Two theatre writers and six TV writers make up our selected eight this year. The standard of writing was amazingly high, so it was a tough choice. So big congratulations to...

Patrick Homes
Fiona Peek
Paul Matthew Thompson
Natasha Langridge
Peter McKenna
Matt Broughton
Andrea Page
Matthew Barry

... and we are really looking forward to working with them all over the next year.

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  • Comment number 26. Posted by mariankaswain

    on 1 Mar 2011 16:06

    Hi Ceri,
    When do the 2011 applications open?
    Many thanks!

    Best,
    Marianka

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  • Comment number 25. Posted by Duen

    on 2 Aug 2010 14:36

    Like many would be writers, I have a wealth of life experiences I am considering writing about to create a comedy show or sitcom. Firstly, can anyone let me know where I stand legally in using real situations etc which are on-going incidentally? Am I obliged to inform the people about whom I am entring my story, can I use real names and do they have any rights of any sort should I be successful in having my work published, screened etc. It would be as true ti as it is as possible but with embellishments but nothing necessarily untrue or offensive.
    I'd be grateful for some guidance,
    thanks,
    Duen

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  • Comment number 24. Posted by ARNIE

    on 29 Jul 2010 08:48

    Well, maybe. But it all seems to me a bit like sending graduates back to primary school.

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  • Comment number 23. Posted by Mark

    on 28 Jul 2010 11:04

    All best wishes and good luck to everyone on the course.

    Mr Spoon, I'm uncertain it's worth getting aggrivated about one of the writers on the course having written regularly for doctors, it's certainly unfair to suggest the course is going to teach him how to write for Doctors. Logically I think we can all safely assume the course involves a great deal more than that - I certainly have met a few writers who have comfortably written doctors episodes but feel they haven't moved much further on - certainly the other flagship shows each have their own different disciplines that still need to be learned.

    Given that the intention of the acaedmy is to uncover already professional writers in television who are open to being nurtured and exploring other avenues and opportunities within continuing drama at the BBC it seems perfectly reasonable that someone who might have credits on any of the shows still deserves the chance to develop their skills and hopefully start moving into newer areas. It's always been made very clear that the academy isn't a 'competition' and isn't looking to give a 'break' to new or unproduced writers. One can assume that if someone applied then they feel they would benefit from what the course offers and are therefore fully entitled to apply and have their submitted script given the same impartial reading as any others, irregardless of where their writing background lies. What possible reason could there be for someone who has written for doctors not be given a place if the selection proccess has recognised they could be developed further? That's exactly what it's about.

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  • Comment number 22. Posted by ARNIE

    on 26 Jul 2010 17:31

    Your own website says, in regard to the Writers Academy:

    "Now in its sixth year, the Writers Academy is a major initiative aimed at discovering and training the next generation of writers for BBC One’s flagship shows: EastEnders, Casualty, Holby City, and Doctors."

    It's good to know that you're teaching a writer with 33 credits on Doctors how to write for Doctors.

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  • Comment number 21. Posted by Andrew Collier

    on 26 Jul 2010 10:57

    Yea thats what i thought to but i didn't want to say 'Thats a load of rubbish' in my head because i thought the person writing it probably knew more than me. Cheers Piers you've been a life saver, now i can get on writing some conclusions to my sub plots haha

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  • Comment number 20. Posted by Piers

    on 26 Jul 2010 10:50

    Whoever said you need to account for ad breaks when you're writing for the BBC is definitely wrong. Because we don't have them, so that wouldn't make any sense.

    We only read scripts that are 30 minutes or longer via the unsolicited script system only, so please make it at least that long.

  • Comment number 19. Posted by Andrew Collier

    on 26 Jul 2010 10:32

    Cheers, yea i would only use them occasionally when the words are necessary. Also just one more quick thing. does the script you send of HAVE to be 22 mins long running time or 30 mins long? i.e do i need to account for ad breaks for the BBC? because ive seen some sites that say this is unnecessary for the BBC but you have to for ITV etc... but ive also read in some books that you definatly have to account for ad breaks when writing for the BBC, im just a bit confused on this is my first script. It's a pilot script which i hear they allow more content for than usual. Thanks

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  • Comment number 18. Posted by Piers

    on 26 Jul 2010 09:22

    arnoldspoons: The Academy is only open to experienced and professional writers, which is why we insist on at least one professional commission. It's explicitly not for new writers. That's what our unsolicited script system is for.

    There's no upper limit on credits. If Paul Abbott or Tony Jordan or Jimmy McGovern or David Simon wanted to apply, they'd be eligible.

    Andrew: You should absolutely write in the character's voice. If they use ain't, gonna, shoulda, then you should too. The only word of warning I'd offer is to be extremely wary about writing a character entirely in dialect, as it becomes very difficult to read.

  • Comment number 17. Posted by Andrew Collier

    on 25 Jul 2010 23:41

    Are the bbc strict on the sparse use of slang words in scripts? such as-Aint,gonna, shoulda etc... if they are how the character would actually say or pronounce these in my sitcom world?

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