Posted by admin  /   October 19, 2018  /   Posted in Thoughts on Screenwriting  /   No Comments

Hi There,

Following on from my newsletter two weeks ago about story ideas and pitching, here are some more related thoughts –


Once you’ve written 2 or 3 outstanding spec scripts and people in the industry are starting to take notice of you, you will get a lot of meetings and you need to be ready to take advantage of what these meetings offer.

If a producer / script editor / development executive gets in touch and offers to meet up for a cup of tea and a chat, for a ‘general’ meeting – this is NOT just about a cup of tea and a chat. No script editor is going to want to meet up with you unless they genuinely like your writing and are keen to work with you. This initial meeting will be to sound you out – to make sure you and they are roughly on the same wave-length, that you come across as professional and conscientious but, most importantly, they want to know what ideas you might like to write about, and to see if there’s any common ground between your interests and theirs. So don’t rock up waiting to be impressed. You need to have done your homework, researched the person you’re meeting and the company they work for (and even the companies this script editor used to work for) and have constructive, engaged opinions about the shows made by the company you’re going to see – this doesn’t necessarily mean you have to be glowingly positive about every show they’ve ever made.

For a script editor / producer these meetings aren’t casual social events to pass the time. If they want to meet you, they have already made a significant commitment to you as a writer – and you need to make the most of these opportunities. Us Brits like to downplay things and you have to be adept at reading the sub-text of what is said.



Above all, you need to go into these meetings armed with ideas that you’re passionate about writing. The industry is hungry for your good ideas and if they are good, companies will commit to them and you will have to be continually creating and generating brilliant new ideas. As professional TV dramatists this is almost as important a part of your work as actually writing the scripts. It’s these new ideas that are going to get you new script-writing work.

Go for ideas that don’t just interest you but impact on you emotionally. Those are the stories we’re all looking for – stories that address what bothers, excites, scares, terrifies, infuriates, overjoys you. What excites and enthuses you? What are your secret passions? What / who do you love (or hate? And why?) Stories that evoke an emotional response. Stories that challenge the status quo. It’s not enough that your story is intellectually a good idea. It has to have emotional resonance.

Think about – why your story needs to be told now. Even (particularly) if it’s a period story. What does your story tell us about the world we live in today?

Don’t think that because an idea came to you easily that you should be suspicious of it. OR conversely if you have struggled working on an idea for years that that confers status on it. The opposite is more often true – the best ideas come quickly and easily.

You will feel / know when your pitch / idea is good. And it will be easy to pitch. And anyway it’s not about the delivery of the pitch, it’s about the quality of the idea.

But you have to put yourself in the right place (mentally and physically) to be open to these ideas. Look outward more than inward.



Sometimes the switch between no success or recognition at all in the TV drama world – and fighting off the meetings and offers – changes very quickly. The industry is quite small and producers and script editors are constantly swapping notes on who’s good. If you get onto one scheme like 4screenwriting you may suddenly find you get all sorts of other offers. You need to make sure you’re ready to take advantage of these opportunities when they do come along. And if you’re putting yourself out there and working hard at writing scripts, generating ideas and meeting people, and nothing is coming of it, then you need to be able to stand back and revaluate why things aren’t happening for you and work out what you need to do differently. Because there is an industry of people actively, hungrily looking for new writers, and if you’re working at it but not breaking through there will be a good reason for it – but perhaps one that the potential employers are too polite / cowardly to tell you. At the same time, you need to be sure that you are receptive to constructive feedback about how you can improve your chances of success.



At a certain tipping point when you have got to know quite a few people in the industry and know who you want to work with and who you don’t, these people will start coming to you with their ideas. Sometimes it’s smart as a writer to be receptive to ideas that companies are bringing to you – this is an advantageous position to start from – when the company is trying to persuade you of the virtue of their ideas rather than the other way round. The company / script editor will already have an emotional / vested interest in the idea and you will be leaping on board momentum that has already been built up in-house without having to initially persuade them of the virtue of your idea. And hopefully the ideas that companies bring to you will already be informed by their knowledge of what is likely to get commissioned at that particular moment.



These documents are very hard to write. They’re a completely different skill to writing a script but they’re really important and as screenwriters you need to embrace the challenge of writing them.

What these documents aren’t about is a detailed chronology of plot detail – we just want the absolute story essentials. Resist getting bogged down in plot when pitching – pitching is about the wider overview, not detailed plot chronology.

They are about expressing the uniqueness of your idea. What is utterly distinctive and exciting about your idea? Why does it need to be made – now? What is the emotional hook of your idea? Why are you not only the best writer for this project but the only writer who could write it? What is the compelling dramatic premise / narrative hook of your idea? Who are the vivid compelling characters at the heart of your story? What are the detailed visual images / tableaus / moments that articulate your idea?

These are the sorts of questions your document needs to address – and the document needs to address them in the shortest form possible. No reader wants an initial written pitch for a project to be 20 pages. Ideally they’d like it to be one page. But if you feel that you need 2-3 pages to do real justice to the idea, then that’s fine. But you should write this document with real economy. There should be no repetition.

The document needs to convey not just your passion / excitement but also the tone / stylistic approach. If you’re pitching a comedy, your written pitch needs to be funny. If you’re pitching a thriller, it needs to be thrilling.

And the way you write it needs to convey how excited you are about the idea. But like the best scripts, all of this needs to be sub-textual. There is nothing more off-putting in these pitch documents than empty promises – assurances that the script will be funny, heart-breaking, thrilling, without any evidence of this in the document. These documents need to deliver not tease. At the same time, these documents aren’t meant to be a complete package – they’re just supposed to pique interest and initiate a conversation and questions about the idea.

As with your scripts, get feedback on your pitches, try them out on people, work on them and redraft them before you submit them professionally. Treat them with the focus and dedication you would a script.

Identify the essence of what is exciting and unique about your idea and keep this at the heart of your pitch. The clarity of the idea is key.

The next newsletter will be on Friday Nov 2nd,

All the best




October 19th 2018



Posted by admin  /   October 05, 2018  /   Posted in Thoughts on Screenwriting  /   Comments Off on PITCHING / IDEAS

Hi There,

I’ve had a hugely enjoyable week with three days of courses – on Tuesday my STORY, IDEAS AND CHARACTER ‘masterclass’ at the Indie Training Fund (who this week merged with Creative Skillset to become ‘SCREENSKILLS’ in case you’re interested); and then on Wednesday and Thursday 2 sessions with the BBC writersroom 2018 Drama Room intake (15 writers selected from their annual Drama script submissions for 6 month mentoring and script development).

On both of these courses, I asked the writers to find an idea from 2 pages of newspapers and create the best feature film or TV show pitch they could get from their particular pages. The results were astonishing – and I’ve had a very enjoyable time listening to some very exciting, imaginative pitches for a lot of shows that I would very much like to see on our screens.

I want to say a massive thank you to all the writers involved for their whole-hearted, committed approach to these exercises – they put in a lot of effort (and had the courage to pitch their ideas in rooms full of about 20 people).

I’ve used this and similar exercises many times on courses and they nearly always produce brilliant stories and pitches. It seems to me that the more parameters, the more limitations, the less time you give, the better the ideas that come out of the exercise.

