Have a listen to this:
A dramatic moment, as Paul and Lilian’s affair goes off the rails, brilliantly acted by Sunny Ormonde and Michael Fenton Stevens.
I was the writer lucky enough to have the job of creating the script for that scene – in fact for the whole week of episodes (this scene is from the Sunday, 19 May 2013).
But I didn’t just sit down in my chilly writer’s garret and conjure up this hell on a whim. What you hear broadcast is the final part of a process that began several years before.
(This describes the process as it was earlier in the year. The system is evolving under our new editor Sean O’Connor, but still follows these main stages.)
Longterms
The Archers writing and production team have two meetings a year where we concentrate on longterm planning. And I mean longterm. It’s not unusual for us to be thinking of the potential consequences of a birth 15 or 20 years ahead. But in the main, we’re looking at the next three years in Ambridge. So the seeds for this story were sown when we planned to send Matt to prison for fraud in 2009, and for Lilian to be tempted by his half-brother Paul. Although she resisted then, she finally succumbed as a reaction to Matt’s uncaring attitude some time after he’d been released.
Storyline
Our detailed planning is done at monthly meetings, where we are looking ahead to a four-week period about three months hence. The meeting that planned this encounter was on 25 February 2013 and I was writing week four (19 – 24 May). The discussions at that meeting are summarised in a storyline document. Here’s the relevant part of that storyline:
MATT, LILIAN AND PAUL
On Sunday Lilian is heading out of the house when she is horrified to find Paul standing in the driveway. She freaks out. What does he think he’s doing? He can’t just turn up at her house like this – anyone might see him. He’s just lucky that Matt isn’t at home this morning. Paul tells her that it’s a difficult time for him, as today is the day his ex is getting married . All three children are at the wedding, and he just had to see Lilian. Lilian is horrified. She gets in with the car with him, and tells him to drive – anywhere.
They drive off together but Paul is angry, obsessing that his kids and grandchildren have taken sides. Lilian is worried by his fury and his erratic driving. She persuades him to stop the car in a lay-by well away from Ambridge, and she listens to his ranting. It’s just not normal. In the end she asks Paul whether he still loves his wife. He freaks: of course not. It’s Lilian he needs and wants. If she would just commit to him …. Lilian tells him she isn’t in a position to do so, and she certainly won’t be forced into making that decision by him turning up at her home. Doesn’t he realise how risky that was? They have a big row which culminates in Lilian getting out of the car in a temper. Paul drives off, leaving her alone by the roadside.
Synopsis
That looks straightforward enough in isolation. But in my week there are two more days’ worth of content for this story, plus seven other stories of varying sizes. It’s my job to turn these pieces of prose into six episodes of drama that also work as one 75 minute play.
So now I have to decide which parts of which story I will tell on each day, which characters we need to hear, and which bits we can hear “by report”.
Where possible, we try to find ways to link stories, so the listener isn’t simply jumping back and forth between isolated strands. To make it even more interesting, there’s a financial limit on the number of actor bookings we can have in a week. And not all the actors are available for all recording sessions. So at this stage, it’s like doing a jigsaw when you’ve lost the lid with the picture on.
All Archers writers work differently, but I get a sheet of A3 paper and rule it into six columns, one for each day. Then I work through the storyline, jotting major plot segments onto little Post-it notes (other sticky notes are available), using a different colour for each storyline.
The whole week of this story was summarised into just four notes: “Paul ambushes Lil, Lil back by taxi”, “Matt probes Lil, she is jumpy”, “Matt gives Lil opportunity to confess – she doesn’t”, and “Matt phones the heavy”. In total there were 34 notes – from simply “Silage” to “Jenn embarrassed. Pat? Joe?” (this was about the article on Brian in Borsetshire Life, and I used Joe in the end).
So within the limitations, I distribute these story beats through the week, trying to get a good balance of big and small, drama and comedy. It’s a case of trial and error and you frequently have to revise your hopes once you’ve added up all your actor bookings.
