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Archives for March 2010

Doctors: Anatomy of an Episode #1

Joy Wilkinson|12:37 UK time, Tuesday, 30 March 2010

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This is only my second post. Ideally I'd like to have waited till we knew each other a little better before making myself vulnerable like this, but I've got an episode on this week and it gave me an idea.

If this blog is meant to be about writing for Doctors and hopefully helping us all to get better at it, then how about we watch the episode and have a gas about it afterwards? I could do another post after the broadcast (within 24 hours), saying how it came about, what I intended and what changed, and then we can talk about whether it worked or not, what you might have done differently and so forth. Does that sound useful?

Sounds a bit scary to me, but, on the other hand, it will be nice to get feedback from someone other than my mum.

The episode is called 'Catching' and it's on this Thursday in the usual Doctors slot. Catch up with you afterwards...

New radio script

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Paul Ashton|14:29 UK time, Monday, 22 March 2010

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Here's the script of the first play from the latest season of The Wire on Radio 3...

What happens when scripts get a full read?

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Paul Ashton|15:59 UK time, Wednesday, 17 March 2010

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After the flurry of blog-tivity surrounding the changes to our unsolicited submissions last year, I thought it would be useful to talk a bit about what happens when scripts progress through the system. A lot is talked about scripts not making it through - but what happens when they do?

So what happens is, a team of freelance script readers usually come in once a month and spend a day sifting scripts - reading the first ten or more pages to see if they will get a full read or be returned without comments. At the end of the day, they take away the full read scripts between them to bring back a month later. And so on, ad infinitum.

On that day we also have a script meeting where we sit and discuss the scripts they took away. For the 15-20 % that get through the sift we have a range of verdicts or actions - or if you hate those words, then decisions - that the readers can reach. But until we have sat down and talked through the scripts they have read, no verdict is firm and unchangeable - the meetings are an opportunity for the readers to make up their mind (with a bit of good cop/bad cop help from myself).

Feedback is the most common action. This is where we are offering feedback on the script to the writer but do not wish to actively develop them at this stage. This does not mean that the script is bad or the writer is bad. It also doesn't mean that we think they won't improve. It means that this script doesn't stand out from the rest of the scripts that have been given a full read. It means that the reader thinks there are difficulties and problems with the script and story.

Invitation is the next action. We used to reach this one more frequently, but we did not promise to read the writer's next script. This has recently changed. We do now promise to read the invitation writer's next script, but it's an offer we make to fewer writers (if in doubt, check your letter - if it says we promise to read your next script we will, if it doesn't then we won't). What this means is that the reader feels there are strong, interesting, promising elements to this script and writing; that the script isn't entirely successful and doesn't quite stand out from the best scripts that make it through; but that we feel the writer can and will develop and we wish to keep an eye on that development by promising to read their next script.

One difficulty with this action is that writers can get excited at the invitation and rush to send in something new - or something that has been sitting in a drawer - which then turns out to be not as good as their last script and so they have done themselves no favours in their eagerness. So if you do get an invitation, then don't rush out a new or old script. Take the time to make your next script as good as you can possibly make it. We want to see you improve as a writer - we don't want to see how fast you can RSVP.

Meet/develop is the next and final action. The term probably looks slightly strange to an outside eye but it still works for us. It simply means that the script is given to me with the recommendation that I need to read it, that the writer is potentially worth meeting and that their work is worth developing further. This does not mean the script should 'go into development' as that's not exactly what we do here. From this action, I will read the script and I will get in touch with the writer direct whatever my own feeling about the script might ultimately be. And from here any number of things might happen. I might (with the writer's permission) send the script straight to another BBC department for their attention. But I'm most likely to want to find out more about the writer, perhaps meet them for a chat, invite their next script, read more of their work myself, maybe help them develop this script further so that it's in a position to send on to another department. At this point, the writer is on our radar and can be considered for the many and various targeted development schemes and projects that we have on the horizon.

The point is that we are looking for writers to develop - not scripts to make or ideas to develop. If we find a great script we will happily try to help the writer get it closer to being made. But it's all about the writer and what we think the script tells us about the writer.

Remember the first time?

Joy Wilkinson|19:30 UK time, Tuesday, 16 March 2010

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This is my first time blogging. It could be a beautiful thing, but more likely it'll be a mess, as most first times are. As my first Doctors script was. I say script because it never became an episode. It was a trial script that got roundly rejected. First times can suck.