But the ideas I’ve been listening to over the last three days, created through ‘artificial’ games and exercises, are also better than nearly all of the ideas that I’ve been pitched in proper writer meetings over the last year. I say this a little reluctantly. As you may have gathered I try quite hard to be positive in these newsletters. But if there’s one area of screenwriting that I’d say writers need to think more about, it’s this area – creating ideas that are likely to be picked up by producers. (This is both true of writers when they initially pitch their ideas at the start of the Channel 4 course and in development meetings I’ve had outside of the Channel 4 course).

And this is true both of verbal pitches but perhaps even more so of written pitches and outlines which seem to be fiendishly hard to get right.

So here are some related thoughts  –

This should go without saying but I’m going to say it anyway! Particularly if you’re a new writer with no TV track record (but actually this applies all writers of any level of experience) the ideas you pitch don’t just have to be good – they have to be exceptional. No self-respecting indie is going to commission you to write even an outline for £500 unless they are genuinely excited by the idea and think that it has a hope of cutting through and being attractive to the decision-makers, the commissioning executives.

There is no allowance for the fact that you’re a newer writer. Whoever you are, you are directly competing with Jed Mercurio and Sally Wainwright. Your ideas don’t just have to be as good as their ideas (who’s going to pick your similar idea over writers with track records like theirs?) it has to be considerably better.

So the ideas you pitch have to be outstanding and exceptional. And when you pitch them you have to believe this. And if they’re not outstanding and exceptional because you haven’t fully thought them through yet, but you’re just trying them out in meetings in their early development phase, then you shouldn’t be pitching them.

Instead you should try them out on your friends, loved ones or more particularly those who you trust to give you constructive but, above all, brutally honest feedback. (You’ll find teenage children are very useful in this respect).

It’s a great time for newer writers to be pitching new ideas because there are quite a few precedents at the moment of shows from brand new writers being picked up and even made (by both traditional broadcasters and SVOD’s). But they’re only being picked up because they are outstandingly good ideas – and because the writer has gone into a meeting with an indie and managed to persuade a script editor, then an executive producer, then a commissioning editor (and probably several other people besides) of the uniqueness and excellence of their idea.

Not only that – but you also need to persuade those who hold the purse-strings that YOU are the best writer for this story – indeed that you are the ONLY writer who could tell the story you want to tell.

Listening to so many great ideas this week has really made me think about what a good TV drama idea is, what it looks and sounds like.

There were a couple of ideas that were pitched to me yesterday that were epic – stories that were spread over several years in a life and over different continents – about struggle, hardship and ultimate redemption. Be ambitious in the ideas you pitch. Don’t limit yourself and your ideas. Go for scale, ambition and the EPIC! Go for BIG ideas.

Titles. In another exercise I get writers to come up with completely random titles and then create stories from the titles. Two of the titles that generated cracking stories – THE WINTER IS COMING and SEVEN WAYS HOME. Strong, imaginative titles like this can spark strong, imaginative stories.

(So many good ideas have come up this week through (frankly) quite silly games and exercises. But I think the silliness is really important. Creativity is so much easier in a playful environment. It should be FUN, it shouldn’t be sitting staring at a computer screen until your brain bleeds.)

The devil is in the detail. Stories and characters come alive through telling detail – particularly visual detail. Memorable visual images and moments between characters can stand out (rather than more generalised descriptions of character qualities).

Following on from this was a discussion of the mundane aspects of our lives that contain insightful, defining characteristics – what we eat, what we buy at the supermarket; what we wear; what newspapers we read; our mode of transport; social media profile and activity. If you can imagine all of this for your character, you have gone a long way to creating an utterly unique, clearly-defined person. So often it’s these authentic, idiosyncratic details that bring characters to life.

I’m going to carry on these thoughts about ideas, pitching and how you generate new stories and invent new characters in 2 weeks time…


The final script total for the 2019 course was (gulp) a whopping 2800 which myself and my small team of readers have now begun to read and discuss. If you entered – thank you very much. It will be a good few weeks before we have any news but we really appreciate the level of interest in the course and are delighted that so many people submitted scripts. I’ve already read several cracking scripts and I can see the choice of the final 12 is going to be ridiculously difficult. But it’s a really exciting process discovering so many talented new dramatic writers, reading so many wonderful stories.

A message from excellent 4screenwriting alumna DREW MARKE –


A Call to Arms for our scribing sisters!

The 14th of December this year will mark 100 years since the first woman in the UK cast a vote. The first time a woman had a say in who would make the decisions that affected her. It would take another ten years for all women to be granted that right, but still, it was a momentous occasion worth celebrating, don’t you agree? Earlier this year we formed a female creative collective to develop a piece of work to commemorate this centenary, and as a response to #MeToo and the Time’s Up movement. On the 14th of December 2018, at Above the Arts Theatre in Leicester Square we will be celebrating this groundbreaking event with an evening of pieces, produced, directed, written, and performed by women.

We are still looking for some additional writing for our show and we would love submissions of monologues, duologues, songs, or spoken word which hold up a mirror to contemporary female experience, or are inspired by or based on the achievements of extraordinary women, or the gagged, mute, invisible and hidden; those who have been airbrushed from history. With that said we would really like a selection of pieces which not only examine oppression but are celebratory, that are bold and unapologetic or posit an alternative way of being; an opportunity to re-write the narrative. Each piece should be no longer than 10 minutes. At this stage in proceedings, what we can offer with regards to remuneration in that the profits from the show will be equally divided amongst those taking part.

It is our intention for this to be the inaugural event to launch an ongoing, collaborative group of creators who get together on a monthly basis to discuss issues and stories, current and historical, that matter to women, and will inspire and inform our future work as individuals and as a collective. We want to keep the conversation alive, and to make our contribution towards the issue of gender equality as well as give opportunity to women in our industry who are still woefully underrepresented. As Emmeline Pankhurst said, ‘You have to make more noise than anybody else…you have to be there all time’!

Applications are open immediately, and will be closing on October 21st at 16:00, please email them to:



Breaking Into UK Film And TV Drama: A comprehensive guide to finding work in UK Film and TV Drama by Matt Gallagher

Finally this week I’d like to recommend a book. One of the excellent delegates on my ITF course this week was Matt Gallagher. He told me nothing about this book but I happened to come across it, had not heard of it before and, having flicked through it, I think it’s a really excellent guide to many areas of the TV and film industries in the UK.

The next newsletter will be on Friday October 19th

All the best




October 5th 2019





Posted by admin  /   September 21, 2018  /   Posted in Recommended Screenwriting  /   Comments Off on AUTUMN DRAMA HIGHLIGHTS

I will be running my STORY, CHARACTER & IDEAS masterclass at the Indie Training Fund in London on Tuesday Oct 2nd – places still available.



Hi There,

The scripts have been pouring in for the 2019 CHANNEL 4 SCREENWRITING COURSE since we opened for entries two weeks ago today (we’re already past the 1000 mark with another week to go). My team of readers (and me) are lined up and raring to go – it’s an exciting prospect.

It’s that time of year where we’re hit by a wave of fresh creativity – so much new drama on TV, the London Film Festival coming up very soon and lots of exciting new theatre writing.

