Writers Academy 8
"Those Shows"
I was at a meeting the other day to talk about writer training (at an institution outside the BBC). I was talking about why new writers sometimes failed when writing for the shows I worked for. I suggested that it might be because they didn't like them or even watch them when they got the gig. I may even have said "You need to love them to write them". A writer who was there came in (rather aggressively, I felt) with "Well we all know that writers on 'those shows' only write them to pay their mortgages."
A little while later in the same meeting, a former writing student was wheeled into the meeting to talk about their experiences since graduating their course. He told us how he'd completed a shadow scheme script for one of the BBC Continuing Dramas, but had been told that his services weren't required and that he hadn't "got" the show. He went on to say that he had only tried out for the show because his agent had told him it would make a good career move, and he didn't really watch it. Hmm, point proven I thought -though I didn't say anything, as the first writer had been quite scary.
It's completely fascinating to me that the suggestion that writers on Continuing Dramas write them because they love them arouses such bile in some people. Or that a high volume show like Holby should aspire to create intelligent drama, should provoke such ire, as it did on this blog a couple of weeks ago. Why so cross about it?
Anyway, my point this week is to say that if you're thinking about applying to the Writers Academy next month, you'd better start working up some passion and WATCH TELLY.
© MMIX~RS~q~RS~~RS~z~RS~19~RS~)
Comments
Sign in or register to comment.
It's always going to be easier to disparage a show than to get to write for it.
Plus it's true that people who don't write Continuing Drama don't realise how very, very hard it is and they do regard them as inferior. Mark you, you do know CD writers who believe their work to be superior to all other dramas, don't you? So it all works out.
Except there has been a systemic issue here that I think exacerbates this fantasy divide between the myriad types of writing. I've worried a lot, especially a few years ago and fortunately very definitely less so now, that Continuing Drama has been painted as the exclusive route into drama writing. The moment you think that, and the moment the industry pushes it, you've not created a door, you've created a routemap. The implication is that you must go through CD to get to something "better", which I think is a huge insult to Continuing Drama.
And I don't think it's remotely true. CD is a route for new writers for practical reasons: you wouldn't rush to give an entirely new writer an episode of EastEnders, but you'd sooner do that than let them near a six-part BBC1 serial costing £600,000 per hour.
CD, because it has support like the Academy, is priceless not only because it teaches a type of writing and because it gives new writers a voice, but because it is real and live: you get the immeasurably great practical experience of writing for TV. Writing to schedules, to deadlines and within production constraints, within the needs of someone else's show, writing for very demanding audiences. Unbeatable. And also transferrable skills.
But it's easy to believe that the writing itself is transferrable and it ain't necessarily so. Russell T Davies wrote a lovely piece in the Queer as Folk DVD liner notes about the shock of moving from soap to evening drama, about how he had to learn new skills. Plainly, he did. And so have myriad other CD writers. And who wouldn't want to keep learning new skills? To keep stretching?
However, for all those who can do more than one type of writing, others cannot. Andrew Davies would surely struggle to write Doctors: he couldn't get enough sex in that timeslot, for one thing.
So let's say you're a drama writer who fears Continuing Drama, who doesn't understand it. Or you're a CD writer who believed you knew everything and have been slapped into realising that no, actually, comedy-drama isn't half a different skill. You're going to be wrong-footed at least, you're going to be scared at worst.
And who among us wouldn't consciously or unconsciously put down the writing that we can't do?
Mind you, I say all this and it's probably just that you bumped into some right misery guts.
William
Complain about this comment
The scary writer would probably grab at the chance to write for CD. and the operative word is chance. Maybe he hasn't had the chance, earned the chance...perhaps he isn't good enough yet, or strong enough...but if he was, you can bet he'd be in your shoes right this minute.
And why should people who don't enjoy CD or watch CD, be able to write for it? It beggars belief, really.
Complain about this comment
I applaud the idea of the Writers' Academy, but hope it's not the only way in to write for TV because that would mean you have a hell of a long queue out there...
Complain about this comment
Lets face it what decent writer would ever be passionate about Holby?......passionate about the gig? Absolutely and rightly so and if that's you, good on you. But anyone thrilled or inspired by something so crass and undemanding won't be particularly well read or posses much in terms of awareness for originality. BTW if anyone ever meets a Holby director can you ask them why every actor opens each scene with a long sigh.