My trial was way back in the days when Mac ruled over the Riverside and Best Practices. The main doctor in my episode was to be Jude Carlyle. All I can recall of Jude is that she was Scottish and possibly rode a motorbike. There's one clue as to why my script didn't get made right there - I didn't know my lead character.

In my defence, I hadn't much time to prepare. Like most aspiring writers, I had a day job and spent the rest of my waking hours scribbling. If I'd stopped to watch all the TV shows I might like to write for, I would never have got anything written. And this was in the pre-series-link era, where daytime shows would have needed taping specially. Every day. Suffice it to say, I had not watched much Doctors.

But then a script for a TV pilot that I had sent to the BBC Writersroom put me in the running for Doctors. They sent me a pack with maps of the surgeries, character biogs and guidelines for how not to mess up my episode. I pored over them all avidly, watched a few episodes, and set to work on what I thought was a dynamite idea about a medical condition that surely hadn't been done on the show before.

There's another big clue as to why it didn't get made. I started in the wrong place, with the medical condition. Obviously Doctors is about people with medical conditions. It is well-researched and you can learn a lot about various unpleasant lurgies that afflict its patients, but those patients have to be people, not petrie dishes. If they start life as a vessel for an illness rather than a story, it will show.

But I didn't know that. So I wrote what I thought was a pretty good script about an old woman with an obscure eye condition that meant she could see things that weren't there. This was cunningly interwoven with a serial strand about Jude going on a blind date. Spot the resonance? If I'd wanted to be subtler, I could perhaps have had Jude wearing a big hat with 'RESONANT' written all over it.

One of the things this old woman hallucinated was a cat. Now, if the script was amazing in all other ways, the producers just might have made their lives hell by adding a performing cat into the mix of hectic shooting schedules and strict budgets. But as my script was already fundamentally flawed, the presence of a cat in the cast list probably did not help its chances.

I got a gutting letter. Thanks, but no thanks. Characters too thin. All the best. Bye bye now.

Back to the day job. No need to tape Doctors any more. Purposely avoid it in fact. The fools!

Except, when my sulk wore off, I started to watch it. Properly. Perversely spurred on by my rejection, I had finally taken the plunge of working part-time, and, with the pressure to watch Doctors gone, I actually began to enjoy following the stories and getting to know the characters. So when the first BBC Writers' Academy was announced, even though those skeletal characters still haunted me, I felt that now I was ready to have another crack.

Years later, Mac and Jude are gone, and here I am, working on a new episode and blogging about writing for Doctors as if I know what the dickens I'm talking about. I don't really, I'm still learning - the current script is my first serial-only episode, more of which in a future post. But for now, that's enough. That's one good thing about first times, they tend to be over quickly.

Five Scripts

Piers Beckley|16:29 UK time, Tuesday, 16 March 2010

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Five brand new scripts in the script archive. Check 'em out.

Five Days: Series 2 Episode 1 by Gwyneth Hughes

Criminal Justice: Series 2 Episode 1 by Peter Moffat

Spirit Warriors: A Warrior is Born (s1e1) by Jo Ho

Fresh: Episode 4 by Dean Craig

Off the Hook: Money (s1e4) by Dean Craig

You can also read interviews with Jo Ho and Dean Craig where they talk about working on these particular shows.

Tony Doyle Prize

Piers Beckley|11:07 UK time, Monday, 15 March 2010

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I'm pleased to be able to announce that the results of this year's Tony Doyle bursary for new writing are:

Vanessa Pope wins this year's Tony Boyle bursary for The Eastside Princess.

Joint runners-up were Chris Boyle for The Pilgrimage and David Ireland for Only One Problem.

Rosemary Jenkinson earned a special commendation for The Dealer of Ballynafeigh.

The other finalists were:

Patrick Nash: Murder in the Lakelands

Chris Croucher & Mark Benyon: Christie

Raymond Tierney: A Pocketful of Honour

Writers 10 Rules And Why I Hate Them So

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Dominic Mitchell|02:23 UK time, Thursday, 4 March 2010

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There's a big old pompous article in the Guardian Books Section entitled 10 RULES FOR WRITING inspired by Elmore Leonard's Ten Rules (yeah, Elmore Leonard, that great literary giant) that's tipped me into a twisted rage this week. The Guard have asked some crusty and seemingly bitter authors to impart their withering wisdom and the result is stomach turning. Philip Pullman declined. The Guard being what it is published his decline, it reads thus: "My main rule is to say no to things like this, which tempt me away from my proper work."