Last week for three days I returned to one of my favourite places, Aldeburgh on the Suffolk coast, to take in the 2019 HIGH TIDE THEATRE FESTIVAL. And what a treat it was. The standard has always been high – but this year was by some way the best ever. (I bumped into festival director, Steven Atkinson, and we discussed similarities in taste – how so many 4screenwriting writers have also been High Tide writers – Anders Lustgarten, Nessah Muthy, Luke Norris, Milly Thomas, Theresa Ikoko, Vinay Patel – to name but a few.)

And this year was no exception. Two of the best shows I saw were by 4screenwriting alumni – SONGLINES, a lovely, warm, beautifully-written and acted two-hander about an awkward teenage relationship, with music provided by 2/4 of Tallulah Brown’s own band, Trills. The musicians were on stage throughout, and it was amusing to see the playwright on stage watching the actors interpret her own lines. Her expression was impressively inscrutable – but she must have been bursting with pride inside.

And A SUPER HAPPY STORY ABOUT FEELING SUPER BAD – a cabaret musical about depression by Jon Brittain. This was another superlative script brilliantly performed – hugely inventive, funny, moving and very thought-provoking. The show is being toured round the UK until early November by Hull theatre group Silent Uproar.

In fact this was the 2nd play in 2 days I’d seen (by a 4screenwriting alumni) about a female in her 20’s with depression, the other being Milly Thomas’s intensely excellent DUST, still playing at Trafalgar Studios in London (alongside another 4screenwriting alumni Arinze Kene’s equally brilliant, ground-breaking MISTY). DUST and SUPER HAPPY… dealt with similar subject matter in completely different ways – both had a strong streak of humour running through them, and both were highly impressive scripts, superbly performed.

Other highlights from High Tide –

– Danusia Samal’s one woman (+2 musicians) show about her experiences busking on the London Underground for ten years – like SONGLINES and SUPER HAPPY, more ‘gig theatre’ – and another example of what a rich genre this has become.

– WOKE by Apphia Campbell & Meredith Yarbrough, performed by Appiah Campbell. Another hugely powerful one woman show (again with music – Apphia has a wonderful singing voice) about the killing of Michael Brown in Ferguson, Missouri, and how a young female black student gets caught up in the subsequent (continued) police brutality. It’s great when theatre this good can make an impact in a setting so massively culturally different to the place where the story’s set. It was moving to see the standing ovation that the almost exclusively white, middle-aged audience gave to this impassioned piece of theatre about the #blacklivesmatter movement. This was theatre to educate and inspire at its best.

– SPARKS written and performed by Jessica Butcher & Anoushka Lucas – more gig theatre. A narrative monologue with reflections about relationships, urban life and much, much more in both words and music. Again, this was beautifully performed and written.

– SKIN A CAT by Isley Lynn. A vibrant, very funny and poignant three-hander about relationships and female sexuality. Another cracking script. (I also went to a reading of Isley Lynn’s new play THE SWELL – which was heartfelt and intriguing.)

– MOUTHPIECE. A reading of a new play by Scottish writer Kieran Hurley. I went to this at 10.00 on Saturday morning in an unprepossessing church hall with an audience in single figures. It was read as a 1 hour 45 minute 2-hander without a break – and I was absolutely spellbound by it. It’s coming to the Traverse Theatre in Edinburgh in December – don’t miss it!

Including DUST on Wednesday night, I went to see 10 new plays over 3+ days – I have to say I’m pretty impressed by my own stamina! – but the experience was a joy. I came away from Suffolk on Saturday inspired and creatively energised.

The good news for YOU is that the HIGH TIDE FESTIVAL is carrying on for another week, with some of these shows, and many others, at Walthamstow until Sept 30th. If you have the time, do yourself a favour and get yourself over to East London.

There’s also been a glut of new Autumn TV drama to get your teeth into – the ratings phenomenon that is BODYGUARD which, although it has some great set-piece action sequences and narrative twists and turns, I have to say I have mixed feelings about; WANDERLUST, which I’m enjoying a lot – the quality and intelligence of Nick Payne’s writing shines through (another former High Tide writer), and it’s refreshing and encouraging to see BBC1 schedule such a low-concept, character-driven, writer-led drama series in a 9pm weekday slot; the Channel 4 ON THE EDGE series is definitely worth catching up with (including a script by 4screenwriting alumna Janice Okoh).

Highlights from the summer include series 3 of UNFORGOTTEN – in many ways an utterly conventional police procedural – but Chris Lang really knows how to tease out a story – and this for me is an example of genre TV drama at its very best – it really elevates the genre, with the confidence and freshness of its storytelling.

But my TV drama favourite of the last few weeks has undoubtedly been the new Sky Atlantic series, SUCCESSION. A US-set show, with exclusively American characters, it’s fascinating to me that this is written by a largely British team of writers. Lead writer is the excellent Jesse Armstrong (Peep Show, Babylon, Black Mirror etc). (If you’re a regular reader of this newsletter you may remember the short piece I included a few months ago by outstanding novelist DAVID ARMSTONG – Jesse’s father). Other UK writers on the team include Anna Jordan, Lucy Prebble, Georgia Pritchett, Tony Roche and Jon Brown. For me, this is up there with the best US shows of recent years. Structurally this is quite a conventional family business saga – about a Murdoch-like family and their massive media empire – and what happens when the Rupert Murdoch-like patriarch’s illness causes a family and business meltdown. What is great about this series are the characterisations. The characters are a wonderfully damaged, dysfunctional, objectively unsympathetic bunch – but they’re all utterly compelling. The series is gripping and dramatic – but what clinches it for me is the wonderful vein of humour – so much of it is laugh-out-loud funny. It’s a great example of what can be achieved by a writers room set-up – and encouraging that this particular writers room is mainly populated by UK writers!

If SUCCESSION is anything to go by, more UK indies should be creating their drama series in this way.

The next newsletter will be on Friday Oct 5th,

Best wishes




Sept 21st 2018


Posted by admin  /   September 07, 2018  /   Posted in Uncategorized  /   Comments Off on CHANNEL 4 SCREENWRITING COURSE 2019

Hi There,


I’m pleased to announce that I will be running this course again in 2019 and that entries opened TODAY at 9am!

We will be open for entries for 3 weeks – until 5pm on Friday September 28.

All the details and information you need, and the entry form, can be found on my website –


I have already received quite a few emails from writers with questions about course entries. I have a policy of not replying unless it’s about something absolutely vital that isn’t covered by the FAQs section on the web page (and because I’ve been updating this information for the last 8 years, there aren’t many questions that aren’t covered).

The question I have been asked most so far is – can I include my series bible / treatment / outline or other background information with my script. The answer to this is – NO. We only need to see the script. The script and CV should speak for themselves.

Every year I am inundated with questions via email and social media – and I would far rather spend my time reading your scripts than entering into time-consuming email correspondence. Unless you think there’s a glaring omission in the information on the webpage, please use your initiative.

Can I also suggest that you read some of the past years’ writers’ testimonials and watch this short film –

…that was made about the 2017 course. They will tell you quite a lot about the way the course works and will help inform your entry.