I don't mean to knock Holby and it's by far not the worst.....I could mention Causality, E Enders, My Family, My hero, 2 packets of (whatever?) Bonekickers!!, t t bang bang etc. These shows do/did have a following and I'm sure they are excellent opportunities for newbies to hone their craft, but please lets not raise them up as examples of great writing.
Even the new trailer for Causality (The OO7 rip off).........dear oh dear! My friend from Oz thought it was for a comedy show.
Sorry if I bashed anyone's favourite programs in this post but if you want to be inspired by and passionate about drama look to American and you'll find what is truly the golden age of television writing.
Complain about this comment
@ greyslate:
I reckon there are many decent writers writing for the shows you mention. Some people are passionate about Holby and Enders, because a liking for drama in all its many glorious forms is subjective, just like some of the stuff you personally like.
I bet if a writer starts to write for said programmes, they BECOME passionate about them, because it's only there, in the thick of it, that you can see just how they're made, what goes into the making of them, etc. There's a place for those types of dramas, with big followings, so summats right about them, for some of the people.
Not everyone wants demanding tv, but then again, to some people these shows are demanding. Perhaps they're not what a lot of writers aspire to, but I've yet to hear of a writer turn down the chance to write for them. Are you a writer? Would you turn it down?
Complain about this comment
I think Continuing Dramas arouse bile in some people because they are the predominat format at the BBC and the biggest chance of getting a commission or gig.
Ideally there would be a vast array of opportunites and openings within BBC drama - Continuing Drama, Singles, Features, work which entertains, Period Drama, films exploring social and political issues through personal stories.... but there´s not.
By its very nature, in its public funding remit, the BBC should be prepared to take risks in every format and there seems to be a huge emphasis on Continuing Drama and Serials because they can be formatted and sold abroad and packaged into long running slots.
How about a long running slot for Singles? This would be a massive step up in terms of talent intoduction. If commissioned properly would allow a vast and broad range of voices to be heard and maybe a change from the doctors, nurses, cops, precinct dramas, and the inevitable twists on them, that is served up so often.
Complain about this comment
Is there anything wrong with writing to pay your mortgage? Is the angry person suggesting one should just write for nowt? I write for nowt a lot - how many treatments, how many ideas, how many 60 pages to hawk about? - so when someone pays me I really like it :-)
Ceri's hit the nail on the head of course: be passionate about it. If you don't like the shows, if you don't watch them, if you're not interested in them, why bother?
Ah, to pay the mortgage! Perhaps this where Mr Angry's frustrations stem from, I don't know. Perhaps because we can see a lot of CD on tv each week, we can become pretty good at sussing quality or otherwise. If people think the shows aren't good enough, that's great, because it encourages everybody to work harder to make them better.
I'm 100% sure that everybody at CD at the BBC wants the shows to be great, so long may WA/Writersroom continue in their efforts to do exactly that.
The Single Series idea is fab - a bit like the old play for today: give people a smaller budget and see what they can come up with - taking 'risks' in this way will only ever pay big dividends.
Complain about this comment
Long before I became interested in writing, my Uncle wrote for Coronation street (with Paul Abbot), Emmerdale and Children's Ward. I used to think this was not 'real writing' and applauded him for his awards in Theatre. Many years later after realizing just how difficult it is to write anything original that resonates with its own personal audience I feel quite humbled on a daily basis to know that there are great, disciplined and highly creative writers out there who do what I've been trying to do for years on a daily basis. Writing is not about being given 'a chance' it's all about taking 'the chance' if and when it arrives. You can get some sleep when you're dead. I know I couldn't write for CD - write what you know and one last thing? If you are in it for the money you're wasting your time - go and get a job in IT.
Complain about this comment
What's your favourite out of the four shows Ceri or does it change with the serial storylines at the time? I know which is my favourite but are you not allowed to be partisan?
Complain about this comment
Absolutely. Nothing wrong with working, any working, to pay the mortgage. It ain't half difficult being creative when the bailiffs are at the door...
I think this discussion just goes to show that even when writers sort of get a foot in, they can still be precious about what they will and won't write. Much like the newbie writer who gets their first script rejected from the Writersroom then goes into a mega sulk that no one understands their talent....It takes allsorts.
For me it's about a reality check (as opposed to a monetary cheque...d'oh!) that writers need to take on board. By all means set yourself high standards re what you want to write but recognise how things are out there in the world of TV writing and grow up a bit! If you want to write original drama, yet seriously can't bear the thought of writing for one of the soaps to begin with, then pitch your script at radio where there is more chance of new single drama being accepted by a novice writer if good enough.
