Chris was not the only ABBA winner though. Two scripts came joint second in the award. These scripts were 'God and That' by Tom Wells and 'White Horses' by Ben Ayrton. Both Tom and Ben received £1000 bursary money and will receive a years mentorship with a Producer. One script was highly commended by the judges, 'Maine Road' by Sarah McDonald Hughes and two scripts were commended, 'Faith' by Alexandra Denye and 'Driftwood Something Something' by Paul Buie. Sarah, Alexandra and Paul will all receive mentorship and have the chance to develop their scripts and further ideas for the Radio 4 offers round.

We in Radio Drama North are absolutely thrilled by the high level of talent which has come through the award this year, and we know that these very talented writers, most of whom are at the very beginning of their writing careers, have bright and brilliant futures in front of them, and it will be a pleasure to help them on their way.

It's been a month since I last blogged, and we've now shortlisted down to thirty writers. This means that everyone who entered should have received a "yes" or a "no". If you haven't - something's gone wrong - so you need to get in touch with us directly.

This is the longest stage of the process. Each of the 150 long-listed scripts was read in full by two members of the drama department and marked in eight categories: Dialogue, Character, Narrative Structure and Pace, Distinctive Voice, Emotional Appeal, Visual Storytelling, Credible World and "Did it keep your attention?". Each section is marked out of five and so the final score is a mark out of 80. It's tough "scoring" writing ability, but at least it gives us something to hang our responses on and it's the best system we've come up with so far. Anyone got a better suggestion I would love to hear it!

The team and I then read as many of those as is humanly possible (usually all those with marks over 50). We then (and only then) look at the application forms and factor those into the equation:
- Do they watch (or at least pretend to watch!) Continuing Drama? - you'd be amazed those applications that don't even mention the programmes... or television!
- Do they have some knowledge of the pressure they'll be working under?
- Do they come across as writers who can work collaboratively? - really difficult to judge, and this is what the workshops are all about.
- What's their writing CV so far and how does it show an aptitude for this kind of writing? (that doesn't mean only writers who've worked on continuing drama before)
- Do they want it? - do they really want it? Again impossible to judge from 400 words on a stuffy online application form, but you have to try get to the heart of what they're saying and make a judgement on this.

Then... we get input from the Writersroom for anyone on the list who's work they've read, we ask around, we ask for second opinions, we compare notes... basically we do everything we can to try and make this rather artificial process as fair and as exhaustive as possible.

I'll be meeting the final thirty at the workshops later this week. We're very excited about them, and the quality of work this year, everyone agrees, has been higher than ever. If you didn't make it this time, I would really encourage you to try again next year. I could have filled the workshops several times over with worthy people.

Sadly, we had to discriminate, but I had a meeting with the girls and their parents, where we talked through the script and what they needed to do to add an extra ten minutes. They went away, it went quiet for a bit, and then they wrote to say that, all things considered, they were children and would rather play with their Sims. Which was fair enough.

I remembered Jayne and Lauren last night when I spent an astonishing two hours in a small theatre in north London. Under the umbrella title Jumping for Joy - The Uplifting Plays,the audience was treated to nine short two-handed pieces by writers ranging in age from nine to 11.

It's a venture called Scene and Heard that is now 10 years old, and was inspired by a similar project in New York. It entails professional directors, script editors and actors working with children from the ethnically mixed, socially deprived area of Somers Town in north London to develop ten-minute plays for performance, the aim being both to encourage the children's creativity and increase their self-esteem.

Human characters are not allowed. The plays must feature either animals or inanimate objects. So last night involved the second biggest mountain in the world and a private detective hyena; a scorpion and a posh lavatory, and a recipe book and a toe fungus bacteria, among others.

The results are extraordinary - hilarious, touching, and unexpected. From time to time there are hints of the children's real world - two pieces mentioned anger management, for example - but their lives feature more in the sub-text. There is a lot going on in these plays, not least in the dialogue, which offers lines to make professionals jealous.

I was particularly moved by the story of a male pterodactyl and a female pair of glasses. The pretodactyl has been captured and is forced to fly rubbish to a dump. He can't escape, because if he flies out of London he will be electrocuted through the collar he must wear. Working together, he and the glasses manage to rob the Queen's fortune, so that she achieves her dream of exchanging glass for see-through diamonds, and he buys his freedom and can fly with her outside London.

Slavery, economic disparity, romance across the classes and freedom are large areas for any drama, and here they were cleverly and satisfyingly dealt with over a few minutes by 10-year-old Alfie Robinson.