Can I also ask that, if possible, you don’t leave your entry until the last moment. Generally we receive over half our entries on the last day, and a lot of those in the last hour! There have been many panics over scripts submitted at the last moment. We will stick to the advertised closing time with no exceptions! So do yourselves a favour and avoid unnecessary stress by entering earlier in the 3 week window.

What are we looking for?

We are looking for 12 talented, distinctive dramatic (or comic) writers who don’t already have a TV broadcast or feature film writing credit (A short film credit, a produced radio play or stage play are permitted). We try to get as broad and diverse a mix of writers as possible – in terms of gender, age, regionality, ethnicity, disability and – most importantly – in voice.

We are looking for writers who are distinctive, exciting, challenging and entertaining. We are looking for writers with a sensibility that fits the profile of Channel 4 (and E4) drama, and who have a broad knowledge and appreciation of UK TV drama in general and Channel 4 drama in particular. We are looking for collaborators – for people who relish the opportunity to work with script editors and are excited about entering the intensely competitive world of TV drama. And we are looking for writers who are excited about telling their stories on screen – who are fascinated and excited by the craft of screenwriting.

We also try to get a range of different levels of experience in the writers we select. We will always have some writers who already have agents and are already beginning to make their mark and build a reputation in the business, often writers, for instance, who have already written some successful fringe theatre plays – but we will always try to balance this by having some writers who are brand new, who don’t have agents and are completely unknown to the industry. And we are always, for instance, keen to work with writers who don’t live in London, who have a specific regional / national voice to their writing. Essentially we want as many fresh, unexpected and distinctive writing perspectives as possible.

In advance, I want to say a big thank you to everyone who enters. It’s always enormously exciting (and a little daunting) receiving so many scripts (last year we received 2040) and incredibly hard to choose 12 writers from such a huge number of scripts. I work with a team of script readers (from whom we choose our 4 course shadow script editors – there is also a script editor training element to the course). I give all the readers as much information as possible in terms of what we are looking for (see above!) and while we try to be as objective as possible, there is inevitably a degree of subjective taste (and disagreement!) in the scripts we all respond to. If you don’t gain a place on the 2019 course, you should accept it as philosophically as you can – unfortunately, even for the most successful writers, rejection and disappointment are a big part of the business – and the successful writers are the ones who can retain their self-belief and keep bouncing back from disappointment. You should also console yourself with the fact that every year some of the writers we select for the course have applied for several years and only get selected at their 3rd or 4th year of entry. From the 2018 course, for example, this was true of Emily White, Abi Hynes, Matilda Ibini and Chandni Lakhani.

Information about an upcoming FREE screenwriting event –

On 2 Oct at Rich Mix (London), Shooting People will be hosting their free SHORT CUTS October Event and are very excited to be joined by the award-winning actor, writer and director, Alice Lowe. Best known for her 2016 directorial debut Prevenge and as the co-star and co-writer of Sightseers, Alice has also appeared in some of the best British comedy features of the past few years. Her new feature Timestalker is due to film next year. Book your FREE ticket here [link:].

AND I will be running my STORY CHARACTER & IDEAS Masterclass at the indie training fund in London on Oct 2nd. This is a course designed for writers and anyone who works in the creative industries that will hopefully work to inspire and energise your creative instincts and make you think about how story works, what makes for memorable and resonant characters, what constitutes an exciting story idea, where good story ideas come from and what makes for a successful pitch.
The day is usually a lot of fun and I can honestly say it always seems to generate a load of exciting and distinctive story ideas.

The next newsletter will be on Friday Sept 21st

All the best




Sept 7th 2018


Posted by admin  /   June 29, 2018  /   Posted in screenwriting & script-editing courses  /   Comments Off on WRITERS’ RETREAT FRANCE Sept 16-22

Hi There,


WRITERS’ RETREAT France Sept 16 – 22 2018

I’m delighted to announce that I’ve been asked to run a WRITERS’ RETREAT in France at the home of writer Katy Walker. (Katy wrote the excellent TRIBUTE PODCAST ‘Valediction Forbidding Mourning’ and has just graduated with a distinction from the MA Dramatic Writing at Central St Martins / University of the Arts London).

As you’ll see from the photos in the above link, it’s a lovely house in a beautiful, peaceful part of rural France. The idea of the writers’ retreat is that over 5 days (from Monday to Friday) there will be classes / feedback sessions in the morning, and a chance to concentrate on your writing in the afternoons.

A select group of 8 writers will get the chance to either work on an idea they’re already developing or (ideally) settle on a brand new project and begin to develop it over the week of the course.

Working one-to-one with writers is for me the most satisfying part of my work so I was delighted when Katy asked me to run this course.

We particularly want to concentrate on helping you to develop / write a project that really shows off your unique abilities as a writer to their very best – ideas that tap into your unique voice as a writer, idea that really bring out the best in you as a writer.

This week away from it all – in beautiful surroundings with some lovely food (Katy is an excellent cook and grows a lot of her own fruit and veg) is designed to really give your writing the time and focus it deserves, with my encouragement and support.

Please contact Katy by email (via the above link) if you have any questions about this writers’ retreat.



…and speaking of Katy’s graduation, here is information about the MA graduates showcase. I taught these graduating students in their first year, and there is some real talent amongst them, so I would very much recommend the show. An added attraction is the theatre’s location inside the wonderful Granary Building in re-generated Kings Cross – it really has become one of the places to visit in London (although it’s still not that well-known).



Thursday 5 July 7pm

Friday 6 July 3pm

Many thanks to those of you who have already arranged tickets. This is a reminder invitation for those who might now have a free window next week. 

You are warmly invited to the MA Dramatic Writing Showcase, a fantastic programme of short rehearsed readings from the work of this year’s MA Dramatic Writing graduates, performed by Drama Centre London students. Featuring extracts from plays, radio plays and screen plays, this is a chance to celebrate the work of one of the UK’s leading new writing courses and meet writers.


 We look forward to seeing you there!

 The Drama Centre London team’


Thursday 5 July 7pm

Friday 6 July 3pm

2 ½ hours including interval. Refreshments will be served.

Directions: Studio Theatre, Platform Theatre, Handyside Street N1C 4AA

 Drama Centre London is part of the Drama and Performance Programme at Central Saint Martins


Facebook:      /dramacentrelondon 

Twitter:           @dramacentreldn   

Instagram:      @dramacentrelondon


SCRIPT EDITING ESSENTIALS COURSE, Indie Training Fund, London, July 19th

I am running this one-day course at the ITF in Euston on Thursday July 19th.

The course is suitable for anyone who’s interested in script-editing, script reading and working with dramatic writers.



….and while you’re planning for writing events for this summer and beyond, can I recommend the High Tide theatre festival in Aldeburgh Sept 11-16 – at which you can always catch some really exciting new writing in a lovely part of the world.



This is another brilliant event – a great opportunity to see so many new, exciting films, many of them with Q&A’s with the key creatives. This year’s LFF runs from Oct 10-21.

JELLYFISH by Ben Weatherill, Bush Theatre June 29th – July 21st

If you enjoyed Ben’s excellent blog (in my newsletter May 3rd ) you won’t want to miss his new stage play – on at the Bush Theatre. I predict with confidence that it will be a real treat.


