement… I must say here, the actors were all fantastic, both in terms of their performances and generosity. All of them were successful and they were there, making this effort for us and helping us to launch our careers. How fantastic is that?

 The showcase went really well. The performances ranged from dark drama to light comedy and the reactions ranged from you-could-hear-a-pin-drop silence to group laughter. Piles of scripts and business cards were taken by many of the attendees, thanks were said and fingers were crossed that all the hard work would pay off. Only time will tell. But I am certain that every writer left the event feeling enormously positive and hopeful.

 The showcase was less than twenty four hours ago. Nine people took my script yesterday and several others requested it. This morning I received two further emails from production companies asking if they could read it. One even enquired if I’d be interested in coming in for coffee to discuss writing television drama… So, the early signs are good. People are reading my script and what’s more, I haven’t had to write one begging letter or twist a single arm! If there’s a lesson to be learned it’s this – if Philip Shelley invites you for a coffee, GO!


Script Showcase Review – Laurence Tratalos

When your work is performed there is always the worry that no one will laugh. For serious drama writers that would not be an issue, but as my script was a comedy I suffered from the usual chilling anxiety that my words would be met by stony silence and tumbleweed rolling past. Thankfully the audience laughed. Right from the start. I was surprised how some lines I hadn’t considered funny received big laughs whereas my favourite lines often got nothing more than a chuckle. For the most part though I was really pleased with the reception.

But the real credit must go to the cast, who were fantastic. They had read the scripts beforehand but not rehearsed. There wasn’t a single cock up, not a line dropped, and they all played multiple roles with ease. Flitting from Pakistani to Yorkshire accents, no easy feat. They call it ‘lifting the words off the page’ and it’s amazing how different your script becomes when you have a talented cast to bring it alive.

It’s to Philips’s immense credit that so many industry people were willing to spend their lunch break in a small theatre in central London. The theatre was full to the brim and the atmosphere was brilliant. Since the reading I have received positive emails from several agents and also production companies. All in all a great experience and I sincerely hope Philip has the time to do another showcase next year. No pressure there Philip!


Script Showcase – Helen Seymour

I sent my radio script ‘The Beginnings of My Life’ to Philip back in April 2016 via his script consultancy, with no idea what might happen. Part of me was expecting to be gently put out of my misery, a bit like during X-Factor auditions, with a polite but firm ‘writing is not for you’.  Luckily his response was fantastic – encouraging while also constructively critical, really drilling down into the script and pinpointing exactly what worked and what didn’t.  I was thrilled when he said he liked the play and thought it could find a home with the BBC.  Getting recognition from someone as knowledgeable as Philip was just the confidence boost I needed.

So that was that, for a while – then in September, I heard from Philip again who said he was organising a script showcase of the best five scripts received through his consultancy that year, and would I like to be part of it? I almost bit his hand off.  Philip organised the event at the Tristan Bates Theatre in London, which he filled with around sixty industry professionals – producers, agents and others.  The kind of people new writers would kill to get their work in front of!

I turned up on the day nervous but excited, having devoured the superb scripts of the other writers (Laurence Tratalos, Jerry Hurley, Brian Lynch and Kevin Di Biasio) and feeling suitably intimidated. I needn’t have though – everyone was incredibly nice.  The event comprised of a series of ten-minute excerpts performed from each script.  The actors were incredible, performing a dazzling array of characters in a short space of time with little time for preparation.  It was a huge privilege seeing them perform my script – if a little surreal! – and they were able to find nuances I’d never thought about when writing it.

All in all it was a thoroughly enjoyable day.  It is too early to tell what the outcome will be for me as a writer, but I have been contacted by a few production companies – including NoHo Productions, Working Title TV and Conker Films – asking for my script and for more information about me as a writer.  It is also a great addition to my writing CV – a ‘stamp of approval’ from Philip is a huge credibility boost in the industry.  Who knows where it will lead, but it was certainly a wonderful end to 2016, and perhaps will lead to even better things in 2017.


Thank you so much to Jerry, Laurence and Helen for writing these accounts of the event. And, like these writers, I would like to say a particular thank you to the amazing cast we managed to get for the event  and who did such a great job – Nicholas Gleaves, Taj Atwal, Karla Crome, Will Howard, Gina Bramhill and Carl Prekopp.