Equally touching was the story, by nine-year-old Suban Abdirhaman, of the weather forecast and a water pistol being trapped in and escaping from a drawer. The weather forecast came from a family of weather forecasts and really wanted to be a gymnast. The water pistol wanted to be a real gun in the army. Again, by working together they managed to achieve their dreams, despite a rather awkward and mistrustful relationship.

These plays aren't cosy. They are clear-sighted, and not all of them have happy endings, despite a laughter rate that equals the most popular audience sitcom.

It made me wonder, though, how many of the Somers Town children, having been given a foundation in drama, will go on to become writers. Will they decide, like the Talent girls, that it's too much like hard work? Will they persevere with writing, only to lose heart when they encounter the harsh professional world?

It would be lovely to think that I'll get an e-mail at some point from Jayne and Lauren with a script attached, and that some of the Scene and Heard writers will go on to suceed but, of course, as Sims are replaced by the real world, the place of writing is bound to diminish.

But the Scene and Heard plays seemed to me to carry some important lessons for grown-up writers. They were all about something real, they were direct, and they weren't afraid to confront emotion. I often respond to scripts from new writers by saying that characters should have the capacity to make audiences cry as well as laugh, and sometimes they respond negatively to that advice. One this week said that he had been writing a simple comedy, which was funny for the sake of it, and he didn't see the need for characters with depth.

That's fair enough, and shows like that get commissioned, but I think all writers should aspire to create scripts with emotional depth. The Somers Town children weren't thinking in those terms, but did so none the less. I suppose that it's a harder thing to achieve the more self-consciousness arrives with age, leading to an unwillingness to expose oneself on the page. Adults tend to edit the imagination, and guard against disclosure, which is why last night was so refreshing and why the pterodactyl flew.

Well worth a listen - the good stuff starts at about twelve minutes in - but if you can't be bothered, here's the secret.

Start.

Check it out.

Two of the three winners entered via the writersroom opportunity page, and three of the six people on the shortlist as well.

Not too shabby.

To all the winners and shortlisted writers: well done.

We've got a new interview with the head of CBBC Drama Steven Andrew and Children's writer Elly Brewer live on the site.

Our very own Paul Ashton also pops up in the middle to answer a couple of format questions, and to answer the question that these competitions are all very nice, but has anyone ever got something on the telly off of one? He's good like that.

Anyhow, there's lots of good stuff in there. Check it out.

To get you in the mood for funny, we've got a new interview with Jocelyn Jee Esien and Gareth Edwards talking specifically about writing sketch comedy, and writing for Newsjack. Though it was known as 7 on 7 when we did the interview. We thrive on confusion here.

You might also be interested in reading our earlier interview with Sanjeev Kohli and Gareth Edwards, or checking out the recent writeup of a 7 on 7 masterclass with David Mitchell.

Newsjack masterclass. Whatevs.

If you missed the pilot, the first episode of the series goes out tomorrow at 11pm. Find out more dates and times and use iPlayer to catchup from the Newsjack programme page.

Deadlines for sketches are noon on Mondays.

Good luck!

Following last years successful College of Comedy scheme, the BBC has recruited six writers to take part in its development programme over the next ten months.

Once again the writers will be mentored to produce original work, attend a residential workshop where they will explore technique and craft with established writers and producers, and be attached to a current series to learn how production works.

The scheme is run by Micheál Jacob, formerly the BBC's Creative Head of Mainstream Comedy, and executive producer of My Family, 2 Pints Of Lager And A Packet Of Crisps and The Smoking Room.

He combines running the college with developing and executive producing programmes.

He said "This is an exciting group. They all have very different styles and voices and experience, ranging from a writer who has sold a single sketch to a writer who has had a show piloted for BBC3. Working with them on their scripts is going to make it an exciting year."

The six candidates selected are:

Donna Harle, based in London, who has contributed to a forthcoming BBC3 sketch show pilot.

Gerry Howell, a London-based comedian and writer, who was a finalist in Channel 4's The Play's the Thing competition and is preparing his first Edinburgh fringe show.

Rosemary Jenkinson from Belfast, an experienced theatre writer, who has published short stories and poems, as well as receiving a number of writing bursaries.

Colin McQuaid from Scotland, who is on the writing team of BBC Scotland's Ellis & Clarke Show, and has written comedy for Radio Ulster.

Dale C. Phillips, from Hull, a novelist, screen and sketch writer, and a finalist in the BBC BANG! Theatre Play writing competition for new generation Asian writers.

Henry White, from London, has won a number of animation awards, and contributed to several sketch shows. His pilot, The Site, was transmitted on BBC3 in 2008.