NB This is my last newsletter until FRIDAY SEPT 7th. I hope you all have a relaxing – but creative! – summer and I look forward to talking to you again with batteries re-charged in September,


All the best




June 29th 2018



Posted by admin  /   June 15, 2018  /   Posted in Thoughts on Screenwriting  /   Comments Off on SCRIPT CONSULTANCY + CHANNEL 4 SCREENWRITING COURSE


Hi There,


I’ve been running my script consultancy for quite a few years now and have always thoroughly enjoyed it. It’s particularly exciting to see a project develop and improve over several drafts, especially when I then feel able to recommend that script to suitable industry people. But there comes a point when the batteries need refreshing and I’ve decided to give myself a couple of months proper break over the course of this summer. I have a very full list of scripts to feed-back on up until the end of this month and then I’ve promised myself a script-free July and August. You are still very welcome to send me your projects in the meantime to secure your place in the script queue – but on the understanding that I won’t get to them until after Sept 1st.

And my final NEWSLETTER before Sept 7th will be in two weeks time on June 29th.


The Channel 4 course is over for another year. Please come back to the newsletter at the start of September for more news about the 2019 course and for details of when the entry period will be open.

Last weekend saw the 12 writers and their script editors come together at Channel 4 with the results of their labours from the preceding 5 months. 12 hugely exciting scripts. On the Saturday a day of readings of a section of each script by some brilliant actors to give the writers the chance to hear their words come to life off the page; and on the Sunday 4 eminent guest script editors came to give their feedback to the writers. On both days the response to the scripts was deservedly and overwhelmingly positive.

I couldn’t feel more confident that these 12 writers are going to make a big splash in the industry, which has led me to think about what it is about these particular writers that will make them successful (and in quite a few cases they are already well on the way) and what lessons can be learnt from them.

First, they all have something powerful and particular to say. All of their scripts feel distinctive and unique. The stories they are telling feel personal to them, they all feel like they have a strong personal agenda, and from reading each of the scripts you get a strong sense of the writer’s voice and identity. Consequently the scripts feel challenging, like they’re pushing back boundaries rather than being constrained by them.

And as people and writers there is a collective and individual confidence to these writers. In general they have strong opinions about what they like and don’t like, and there is a steely but also playful determination about them. I also think (if it’s possible to generalise about 12 such different writers) that there is a quiet well of humanity at the heart of their writing. It’s exciting to see such a talented group of writers launching themselves into an industry that is hungry for new voices.


On 5 July at Rich Mix (London), Shooting People will be hosting their free SHORT CUTS Summer Event and are very excited to be joined by the award-winning writer, director and actor, Desiree Akhavan. Desiree will explore her journey from making hit web series The Slope to critically acclaimed features Appropriate Behaviour and The Miseducation of Cameron Post, which won the Grand Jury Prize at Sundance Film Festival this year. This event also marks the next round of SHORT CUTS, a career development competition that gives filmmakers the chance to win £1k in film funding, industry mentorship, filmmaking equipment and prize packages. Register for your FREE ticket.



What A VERY ENGLISH SCANDAL teaches us about DRAMA IDEAS – this is a story that has been in the public domain for a long time. An absolutely extraordinary story that has so much to say about this country, the establishment, prejudice, intolerance, ignorance and political hypocrisy – a story that was out there, waiting to be told. It took writer / journalist John Preston to shine a light on it before the BBC commissioned the Russell T Davies version. And the first showing of the 1979 documentary about the case was also fascinating.

The 4 part serial was a delight in many ways – in particular for the flair and humour of RTD’s writing.

When you watch this, a big question is – why has nobody told this absolutely mind-blowing true story before? It feels like a story that demands to be told; and even though it happened in the 1960’s and ‘70’s, it stills feels so relevant to today. But there are SO MANY of these sorts of stories out there in the public domain, begging to be told. True stories that absolutely captured the public imagination and that are ripe for dramatization and further exploration. As writers you should be seeking out stories like this.


This 5-part adaptation of the novels of Edward St Aubyn by David Nicholls has, IMO, been one of the best bits of drama on UK TV for some time. It has great production values – the direction and acting are superb – and the writing is wonderful. These are dark, difficult stories but I thought all 5+ hours were completely compelling. Here’s a very interesting video interview with David Nicholls about the process of adapting the novels –

And here’s a very good review / appreciation of ep 3 (although probably advisable not to read this until you’ve watched the episode!)



And finally this week, an excellent article by 4screenwriting alumnus TIM ATACK about his writing, about his winning of the 2017 Bruntwood Prize, and about ‘being an emotional artist, about thinking of emotion as a kind of driving logic when making stuff.’ This is a cracking piece of writing about writing. And Tim’s success is hugely deserved. His writing is original in the extreme and very brilliant. And he’s wonderfully modest with it.

The next newsletter – and the last one before Friday Sept 7th – will be on June 29th.

All the best



June 15th 2018







Posted by admin  /   May 30, 2018  /   Posted in Thoughts on Screenwriting  /   Comments Off on RANDOM WRITING OBSERVATIONS

A one day SCRIPT EDITING course I’m running at the INDIE TRAINING FUND in London on July 19th


Hi There,

This week a few random observations on writing –


I saw this film a couple of weeks ago. If you haven’t seen it, I highly recommend it. It’s predicated on a brilliantly simple but inherently dramatic story premise. And this underlying premise generates such strong story tension with virtually no dialogue. A wonderful illustration of how often the best story-telling for screen is about ACTION not WORDS.


I’ve just finished reading the excellent BALANCING ACTS by Nick Hytner about his years as head of the National Theatre. It’s inspiring in its focus on the many new plays and original creativity he helped bring to life – and about how exciting theatre as a story-telling form can be.

Some of his most interesting observations are about the power – in the right hands – of verbatim theatre – of shaping real events, words people have actually spoken into theatre, into a compelling dramatic narrative. The principal examples are David Hare’s two plays THE PERMANENT WAY, and STUFF HAPPENS; and Alecky Blythe’s LONDON ROAD, a verbatim play about the murders of the 5 sex workers in Ipswich, re-imagined as a piece of musical theatre. I have seen none of these plays but reading about the way they were created and shaped into drama makes me regret that and makes me want to read them.

LONDON ROAD sounds like a brilliant piece of story-telling about a very particular community coming together under a terrible threat – and given a wonderful lease of life and emotional depth by adding a musical score.

THE PERMANENT WAY started as an examination of the politicization and decline of the nation’s railways but in the process of its research and creation became something else – a study of grief. It was fascinating to me to read about how the original intent and agenda of the play was transformed by the research and development that insisted it become something more overtly emotive and character-driven.

And STUFF HAPPENS was a hugely ambitious play (and brave decision by the NT to put their head above the political parapet) about the causes and undertaking of the Iraq war seen through the prism of the political decision-makers of the day (Bush, Powell, Blair etc). The play asked big questions of the motivations and actions of Bush and Blair – and Hytner says that Hare felt thoroughly vindicated that he had judged the situation correctly with the publication of the Chilcot report several years after the production.