Finally this week a word from screenwriter / script editor Phil Gladwin about his excellent SCREENWRITING GOLDMINE AWARDS –

‘We’re in the last couple of weeks of the entry period. Back in 2012 we started out with just eight people on the panel, but now there are 35.

I believe the Screenwriting Goldmine competition is one of the few independent script competitions with this diversity of reach in the British TV industry. The five finalist scripts do get strong access to senior people from many different production companies, broadcasters and agencies.

To get into that final five, well, don’t over analyse it, just write us a really good script. It can be any genre, TV drama, or feature film, and must be between 45 and 125 pages long. Scripts strong on character with a cracking narrative probably stand a better chance, but don’t get too hung up on what you think we’ll like, we are really looking for your own vision to hit us hard.

Basically there are no rules other than the Prime Directive of all dramatic writing: Be Entertaining!

If you’ve got a script ready to go then you can read more information at or feel free to email me direct with any queries at

Entries close on Jan 31st.

Good luck!

Phil Gladwin’

Thank you Phil – and I’d like to add my own personal stamp of approval to Phil’s course. Being one of the 5 winners is likely to be a huge boost to your screenwriting career.

The next newsletter will be on Friday Jan 27th

All the best




Jan 13th 2017



Posted by admin  /   December 23, 2016  /   Posted in Thoughts on Screenwriting  /   3 Comments

Hi There,

…and I wish you all a VERY HAPPY CHRISTMAS. As I’ve done for the last couple of years, in my final newsletter of the year, here’s a rundown of the scripts – whether in TV, film or theatre – that I enjoyed most in the past 12 months. And I’d love to hear back from you with your additions and disagreements!


Probably the theatre show I enjoyed most this year was the wonderful OUR LADIES OF PERPETUAL SUCCOUR, a National Theatre of Scotland production at the National Theatre in London. A semi-musical (mostly old ELO songs) performed by a completely unknown (to me!) teenage, female, Scottish cast, this was theatre at its very best – joyous, filthy and ultimately moving and uplifting. Adapted for the stage by LEE HALL from a novel, ‘The Sopranos’ by Alan Warner.

LINDA by PENELOPE SKINNER at the Royal Court was right up there too. Another show with some serious messages leavened by a wonderful sense of humour – and a great cast (including multi-talented 4Screenwriting alumna Karla Crome). In the eponymous role, Noma Dumezweni gave a stellar performance. Theatre is at its best when very important subject-matter – in this case gender politics and female empowerment – is part of an entertainment – a gripping story, characters you really care about, with laughs and real drama. A play for the big stage.

ALLIGATORS by ANDREW KEATLEY – which I saw at the start of the year at the Theatre Downstairs, Hampstead. In contrast, this was a play for a smaller stage – but in a good way. A microscopic, intense study of a schoolteacher whose life is destroyed when he is accused of unspeakable acts many years previously. Another wonderful character story, this tapped into many issues that are prevalent at the moment – the unstoppable power for bad (and good) of social media and the media in general, as well as being a tremendous piece of story-telling.


Early in the year there was a bit of a flood of highly enjoyable films – the wonderful ROOM (which was included in my 2015 list),

THE BIG SHORT – a hugely creative and entertaining examination of the financial crisis, that was a screenwriting master-class in how to use all sorts of stylistic devices to grab an audience’s attention – flashback, voiceover, direct address to camera, use of captions, intercutting documentary / news footage with fiction, it was virtuoso screenwriting and film-making – and it had something really important to say, written by ADAM MCKAY & CHARLES RANDOLPH.

BROOKLYN – in complete tonal contrast, a lyrical, poetic piece of story-telling about the physical and emotional journey of an Irish girl trying to make her way as an immigrant in 1950’s Brooklyn – a brilliant adaptation by NICK HORNBY of Colm Toibin’s novel.

JOY – a funny, moving, inventive piece of story-telling by DAVID O. RUSSELL. A story that unfolded with real flair and imagination. In some ways his work and career is comparable to RICHARD LINKLATER, whose EVERYBODY WANTS SOME!!, while equally joyous, was more of an out-and-out comedy (and a very successful one). Both specialise in character driven stories that are informed by a real sense of humanity.

Very similar in subject-matter but diametrically different in tone was GOAT – very bleak but very brilliant. Written by the film’s director ANDREW NEEL, DAVID GORDON GREEN, and MIKE ROBERTS, this was an examination of the phenomenon of hazing of freshmen amongst frat houses at US universities. It was graphic, shocking, compelling and very instructive. I saw this at the very poorly-marketed London Sundance festival in June and, as far as I know, it hasn’t got a UK cinema release date. But if you get a chance to catch it, I really recommend it.

