Hi There,
This fortnight, more reader feedback from the 2026 Channel 4 screenwriting course – huge thanks to the excellent JOSEPHINE FRANKEL for this generous and insightful contribution.
Write What You Know (Sort Of)
Every year, we readers begin the illusive task of identifying – you’ve guessed it – fresh new voices! Now if, like me, you worry that the life and times of a twenty-six-year-old living in Brent might not make for the most gripping read, you may well blanch at the prospect of mining your past for dramatic, sexy or ‘fresh’ material.
Mercifully, you don’t need to. Don’t get me wrong – some of the greatest scripts we read are based on lived experience. But the age-old adage of writing what you know can be taken too literally: better to ask whether this script could only have been written by you. One of my favourites this year was a comedy-horror which (I can only pray) had no basis in reality. But the world of the story was so vividly realised; so clearly born from that particular writer’s brain; it could never have been written by anyone else.
Don’t Try To Be Clever (Yes, Really)
I read for this course two years ago, and the biggest difference I’ve observed is the increase in writers who are – understandably – second-guessing industry trends; identifying a template and transplanting their idea onto it. If you are lucky enough to turn this into a career, you may well have to compromise your artistic brilliance initially and earn your stripes on cosy crime. But this script is a sample, nothing more, and never again will you have such a golden opportunity for true creative freedom. There is no caffeine-deprived producer explaining why they don’t have the budget to set your show on Mars in 2097. Be as mad, bad and expensive as you like.
To be clear, I am NOT warding you off writing a cosy crime submission – many of our best were. Just be mindful that once we’ve read ninety-nine scripts featuring a maverick detective with a dead wife, the hundredth does need to be undeniably distinctive to rise above the parapet. Don’t get bogged down in whether this script would get commissioned, it’ll only sound contrived. Similarly, never lose sight of how people actually talk: there’s nothing worse than ‘tellyspeak’ dialogue (‘Is this a date?’, she asks wistfully?). Just speak authentically and we’ll listen.
Phone A Friend (Please)
As a general rule of thumb, we’d rather your script be punchy, ambitious, and slightly rough around the edges, than fine-tuned but soulless. However! Please, oh please, check your work. Make our lives easy. We are human beings, and an entire page of action is enough to sink anybody’s spirits. Get a mate to read it for you – and there is so much to be said for asking someone who doesn’t work in the industry. They may not offer tips on the intricacies of Final Draft, but their instinctive, gut responses are worth their weight in gold. ‘I don’t know why, but I kind of get bored around the middle’ is an invaluable note. Is your pace lagging? Is there fat to cut? Don’t dismiss these opinions, your future audience will be saying the same.
The most helpful area on which said friend can advise is CLARITY. You may have a groundbreaking vision for your project; you may know the decades of backstory that brought each character to this very moment. We don’t. Help us out. We are launched into no man’s land, and it is your job to give us coordinates as quickly as possible. So many scripts started with vague openings, along the lines of ‘EXT. A street. Chaos. Pain’. We don’t know what this means. I once read a character described as ‘an egg-and-cress sandwich of a man’. In just a few words, the writer has conveyed everything I need to know.
The End May Be Nigh (But Your Script Needn’t Be)
Global warming! Political despots! The dissolution of humanity by artificial intelligence! Some of the most impactful submissions focused on these themes, so don’t be dissuaded. If you do wish to write about impending doom, go for it, but I would strongly advise doing so in as engaging, entertaining and interesting a way as possible. A sludgy trudge towards the abyss is enough to dampen even the sprightliest reader’s mojo.
And speaking of which – cynicism is a lot less interesting than you think. Anyone can write with derision or disdain; it’s much harder to focus on that which you do care about. Many of the near-miss entries were, on a technical level, tricky to fault – but they failed to make us feel something. There is absolutely no obligation for your submission to be funny, but by our 300th script, we sure do appreciate the occasional laugh and/or cry. If you can write with heart, humanity and conviction, you’re away.
Thank You (Truly)
If your unsuccessful entry fell into none of the pitfalls above, I am sorry. There will be many of you. The unavoidable fact is that there are more writers deserving of a spot on this course than there are places to give. We agonise between scripts, furiously debate their relative merits, and try our best to make the right call. The standard is astonishing, and we are so lucky. It’s been a joy to read your stories, and please remember – most writers do not get in on their first attempt. Go for a walk, listen to some music, try again. And use the holidays to get inspired – there’s nothing like a dicey game of Monopoly or an ill-advised snog to prompt some questions about human behaviour. Enjoy!
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CREATIVITY FOR SCRIPTWRITERS
I will be running this course in central London on Saturday June 13th. A day spent doing a series of fun creative exercises that will help re-energise your writing, arm you with new ideas, characters and stories – in a warm, supportive, non-judgemental setting. This day is always a lot of fun – and many brilliant story ideas have come out of it. (Several of which are referenced in my screenwriting book!)
Guest speaker for the day is playwright / novelist / screenwriter / political activist, the brilliant ANDERS LUSTGARTEN.
https://script-consultant.co.uk/creativity-for-scriptwriters/
The next newsletter will be out on Friday May 1st.
Best wishes
Phil
PHILIP SHELLEY
Friday April 17th 2026