Reading about these plays reminded me of an inspiring talk given by Tony Grisoni to the Channel 4 screenwriting course a few years ago in which he talked about some of his best writing having happened when he approached a project / story by trying to AVOID writing. He described how on some projects he has taken true events or real people as the basis for a story, interviewed the people, researched the story, and acted as interpreter, shaper of the transcripts that arise from his interviews and from his research, and done as little ‘writing’ as possible, trying to channel the characters and their stories without letting his ego come between the stories and the audience. It seems to me this is an enormously freeing, enabling idea!


I was lucky enough to see James Fritz’s brilliant, inspiring THE FALL, a National Youth Theatre production at the Southwark Playhouse before it closed on May 19th. (Incidentally a few months ago I  saw the NYT production of JEKYLL & HYDE radically and brilliantly adapted by  EVAN PLACEY – like James, an extremely excellent 4screenwriting alumnus – look out for NYT shows – they’re damn good!)

THE FALL is comprised of three short plays (of about 25 mins each in length) all linked by theme – the young’s attitude to the old and the huge social and economic issue of our aging population – and (as we only realise in the last of the three playlets) a character that links all three stories.

One of the things that was brilliant about this show was the playful, creative, imaginative treatment of narrative structure. The 2nd play for instance took us through the story of a relationship over 40 or so years in 25 minutes. The cuts between lines of dialogue, the use of repetition, the cuts between the (imagined) scenes – all of this led you thrillingly through the many changes and developments in the lives of this couple and the stresses, strains and changes in their relationship across the years. It told its story with such pace, flair and playfulness that – once you realised how it was going to work – you went along with the ride as it built to a subtle, dark, ambivalent twist that was utterly in keeping with the themes of the play as a whole. The pace and verve of this 2nd of the three sections reminded me a little of the start of the film UP – story-telling that is rooted in specific details while at the same time being thrillingly epic and emotionally compelling and universal.

The play ended with a wonderful monologue as an old person on the brink of death (played by a young actor!) looks back at one of the moments from her youth when she felt most alive – one of those thrilling theatrical moments that stays with you.


This is the week of the year when the 12 x 4screenwriting writers deliver the TV pilot scripts they’ve been working on for the course since January. It’s always a highlight for me, an exciting moment when I receive these 12 scripts into my email inbox. And this year is as good if not better than any other year. Particularly in terms of the huge range and diversity of the stories being told, the worlds the writers have taken me into that I previously knew so little about – from religious tensions and nascent capitalism in Nigeria; a family community centred round a fundamentalist Christian church in Preston; the political corridors of Westminster; a disabled man in London searching for his missing friend and carer; a drag queen who becomes a vampire – I could go on, but this will give you an impression of the mind-blowing range and imagination of the voices.

It’s exciting reading these brand-new scripts, knowing what a big splash these projects will create for these new, talented writers. And the fact that they managed to hold my attention when I spent the weekend in a state of distracted, football-based ecstasy was a compliment to their all-round excellence.

The next newsletter will be on Friday June 15th,

All the best



June 1st 2018




Posted by admin  /   May 17, 2018  /   Posted in screenwriting & script-editing courses  /   Comments Off on LESSONS FROM MY SCREENWRITING COURSE

FORTHCOMING one day COURSES I’m running at the Indie Training Fund, London – STORY, CHARACTER & IDEAS masterclass (May 31) and SCRIPT EDITING ESSENTIALS (July 19).



Hi There,

Last weekend I ran my two day SCREENWRITING COURSE in London. It’s always great to meet new writers and this course was no exception – we had such an exciting, varied mix of writers.

One of the things I try to stress about the course is the opportunity to meet and get to know 19 other screenwriters. Some lasting friendships – and working relationships – have come out of these courses. And part of the course is stressing just how important it is to work on making your own network of writer connections.

With writing being such an isolated activity, it’s vitally important for morale that you know and can compare notes with other people in the same situation. Writers Groups who meet up regularly to give feedback on each other’s work (and share a laugh and a glass of something) can really help you sustain a career. And the online equivalents can be a great help too (we have a facebook group that is only open to people who have done this course – now up to 261 members! – that enables these writers to talk to each other).

And your fellow writers can be a great source of information about work and opportunities.

I always stress that the hour or two in the pub at the end of each day should be taken just as seriously as the actual course. It’s often in the pub afterwards that the real connections are made, and the really interesting information shared!

By chance on the Saturday my old mucker Phil Gladwin also turned up in the pub with another group of screenwriters, because he had been running the latest event in his ‘Tribe’ initiative. It was great to be able to introduce the two different groups of screenwriters to each other – so that they could swap notes on their work – and on the two courses!

And it’s always really stimulating to get a sense of where each of these writers is up to in their working lives, and how they can all help each other. So, for instance, we had one writer who has a lot of experience of working on ‘constructed reality’ TV shows (eg TOWIE, Made In Chelsea) and it was fascinating to hear how these shows are created, using so many of the same story-telling principles as conventional TV drama. We had a novelist looking to move into screenwriting. We had a comedy writer who is interested in how to use her comic voice in drama. We had a writer who has started to have some success in childrens TV drama. We had a police officer from Northern Ireland who is keen to find a way to use his work experiences as the basis for dramatic stories…I could go on. But this will give you an idea of the mind-blowing range of different writers we have on these courses – and how their different agendas can be of such value to each other.

We had three brilliant guest speakers – writers Regina Moriarty and Vinay Patel, both of whom have been on the Channel 4 screenwriting course (Gina in 2012, Vinay in 2015) and literary agent Matthew Bates from Sayle Screen.

It was really interesting to hear Gina and Vinay talking about how they manage their careers – and how working as a screenwriter (or a dramatic writer in any medium) is in so many ways very demanding. One of the key ideas that came through from both (and from Matthew) was how important it is to retain a sense of your own personal voice, agenda and passions as a writer, to try to find work that played to their strengths, to work at retaining a sense of their own voices and strengths as writers on every project they take on.

Coincidentally both writers’ first big breaks came on shows from the same (BBC) stable – Gina on ‘MURDERED BY MY BOYFRIEND’ and Vinay on ‘MURDERED BY MY FATHER.’ Both shows are superb and really showcase the talents of the writers, and both these projects opened many doors for them. And it was interesting to see when I came home from the course on Sunday evening that the 3rd film in this series, ‘MURDERED FOR BEING DIFFERENT’ won a prize at this year’s TV BAFTA’s. It’s a huge compliment to executive producer Aysha Rafaele that she has made three such high-quality single films, and is always prepared to put her faith in relatively inexperienced writers. We need more producers like her! I’m not sure what it says about the industry as a whole that shows like this – pioneering, high-quality, writer-led single dramas – came out of the Factual department rather than the Drama department – but what it does say is not great!

There are so many great writers and scripts out there; and not enough producers like Aysha who are prepared to put their faith in these new writers and fight to get their work on screen.

Matthew also talked about how writers need to be in it for the long haul – and that when approaching agents, writers need to have demonstrated their own sense of initiative, that they are a self-starter who has already forged their own contacts and place within the creative industry. And how it inevitably takes time to build up a body of significant writing work, and the sort of contacts you need. He emphasised how hard it is to make a living as a creative (in any industry) and how you should only go down this path if you’re absolutely committed to it.

