Writers Academy 1
Hi, I'm Ceri Meyrick, Development Producer, New Talent in the BBC Drama Department. For the last three years, I've been running and co-tutoring the Writers Academy with John Yorke. We've just come up for air after the 2008 course finished before Christmas, so I thought it might be useful to start a regular blog here to talk about the Academy and answer some frequently asked questions for writers. Do ask me if there's anything you want to know. I'll also be getting some Writers Academy graduates, plus other members of our team to contribute.
The 2009 Academy will be taking applications in mid-April, so if you are thinking of entering, now is the time to start polishing up your original scripts for submission.
There's more detail about the Academy Course itself elsewhere on this website (see our regular page), but I just wanted to start by talking about who the Academy is for.
The course was started four years ago by John Yorke, Controller of Drama, who also tutors on the course. It is specifically designed to train writers in writing for the Continuing Drama shows produced by the BBC - EastEnders, Casualty, Holby City and Doctors. What it doesn't do is teach writing - we choose people who can already do that very well. What it does do is give writers a grounding in the structural principles of story-telling, an insight in the format and production processes of those four shows, and most crucially, it gives them a safe place to grow and develop their own original voice. Contrary to what some people might believe, Continuing Drama only thrives when it allows the writer's voice to shine through.
It's thirteen weeks hard work initially and you have to be based in Elstree (we do pay expenses for those who have to relocate). After that, you start a round of commissions across all four programmes. All in all it's about 13 or 14 months work. It's not for everyone - it's a big commitment, and I believe you can only do it if you really love and want to work on those shows. Remember - you also get paid!
To enter you need to have had at least one professional drama commission - either in television, radio, film or theatre. This may seem unfair to those of you who don't have this, but we've found it really is an essential qualification. The first part of the course is pretty full on, and it isn't the time to find out that you really don't enjoy the collaborative process that writing for television entails. You need to be able to respond to notes and rewrite quickly, just as you would on the real thing.
The writers who come on the course vary enormously in background, experience and age. Typically the age spread in a group is from early twenties to late forties. Not all have previous experience writing for television - some have written only for theatre or radio, for instance.
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Ooooh, exciting! I WILL get a commission. I repeat, I WILL!
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I have a question I'm itching to ask, but I'm not sure it's for you, Ceri, or one of the writersroom readers who contributes...
My current screenplay is loooong - I'm talking around 160 pages. I've chopped and scrimped and scraped and done all the checks you're supposed to - overwriting, overdescribing, unneeded parentheticals, entering scenes too early and leaving them too late, smalltalk... There's just nothing else I can cut out and still keep the story intact.
So my question is will a script of this length be given a fair chance in the writersroom, or do you stick to a 120 page limit? (Of course, my screenplay is fantastically original, highly entertaining and perfectly executed ;D )
OR
Does anyone have any tips or suggestions for shortening a screenplay that I might not have thought of? :(
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Hi WriterNaomi,
I read your above comment with interest.
To be blunt, I think you might need to be more brutal with your script. Are you holding onto parts of your script because you like what you've written or you can't bear to take out sections that you have worked really hard on? The only reason I ask is that all scripts in my experience benefit from a severe chopping, even if the writer feels that they can't possibly remove any more without compromising the story.
Be harder on your story. Demand more from it. Cut out more. Even if you feel it will be detrimental to the story, it can be useful to really pare the script down to it's most essential elements. It might feel like you are murdering your script but you do get used to it and you may even find that you become less sensitised to ripping vast swathes of your story out.
A 160 page script will most likely tax even the most dedicated of readers. If you can eliminate 40 or even 60 pages, it will make for a leaner, more streamlined script.
Hope this is a help and good luck.
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Thanks for your comment, theguineapigisking,
I'm very much aware that common opinion says I need to be more brutal, but I just don't think I can do it. I've already streamlined it quite a lot - I don't think it can take anymore. And the BBC seem rather more vague (therefore more lenient, perhaps?) in their submission guidelines, which is why I thought I'd ask the question and not consign this project to the bin just yet.
We all know there are plenty of films out there longer than 120 minutes (and longer than 160, even). I know, I know; if you're Peter Jackson or James Cameron you can do whatever you want, right? But if a screenplay really is spectacular, surely it doesn't deserve to be binned because it's longer than average?
