It's important to know your market.
Check the schedules and watch as much TV drama as you can – see what genres and formats are on, what's popular, what works, what doesn't work, what grips and inspires and entertains you, and what leaves you cold.
It's always worth comparing the originality of your idea with current and previous shows. Try not to replicate something that has already hit the screens, and try to make everything you write unique in some way. But don't try to simply plug a gap in the market or write something solely because it might appear to be a novel idea – you should write what you feel passionate about.
Always be specific about what kind of drama you are writing, where in the schedule it might fit, and what kind of audience it might reach. Is it a continuing, prime-time soap in thirty-minute episodes? A returning crime series in sixty-minute episodes? A six-part, post-watershed serial? A pre-watershed, sixty-minute single drama? Remember that writing for established formats isn't the same thing as writing to a formula – strong established formats allow for individual expression, but it's hard to be individual when writing to a perceived formula.
The shape and tone of your story will relate in many ways to the format and slot. A Doctors episode tells a self-contained, character-driven guest story while an EastEnders episode normally interweaves multiple storylines - both are continuing series told in thirty-minute episodes, but they are placed at different times in the schedule, and their tone and form is likewise different.
TV is easy to turn off or turn over, so open your story as dynamically as you can. Try to hook the interest of the audience as soon as possible so that they will want to stay tuned and, if there are more episodes to come, will want to keep tuning in. Ask yourself if there's a strong enough sense of character, drama, and story to sustain an audience's engagement.
Engaging characters are at the heart of all good drama, no matter how mainstream or unusual your idea may be. Your characters should be believable, even if they are in an incredible situation. We should be able to empathise and engage with the main characters, even if we don't necessarily like them. It's hard to care about a character that plays a passive role in their own story, so make your central characters as active as possible. There should be all kinds of conflicts and difficulties for your characters to deal with – scripts are rarely interesting if the writer is too easy on or too nice to the characters.
TV is a visual medium. Reveal your characters and their story through the action. Good dialogue should serve the story rather than 'relate' it, so check whether it is awkwardly explanatory and expository ("But I thought you said you hated dogs ever since your favourite nephew was attacked by a particularly vicious poodle?")
All good drama has a meaningful structure. A common problem is that the structure is too episodic - a conflict is introduced but is then either too quickly resolved or never fully resolved. Another common problem is that the storytelling is too undynamic - in drama things should happen as a consequence of, and not merely after, what has happened before. Another common problem is that of redundant scenes – make sure that every scene moves the story forward.
Read TV Drama scripts here.
Read these scripts from the BBC TV Drama archive.
Read this script from the BBC TV Comedy archive.
James Cary, Richard Hurst
Read this script from the BBC TV Drama archive.