About Richard
I’m a freelance writer and director, and I’m one of the reading team for the writersroom.
After doing an English degree I trained as a director at the Welsh College of Music and Drama in Cardiff, and moved to London when a show I’d co-written and directed there transferred, disastrously, to a now-defunct pub theatre in Chelsea. As I worked at various places on the Fringe in London and Edinburgh, I found that what I enjoyed doing most was comedy, and much of the stuff I’ve done as a writer and director has been funny, or was intended to be so.
In 2000 the BBC launched the Talent scheme, and I was asked to join the 30-strong team of readers by a development producer who’d seen my sketch group in Edinburgh. The competition received many more scripts than expected, and I ended up reading over 300 sitcoms in the space of about a month; a sort of baptism by fire.
When the writersroom started reading scripts for the comedy department a couple of years later, I think they reckoned that anyone who’d managed to read that many sitcoms without chewing off his own feet was probably the person to get, and I’ve been working in a freelance capacity for them ever since.
When I’m not reading submissions I’m working on my own stuff – I really must get round to looking at that unfinished novel – and running workshops in writing, acting and directing. And when I’m not doing that, I’m playing internet poker.
Comments
Richard,
I was wondering which genre you enjoyed reading more, critically and for enjoyment: Comedy or drama?
I typically enjoy reading a riveting and spellbinding drama that contains bits of hilarity in it than an out and out comedy. Though, one could easily argue that a comedy with bits of drama accomplishes the same thing with more impact on the dramatic beats than vice-versa.
Being from the United States and having written and submitted a script to writersroom based on historical Londoners of the 1940's, After extensive research, I came to the realization that there is a difference in definition and appreciation for comedy and drama to a Brit than to an American audience, be it nuances, tone, etc.
What do you think?
Hi J.G.,
I suppose I have a preference for comedy, but I enjoy drama too: the main criterion for enjoyment is that it's good. I think that comedy needs a strong narrative as much as a drama, and like you I enjoy it when a writer can allow humour into an otherwise serious piece: that seems to me to be how the world works.
I think there are cultural differences between US and UK comedy and drama, but that may be something for a longer post! In general I think there are more similarities than differences, though.
Richard,
how can you be objective, or critical about the scripts you read when you have so many to get through? I would think they all merge into a blur after you've read three or four? I find difficult to believe that you can actually pick out a good scipt when having to read so many.
Richard,
I am currently a student studying theatre and my class recently read the book A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart.
I was impressed to learn that you not only direct plays, which requires a lot of decision making, but that you also read several script submission, submitting many works of art to memory in order to compare them.
I wonder, in regard to your current production in rehearsal Potted Potter and past works, if you ever find it difficult to direct plays when you feel you must edit the original script or make major changes in any way? Which do you prefer, directing or reading plays?
Hi Candace
All the writersroom script readers work primarily as writers, actors, directors, etc., as well as reading. It's probably fair to say we all prefer doing our 'real' job than script reading, but then reading the volume of scripts that we get through is very helpful when it comes to our own work; you constantly have to justify and rethink your taste and opinion.
It's very rare that I'd direct an extant play; Shakespeare aside, I'm much more interested in creating new work, and in the world of comedy, it tends to involve a lot of script development anyway. A lot of the stuff I do is co-written by performers, and I may have contributed as a writer as well, so the lines are more blurred than they might be in a more traditional set up.
Hey Richard,
I am currently a sixth form student in Wales. For my coursework I have to produce a crime drama pre-production piece. I have come up with the idea of a police detective who suffers from schizophrenia and multiple personalities and his pursuit of a deranged, drugged up mass murderer (who believes he is the Angel of Death). I have the basis for an overall narrative (that the detective must overcome his own demons as well as catch the criminal), but I can't help but feel that the narrative is a little bare as it is and was wondering if you could answer two questions I have for you:
1. What do you suggest I do for inspiration when stuck for ideas?
2. What do you think of the brief description I have given?
Hi Josh
I think the best thing for inspiration is real life. It's almost always more weird and entertaining than stuff you can make up. So, I'd suggest doing as much research as you can into mass murderers, multiple personality disorder, police procedure, and so on, and then use elements of those in your fiction - although, obviously, tweaked to your needs.
It's hard to assess something as brief as that, and to be honest I don't think it will do you too much good to worry too much about it at this stage. I'd recommend writing the story of the piece, then trying it out on your friends. Does it keep them entertained? Do they want to know what happens next? Do they believe the narrative? Or are there moments when they glaze over? Something like this stands or falls on how compelling a narrative it is, so it's worth working and reworking your story until it's a real page-turner.
Best of luck!