Equally accept that the BBC is willing and able to nurture talent and the Writers Academy is one way in which it does so. If you're not happy with that advice, take yourself off to ITV and then you'll really have something to moan about....
Mrs M
Complain about this comment
@ galacticlooloo
It's NOT the only way in. Take a look around this website for many others.
@ greyslate
(long sigh) Jimmy McGovern, Russell T Davies, Tony Jordan, Paul Abbott, Tony McHale, Sarah Phelps, Barbara Machin, Ashley Pharoah, Matthew Graham...
@ i_amMisterP
I think the politic answer would be the latter!
Ceri
Complain about this comment
Here's a controversial question.
Is it time to mothball the academy for a while? Its a tough time to be an experienced CD writer at the moment. You're being squeezed from both sides. Every year, a new academy intake takes up a swathe of eps in the BBC's CD's. The shows are encouraged to keep hiring those writers who graduate. Meantime, the number of scripts being commissioned is shrinking. The Bill has halved its eps, ITV is planning on cutting its weekly original drama output by an hour, and I've been told that the BBC is, temporarily, not taking anything into development - I'm only reporting what I've been told about the BBC development, so hopefully Ceri will correct me. The point is that leaves a lot more writers out there looking for work, trying to pay their mortgages, all looking in the same places. In this climate, is it a good thing for the BBC to be feeding a lot of new writers into the system?
I'm not arguing for pulling up the drawbridge, just for the BBC to stop feeding, for now, writers into an already over crowded marketplace. This wouldn't necessarily be bad for new writers, who clearly struggle to get a break if they're not on the academy, but it would let the shows select new writers who have potential for their specific shows.
Complain about this comment
Hi,
Antoniablue,
good points and well made, but yes in all honesty I would turn down every opportunity to write for the shows I mentioned. Why would I jeopardise my integrity?
MarkoUK,
I like the sound of the 'singles' idea you mentioned. It needn't cost a lot and think of the flexibility and freedom it would offer a writer. A wonderful platform for an original voice, better than the mangle of blandness that is the usual tv cop/hospital drama.
Katyperryismymum,
Were you referring to me as Mr Angry? If so wrong (on both counts!) and I disagree with the premise "If people think the shows aren't good enough, that's great, because it encourages everybody to work harder to make them better" Come on, if people think the shows aren't good enough something is seriously wrong and heads should roll, you can't make an omelette with out breaking a few eggs. Finally I'm not sure as to why you would infer any frustration/problem with my mortgage, that seemed a little unkind.
mrs_mourinho_i_wish
I agree on the whole and I'm no rejected newbie having a sulk, but I'm sulking now after you mentioned ITV (excluding Harry Hill's TV Burp of course)
cerimeyrick,
I don't understand what you meant to imply with the list of names? Are they responsible for the shows I mentioned?
Complain about this comment
Ceri, you should have asked the angry writer who 'we' are. He sounds a tad bitter to me.
I couldn't write for CD, it is very difficult even if one loves the prog.
I only ever attempted one, a competition to write an episode of Casualty some years back. It was really difficult to write for the established characters and continue their storylines as well as think up a couple of new stories for the one ep.
I admire the writers of CD
Complain about this comment
Dame, I'll assume its me you're referring to. The we is the bulk of writers who've worked their backsides off to earn a shot at the CDs. It also refers to the countless new writers I speak to who bemoan the fact that since the academy started it ha become much, much tougher for them to get any traction with the CDs. I'm a working writer who's had many commissions on many of the CDs. I'm still working. I thought people would be interested in debating the points, rather than start throwing words like angry and bitter about.
Complain about this comment
Dame, apologies, I misread your comment.
Complain about this comment
Ceri, the question of how much a writer needs to love the show they work on is an interesting one. From my own experience, I've written for many CD's and I don't think I could say that I've ever loved any of them when I started, some I've liked as a casual viewer, some I've taken as a challenge. I suspect that if it was a show I was really passionate about, I might find it a bit intimidating. What does often happen though is that once I've done a couple of episodes, I've become very connected, passionate and protective. When that connection happens, it feels like you've taken possession of the show.
Complain about this comment
@ greyslate
I'm not talking about you.
