Hi There,
This fortnight, rather than reflecting on my highlights of the year, I’m focusing on the thing that meant the most to me this working year – the publication of my book, SCREENWRITING, THE CRAFT AND THE CAREER.
https://www.nickhernbooks.co.uk/screenwriting
https://script-consultant.co.uk/screenwriting-book/
Here are some thoughts about ten things in my book (with page numbers for each reference) –
1 BORIS JOHNSON
One of the things I am churlishly most pleased about is that I was able to slag off Boris Johnson in print (I was reminded of this by some of the scathing references to him in the excellent Prisoner 951, the BBC 4 part mini-series about Nazanin Zaghari-Ratcliffe; and in the excellent documentary feature, Prime Minister, about Jacinda Arden, which also manages to cast shade on the man). The arrogant carelessness he showed towards us all as PM, particularly during covid, was unforgiveable. Hopefully, I manage to make some constructive points about using real people as an inspiration for the creation of fictional characters at the same time! (p.146)
2 CHARACTER AND SELF-AWARENESS
Also in the section about character, I talk about this question of character and self-awareness. About the idea that we are the last person to be able to make character judgements about ourselves, how so much rich drama emanates from that gap between our skewed self-image (whether that’s about vanity, imposter syndrome, self-interested dishonesty, etc) and the reality of who we actually are. The idea that we ‘present’ differently to every person we know, how the dynamics of each of our relationships is subtly different. So much powerful dramatic story comes from this gap between our appearance, how we ‘present’ and the reality of who we are, what we actually do. I was reminded of this by the excellent new documentary, The Salt Path Scandal, where, at the end, journalist Chloe Hadjimatheou speculates on the idea that the two people at the centre of the story, the ones who weaved a web of untruths, may have actually come themselves to believe the fiction they have sold as reality – this is such a common feature of lying – that, in order to lie well, the liars have to come to believe in their own lies as truth. (p.147)
I find all this sort of human psychology fascinating – as with the jarring contradiction of the charitable acts of some of the objectively vilest (and most vilified) celebrities – Epstein, Saville, Lance Armstrong, etc. And inspirational when it comes to creating fictional characters.
3 CHARACTER AND IDIOSYNCRASY
Also on character – one of the other things I feel strongly about people (and therefore fictional, created characters) is that we are all endlessly odd. I use the example of thinking about my neighbours. In all the different places I have lived, my observation of people (often people who I observe a lot but don’t get to know particularly well) is that they are idiosyncratic and strange – and all strange in their own unique ways (and I’m sure they feel the same about me). Also, that there are so many solitary (lonely?) people. That, with our own particular values and foibles, we find it hard to get on with each other.
In other words, in your writing, there is no excuse for bland, flat characterisation. People are unique and strange – both in the way they appear and in the way they behave. Lean into this – it’s all part of the fun of the rich tapestry of human behaviour. So, for instance, where I live now, I have a neighbour who is regularly to be seen walking the suburban streets with his jacket hood up (whatever the weather), constantly stopping to look into people’s houses and gardens, always with a tense, serious expression on his face, and with a very particular, unique walking style. A sort of self-appointed one-man neighbourhood watch. Fascinatingly strange and a great character starting point (what’s bugging him?!). I hope he isn’t a reader of this newsletter. (p.150-151)
4 DIALOGUE
The thing I feel most strongly about dialogue in screenplays is that, too often, there is too much of it. I sometimes challenge writers to tell their story visually, with NO dialogue at all. This is so often such a useful exercise in forcing you to dramatize the story – to SHOW rather than TELL. (p.189-190)
5 STRUCTURE
This was one of the knottiest, most problematical sections to write. The way you structure / organise your material is undoubtedly vitally important. But I don’t think it should be a major consideration in the initial creation of story. Structure is about how you organise your story material, but it’s not your story material. It doesn’t matter how cleverly you structure your story if the story material itself is not exciting. Sometimes I think too much emphasis is put on structure as if that word is the key to brilliant screenwriting, when, for me, what is most important is what you’re writing about and what you want to say about what you’re writing about. (p.109-125)
