A MANIFESTO FOR TV DRAMA IN 2026 – YOUR RESPONSES
Thank you so much for all the fascinating, generous and constructive responses to my newsletter of 2 weeks ago.
Here is some of what you said –
From screenwriter Lee Thompson –
‘One thing I think is missing from the conversation is the role of Channel 5, and specifically the new Play for Today strand, in giving writers the opportunity to make authored television drama.
I have a vested interest because I wrote one of the films in the first run. My episode, Special Measures, was about the failing education system. I’d pitched the story elsewhere as a series without success but Play for Today gave it a home. The production was made quickly and on a limited budget, but the end result is something both I and the director, making his first TV drama, are immensely proud of.
As a working-class writer based in Liverpool, it feels like one of the few genuinely viable routes to getting original authored drama onto television. I know Channel 5 can sometimes be viewed dismissively, but strands like this can play a hugely important role in developing writers, directors and distinctive voices.
Jimmy McGovern has been a huge inspiration to me, and I previously worked with him on Moving On, another anthology series that supported new work. He’s been a strong advocate for the Liverpool Play for Today films, attending screenings and encouraging writers. These are exactly the kinds of opportunities that helped people like Jimmy establish themselves, and I think they have real potential to change the landscape of British television going forward, and allow new voices to succeed and fail, and to improve, if they’re given enough backing and attention.
The response to Special Measures was overwhelming. I received countless messages and letters from viewers, which was incredibly moving. It reinforced for me the value of authored drama that tackles specific issues and stories which might struggle to find space elsewhere.
I don’t know whether you’ve had the chance to watch any of the Play for Today films on Channel 5. I know the strand received a mixed reception in some quarters, but I’m genuinely proud of what we achieved in our drama.’
Lee – thank you. You’re absolutely right to point out that the new Play For Today strand in particular and Channel 5 in general are leading the way in not only championing but actually making shows written by new, emerging writers. I hadn’t watched Special Measures but have now – and I think it’s outstanding.
I wasn’t surprised to see this week that Lee has been nominated for a 2026 Royal Television Society award for best script writer for Special Measures. It’s also really interesting that Lee points out what a champion Jimmy McGovern has been for him and other new writers in the North West. I know other established writers (Abi Morgan, for instance) do a lot of work training and highlighting the next generation of TV writers – and in the current climate that’s more important than ever.
From someone working in an industry development role –
‘I do think so much of the problem is coming from commissioners, who, perhaps by no fault of their own (government cuts, problematic financial models from tech streamers they work for) are all over the place – on the uk end, it feels bureaucratic and confusing, on the us side, it feels corporate and cut-throat. I will say though, in general, the streamers have been easier to work with – especially in terms of response time. It’s such a shame that commissioners seem, as you say, so reactive rather than looking at the obvious fact that diversity, risk, political, genre bending – all these things often create the biggest hit shows like succession, the bear, I may destroy you, severance, widows bay. And yet I still sit through meeting after meeting where they ask for something that is ‘like’ one of those shows. Missing the point entirely.
I wish that commissioners would say: who are you excited by? What stories do you have for us today? Rather than thinking they should be providing a brief for producers / writers to fit into. It completely undermines the skill of the producer and the artistry of the writer. There is so much talent out there. But so often it feels like theatre, film, documentary, novels are a better place to find the fresh new ideas and ways of thinking, which is so sad, as I moved into tv in 2021 because I felt so inspired by what the form could do. Obviously shows do squeeze through but I find myself being surprised they did, and thinking they are an exception to the rule.’
‘C5’s Play for Today is a drop in the ocean of what’s needed.’
‘I wish we had more radical thinkers in charge, shaking things up. It feels like an industry based in fear, tension and frustration unable to recognise and appreciate the incredible talent and passion we have in this country.’
‘As a new, un-produced writer, the decimation of BBC radio drama output also feels to be another body-blow. It’s a once fecund incubator that feels broken beyond repair.’
Writer Robin Cantwell –
‘Coming from a theatre background, I’d like to offer some parallel thoughts which may be helpful.
It strikes me that one of the problems with the UK screenwriting industry is the shortfall of opportunities for serious emerging writers — those who have done the training, had their work noticed, but now face the dreaded Hillary Step of gaining a professional commission. I actually think the problem lies in the lack of feeder platforms for that commission.
I agree with you that it’s currently operating under the guise of ‘development’. For an emerging writer, this feels like a win, because you have engaged with a prodco, and your pitch/synopsis now has a space to breathe — yet I know so many screenwriters who have these, sometimes as many as a dozen (!), none of which ever see the light of day. It feels like there is a lot of spread betting going on from the prodco’s, which in turn forces writers to follow suit. it feels both nihilistic and counterproductive to the overall aim, which surely is to improve as a writer.