But (in case this is beginning to sound too downbeat!) I should also say that the main thing to come out of the weekend is just how exciting it can be to sit in a room with 20 talented writers as they talk about their work, and pitch brilliant, exciting ideas. And how inspiring all three guest speakers were in conveying a sense of how fulfilling it can be when you do break through, when you’re being paid decent money to write something you’re passionate about, and in particular when that work makes it to the screen.

I hope to be organising another of these courses for the autumn – watch this space!



I’d been looking for the Nora Ephron documentary EVERYTHING IS COPY for some time. Thank you to Xandria Horton who pointed me in its direction (Sky On Demand). It’s hard to find but very much worth seeking out. Nora Ephron was a great writer – whether of journalism, essays or screenplays.

Her work was so closely inter-twined with her life. The title is something her own mother (a Hollywood screenwriter, who co-wrote with Nora’s father) used as a mantra to Nora and her three sisters. And it’s a statement / question that is at the heart of the work of all writers. The film explores this issue fascinatingly but is about so much more too – family, friendship, ambition, relationships. A really thoughtful, inspiring celebration of a hugely distinctive and very brilliant writer.


Finally this week, two exciting, newly-announced dramatic writing schemes –


‘BAFTA is seeking 15 writers from areas of under-representation within our industries for its latest Elevate programme. If you are trying to progress your writing career in film or high end television drama or comedy but you feel held back by your disability, gender, race, sexual orientation or socioeconomic background or if you know someone who is, then we want to hear from you.

Those selected by our panel of industry experts, will receive a bespoke 12-month programme of support including networking opportunities, introductions, mentoring, tailored panel discussions, masterclasses and workshops focused on professional development.

This is not an entry level programme, this series is not about teaching screenwriting. Participants are required to meet a certain level of experience to be considered and must have at least one on-screen credit or commission.’

High Tide First Commissions

‘We’re thrilled to launch this year’s First Commissions scheme, our flagship Artist Development programme.

This year, we are partnering with Coney, Eastern Angles and Tamasha to engage writers and theatre makers from a wide range of backgrounds and artistic styles. The 18 month attachment, exclusively aimed at those who have never received a commission, will support artists in securing a full commissioning fee and developing their brand new plays over the attachment period.

HighTide and each partner organisation are looking for playwrights, theatre makers or artists with a burning idea who have vivid, theatrical voices. We are also interested in artists who may not necessarily identify as a ‘writer’ but have a desire to create theatrical, relevant and innovative work.

Applications are now open and will close at midday on 14th June 2018.’,5MYYJ,9VBQNW,LX7XQ,1


The next newsletter will be on Friday June 1st,

All the best




May 18th 2018



Posted by admin  /   May 03, 2018  /   Posted in Screenwriters and Industry Interviews  /   Comments Off on SCRIPT DEVELOPMENT – BEN WEATHERILL

Hi There,

This week I’m indebted to the wonderful BEN WEATHERILL. Ben is a brilliant writer (of stage and screen) who was on the Channel 4 screenwriting course in 2016. A little while ago, he had a slight twitter-vent about the script development process and his recent experience of it. I thought it was a great read and really instructive / constructive and helpful for all of you dramatic writers who may find yourself in the same situation as Ben. Ben has very generously allowed me to share what he said with you here –

(PS Ben’s new play JELLYFISH is on at the Bush theatre June 27 – July 21 and will be excellent – don’t miss it. )


Over to Ben –

‘I want to share some thoughts because I wish someone had said all this to me a couple of years ago, so I may as well say it now.

This isn’t intended to patronise or tell grandma how to suck eggs. But I think it’s important to be more honest and open with each other about how we, our work and our ideas are treated so we can be better prepared.

When you first start having telly meetings, you will meet a lot of people at great companies who are making exciting stuff.

This is especially true if you are privileged enough to have completed a scheme such as 4screenwriting, or won a prize, or gathered attention from a really great play etc. It is true across the board, though. If you’ve got a good script acting as your calling card, you’ll be invited in to see what other ideas you’re working on.

I was lucky enough to be on a scheme that people respected and that helped me get through lots of doors. I am so grateful that I had this experience. This isn’t about those schemes it is about what happens after.  

I pitched lots of ideas, some good, some terrible. Lots that were probably average.

I got a few things optioned.  I was excited that people had shown interest in me. Wanted to work with me. Wanted to PAY me for my work. The holy grail.

But development can be hard. Really fucking hard. Your work should be interrogated and asked difficult questions of and it can take forever for a project to get from one stage to another. Some never make it off the ground at all.

Which is why you should find the right people to work with. Precisely because it can be so difficult and so long.

I believe I made some mistakes on those early projects. And I say I made them and not anyone else because I was new to all this and didn’t actually know any better. But there are things that I wish I had known.


Here goes…

I wish I had known it was okay to ask more questions. How exactly will this process work? Why is it they want to do this project with you? What show are we all making? What exactly do these documents you want me to produce look like?  

It is okay to speak up when you feel yourself drowning or you don’t understand. It just is. Your idea and opinions have worth. 

It is okay to ask people to explain notes, politely. Don’t confuse this with not listening to notes. You should. Many are excellent. But if you don’t understand, then you have to make sure you do. Clarify. Don’t get wires crossed.

Hold on to why you wanted to make the thing in the first place. That should always be at the heart of it. If it isn’t, you’re beating a dead horse. What is at the core of the idea that everyone loves and should be kept hold of?

Find people who you trust to confide in. Other writers. Someone who isn’t in the industry as they’ll often put things into perspective. Your agent. TALK TO YOUR AGENT. At this point it’s probably worth stating don’t say anything to an Exec down the pub that you wouldn’t want repeating to a room full of people.

People can’t take you for granted just because you fought hard to get into the room. And for minorities this fight is more than twice as hard. If something doesn’t feel right, it probably isn’t. You are allowed to take up space and oxygen. 

You will get asked to do far too much work for free. You just will. But you should be strict with yourself about how much you are prepared to do. The working for free problem is a whole separate issue, but I wish someone had drilled in to me how much my time is actually worth. If you feel like too much is being asked of you, it is okay to have a conversation about money. It’s not a dirty word. If you’ve grafted and they’re still not willing to cough up, it’s probably better to walk away. Again: TALK TO YOUR AGENT. 

Get work off your desk and on to someone else’s. Don’t let the grass grow too green. If you’ve done your part of the heavy lifting, it means someone else has to step up. 

Speak up sooner rather than later. This is probably the most difficult thing to hear and to put in to practice in the real world. But I can’t stress this enough.  

It is okay to have things fail and make mistakes. It’s more than okay. That happens sometimes because some ideas just don’t work. 

But it should happen because the idea is bad or the project isn’t suitable; not because of any of the things I’ve just listed. Just because new writers don’t always have the confidence or experience doesn’t mean they can be treated badly and then blamed for a failure.

We need support. Nurturing. Otherwise we are just going to burn out before we’ve even got started.

Don’t get me wrong. There are lots of people out there in telly who are AMAZING. And to be honest, shady people don’t deserve your best ideas.

Find the people you’d go for a drink with. Who get excited by your jokes. Who make good telly. Who respond to your emails. Who you like. Who you trust.