Complain about this comment
@ Brucewriter
I'm not sure mothballing the Academy will solve your particular problem. We do not create writers out of air for the Academy course. They are out there already trying to get onto the Continuing Dramas. I would argue that the shows need new writers continually, so Academy or not, they would be taking them on in the same numbers.
@ Greyslate
Sorry to be a bit obscure there! I was answering the question "What decent writer would ever be passionate about Holby?" by listing decent writers who've worked on Continuing Dramas... Jimmy McGovern (Brookside), Russell T Davies (Childrens Ward), Tony Jordan (EastEnders), Paul Abbott (Coronation Street), Tony McHale (Holby), Barbara Machin (Casualty), Askley Pharoah (EastEnders), Matthew Graham... (EastEnders)....
Complain about this comment
That's Ashley Pharoah... I beg his pardon!
Complain about this comment
Ceri,
Its not my problem. Its a problem that a lot of experienced and new writers out there are experiencing, as the drama being commissioned on British TV shrinks and writers are being told by the CDs that they have to set aside a big chunk of episodes of new and graduation academy writers. Absolutely, shows need new writers constantly, but I would argue that its better that the shows find and develop those new writers themselves. That way they find writers with qualities that suit the shows and they have more control over the balance of new and experienced writers.
Complain about this comment
Bruce you will be heartened to hear, it may be a rumour, not sure but I have heard it from a couple of sources that the BBC is working with a university on a degree in Scriptwriting with a view that graduates will lined up for a slot on... well I guess you see where this is leading. I think it is in Scotland so would probably be linked to River City which you have to be living in Scotland and preferably Scottish to write for anyway. I hear there is a new soap in development for Wales with a similar remit, which is fair enough I guess. I guess?
Complain about this comment
@ Brucewriter
Totally agree with you... that is why Academy selection is done by the CDS shows themselves - they read the scripts, interview the writers etc...
Complain about this comment
MisterP - cheers! Seriously, I don't have an agenda about new writers, I was one myself once, and I don't have a problem with training schemes, I did one myself once but I don't think they should be guaranteeing anyone slots on shows.
Complain about this comment
The way to look at it Bruce perhaps is that everyone of the people on the academy in the past would have been given a commission on EastEnders or Doctors. But nowadays instead of going straight onto that commission they have to go through a three month training programme with CD before getting it. So in some ways it is no different to how it was if you look at it in that way. It is a bit of a quicker leap perhaps to the fifty minute format than in the past through this initiative but it seems to be a live or die by the sword situation. Also Script Editors will be working harder with new writers so old hands like yourself will be much valued as they can rely on you to deliver the goods from the very first draft - giving them more time to nurture others. I guess the only thing to worry about is if the WA becomes like an Equity card for writers in CD at the BBC, i,.e. you have to have been through it to be taken seriously by CD - but I don't think that is the case, and in the long term I am sure it won't be. After all in the previous blog the Holby man was saying he prefers to see radio and theatre scripts which is why Ceri was probably telling people to take that on board but not to stop watching TELLY meanwhile! Especially 'those' shows. Initiatives come and go, people come and go, but I would hope good storytellers are in demand sooner or later, if they have been through the WA or not.
As to the comedy version mind you, that is obviously rubbish as I didn't get picked to go in it. But I am not bitter. I am just going to get even!
:)
Complain about this comment
MarkoUK, in answer to your question about there being a slot for single drama, a new 'Play For Today' slot is currently in development with BBC4. It is being developed by GF Newman, who created Judge John Deed and New Street Law, he mentioned BBC had given him money to develop six original one hour dramas with new writers in that BBC series Mark Lawson talks to..., not sure it might be on iplayer, it was called Mark Lawson talks to GF Newman and was on BBC4, they tend to repeat them a lot.
I can't remember the exact details but I think this is definitely going ahead, if it is a success there will be more, so yes there is hope for new writers to get single dramas broadcast. And a bloody good thing too, at last the BBC is doing something it should have done years ago.
If you google GFNewman and Contemporary Voices there is more info as well as an article in the independent about it.
Complain about this comment
Err the BBC have been doing a play for today season off and on for a few years, hour long when Doctors was off on one of its breaks.
Complain about this comment
Mr. P some good and fair points there, but I'm not sure its a live by the sword scenario. I saw academy writers indulged and get away with things that experienced and other new writers didn't get away with. Script editors do indeed value dealing with the experienced writers, especially when they're dealing with academy writers at the same time, but I've seen little evidences that appreciation is shared by the producers, script & story producers and execs.