6 GENRE
Genre. As an example of genre, I look at rom-coms. Rom-coms are one of my favourite genres. I’m fascinated by the storytelling challenges of this genre (eg managing to maintain narrative tension when one of the conventions of the genre is the happy ending, the romantic couple finally coming together). But I think also what this is about is that, at the heart of so many stories (because it’s at the heart of life itself) are questions of love. Love as the most meaningful thing in all our lives, fundamental to humanity and therefore to story. (p.48-50)
7 CAREER
I like to think that one of the things that is distinctive about my book amongst screenwriting books is the CAREER section. Written by someone who has worked at the frontline of the TV drama industry for decades and am still doing so – working with many writers who go on to have real success. Mastery of the craft means little without the smarts you need to get yourself and your work in front of potential employers. Here are a few thoughts from this section. (p.243-301)
8 TWO PERSONALITIES
The schizophrenic life of a successful screenwriter. Screenwriters need to be equally adept and comfortable spending solitary hours and days inside their own head in front of their computer – but also in rooms full of people, talking about themselves and the stories they want to tell. This is a big ask! And something you need to think about and work on. You don’t get paid work without being able to sit across a desk and persuade someone of the virtues of the story you want to tell – no matter how good the writing. And once greenlit, these conversations only intensify as a huge team of people come together to create and convey your personal vision. The words on the page are the most important thing – but your ability to communicate and share your passion is also incredibly important. (p.264, p.300)
9 FIND YOUR OWN UNIQUE PATH
Every successful screenwriter’s route map to success is different. Regardless of the examples you hear about, you will have to create your own path to success. It’s important from time to time (over the Christmas break?) to stand back from the day-to-day work and strategize – think about your longer-term aims, what and where you really want to be writing and think about how you are going to achieve this. There’s an idea that however focused you are, you never quite end up where you’re aiming for. I think this is true – but it doesn’t negate the need to be ambitious and determined. (p.261-268)
10 RIDE THE BUMPS
Yes, there will be bumps. Terrible notes that make your blood boil. Passion projects that have been in active development for years that will be finally turned down. Scripts that, however hard you work, refuse to come alive for you. But, in my observation, one of the things that successful writers manage to do, is ride these bumps, find a way to deal with the disappointments that doesn’t fatally knock their self-belief, confidence and love of the craft. Getting to be a successful screenwriter – and then maintaining and sustaining your career – is a long-term project. You need to recognise this and make sure you have that bloody-minded staying power. (p.291-295, 297-298)
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NB A favour I’d like to ask of you. If you have already bought and enjoyed my book, please can I ask you to leave a review on Amazon. The more positive reviews there are, the more likely other people are to find the book. Thank you so much to the people who have already left positive reviews; and thank you very much in advance for this.
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Thank you also for subscribing to and reading this newsletter. I’m enormously grateful for your engagement. And I wish you a very Merry Christmas and a highly successful writing New Year in 2026.
FORTHCOMING COURSES
CREATIVITY FOR SCRIPTWRITERS – London Saturday January 31st 2026
Course guest – playwright, novelist, screenwriter and political activist ANDERS LUSTGARTEN. A day of creative exercises to supercharge your creativity and add to your bank of inspiring ideas.
https://script-consultant.co.uk/creativity-for-scriptwriters/
ONE DAY INTRODUCTION TO SCREENWRITING – London Saturday February 14th 2026
Guest speakers – script editor KATE LEYS and writer NATHANIEL PRICE. Both a celebration of and an introduction to the craft of screenwriting.
https://script-consultant.co.uk/one-day-introduction-to-screenwriting/
The next newsletter will be with you on Friday January 9th 2026,
Best wishes
Phil
PHILIP SHELLEY
You can also find me on Twitter, Linked-In, Blue Sky and Facebook.
Friday December 19th 2025