Hi There,
I’m very pleased to have been able to add 12 new scripts to my website SCRIPT LIBRARY.
https://script-consultant.co.uk/script-library/
One of the things that is brought home to me every year by the huge amount of script reading I do for the entries for the CHANNEL 4 SCREENWRITING COURSE, the GREENLIGHT SCREENWRITING LAB and also the scripts received for feedback through my script consultancy – is just how much you can both learn and be creatively inspired by reading screenplays.
And all the feedback from the readers I work with reinforces this.
I asked these writers if I could add their scripts to my Script Library because they’re all scripts that I’ve particularly enjoyed. They all feel distinctive, exciting and entertaining in their very different ways. Included with each script is a brief writer’s biography and logline.
But I’ve added here some of the notes the readers and I made about each script as I/we read them for the first time – hopefully these notes will whet your appetite –
THE METHOD by Rory Platt
The character / comic detail is really sharp. The writing / ideas are challenging but also witty. About mental illness. But the characterisation also strong. Confident voice. Shocking moment in the middle when….The story moves forward really interestingly in unexpected directions – it’s intriguing. Excellent, confident piece of storytelling – I’m hooked for ep 2. I was entirely invested in the script. The storytelling is confident, there’s a good balance of humour and drama, the dialogue is sharp, and the setup for the rest of the series is filled with intrigue.
COOKED by Jamie Stagg
I like the simplicity, clarity, focus on a single character. Sharp, well-written dialogue. I warmed to this – Harris is a compelling character – the kitchen feels authentic. Lots of nice character detail. Sharp dialogue, efficient storytelling, strong visuals, and characters you want to spend time with – I thoroughly enjoyed this script. It had a life of its own. I felt like I was watching the episode rather than reading the script.
VILLAGE by Rebecca Brewer
The Village – rural eco-community that seems idyllic, too good to be true and sure enough all is not as it seems. Dark undercurrent, tense, made me want to know what was going to happen next. Confident, controlled writing. Brilliant pace, structure and dialogue, strong characterisation and a plot twist that you won’t see coming. Clear hook for the audience to keep watching past Ep1; a sophisticated, well-developed script.
DIRT by Liberty Mosse
Period drama series pilot, set in 1862. Arresting visual opening. There is an edge of hypocrisy and sexual tension, it’s about class and cruelty. Subtle, powerful, well-written. Some very strong visual storytelling. Impressive. Very dark – good example of a period story that feels like it has contemporary relevance – it’s challenging, provocative, uncomfortable. The world is well imagined and the writer does a wonderful job of capturing the gruelling nature of the work faced by the women. The sexual current that runs throughout is approached with a sensitivity that feels unique. The character of Arthur, though not immediately set out as the protagonist, really comes to life in all of his hypocrisies and contradictions.
UNDER THE BRIDGE by Neevon Khayati-Daryan
Well written from the off. Intricate, complicated relationships – but a very believable, distinctive story world – Iranian immigrants in London struggling to get by, to work while illegal. Textured, detailed character study – that throws revealing light on the world of these disenfranchised characters. Introduces an intriguing thriller element. The feeling of paranoia in this protagonist is stoked effectively.
SAINT JUDE’S by Vanessa Hehir
Quite a mix of genres and ideas – it’s an enjoyable, energetic, fun read – the writing has flair and is very strong. A curious, unusual script, difficult to define, clever and well-written. It has some dramatic incidents, some dark humour, conflict and desperation. And then it becomes something entirely else. This was interesting i.e., using a level of social realism and kitchen sink tropes to establish a reality and empathy and then take a sharp turn into a completely different genre (the supernatural). I’ve rarely seen that before. That the script dares to be that audacious made it stand out.
SEE-SAW by Anina Grostern
Excellent feminist / cancel culture comedy with real pace and wit. I genuinely enjoyed this character, she is so unlikeable it feels authentic. It was lovely to see a woman being subject to cancel culture and the complications that arise from not adhering to traditional ideals of motherhood and femininity. I hadn’t read the log line so when I got to the end I found her solution absurdly satisfying and I just wanted to read more.
FOUR SEASONS by Carly Mills
Sharp fun comedy about 4 girls working in pizza takeaway – good characters and comic dialogue. I really enjoyed these characters, it felt like the Belfast I know now, it felt authentic and diverse. There were some wonderful set ups and payoffs, that felt really satisfying, I genuinely laughed out loud. I can see this writer creating their own work but also having a place in a comedy/drama writers room.
GRIEFCASE by Katie Butler
About a girl at the funeral of her friend who has committed suicide – it’s skilful, engaging writing. Even though I’ve read a draft before, I needed to read the whole thing.
NEXT OF KIN by Charlie Magness
Vibrant, funny, touching. Very good dialogue and real warmth to the central Bridget / Katy relationship. Good comic set-up for the next episode. I liked this, lot of fun. Characterisation good, idiosyncratic, fun, messy lives.
RAT KINGS by Indigo Hinton
The pest control version of Succession. Comedy drama pilot about separated man and wife running rival pest control companies. Lots of fun subplots this is fluent lot of fun with some nice characters and story strands real pace and accessibility knows how to drive a story. A confident script with an original premise. Voice of characters comes through right away with hook and relationships established clearly and succinctly. Funny too.
THE CHILDREN by Aled Roberts
This is odd & funny. Very good comic idea at the heart of it. Failed children’s author Patricia is a great central character. Full of great little comic detail. Impressive & original. And I really care what happens. This was a truly charming script, and I adored the central character. I genuinely laughed out loud during her first interactions with a child, it made you want to spend time with her. The writer made surprising choices that truly made the story memorable. It felt culturally relevant without being forced. Additionally, it had one of those endings that surprised me, but upon reflection, I realised it was signposted and perfect.
————————–
Thank you so much to all of these writers for giving me permission to include them in the Script Library – and I hope you enjoy reading them as much as we did,
https://script-consultant.co.uk/script-library/
SCRIPT READING & DEVELOPMENT Q&A
I’m now taking bookings for my next SCRIPT READING & DEVELOPMENT Q&A on zoom Thursday July 18th 6pm
https://script-consultant.co.uk/script-reading-development-qa/
Best wishes
Phil
PHILIP SHELLEY
Twitter: @PhilipShelley1
Friday June 28th 2024