When the scheme was launched in 2008, it attracted support from many leading writers, including Armando Iannucci, Sam Bain and Jesse Armstrong, Simon Nye, Jeremy Dyson, Susan Nickson and Hugo Blick, some of whom did sessions for the college.
The scheme, is designed for people who have already begun their careers and can demonstrate some achievement, such as broadcast material, a script commission or performance of their work.

The chosen candidates will be given writer and producer mentors for their original work, which will be showcased when the scheme ends in March 2010.

There will be one residential workshop and ad hoc events during the year, with sessions from leading writers, producers and directors.

If you don't know what it's all about, basically we send our Top People around the country to talk about what we do in the office.

So they'll get up on a stage to tell you about how the BBC writersroom works, what we do with your scripts, and what the script readers are looking for when they assess them. And then there'll be a chance to ask us any questions you might have at the end.

You can also hand in a script to us in person rather than sticking it in the post. That's a couple of quid in postage saved right there.

Dates and places:

Sheffield - Wednesday 17 June 2009
Liverpool - Wednesday 1 July 2009
Nottingham - Friday 3 July 2009
Norwich - Wednesday 16 September 2009

So if you're interested in coming along to any of these, head along to the roadshow page to book your free ticket.

First up is Steven Andrew, CBBC Head of Drama. He's going to be talking on Monday 15th June at the Royal Court Theatre in London about what CBBC are looking for in their drama.

An excellent place to be if you're thinking about entering the CBBC New Writers competition, I reckon.

Then on the 23rd June Phil Collinson and Hilary Martin will be talking about BBC Drama North at the Culture Lab in Newcastle.

Phil is the head of BBC Drama North, and Hilary is the Development Executive there.

Tickets are free to both sessions - book 'em via the links above.

That's the new name for The Open Call Topical Comedy Show Formerly Known As 7 on 7. Or TOCTCSFKA7O7 if you prefer. Most don't.

Newsjack has been commissioned for six weeks in the first instance, and airs on Thursday and Sunday nights at 11pm on BBC Radio 7.

The pilot is aired tomorrow evening, Thursday 4th June, with the series proper starting a fortnight later. Don't forget that you can listen to it on iPlayer after transmission if you miss it.

To submit material, you'll need to get it to the production team before noon on the Monday before the programme - so the first deadline is Monday 15th.

You can also improve your chances by reading David Mitchell's tips for writing sketch comedy and putting them to work.

More details about where to send your sketches will appear on the Newsjack website after the pilot airs.

It's a completely open call, so best of luck with your submissions.

We've now completed our first sift. My team and I shut ourselves away in the WritersRoom offices for three days and have "longlisted" the applications down to 150. The rest will have received emails telling them they didn't make it this time. So, if you haven't heard anything yet, you're still in the running.

The process of the first sift involves us reading the first ten pages of each script. If we then want to read further, the script is put forward for a further two complete reads by members of the Drama Department. This is the Longlist.

We can't provide any meaningful individual feedback for the 350 entries we reject at this stage, there's just too many, so I've tried to put down a few thoughts here that may be helpful.

It's a very intensive few days. What amazes me is that the best scripts do stand out, unequivocally. A good script lets the reader know within the first ten pages why it needs to be read. There is nothing more frustrating than reading 10 pages of a script and finding yourself wondering why the writer selected these characters and this situation. Some scripts seem so intent on establishing their world that they forget that something needs to happen with this world to generate a narrative.

Personally speaking, I felt there was more variety and ambition to the scripts submitted this year. Subject-wise there was more teen drama, more horror and more funerals. No idea why that is. I blame Skins! Again, as last year, it was often the theatre play scripts that stood out for their originality, maybe because writers felt they had more freedom with the format. There were certainly many technically competent television screenplays, but some of these told rather boring stories, or that simply wallowed in depression.

I've also put down some general thoughts gathered from the team:

Positives:

- Most of the readers felt that the standard was higher this year.
- Lots of bravery - interesting original worlds.
- Sparky dialogue
- Technically accomplished scripts (although this meant the need to be stand out original was greater)

Negatives:

- Too many stage directions
- Scripts opening with several pages of monologues
- Dialogue that sprouted facts endlessly
- Spelling mistakes and hard to read script formats

So, now we begin the process of shortlisting down to the final thirty people who'll be invited to the Workshops in July. I'll report back on that process towards the end of June.

If you've not heard of the roadshows before, they're where we go out and about across the country to answer people's questions about what the BBC does for new writers, and what we're looking for in your scripts.

As well as all that, it gives you a chance to meet other writers in your local area - and we'll also take your script and save you the cost of postage if you bring it in on the day. Make sure it meets the guidelines, though!

To find out more and book your place at the Plymouth roadshow, visit our roadshows page.