My comments might read like I've got a real downer on the Academy, but the truth is that I'm disturbed by the lack of debate around it. It has had a huge impact on the CD's, on who gets to write for them, even on the shows themselves. CD's live or die by their ability to attract big audiences, but has the influence of the academy given audiences a raw deal - audiences do not tune in to watch nursery slopes. The academy is clearly a fantastic experience if you're on it, but it has its casualties. Or even its holbies.
Back to your original point, Ceri, about whether its necessary to love a show. One of the shows I was referring to, I got my first eps at a time of regime change, when the producers wanted clear blue water between old Holby/Enders/Doctors/Casualty and new Enders/Casualty/Doctors/Holby. The fact that I didn't have any great love of the show before then was seen as a great advantage!
Complain about this comment
You're right, I think that was called the Afternoon Play and was quite 'light' in fare, plays about belly dancing etc, given its time slot I don't think you can compare it to Play For Today which, as far as I know, had a much later time slot and tackled more controversial subject matter.
I think it was started by Mal Young and when he left there weren't any more.
Complain about this comment
And on the single play lines, there was the legendary Decades...
Complain about this comment
Decades was supposed to have brought in lot of new voices, but ended up being a debacle of epic proportions, think there was a scathing article about what a waste of money it was in a Guardian article. A lot of frustrated writers felt they had been well and truly shafted and the only person who benifitted was the producer whose idea it was who ended up getting promoted.
Complain about this comment
The original Play for Today had a number of legendary writers contributing and covered a really broad ranging area of subject matter. I'm not sure the audience for that kind of show is there anymore for prime time tv and the afternoon slot may well have leant itself to lighter fare. All art is metaphor pretty much so I don't think the subject matter, belly dancing or cancer, need necessarily mimit the artistic worth of the piece.
And on that note, I still say DOCTORS is as close to the ethos of the original play for today as you get in continuing mainstream drama nowadays. It gives writer new, and old and haggard, the chance to tell their original stories in their original voice and pretty much any subject matter has been covered. Tone of course is important, but the message you want to make, the story you want to tell can pretty much be told.
Complain about this comment
MrP, are you serious? There are no original voices in DOCTORS, can you name me even one writer who has imprinted their original 'voice' on DOCTORS, in the same way that writers like Potter of Plater did with Play For Today. Of course not. I think the closest DOCTORS ever came was a 'film noir' episode but those are few and far between. The writers on DOCTORS have to tell their stories within the confines of a precinct drama, it isn't anything even close to Play For Today. Ask any writer who has worked for DOCTORS and they will tell you they have to go through a spirit sapping process of logging ideas and waiting ages to hear back if any have got through, often the script-editor they are working with will tell them what the show is looking for/which ideas will be favoured, there is a lot of meddling and even if the writer does get an episode commissioned it is nothing like the idea they originally wanted to do, and is frequently rewritten too.
If you asked any writer whether they would like to write a single drama or an episode of DOCTORS, I'm sure the vast majority would opt for the single drama. Many writers do write for DOCTORS but it is very much to pay the bills as there is nothing else on the table, the money isn't great either, I think about 4 grand a year or so back, slightly more established writers manage to negotiate block episodes of 3 or 4 in order to make it worth their while, but they are the exception.
Complain about this comment
Well I guess that told me!
:)
Complain about this comment
And I do love it when someone asks me a question and then answers it themself. It does rather save all that bothersome business of having to think for oneself after all - much like, as you say, writing for the show in the first place.
:)
Complain about this comment
@radioactiveFrogger
I think one of the reasons a particular 'voice' might not be heard on something like Doctors, as opposed to a single drama, is that it's largely a collaborative pocess, so there are lots of people to deal with and continuity issues, etc. Hey, the show belongs to somebody else, not just one or two writers.
Of course, most writers say they would prefer to write single drama, their own babies, if at all possible, but the fact is, not many single dramas are made, especially with new writers on board. Even with single drama, there's a collaboraive process, but not, I would imagine to the extent there is with something like Doctors.
But I do have to disagree with your statement that there are no original voices in Doctors. I think all voices shine through, even when there's a formula. And, it isn't Play For Today is it? So there's no comparison.
I don't think 'opting' to write a commissionable, single drama is in fact an option for many, unless you're very, very good, or somebody has spotted a special spark in your writing, or, it just happens to push buttons at the right time.