I propose two fairly straightforward antidotes to this:
1) I’d like to see far more live showcases — script-in-hand readings in front of an audience or panel — selected from open calls, but far more generously than in their current format. For example, I think some of the Philip Shelley Screenwriting Whatsappers are currently discussing the BAFTA Rocliffe callout, where I know there is a showcase for the winners, but they only select the top 3 scripts, and the callout is every 18 months or so per genre. This is not a sensible way to help emerging writers.
I cannot tell you how important theatre showcases have been in helping me improve as a writer. Firstly, they are FUN, which is an ingredient often forgotten in this entire enterprise. Second, they are abundant, held several times a year, often as a ‘night out’ with 10 or 12 scripts on show. This means I am constantly hearing and seeing my work performed. Not only did this hone my stagecraft — it encouraged me to keep going alongside the inevitable rejections and setbacks, because I always had something on, as well as engaging with a host of other creatives on the night.
This could of course be dovetailed with filmed showcases shown on streaming platforms, where emerging directors and actors (and indeed producers) also have their chance to shine. I know the BBC recently did the Long Story Shorts scheme, but this was selected from an in-house talent pool, and is still not really solving the problem.
2) While I love the BBC Open Call and your own Channel 4 Screenwriting initiatives, you will be the first to agree that the odds remain overwhelmingly stacked against the emerging writer to get on either of these programmes (PS: I do agree!). Could there not be significantly more emerging writer groups for TV and Film? There are ever so many in the playwriting world. Mercury Playwrights, Criterion New Writing, Orange Tree Collective, Hampstead INSPIRE — I could go on and on. I understand they’re not for everyone, and of course some writers prefer to work in isolation. But the sense of camaraderie and purpose you get from these programmes has been so formative for me. And again, the amount you learn from not only your own work, but workshopping other scripts too. I don’t see why prodco’s, for example, can’t cut their development slate by 10%, and set up an emerging/feeder writer group with that money instead. All playhouses have them: and I can assure you, they have far less money to spare than even the UK TV industry!’
Thank you very much Robin – so many great points. The principle of having more readings as a first step is a simple but brilliant idea. There have been schemes like this (eg the Sky Table Read) – but not enough.
‘You’re spot on with all this. Endless development needs to be binned. There needs to be far less emphasis on “high-end/ high-expense” shows. And the Doctors/Hobly/River City pipeline needs to be replaced. I’d love for every new series to be required to have at least one ep written by an emerging writer and not just in a writersroom suck-your-ideas situation.’ Screenwriter Philip Lawrence.
———————
ONE DAY SCREENWRITING COURSE, LONDON, November 14th 2026
https://script-consultant.co.uk/one-day-screenwriting-course/
I will be running a ONE DAY SCREENWRTING COURSE in central London on Saturday November 14th.
My two guest speakers on this course are both 2026 BAFTA-winning screenwriters –
CATHERINE MOULTON, whose show CODE OF SILENCE won the Best TV Drama Series award and
ARCHIE MADDOCKS, who won the Children’s Scripted award for CRONGTON which he writes and stars in.
(Both are also alumni of the Channel 4 screenwriting course).
This one day course is suitable for both novice screenwriters and more experienced writers looking for a refresher or burst of inspiration.
The course will be immediately followed by networking drinks in a nearby pub, a chance for everyone to share writing experiences and carry on the conversation.
*As part of the course, you will receive a bumper package of handouts, specifically designed and written for this course; and a FREE copy of my book, SCREENWRITING, THE CRAFT AND THE CAREER (published by Nick Hern Books).
Some quotes from previous attendees-
‘The creative jumpstart my writing needed… I left feeling inspired, my brain fizzing with ideas.’
‘A fascinating day with great speakers.’
‘I am beyond glad I signed up for this course. So, so useful and inspiring.’
More information about the course, the guest speakers and how to book on my website –
https://script-consultant.co.uk/one-day-screenwriting-course/
————————————
The VCA Playwriting Award 2027
The VCA Playwriting Award is an annual award that offers one writer a £2,500 prize alongside a 4-week production at LowMAC, and mentoring from our Artistic Director. Additionally, up to 15 shortlisted writers will receive written feedback on their script, and 2 runners-up will receive direct one-on-one mentoring to help their career growth. We’re looking for:
Completed scripts up to 90 minutes long (50 to 70 pages)
Written to be performed with no more than three actors.
Strong preference for story-led work, particularly unique, untold stories from unheard or under-represented voices.
Learn more about the award and what we’re looking for by reading the information pack linked here. Applications close at 23:59 on Friday 6th November. We look forward to seeing your application!
https://drive.google.com/file/d/10Y23reSKbrZUuCvlB7-7rjQMy6msjlT9/view?usp=sharing
——————————
The next newsletter will be with you on Friday October 23rd.
Best wishes
Phil
PHILIP SHELLEY
Friday October 9th 2026