At the London Film Festival in October the best films I saw were Oliver Stone’s excellent SNOWDEN – a great companion piece to Laura Poitras’ Oscar-winning doc CITIZEN 4; NOCTURNAL ANIMALS –  a really smart, stylish but also involving film about story-telling itself, directed and written by TOM FORD; AFTER LOVE, a claustrophobic but utterly compelling examination of the breakdown of a marriage written byJOACHIM LAFOSSE, MAZARINE PINGEOT, FANNY BURDINO & THOMAS VAN ZUYLEN; THEIR FINEST, a traditional UK movie set during WW2, with a familiar but excellent British cast – in particular a wonderful comic performance by Bill Nighy. Charming, funny and touching, the film is adapted from a Lissa Evans novel by experienced TV dramatist GABY CHIAPPE – and the central characters are screenwriters writing a populist propaganda film – a rose-tinted but nevertheless thoroughly enjoyable portrayal of war.

In contrast Danish film A WAR was an intense, disturbing examination of the affects of warfare on a UN Danish military unit operating in Afghanistan – and the repercussions on their lives of a death in combat. Written by TOBIAS LINDHOLM.

THE FUNDAMENTALS OF CARING (Netflix) written and directed by ROB BURNETT. I’m a sucker for sentimentality, and this is undoubtedly sentimental. (Why has ‘sentimental’ become an exclusively pejorative adjective?!). A classic road movie, it conformed to many recognisable movie tropes – but also had a voice and personality all of its own. Funny, moving and very engaging. It’s also part of the new viewing phenomenon – a Netflix Original – a show that exists somewhere between traditional film and TV.

I could  mention many more films – but I’ll end this section with a few feature documentaries. To my mind, this is becoming an increasingly productive narrative strand, with so many lessons, so much inspiration for screenwriters –

BATTLE MONTAIN – all about obsessive champion cyclist Graeme Obree (see THE FLYING SCOTSMAN), this was a compelling character study.

As was THE FALL, a film about the story leading up to and the aftermath of Zola Budd tripping Mary Decker in the women’s 3000m race at the 1984 Olympics in LA. Two very different characters, both with hugely competitive natures – their clash, and their eventual, moving reconciliation 30 year after the race that had shaped their lives.

WEINER – so inspiring in the way it dramatised such a complex, flawed, charismatic central character.

GLEASON – a traumatic, moving character story of a formerly celebrated US football player, struck down by illness, striving to make the best of his life. Will melt the hardest of hearts.



Exodus – a brilliant BBC documentary series about the ongoing refugee crisis. Both hugely moving and educational – a really important piece of work that is also gripping.

The Missing 2 – highly impressive in the way it even bettered series one. Again, a great example of compelling story-telling. Complex, multi-layered – but very rewarding. (JACK & HARRY WILLIAMS)

Fleabag – an adaptation of the stage monologue, this expanded version worked equally well but in a different medium. Funny, dark and very original. (PHOEBE WALLER BRIDGE)

Stranger Things – worked on several different levels – as affectionate pastiche, schlocky horror – but also involving, highly entertaining character-driven story. (The DUFFER BROTHERS)

Better Call Saul2 – probably my favourite TV show of the year. Some of the three-handed character stories between Jimmy McGill, his brother Chuck, and Jimmy’s colleague / lover Kim – were just the most brilliant, multi-layered, rich and intriguing character writing of any series. A complete joy, I can’t wait for series 3. (VINCE GILLIGAN, PETER GOULD, THOMAS SCHNAUZ, GENNIFER HUTCHISON, etc)

Line Of Duty 3 – JED MERCURIO delivered again. Another cracking, adrenalized ride with some of the longest, most static – and best – scenes in any UK drama of this or any other year.

Black Mirror – CHARLIE BROOKER’s show now on Netflix, which once again cut to the heart of so many of the issues of contemporary life. My favourites in the new series are SHUT UP & DANCE and NOSEDIVE.

Flowers – WILL SHARPE’s completely original, very dark and very funny comedy series

Love – a Netflix series (JUDD APATOW, LESLEY ARFIN & PAUL RUST) – the lowest of low concept shows – 10 episodes about the on/off relationship between a boy and a girl in contemporary LA, this proved that if you create rich, credible, compelling characters, we don’t need car chases, aliens, zombies or whatever.