Over and out xxx’

Ben was part of the Royal Court Young Writer’s Programme and Invitation Only Group. After this, he went on to work as the Literary Manager at the Old Red Lion Theatre. During this time, he established the Old Red Lion Writers’ Group and supported two full productions of work that came directly through the department to critical acclaim.

During 2015, he was Playwright-in-Residence with Curve Theatre, Leicester. Chicken Dust won the Curve Theatre Leicester Playwriting Competition and received its premiere at the Finborough Theatre in March 2015 as well as returning home to the Curve in May 2015. Whilst at the Curve, he developed new work, ran the National Theatre’s New Views Programme and acted as dramaturg on new work commissions.

His new play Jellyfish will be at The Bush in spring 2018 and he is on attachment with the National Theatre Studio. 

Ben was on the Channel 4 Screenwriters course and has projects in development with Scott Free, Company Pictures, Channel 4 and Objective Fiction.


Thank you so much Ben for sharing this with us.

The next newsletter will be on Friday May 18th

All the best




May 4th 2018






Posted by admin  /   April 19, 2018  /   Posted in Thoughts on Screenwriting  /   Comments Off on SCRIPT FEEDBACK

FORTHCOMING one day COURSES at the Indie Training Fund, London – STORY, CHARACTER & IDEAS masterclass (May 31) and SCRIPT EDITING ESSENTIALS (July 19).



Hi There,

This week the newsletter is comprised of a debate from my screenwriters studio Facebook page (a group of screenwriters who have been on my independent courses) about SCRIPT FEEDBACK – where to get it from and what to do with it. I think the writers in question make some brilliant points about the very difficult topic of getting feedback on your scripts.

‘I find myself feeling confused about feedback. I finished a screenplay last May, left it for a week and then did some redrafts with professional feedback and started entering it into competitions and also getting more feedback from about August. Each time I worked on it and changed it as per the feedback and it went from a script getting mainly 7s to 8 -10s and quarter final places to a semi finalist place in a respected competition. Most coverage was encouraging but I’ve just had 2 bits of feedback on it from respected organisations, one of which previously gave me that semi final place and marks have gone to mainly 5s. I am so disappointed as I really think it is a better script now and I know it intimately. Plus it’s my umpteenth script but I have never sent anything out to agents or production companies because I am conscious it has to be as perfect as possible which I thought this was and now clearly not but I am also conscious it is all so subjective. Thoughts?’

‘It is indeed all so subjective. A pilot I wrote was something of a marmite script – some companies loved it, others really hated it. Getting the ‘constructive’ criticism from the agencies that hated it was really depressing as it made me feel like perhaps I needed to change my style if I wanted to be successful. Long story short, I realised that you need to be true to your writing instincts and voice, and kept doing things my way (and behold, said script has now been picked up… a happy ending). Moral of the story, if you think it’s good, and you can argue why it’s good, then stick to your guns. All the best with it.’

‘Stop attempting to please everyone, it’s crazy. It’s a knock followed by several more. I don’t do competitions for many reasons but primarily I’m not interested in someone whom I’ve never met, scoring my work. I am building a partnership with my local University, where students ‘act out’ my work. Believe me, nothing opens your eyes to flat dialogue more than it being read in front of you. Don’t forget that these young people are working some of the best plays ever written and will offer you an honest assessment. You will physically see where you’re going wrong but more importantly where you’re smashing it. Also, invite friends to watch your work being performed and tell them to be brutally honest with you, broad shoulders required for that bit. We all need a dopamine shot from time to time, to be ‘liked’ but it’s much more satisfying when it’s self-administered.’

‘The best notes come from those who get your work and want it to be a better version of what it is. Notes from people who don’t get it from the get go aren’t usually that helpful. If they don’t like what you’re broadly trying to do, then how can they help you do it better?’

‘Giving and getting feedback on scripts is so subjective. You need to work at finding someone with industry connections who you trust and who gets your work. Getting constructive, unbiased feedback from someone who understands the realities of the industry, and responding creatively and positively to that feedback is so important.’

‘I also think there’s a difference between feedback and notes. The former is a more broad brush reaction to your work. Does someone like your voice. Do they buy into your premise. Do they ‘get’ what you’re attempting to do. Notes are more specific. And they’re most helpful when they come from someone who a. is broadly positive in their feedback and b. understands craft. It’s great to get lots of feedback. Probably better to be choosey over who gives notes. Quality over quantity.’

‘The first script I ever wrote I sent off to 3 different (respected) feedback companies. One said it was in great shape and no reason it shouldn’t be picked up and produced, another said it had potential but needed work, and the 3rd said it was awful and absolutely slated it. If you’re happy with the script – and it sounds like you are – then definitely get it out there.’

‘I find producers are often really open to reading work. I’ve got further with them than comps.’

‘Can be so demoralising to get feedback that you feel misses the point of your script. I echo the thoughts of others to say you have to stick with your own voice and what you want to say. BUT if two or more people are commenting on a particular point, it’s worth looking at it again as you might have a problem there. Otherwise, make it the very BEST version of what you want it to be, and then send it out. You absolutely cannot please everyone, and your work will turn to sand in your fingers if you try.’

‘Great advice here. The trouble is there is never a point at which a script is “perfect”, a reader will always find something to comment on which will leave you tweaking FOREVER. You have to find courage in your own work to stop listening to feedback for its own sake and let agents / producers read it.’

‘Absolutely – ultimately you have to get your work out into the big bad world and test the waters!’

‘Definitely Phil. Kate Leys says redraft, polish, but don’t do endless tweaks. You could be tweaking forever.’

‘But it is supposed to be perfect. Otherwise you look like an idiot.’

‘Reactions are subjective – so perfection is an impossibility’

‘There is no perfect!’

‘So as an update, today I received more coverage from xxxxx, basically hugely praising my work and giving me 2 x 9, 2 x 7 and 12 x 8 so an overall score of 8 although they downgraded it to 7.9. So then I looked at the things I had fallen down on and it is hard to pinpoint as the second coverage didn’t criticise anything. So if anything I feel even more confused. So I have a 7.8 and an 8 and a 5.7. But obviously it ideally needs to be a 10. Or do I just do another read through and tweak every day for a week or do I do a full rewrite. Or throw caution to the wind and send it out? Think I am too much of a perfectionist for that!’

‘I would ask yourself what you are gaining from this feedback and scoring system. How is it helping your development as a writer? I would also suggest that when you send it to agents and producers you should not expect a unified response. Your work will resonate with some and not with others. It is confusing and can be deflating, but navigating through feedback is a vital skill. It will help you to take on notes effectively when you land a writing gig. It’s really hard to know when a work is ‘ready.’ I wouldn’t tweak for the sake of it. It’s important to be really clear what the focus of a rewrite is. Sometimes you just have to take the plunge and risk criticism.’

‘Yes indeed. You can’t please all the people all of the time. Nor should you try to.
We’ve all read the book or watched a movie that a mate has raved about and thought really?!?’

Thank you so much to all the writers involved in this conversation – Cowal Pen, Jeff Beamer, Sonya Desai, Rachel Smith, Rachel Paterson, Phil Lawrence, Helen Black, Wally Jiagoo, Liz Cooper – for their insights and generosity in letting me share this.

The next newsletter will be on Friday May 4th,

All the best




April 20th 2018