This screenplay is rather... alternative... and written to a concept which dictates its structure somewhat - which adds to my problems. That structure is essentially part of the story - take it away and there's no point anymore.
Anyway, I think it's wonderful (don't we all?) and I can't convince myself otherwise. What I really need is a couple of good beta readers to tell me whether or not I'm kidding myself, but I haven't found them yet. Until I do, I guess I'll just have to try to keep chipping away...
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WriterNaomi I have to say i feel like i will be in a similar position to you when i finally finish my script but i'm going to do what i've heard Paul Abbott does and that is lock it away for a week and then come back to it and see whether i feel the same - most likely i won't and therefore be able to make some more "brutal" cuts.
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WriterNaomi,
You're right. A spectacular screenplay will not be rejected for being too long. However, the fact that you've written your comments in the first place would indicate that perhaps you realise that your script is too long and needs to be shorter. Other organisations might not be as "lenient" as the BBC. And unless you are James Cameron or Peter Jackson, you will find it hard to get a 160 page script past the front door of any organisation.
Check out www.absolutewrite.com. You'll find loads of info about willing beta readers. If you still can't find one, why not just submit your script to the BBC writersroom? You'll find out soon enough if it's any cop. I think they read the first ten pages of all scripts so even if they return your script at that stage with a resounding "no", you'll have a fair idea that it didn't hold the reader's interest past page 10.
I agree with science_world in that it helps to shelve the script for a few days and then return to it with slightly less jaded eyes. It usually helps you see bits that don't belong or stick out.
I hear what you're saying about the structure being an integral part of your story but don't let that blind you. What is your story? Why is the structure so important? What are you trying to tell with your script?
Hope this helps in some way.
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Hi there,
I was wondering if someone could tell me what kind of script is expected to be submitted with the application form? Would a short film or a work of theatre do for the application form? Or do the BBC require 30-60 minute drama or a feature film to make their selection? This help would be very much appreciated. Thank you.
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Hi Ceri
I think the Academy is such a great opportunity - I am on the verge of having work commissioned, have been working hard for many years on honing my craft, and have made lots of sacrifices... but I also have a two year old son!
So, although the Academy is an amazing scheme for new writers, alas, it means that a lot of family type people cannot make that commitment, which seems a huge shame and very disappointing to those who want to be both excellent writers and excellent parents - can you hear my pain?
It also seems that the BBC are missing out on a crop of potentially talented writers.
Cheers.
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Sorry, should have also pointed out (at the risk of being controversial, but also speaking realistically) that it's women 'of a certain age' who are naturally excluded... yet it's women 'of a certain age' who predominantly make up the viewership of Continuing Drama.
Who better to write for women than women?
That's not to say that male writers can't do a good job, but it is food for thought.
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WriterNaomi,
This is a question for someone from the Writersroom rather than me. We have no page limit at the Writers Academy, but I have to admit, my heart would sink a little if faced with a 160 page script!
Omarkco,
I'll be dealing with this in my next post later this week.
Serronah,
I think it's really important to stress that the Writers Academy is not the only way to get into writing for Continuing Drama. As I said, it's not for everyone. However, we have had many "family type people" and women "of a certain age" on the course who've done extremely well (several with children under 10). How did they manage it? I'll try and get them to write about it for you on this blog at some point.
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@Naomi/Cery
Surely the solution would be with a one hundred and sixty page script - is to re-format it as a three parter and send the first sixty pages as part one.
Obviously you would have to re work it not just send the first sixty pages as they are now, so that it meets the form of the one hour drama, three act structure, ending on a cliff etc.
If you do your job right the reader will want to read on and if you don't they won't.
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Hi WriterNaomi
As other people have mentioned earlier in the thread, a script of that length is unusually long.
At the BBC writersroom we guarantee to read at least the first ten pages of any script sent to us, and the rest of it if the reader is interested in seeing more based on those ten pages; but if you're sending it to somewhere other than the BBC it's possible that the extra length may cause it to be automatically rejected.
We don't have a page limit at the writersroom, so please do send in your screenplay if it's as good as you feel you can make it.
Part of that is making certain that you're absolutely sure 160 pages is the right length for it. If you are, then send it in!
The two best pieces of advice that I've come across on how to cut pages from your script come from John August and John Rogers.
