The BBC Writers Pilot Scheme

When people ask us about the BBC Pilot Scheme, we usually grin and say, “It’s like Tinder for writers… but with John Yorke and Sarah Phelps giving you advice.” It’s one of the most prestigious, generous, and career-changing opportunities for new TV writers in the UK — and we still can’t quite believe we got in.

Some people might know me as the singer-songwriter in Embrace. But before music, I’d always wanted to be a writer. I even had a go at a novel — 250,000 words later I was somehow further from the ending than when I began. Then a mate said, “Turn it into TV — TV eats plot.” So I bought Final Draft, gave it a go, and fell in love.

Lauren — now my wife — read an early draft, bought a stack of screenwriting books (including John Yorke’s Into The Woods — more about him later), and told me I needed an antagonist. I wrote one, and that was it. We’ve been writing together ever since.

Our styles couldn’t be more different. I gravitate towards big, bold psychological thrillers with unexpected twists and a strong driver that keeps you hooked. Lauren’s sweet spot is irreverent, dark comedy-dramas with real heart, inspired by our own lives — raw, intimate, and authentic. In pretty much everything we write, we try to fuse both worlds: pace, hooks, and high stakes from me; emotional depth, off-the-wall humour, and layered relationships from Lauren.

It's been an exciting journey so far, our first script, Anonymous, got us an agent, a production company, and almost a green light — twice — once in the US and once here in the UK. We’ve also been in development with TNT and Netflix, but never the BBC. So when we heard we’d made it to the final 15 for the Pilot Scheme, it felt huge.

After an intense (and brilliant) meeting with Simon Nelson and Jessica Loveland from the BBC — where they grilled us on a bunch of new ideas — we moved swiftly on to the “Tinder” bit. This is where they send all the shortlisted writers’ work to some of the best production companies in the country. You’re then called in for a series of interviews with the ones who like your work.

We were lucky: six companies wanted to meet us. You then pick your favourite three, and the production companies do the same. This is the most nerve-wracking bit. I mean, all the companies are brilliant — how can you possibly pick just three? What if we accidentally knock ourselves out of the competition by picking the ones who didn't pick us? We have to admit, we massively overthought this stage.

Fortunately, we got matched with Two Cities, the team behind the incredible Blue Lights. It was a real shot in the arm. They got the idea — and, more importantly, they got us. The project we developed with them was a northern psychological thriller called Who The F*** Is Steve? I came up with it at about three in the morning and pitched it to Lauren when she woke up to feed our newborn. Not normally the best time to pitch a TV series — but luckily, she loved it.

Then came an intense year of research, outlining, drafts, feedback, and rewrites. Our producers at Two Cities — Caryl, Sarah, and Connor — had incredible faith in our vision and always pushed us to go further. They were a joy.

But the Pilot Scheme isn’t just about developing a script — it’s about the people you meet. We had sessions with titans like Emma Frost and Matthew Graham (a writing couple with a dynamic uncannily like ours). John Yorke — surreal to sit across from the man whose book kickstarted our journey. The formidable Sarah Phelps — whose advice on pitching directly helped us land a gig. The BBC Audiences Team — who revealed my love of hot tubs puts me right in their target demographic. And many others: generous, sharp, and brutally honest in the best way.

We also got to pick a mentor. I chose Neil Cross, because the Luther pilot was one of the things that made me think I might actually be able to do this crazy job. He kindly agreed. He lives in New Zealand, so our sessions happen late at night after the kids are asleep.

And then there were the other writers. Writing — even with your wife — can be a lonely pastime, so meeting a group of brilliant people in the exact same boat was invaluable. Many of them are now our friends.

Finally, you meet the commissioners — the people who decide what actually gets made. That chance alone is gold dust.

The BBC Pilot Scheme gave us more than a polished script. It gave us confidence, craft, contacts, and friendships we’ll keep for life.

It’s free to apply. You’ve got nothing to lose — and maybe the most exhilarating year of your creative life to gain.

If you get the chance, do it. Swipe right. You never know who you’ll meet.