BBC Drama North 2

How do new writers get their ideas through?

Phil: We have established a really strong relationship with the BBC writersroom, with Katherine Beacon in particular who is based in the same building as us. We recently ran a high-concept drama residency for BBC Three together for which we mixed new writers with some more established writer talent. We are also going out to meet people, doing open events like this. It is all about us being introduced to people -  we're a small department but we're determined.

Hilary: We are going to the theatre too, making sure we see fringe work as well as bigger shows at main houses. We also make sure we stay in touch with agents and build relationships with them, so often they'll send us an email and say "New writer. We really love him/her for this reason. Please make sure you read them." so we stay abreast of things this way.

Phil: We also talk to the Comedy and Radio Drama departments based in Manchester and are trying to be a resource, really, for all writers of all levels of ability.

Are most of the dramas you take up written by people who have already written episodes on something else? If so what is the point of a first time writer sending a script in?

Kate: For first-time writers to get their work on and get noticed one good way is to write on existing shows, to have the experience of focussing ideas and get to know producers. Most big name writers, the Jimmy McGoverns, the Paul Abbotts, the Russell T Davieses have all written on other shows before having their own shows.

One of the best places for writers to go and to learn the craft of writing television drama is the Writer's Academy. There are shadow schemes on each of those individual shows as well, Doctors, EastEnders, Holby City, and Casualty. BBC writersroom acts as an internal agent for the BBC and we promote talent to key people like Phil and Hilary all the time. That's our job.

Phil: Doctors now produces I think 230 episodes a year and they've taken on or have made episodes written by at least 25 writers who've never had their work seen anywhere before. So they're a massively valuable way in if you're a new writer. As a new writer the best way the BBC can serve you is to take your voice and let people listen to it. That's the point. And so shows like Doctors are a brilliant training ground and they're genuinely, genuinely committed to taking new writers on. Casualty, Holby, Waterloo Road, they're all really important shows and give opportunities to newer writers.

Kate: Radio drama is also a brilliant place for getting your work commissioned and your voice noticed. There's lots of different opportunities, but I do want to be honest with people to say to get a series away is hard if you haven't got any screen credits. There are some opportunities, for example Jimmy McGovern has commissioned writers who have never written TV drama before on The Street and for the recent daytime drama Moving On. One of the most important things that you should have as a writer is your calling card script, the script that is absolutely your voice, that you can pass on to different producers and executives. That 60 minute long TV Drama calling card script is what they will look at to decide whether to offer you an episode of a particular show. 

Phil: What we're trying to concentrate on doing is to try and set up those series that are six to eight episodes a year, based here in the North and then we look for writers to write on those. I appreciate that it's hard to make that jump, but we are absolutely trying to make that happen.

Is there pressure in this climate because the other broadcasters are making less output so there are more writers going after fewer opportunities on the BBC?

Phil: I think that's absolutely true. ITV are making less, particularly in the North. There are lots of writers who were writing Heartbeat or The Royal or Wire In The Blood, these shows aren't around any more and new writers are competing with the writers that were working on these and do have experience for episodes of BBC Drama. All I can say to you is we're doing what we can to try and plug that gap and to replace those shows.

Kate: Also just to let you know that River City, a Scottish BBC drama is moving towards hour long shows and I know that they will be looking for writers for that.

As Casualty is moving from Bristol to Cardiff could BBC Drama North also have to take on any other large shows that would be moved there?

Phil: I'd love the BBC to move a large show to Drama North. That would be fantastic! We absolutely want one of those shows because that's where you generate work for new writers, it allows you to open up opportunities.

In the last few years there's been a trend for high-concept shows in the American style, Doctor Who and so forth. With the cancellation of Primeval on ITV do you think the trend is away from such shows now?

Phil: Absolutely not from the BBC's point of view. I think the seven o'clock slot on Saturday has been completely redesigned and reinvigorated by Doctor Who, by Robin Hood, by Merlin. I can't really speak for ITV.

Will there be a Screen Two again?

Kate: We certainly hope that the Dennis Potter Award will be coming back. This is an award for single drama - writers are invited to put in an idea with a producer attached but other than that it is completely open. Singles are really important to the BBC. The big question is always about how will they cut through so the audience notice them.

Phil: That's the challenge. People talk a lot about the halcyon days of Play For Today but that was a different age where people had less viewing choice, less channels, so they really made an appointment to view what was on a particular channel. A single now has to really have a bold, strong idea at the heart of it, something that's going to draw the audience to it.

Hilary: Excitingly some writers that come through the single drama route are first time writers to TV, proving a great idea can win through and get commissioned.

Kate: Event dramas like Occupation by Peter Bowker, Criminal Justice by Peter Moffat, or Five Days by Gwyneth Hughes, while written by very experienced writers, also show that there's a place for very strong storytelling and that the BBC is willing to commission bold event pieces.

Can a writer send in an idea for BBC Four's special nights and themes?

Phil: From a writing point of view it has happened that producers have gone in and suggested a brilliant script by a brilliant writer and the network have got excited and built an evening of programmes or a season around that idea, or the opposite has been true where writers have been approached directly because the channel has an idea or theme they want to explore through different kinds of programmes including drama. It is worth thinking about who the interesting historical figures are from your region and what are the key events that have happened here from a drama point of view, particularly if there is a big anniversary a few years ahead the BBC might want to mark.

What is the relationship between drama and online?

Hilary: Being Human had prequels to the drama exclusively online. I thought that was very smart and very simple. It felt like something special that you were getting if you chose to be an online viewer before you came to the TV show.

Phil: It's about finding ways of making online content complement a drama. I think you grab an audience with a big, strong, bold idea. If you're then able then to tag on any kind of online presence then brilliant. It's about complimenting content, about adding value for the audience. I love the Doctor Who web site and that it is possible for my nephew to go on there and cut together a Doctor Who trailer. It illuminates the drama and it allows the viewer to get involved in a really clever way. That's when it excites me.

1 | 2