Mum – STEFAN GOLASZEWSKI proved the same thing with his latest BBC series. The stories are so slight they’re almost non-existent but it works anyway. The characters and the dynamics between them are so well-drawn that you just love spending time in their company.

Happy Valley 2. Written and mostly directed by SALLY WAINWRIGHT – as good as if not better than series 1, which is saying something.

Last Tango In Halifax Xmas special – delightful and so different in tone to HAPPY VALLEY – SALLY WAINWRIGHT  is such a good writer, but the breadth of her range also is incredibly impressive.

Finally THE CROWN. I’m no royalist – but I’m so caught up in the lives of these characters because PETER MORGAN is such a consummate story-teller. Like BETTER CALL SAUL, this is a master class in how to construct compelling scenes. So many beautifully nuanced, character-driven scenes.

OK, I’m going to stop there – but I could go on for pages more. So much great, inspiring writing! I’ve referenced so many great writers here whose work you will enjoy researching and following.

The next newsletter will be on Friday Jan 13th. Have a great Christmas and New Year. And I hope 2017 is a BIG writing year for you.

And can I say a massive THANK YOU to all of you who take the time to respond to this newsletter with comments, opinions and thanks – your input, responses and interaction are what make this process fun and interesting for me,

All the best




Dec 23rd 2016



Posted by admin  /   December 09, 2016  /   Posted in screenwriting & script-editing courses  /   Comments Off on CHANNEL 4 SCREENWRITING COURSE 2017


I’m running a one day script editing course at the Indie Training Fund on Jan 17th next year.



Hi There,


After a lot of admin and even more reading we narrowed down the 1356 submitted script entries to a shortlist of 32 writers whom we’ve been interviewing at Channel 4 in London over the course of this past week. We will be able to inform the 12 successful writers in the next day or two. So – if you submitted a script and haven’t heard back from us, I’m afraid that means you weren’t short-listed.

It’s a hugely difficult task picking 12 writers for the course from so many submitted scripts. We try as hard as possible to get a wide range of different writers – writers from film, TV, theatre and radio, from all different areas of the UK, as ethnically and culturally diverse as possible, a group that’s varied in terms of their writing experience and gender. All of this has to be factored into the conversations about who we offer places to on the course. But ultimately what attracts us to a writer is a script with which we connect on an emotional level. There are very many scripts we read that are objectively excellent – very well-written, interesting and commercially realistic. But that isn’t enough in itself – a script also has to have a visceral effect on the reader to really stand out – it has to be entertaining and thrilling. So inevitably there is an element of subjectivity in the selection of the 12 course writers.

One other thing that is worth saying is that, increasingly, however good the submitted script, writers are sometimes only getting onto the course after several attempts – over the last 2 or 3 years, there have been several writers who have been short-listed for an interview one year, haven’t made it onto the course, but have then submitted a different but equally excellent or even better script the following year, and have got onto the course then. And if you’ve submitted different but excellent scripts for 3 or 4 years, that’s highly impressive and obviously more persuasive than a single excellent script.

So, disappointing as I know it is to not get onto the course, you need to think about a screenwriting career as something that is long-term. If you’re serious about this, you’ll be in it for the long haul. Setbacks won’t put you off your stride, and you will continue to produce quality work until you’ve battered down the doors of the industry.

But to everyone who entered a script, I would like to say a massive thank you. It’s always really exciting and enjoyable reading the huge variety of story that comes in, and I feel privileged to be at the coalface of new screenwriting in the UK. I’m sorry that we don’t have the time or resources to give individual feedback to writers, or to get back to each writer individually with news about the outcome.

From the point of view of all of us who read the scripts – myself, 18 readers, and several members of the Channel 4 drama department (who read the short-listed scripts) – it’s very frustrating that we can’t take more than 12 writers, and that the outcome for writers is getting on the course or nothing. I do my best to identify the best writers who didn’t make it onto the course and to track their work, and keep in touch with them.

And I’m a great believer that, if you are determined enough and your scripts are genuinely excellent, you will break through. Despite the apparent obstacles in place, there are a lot of smart, passionate people in the industry who are actively looking for new, talented writers.


Completely unrelated to the C4 screenwriting course, I held a script showcase this week in which 6 wonderfully talented actors performed 10 minute readings from 5 of the best scripts that have come through my script consultancy this year.