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Hi Ceri,
Thank you for getting back to me. If you get a chance--could you also address what kind of commissions you expect from writers? I have been offered development funding from three funding bodies to produce a high end short. The script is in the middle stages of development with two producers and commissioners will make their final decision on completion funding in March. I am also in talks with a couple of theatres to stage short samples of my writing. As well, I have had a couple of short stories published and I work as a Freelance journalist. Finally, I am working towards a Post graduate certificate in Screenwriting. Do these examples help me meet the 'commissioning requirements of the scheme?' I hope my post wasn't too personal or detailed in its nature. Looking forward to your feedback. Thanks again.
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@ Piers,
Thanks for the reply - that's good to know. This isn't my first screenplay by any means (just my first 160 page one!) and I'm well aware a lot of people wouldn't even open a script this long. I reckon I can still trim a few pages off but it's never going to hit 120...
Two great links, too. Thanks :)
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My pleasure.
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The Academy page states that entries are closed ? Is this an old page?
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Hi Ceri - a query about the requirements.
I have a screenplay that I'm writing with regional screen funding money, have had ACE funding and a short on Radio 5. Does this kind of development count as professional commission. I know there was some 'accredited' masters course accepted last time.
So my question is, if I've got a masters in playwriting, had professional rehearsed readings, professional development and a short broadcast - would this be enough to apply to the academy? It's not the same as having a Doctors commissioned I know...
(that sounded sarcastic, not meant to be I love Drs & continuing drama that's why I want to apply!)
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Hi guys
The Writers Academy sounds like a great opportunity to get into continuing drama. Unfortunately this isn't a field I'm interested in - are there any other initiatives for writers who are interested in writing for the BBC in drama? Anything more along the lines of singles and features? I know this field is about as popular with BBC execs as the plague at the moment, but the BBC does have a huge and highly regarded history in this field.
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Lazlovictor,
Yes, entries are closed. We open again for applications in mid-April.
writeress,
Sounds like you probably would qualify - as you've been paid for your writing. More detail on this in my next blog.
MarkoUK,
There are less opportunities in this area, as writers with lots of experience tend to get the commissions. However, there are various schemes, competitions etc.. inside the BBC and out. This website is one of many places to find them.
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2 thoughts: 160 pages! Wowsers...that's big. Really big. I think unless you've intended to write a three hour piece you will have to cut it. I wrote a similarly massive thing once - Script Ed nearly fell off their chair laughing. 'But it's really good and I can't cut it' I protested. 'Ok. What else have you got?' the Script Ed says. Like people have alluded to, just think about your format: 3 hours is fine if it's a three part serial, of course it is. You could maybe do a few cuts and squeeze it into a two parter, but either way you'll have to have some fun with your structure. A single three hour drama? Reality says there is almost no chance whatsoever that it would get produced: not tv format and of the 20,000 scripts submitted to LA last year, less than 100 got made. And, at the end of the day, you can always, always cut your script.
Re: W.A and kids. It's hard with really little ones for sure and anybody would need a great support network to make it happen, even more so if you're not London-based. There are loads of barriers/challenges for big grown ups to go on W.A: money, kids, giving up regular income, being away from home...the list goes on. There was time I couldn't have gone for W.A for exactly those reasons: I have waited and now I can. It looks like W.A is a great idea so it prabably won't be going away, so perhaps take comfort from the fact there's loads you can do, loads, in the meantime, and when the time's right, just go for it. Have you contacted your Reg Screen Agency to check funding to go on courses? You could keep yourself well topped-up and inspired through them.
And, at the end of the day, talk to any of the lovely Execs and Development people at BBC: they all want to make good work, develop good work and see great writers new and old make their best work - that is really all it's about. I think you'll find all of them to a man/woman will tell you that talent will out in the end, so yes, of course be frustrated that you maybe can't do W.A straightaway, but if you use your time to write some brilliant stuff, it will get through, absolutely.
Good luck.
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Hiya
I have written scripts, had some things performed on stage etc. but the only work I've been paid for thus far is Storyline Writing on a Soap. Does that count?
Cheers
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Hi Ceri,
I have had documentary treatments commissioned, but now really want to move into continuing drama, will my commissions qualify me to apply for the Academy?
Thanks,
GH
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ManBitesBlog
No, I'm afraid storylining doesn't count. It needs to be a script.
grandhusser
Again, I'm afraid not. You need to have a professional drama commission.
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I guess you always need fresh meat to keep the tedious soap machine grinding on and on... and on. And on.
And on.
;-)
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