Ta for the tip Phil, you fountain of generosity. That reminds me mate; how'd that cinema adaptation of His Dark Materials work out for you? Here's one of my rules: don't be a one trick pony. Scribble that one down you self regarding berk.

As you might have guessed this pushes all sorts of buttons inside of me. Red buttons. Big red buttons with nuclear insignias all over them. I wouldn't mind if the rules from these writers were drizzled with a touch of humility and self effacing humor. But they aren't. Most are smeared with contempt for me and you, the lowly student. Here's an example from Will Self:

"4. Stop reading fiction - it's all lies anyway, and it doesn't have anything to tell you that you don't know already (assuming, that is, you've read a great deal of fiction in the past; if you haven't you have no business whatsoever being a writer of fiction)."

Thanks Willy, here's a rule of mine: a man who appears on comedy panel shows and has a face like someone's just thrown a bucket of freshly squeezed lemon juice at it and uses massive words like "flocciinauciniihilipilification" to make them seem intelligent, has no business telling me what to do. Ever.

Then some authors rules are, well, non nonsensical and rely, I kid you not, on magic. Here's Ian Rankin's last two rules:

"9 Get lucky.

10 Stay lucky."

Practical advice. So, Ian, your rules to writing fiction is to somehow find a four leaf clover or better yet a rabbit's foot or better yet a Leprechaun munching on a four leaf clover while sawing off a rabbit's foot and take this mythical creature home with me and stuff it under my laptop? Top tip there from the level headed scot.

Then there are suggestions that would need Doc Brown's DeLorean on standby. One of Zadie Smith's rules is: "When still a child, make sure you read a lot of books. Spend more time doing this than anything else." What!? Christ mighty I'm a thirty year old man! How in god's name is this helpful? Unless, I suppose, it's directed at Booker Mom's and Dad's (like Tennis Mom's and Dad's) who want their offspring to grow up be top notch Whitbread winners one day. Even if I, concerned parent, followed this rule, what is Ms Smith suggesting? That I chain up little Harry in the basement with the works of Tolstoy and never let him see the light of day until he's memorized War and Peace?

But its Colm Toibin's 10 rules that get me punching the keyboard with unrestrained hate. Here they are in their full horridness:

1 Finish everything you start.

2 Get on with it.

3 Stay in your mental pyjamas all day.

4 Stop feeling sorry for yourself.

5 No alcohol, sex or drugs while you are working.

6 Work in the morning, a short break for lunch, work in the afternoon and then watch the six o'clock news and then go back to work until bed-time. Before bed, listen to Schubert, preferably some songs.

7 If you have to read, to cheer yourself up read biographies of writers who went insane.

8 On Saturdays, you can watch an old Bergman film, preferably Persona or Autumn Sonata.

9 No going to London.

10 No going anywhere else either.

Finished vomiting yet? I haven't. The above set of rules makes me imagine murder. It makes me imagine leaving my house in Yealand Redmayne, hailing a cab, going to Carnforth station, getting a train to Manchester airport, catching the red eye to Dublin, hailing another cab to the University Collage Dublin, sleeping on the steps of the main building, waking up at 10am, waiting another hour until Colm lumbers up the stairs and punching him in his mush with one of his own tomes (which I would have bought at the airport book store). It would be a mission granted, but it would be worth it.

Colm's rules are so draped in arrogance and lies that I want to scream. Number 2 and 4 are particularly galling. "Stop Feeling Sorry For Yourself". How presumptuous and thoughtless, how devoid of empathy and sympathy. Oh and 8's so pretentious I just threw up again, all over my copy of The Heather Blazing.

Now I know what you're going to say - "But Dom, their just being facetious, having a laugh, they don't mean it." That's even worse. These people have been given a chance to impart some practical advice and all they've done is turn in some lame self congregating stand up routine. For shame.

Of course some of the authors try a bit and there are some nuggets of good advice. The one a like is from Jeanette Winterson: "Take no notice of anyone you don't respect."

And from the evidence set out here, I'm gonna get to my laptop and ignore all the writers who have taken part in the ten rules for writing fiction article. Forever.

Annotated In The Loop

Piers Beckley|10:52 UK time, Tuesday, 2 March 2010

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Three pages of the screenplay for In The Loop are up on the Fade In website - and they've been annotated by Armando Iannucci.

We also have an interview with Armando from last year on the BBC writersroom website, where he talks about the film and getting started in comedy.

EDIT: And I've just found out from Armando's Twitterfeed that the film will be shown on BBC2 and BBCHD this Sunday (7th March)