As for the four grand, who knows, unless you're in there at this moment. Some writers may get lots of scripts commissioned, then the money may seems quite good, others only a few.
I don't know quite where you're coming from by saying some only write for Doctors because there's nothing else on the table. It's hard out there! Thousands want to write for tv and radio, some never make it, others ALWAYS make it. You just have to keep going, be good at what you do, write every day, try your best, and if you're great, it'll surely shine through.
Complain about this comment
@ Brucewriter
Wow - it's not often the BBC gets accused of treating writers TOO well.
NB: Re your earlier point, which I forgot to answer, about the BBC freezing development. It's definitely not true.
Complain about this comment
Now that wasn't my point, Ceri, and you know it!
Thanks for clarification on the second point. I'm pitching an idea to an indie tomorrow...
Complain about this comment
@ radioactiveFrogger75
Thanks a lot for that info - much appreciated.
Complain about this comment
I particularly enjoyed Dawn Harrison's DOCTORS five parter which ran across the whole week recently.
Complain about this comment
I've just been asked a question I can't answer (a common occurance)...
When are application's open for WA this year?
Complain about this comment
KPIMM
Maybe read what Ceri says at the end of her blog which is the start of the thread here.
:(
Complain about this comment
@ P
Thanks P.
Complain about this comment
With reference to the bile question may I refer you to the great Homer Simpson, who said, "It's easy to criticise. Fun too." :)
Complain about this comment
@ KPIMM
6th April applications open online at BBC Jobs website. Closing date is 5th May.
@ AspieBoy
He also said "You tried your best and you failed miserably. The lesson is, never try."
Complain about this comment
Doh!
Complain about this comment
If you have talent, an original voice, and stories to tell, then BBC writersroom wants to know about you.
No they dont...save yourself the trouble and write a novel or a play or even a screenplay instead.
The BBC have not got a clue about how to attract interesting and original writers--
Complain about this comment
Furthermore, for those who think writing on those mediocre soap/'dramas' is really the way to learn your craft--don't kid yourself.
Don't shovel horse dung and pretend you work in a perfume factory
Complain about this comment
@MIKEANGEL
That's blatantly not true though is it?
But if it were, what would you suggest they do? At least we could use this forum to push positive debate - soundbites are pretty easy and lazy aren't they?
I can only speak from my own experience and I can say the BBC have been great. Simple as.
Plays, novels, screenplays: they're ALL hard. That's just the way it is.
Complain about this comment
I agree with MIKEANGEL.
The bbc’s ongoing inclination to dumb down, the automatic commissioning for family members of senior staff, its anti American stance coupled with it’s constant pandering to minority groups has left very little in the way of quality.
Credible shows such as ‘Ideal’ and….erm?....should be applauded all the more louder for existing in the current circumstance.
Before sending anything to the WR (which I refuse to do) ask yourself if you really value the opinions of the organisation that gave the thumbs up to ‘Bone Kickers’
Complain about this comment
p.s. most of those questions marks were apostrophes
Complain about this comment
@greyslate
Why do refuse to send anything in to WR? I can only repeat that my experience of WR has been nothing but positive: intelligent, supportive in loads of ways I hadn't even imagined, welcoming, and, re my writing, nearly always spot on. It is entirely down to their support that I am where I am, and I've listened to them very carefully especially when I haven't obviously liked what they've said.
So what's your problem?
Like I said before: any arse can snipe. Offer something positive...some good suggestions as to how the BBC might improve things...for us and for you. At the end of the day, if you can't deign to be in productive dialogue, stop worrying about it.
Didn't Crminal Justice and Moses Jones, plus a few more I could mention, do it for you?
Complain about this comment
Have to agree with MIKEANGEL too. Unfortunately the BBC is run by corporate apparatchiks who want to homogenize writers into writing bland, unchallenging output.
Recently writers like Guy Hibbert and Lucy Gannon have been brave enough to raise their heads above the parapet and speak out about who frustrating it is getting something commissioned given the bbc's tendency to play it safe. This is how the majority of writers feel but rarely have the platform to say it.
The BBC writersroom does serve a purpose in that it is somewhere for new writers to send their scripts but it is by no means ideal. I've popped into a few roadshows and have seen how hopeful writers fawn over Kate Rowland, Ceri et al and it is shameful. Absolutely shameful. They act like demigods who have the power to say yay or nay, and have an air of satisfaction about themselves that is frankly unbelievable. So many writers hopes are built up and in all likelihood they will be shattered over and over again. A changing of the guard at writersroom, or a new system, is long, long overdue.