But eventually I have a plan. And this one looked like this:
It’s a plan of sorts, but not really detailed enough – not least because there are three other writers doing something similar, and the script editors need to know that we’re going to deliver a coherent month.
So the next stage is to work it up into a scene-by-scene synopsis. Here’s the relevant bit:
2. EXT. THE DOWER HOUSE, DRIVE. 1020 HRS
LILIAN, PAUL
Lilian is heading out of the house when she is horrified to find Paul standing in the driveway. She freaks out. What does he think he’s doing? He can’t just turn up at her house like this. You said that Matt was playing golf, he says. That’s true, but suppose his plans had changed? And never mind Matt – anyone might see, Lilian protests. Paul is in a state. He says it’s a difficult time for him, as today is the day his ex is getting married. All three children are at the wedding, and he just had to see Lilian. Half-listening to this, Lilian hustles him...
(CROSS TO)
2A. INT, PAUL’S CAR. CONTINUOUS
LILIAN, PAUL
...back into his car. She tells him to drive – anywhere. Ranting Paul speeds off out of the drive, and has to slam on the brakes as he nearly pulls into the path of an oncoming vehicle. He drives on, obsessing that his kids and grandchildren have taken Celia’s side.
Scene 3 cuts away to a much gentler story at the church, to allow time to pass and to build tension in this main story. Then we’re back to...
4. INT. PAUL’S CAR. 1030 HRS
LILIAN, PAUL
Furious Paul continues to drive erratically. Worried Lilian persuades him to stop the car in a lay-by. At least this is well away from Ambridge. She listens to his ranting. Celia has turned the whole family against him, and this Frank is no way the right man for her. Lilian asks Paul whether he still loves Celia. He freaks. Of course not! It’s Lilian he needs and wants. If she would just commit to him… Lilian tells him she isn’t in a position to do so, and she certainly won’t be forced into making that decision by him turning up at her home. Doesn’t he realise how risky that was? It escalates until Lilian can’t deal any more with Paul’s unreasonableness. She...
(CROSS TO)
4A. EXT. LAY-BY. CONTINUOUS
LILIAN, PAUL
...angrily gets out and, after a brief shouted exchange, slams the door. The car roars off and she is left alone by the side of the road..
You can see that at this point I didn’t know exactly what they were going to say as the argument escalates. When I’m writing the dialogue, I try to let the characters talk through me, if that doesn’t sound too poncey. This job is probably the only one where hearing voices in your head is an advantage, rather than a reason to be locked up.
So all four writers send their synopses to the script editors (usually The Archers editor and the senior producer). They compare them with the storylines, to make sure we haven’t gone too off-piste, and that everything hangs together across the four weeks. And they often give helpful comments that tighten and improve the drama.
And then, it’s time for...
The script – at last!
We don’t have long to write the actual scripts (usually 11 days), which would be impossible from a standing start. But as you can see, a vast amount of work has already been done, so now it’s a case of making the outline live and breathe. You can see how I finally wrote the scene below.
A brief explanation of the format conventions:
(IN CAPS AND BRACKETS) are instructions and guidance for the actors – for movement or as an indication of emotion – although most of that should be obvious from the content.
(IN CAPS AND UNDERLINED) are instructions for the sound engineers.
[In square brackets] is dialogue that could be cut if the episode is running long.
(BEAT) is a short pause.
(CROSS) means that we move continuously from one location to another – in this case from inside the car to outside.
4. INT. PAUL’S CAR. 1000 HRS
PAUL (DRIVING ERRATICALLY AT SPEED) She just won’t listen to me.
LILIAN (CONCERNED) It’s thirty through here.
PAUL I’ve told her, and told her. She doesn’t know what’s best for her, that’s the trouble. [ Frank and me... (CLIP CLOP OF TWO HORSES APP) we used to be friends. (GRIM) Before he … you know. ] She says nothing was going on when we were together. Yeah, right, she expects me to believe that...
LILIAN Mind the horses.
