Sharps Diary - Paul Horsman

Paul Horsman studied at the Metropolitan Film School and is a producer with Sky Travel, and was selected for the BBC writersroom Sharps scheme for his script Lumpy Gravy, a biting and touching tale of an estranged son returning home for a Sunday dinner from hell. We asked him to write about the experience of going on the Sharps week-long residential masterclass.

Monday: Day One
As we arrive at Bore Place, we're presented with a beautiful farm house in rural Kent. It's amazing to think this is where we're spending our week, though I do feel slightly alienated when I can't receive a phone signal anywhere in the grounds. We're told the food is organic, and over lunch I get the feeling we'll be eating like kings. It's then a case of getting to know each other. We were asked to arrive with a new idea, and one by one we share them. With so much passion and variation in the room, it's an honour to be there, if a little overwhelming. Being someone who never listens to Radio Drama, I was pleasantly surprised when listening to some examples. My ears have been opened. Good writing doesn't have to rely on eyes to be visual. We unwind with dinner and watch a powerful episode of The Street, a reminder of why we all want to be writers in the first place.

Tuesday: Day Two
Ceri Meyrick takes us through the craft of writing for Continuing Drama. It's a trip down memory lane as we reflect on some of the best storylines and characters in television history. We're also joined by Paul Campbell, a new writer for Casualty and EastEnders. He's both accessible and honest, giving us an insight into how this business works - both highs and lows. After lunch we're given one-to-one feedback on our original Sharps scripts. It's an extremely useful meeting and I get a sense that we've all been left with lots to think about.

Wednesday: Day Three
We start the day with our least favourite thing, pitching our ideas. It's interesting to see how some have developed and others completely changed. Not for the first time, I start to lose faith in mine. When I share these doubts, I discover I'm not alone. The afternoon improves with a Q&A session with a panel of guests representing Drama, Children's Drama, and Comedy. It's reassuring to know they all look for the same thing: good writers who tell good stories. It's then a guide to pitching and I realise I've got a long way to go before nailing mine. Thankfully I forget my concerns as we watch The Curse of Steptoe and instead wonder what kind of person could create such compelling work.

Thursday: Day Four
The next day we find out. Brian Fillis comes in for a chat and proves he's just as normal as the rest of us. He describes his shift from DJ to Maths Teacher to Playwright to Screenwriter. I'm left with a hunger to write more than ever.

Friday: Day Five
It's the big one: our final pitch to Kate Rowland, BBC Creative Director of New Writing. For the first time the group is quiet, yet we sense our bond is stronger than ever. The shift from fear to relief is evident as one by one we pour our hearts out. The feedback is just as honest, and we're left with possibilities to where we take things from here. And then it's over. One of the most intense weeks of my life. The goodbyes are far too quick compared to the length of our journeys. But we know they're far from over.