It’s been a particularly good year for the quality of the scripts that have come into my consultancy so I was motivated to put on this showcase. There were so many scripts that I’d read and worked on with the writers that I feel confident are good enough to attract industry interest for the writers.

So on Wednesday at the Tristan Bates theatre in central London we had a full house of development executives, script editors, literary agents etc from film and TV coming to hear this showcase. The initial response seems to have been hugely positive, and I’m really interested to see how this will turn into real professional leads for the writers involved – I’ll be coming back to write more about this after Christmas.


This is my other recent creative initiative through my website / newsletter. With 13 excellent scripts, and 13 excellent actors, we have now recorded and edited these dramatic monologues – 10-15 minute eulogies to fictional dead people (which are hopefully inspiring and life-affirming rather than depressing!). In January I will be releasing them through a new website and itunes. And again, this is something I will write about in more detail in a future newsletter when they’re ready to launch. But it has been really creatively exciting working with (mainly) new writers on these scripts, and seeing their scripts come to life with some wonderful performances by some outstanding actors. The writers came to the recordings to meet the actors, and be part of the production process – and we had a brilliant time recording them.


I attended this event which took over Picturehouse Central in London last week. There were very many fascinating panel sessions and interviews all about TV drama – and my head was spinning after two days of these panel discussions. I made copious notes and, again, I will be sharing much more of this with you in newsletters in the New Year.

The next newsletter will be on Dec 23rd,

All the best




Dec 9th 2016


Posted by admin  /   November 25, 2016  /   Posted in Screenwriters and Industry Interviews  /   Comments Off on SOHO HOLLYWOOD

Hi There,

This week, more notes from the excellent SOHO CREATE festival way back in June –


CATHERINE SHOARD (The Guardian) interviewing –

TIM BEVAN. Working Title Films. Has made over 100 films since 1984. Has won 11 Oscars, 37 BAFTA’s.

DUNCAN CLARK – Universal

FIONA WALKINSHAW – Framestore, VX, Exec producer of GRAVITY.

Tim Bevan, one of the country’s most successful and prolific producers, will be in conversation with Duncan Clark, President of Distribution for Universal Pictures International and Framestore chief exec FIONA WALKINSHAW . These three movie greats have been involved in well over 100 films. What can they tell us about the changing nature of the industry, technical, creative and commercial? Why does this tiny square mile of London play such an important role in Hollywood, and how will these powerful links evolve over the next ten years?’

The first film you ever saw?


TB: The movies of the ‘70’s got me involved in film – a golden age of Hollywood – Ashby, Coppola, Scorsese. These films made me fall in love with the industry. Got a runners job in Soho. It didn’t really feel like work. But working in the film industry was better than work. I really love what I do. Most of all because you’re part of a team.

DC: THE WIZARD OF OZ. I remember being so scared by it. Example of the effect film can have on you. I never knew what I wanted to do – wanted to be a famous sportsman. From a family of journalists. Ended up in advertising, then did ads for a film company. Then being involved with film piqued my interest. A job to keep, a career to pursue.

FW: Not initially interested in film. But I loved reading stories, wanted to work in publishing, but didn’t enjoy it. Used to go off to the loo for a snooze! Got job as LWT news runner. Then receptionist job at Framestore.

TB: started as runner, then making music videos. Worked with directors like Nic Roeg, Stephen Frears. Learnt a lot from working with them. Worked with Frears just after he’d made THE HIT. I introduced him to a young crew. Stephen gave me and Sarah Radcliffe a Hanif Kureishi script. We had a meeting with Channel 4. They immediately gave us the money to make the film. Working Title’s first film (MY BEAUTIFUL LAUNDRETTE)– it’s got a lot more difficult since then!

DC: Not a producer. But 15 years ago produced a film in Hollywood – low budget – great experience. Worked for Sony in LA.

TB: Good to have a group of people around you. When we started, we formed a community of creative people. You have to be tenacious as well as creative. In a filing cabinet you will have a tray of rejection letters to get any movie funded.

FW: Innovation is important at Framestore. Very creatively driven in advertising and film.

TB: You have to know when it’s not working. Sometimes you have a mutual respect between writer, director, producer – there’s a buzz – and the result is greater than the sum of its parts. This doesn’t happen on most movies – you have to value it when it does happen.

The film industry jades people. You have to get people at the right time.