PAUL I know what he’s like. Back-stabber -
LILIAN The horses, Paul! (HORSE WHINNIES) (SQUIRMS ROUND IN SEAT) You’re driving far too close.
PAUL Who’d do that to a friend?
LILIAN (OF THE HORSES) They look okay. (TURNS BACK) No thanks to you.
PAUL I saw him by the Pump House and do you know what he had the nerve to say?
LILIAN (OVER HIM) Pull over.
PAUL “Let’s go for a drink and talk it through - ”
LILIAN (EMPHATIC) Pull! Over!
PAUL I thought you wanted me to drive.
LILIAN And now I want you to stop. You’re driving like a maniac.
PAUL They were fine. I gave them plenty of room.
LILIAN Look there’s a layby. Pull in there.
PAUL (FRUSTRATED BREATH) (RAPID DECELERATION) You can hardly blame me for being upset. With the wedding being today.
LILIAN (SIGHS, DECIDES TO SAY WHAT SHE HAS BEEN THINKING) I’ve tried to be sympathetic Paul but actually, I really can’t see why it’s bothering you so much.
PAUL It’s the kids! They’re both going to be there. (CAR STOPS)
LILIAN I know, but what do you expect?
PAUL (HANDBRAKE) I thought at least Grace might have shown a bit of loyalty, but no, she’s going to be there. (IGNITION OFF)
LILIAN (SEATBELT OFF) Celia is their mother. Paul, look I really think you’re getting this out of proportion.
PAUL I know her! She’s sneaky. She was always going behind my back when they were small. Undermining me. She thought she knew best. Well, she was wrong then and she’s wrong now.
LILIAN It’s her life, Paul. She can make her own mistakes. If it is a mistake.
PAUL Of course it is!
LILIAN Well, if you’re right -
PAUL So you think I’m wrong, do you?
LILIAN I didn’t say that!
PAUL I know them both. I know them too well.
LILIAN Okay. Fine. So let her be unhappy, and then you can say “I told you so”. I just can’t see why it’s that important to you who she marries. Unless... (BEAT)
PAUL What?
LILIAN Unless you still love her? Is that it?
PAUL (IN HIS CONTROLLING WAY HE DOES, ALTHOUGH HE’S IN COMPLETE DENIAL ABOUT IT. SO HE FREAKS) No! Of course not! How can you even say that?
LILIAN You’re getting so het up about it. You won’t let it rest.
PAUL I love you! How many times do I have to say it? I love you and I need you. And you love me. You need to stop pussyfooting around.
LILIAN (OUTRAGED) I beg your pardon?
PAUL It’s time you got off the fence and made a commitment. To me.
LILIAN I can’t do that Paul. You can’t ask me to.
PAUL I’ve waited long enough.
LILIAN You said you understood - I can’t leave Matt.
PAUL Of course you can. Don’t be ridiculous.
LILIAN And if you think you’re going to force my hand by turning up at the house, then you’re out of your mind.
PAUL You’re just like Celia.
LILIAN What?!
PAUL Too stupid to see it. It’s just a business arrangement for Matt. He’s just with you for your money. And what?... For the sex now and then?..
LILIAN How dare you! (OPENS CAR DOOR)
PAUL He’s using you - where are you going?
(CROSS WITH LILIAN TO):
4A. EXT, LAYBY. CONTINOUS
LILIAN (GETTING OUT) You have no idea how Matt feels about me!
PAUL (OFF, INSIDE CAR) Come back!
LILIAN And how dare you call me a prostitute?
PAUL I didn’t call you a prostitute. I said he treated you like one. Don’t you ever listen?
LILIAN Just shut up! (SLAMS CAR DOOR. SHE STANDS THERE BREATHING HEAVILY. AFTER A MOMENT THE CAR STARTS UP) Paul...? (CAR DRIVES OFF) Paul!
Script editing
Again, the script editors work through the four weeks of scripts, and we have a weekend to do any rewriting that’s requested. And then, on the Monday morning it’s time for the next scriptmeeting.
And it all starts again...
Keri Davies is a script writer and web producer on The Archers.
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