My suggestion. Given the amount of money the writersroom receives and the wages those higher up so desperately cling onto, the money would be better spent being given to proven indies who have good relationships with writers and aren't stuck in the bbc mindset. At the very least new writers wouldn't have to deal with the same people over and over again. Projects could be developed without writers feeling obliged to apply for the academy or write a couple of episodes of Doctors, which, let's face facts, many have no real desire to do.
Many writers, both experienced and up and coming, have been treated terribly by the bbc and now that the credit crunch has effectively made the bbc the only player in town things can only get worse.
Might sound like I'm sniping but there needs to be a wakeup call, if everyone just puts their heads down and hopes for the best they are only fooling themselves.
Complain about this comment
Mr Frogger you do seem a little prone to sweeping generalisations based on your own no doubt frustrating experiences...
But when you say things like..
'or write a couple of episodes of Doctors, which, let's face facts, many have no real desire to do.'
... You strike me as one with the tip of your nose perhaps elevated slightly above the human ideal.
Personally I love writing episodes of Doctors!
Millions seem enjoy watching it too, more fool them.
:)
Complain about this comment
@ radioactiveFrogger
Yawn.....yawn...yawn...
Complain about this comment
This comment was removed because the moderators found it broke the House Rules.
Katyperryismymum
The reason I won't send anything into the WR is that my writing has nothing in common with most of the dross that passes for BBC drama these days.
I haven't seen Criminal Justice or Moses Jones, maybe I'll give them a gander but if they’re the standard of late I won’t look twice.
Re - Criminal Justice, I haven't seen it but I wonder?........
SCENE 1. Cop ducks under police tape and exchanges flippant remarks over a body with a police photographer, cue enthusiast rookie armed with facts and a clipboard. Enter stern DC who berates cop for his maverick ways...etc etc
Complain about this comment
@greyslate
Do check 'em out - really top stuff. Criminal Justice just blew me away tbh...bit like Red Riding is at the mo...
Maybe you should give WR a chance. I thought they'd run a mile from my stuff...really...but they've opened doors for me I never imagined. I've never felt for a moment that they don't want me to be bold and really say what I think.
If you're writing's good, they will appreciate it, I'm sure.
Complain about this comment
Greyslate, obviously not on the BBC but on what channels can we some of your writing?
Complain about this comment
The mising word is ... see.
:)
Complain about this comment
@MikeAngel
As I said in the blog, you need to like to programmes you write for.
@Radioactive Frogger
There are many ways to write for the BBC. Writersroom and Writers Academy are just a couple.
As I've already said, the Writers Academy is a course for writers who want to write for Continuing Drama. Sure, opportunities exist to porgress onto others shows, as many great writers have and continue to do, BUT if your not a fan of Continuing Drama, this is not for you.
...rather impressed that you managed to use "apparatchik" and "homogenize" in the same sentence.
Complain about this comment
@radioactive
'I have popped into a few roadshows and have seen how hopeful writers fawn over Kate Rowland, Ceri et al and it is shameful...'
Oh dear. Was it you who ordered drinks at the Royal Court bar at the recent roadshow and then fled without paying? Thought so....
I am probably one of those you mistakenly refer to as 'fawning' over Kate etc at such an event (and there's me thinking I was just handing in my most recent script....) but I can assure you I don't fawn and nor was anyone else.
The writersroom events are a brilliant opportunity for networking and all credit to Kate and Co for turning out in all weathers, up and down the country, to speak to new writers and give them an opportunity to learn at the feet of those who know what they are talking about. These evenings also provide a brilliant opportunity to meet and chat to the likes of Debbie Horsfield, Kwame Kwe-Amah, Tony Jordan, Tony Mchale, Russel T Davis, Toby Whitehouse and so many many more. I think even Mr P has graced them with his presence on occasion...
Above all, it's an opportunity to be let out of the nursing home for a short while, or away from Jose, both being the same thing really. Oh I have a heavy burden to carry...
So, please, no more silly fawning comments. You're doing yourself a grave disservice. Either make a point properly or go and write a new drama or something and show us all how it's done.
Mrs M
Complain about this comment
Katyperryismymum
When are these shows you mention on? I've been scanning the TV listings for the past few days.
Complain about this comment
View these comments in RSS