DC: In distribution – movies from lots of different sources. When films come through – from treatment or script – it’s an acknowledged process – a journey that can take time. But when we get involved, films are generally on track – so less cynicism for me in the process.

TB: one of the things Richard Curtis taught me, quality control is everything. You have to be tenacious at every step of the process.

The industry has never been better. Britain – as a place to make films – has so much going for it. Working on movies now, there’s a proper career to be had – particularly if you specialise in one of the movie-making crafts.

FW: The new technology, ability to shoot your own films has democratized the industry.

TB: London is a really good place to be, a good time. More hours of film and TV than ever before are being made. I credit Gordon Brown. Sorted out tax credit scheme. Successive governments have stuck with it since. Now for every producer starting on funding a film, you have 25% of the budget before you start.

DC: We’re slightly on the outside here in London – but in LA it’s all a bit homogenised. Being outside of that environment can only be an advantage. The film world in Soho has been such an important part of my life. A tiny, packed area, whereas LA is vast and sprawling. Very energising.

FW: In London we don’t ever take the business for granted. Creatives at Framestore are never complacent about their place in the market.

TB: Working Title have offices in both London and LA. In the UK you have to be very pro-active. The UK punches above its weight in creatives. The big difference here is that there are various art forms. Cross-pollination is much better here – theatre and TV cross-pollinate in London. There’s very little theatre in LA compared to London.

Theatre here is a fantastic source for film – great to be able to tap into London theatre.

There’s a great social scene in Soho. Back in the day – the Groucho Club, the George. Now Soho House. Soho is socially vibrant – with lots of people from the creative industries in Soho.

DC: The big studios have a responsibility to make films that ‘common-denominate’ in 40 different territories.

TB: As a producer, we have a slate of movies. We don’t want a massive gap between films. We try to have a broad slate. Balance things out, develop as much as you can, with projects in different stages of development – from conception to production. The quickest development period we’ve had is 1 year, the longest 15-20 years. We’re thinking a few years ahead all the time.

DC: As distributor we’re thinking 3-5 years ahead. The timings never fall into place perfectly.

FW: At Framestore, we’re always looking two years ahead – things change all the time. We employ about 1000 people. We’re always trying to keep our slate full. The worst part of the job is when you suddenly see a gap, where schedules change – suddenly 200 people in the company who need work.

TB: Have the same attitude to extreme success and failure. Nothing surprises me very much – when films don’t happen.

DC: It’s a huge team effort in making and marketing a movie. If people don’t embrace a film, there’s a big debate about production and marketing. It’s always a bit of a roller-coaster.

Getting into the industry –

TB: We all had to get into it and for all of us it was difficult. Be clear about where you want to end up – be specific. Everyone at the start wants to be a runner – if you specifically want to work in the art department, for instance, it gives you an advantage.

FW: Make sure you do your research. One of my pet hates, is the standard blurb on CV’s, ‘I’m a highly motivated, organised individual…’ Don’t write that, write something interesting.

TB: Work experience – seize the opportunity when you have it. Diversity – shocking lack of diversity, especially behind the camera.

FW: When starting out, be aware of internship opportunities.

DC: Distribution – producers / distributors / exhibitors – it’s very competitive. Every week 4 or 5 movies are opening – there’s so much demand for the few available screens. Films sometimes do have very short, limited theatrical releases. But nowadays you’ve never missed a film forever – films come round in another vehicle.

TB: The studios have become very market-oriented. (BIRDMAN, GRAVITY were turned down by all the studios – both won Oscars)

One of the great things for Working Title has been the relationship with Universal. We think of the UK as our principal market, but if a film works it will have ripples all round the world. We soon realized the importance of the market worldwide. FOUR WEDDINGS AND A FUNERAL changed everything – it was a massive door-opener. UK films don’t have to be huge – but there’s a big audience for them if you get them right.

Studios have different divisions – to look after and develop different types and scale of films.

There’s never a single moment when a film gets green-lit – it’s a process that happens over a course of months. Then the official green-light almost comes as a formality.

Releasing the trailer is like releasing the movie now.

FW: Huge impact (in the marketing) of sites like ‘Rotten Tomatoes’.

DC: Some movies take on a viral energy that we don’t anticipate.

TB: The response on the Mail online is a good indicator of a movie’s future success. So many hits for LEGEND (Tom Hardy as Kray twins) and new Bridget Jones movie – this reflects box office potential.


The next newsletter will be on Friday Dec 9th,

All the best




Nov 25th 2016