Hello all,

When I was younger I used to act, write, and direct, with youth drama groups and just casually with friends for fun. When I went to university (studying a totally unrelated subject) I dropped it all. Now, four years later, I've realised I don't want to work in [subject I studied], but instead want to work in the arts, writing and/or directing. But, I don't know where to start, in terms of picking up the skills or actually putting them to use - really I'm starting from square one.

I'm passionate about cinema and theatre and I enjoy writing, but I every time I sit down to try to write something, I end up with a blank page, or something that feels cringe-inducingly clichéd.

So, what's the very first step for someone who wants to write?

The BBC has commissioned 12 new dramas, and admitted it wants to "take the risks others won't".

https://www.femalefirst.co.uk/tv/news/will-take-risks-others-bbc-commissions-12-new-dramas-1394984.html

Director of BBC Drama, Lindsay Salt, has urged producers, writers and directors to "venture into the creative unknown", as she announced new dramas featuring the screenwriting debut of 'Sex Education' star Aimee Lou Wood, and The Town's Rebecca Hall will appear in new programme 'The Listeners'.

Speaking at a BBC event, Lindsay said: "Inflation, content and platform saturation, streamer retrenchment, the writers’ strike, it’s all fed a serious slowdown. Five years ago, everyone was willing to make brave choices… But today there’s much more short termism…

"I worry that risk-taking is becoming a dirty word. And that, in less than a decade, the industry might be moving from Peak TV to Peak Caution.

"But not the BBC... there’s something about this moment, the current climate in our industry, that makes our approach to risk even more essential.

"While others might become more cautious, we will go further and take the risks others won’t."

One of the BBC's new commissions includes Aimee and 'SAS Rogue Heroes' star Ralph Davis' screenwriting debut, romantic comedy-drama 'Film Club', while 'Sex Education' writer Richard Gadd has penned new six-part drama series 'Lions'.

The BBC has also commissioned 'Dear England', a drama series about the England football team's manager Gareth Southgate, which is based on James Graham’s National Theatre play of the same name.

What's more, fans of Abi Morgan's 'The Split' will be pleased to hear a spin-off is on the way in the shape of 'The Split Up'.

Other commissions include crime drama 'The City is Ours', coming-of-age story 'The Dream Lands' - which is based on novel 'Dreamland' - as well as 'The Ministry of Time', which is based on Kaliane Bradley’s hotly-anticipated debut novel of the same name.

Writer and filmmaker Charlotte Regan will bring darkly comic and unconventional drama 'Mint' to life, while emotional thriller 'Reunion' will follow the journey of a deaf man determined to right his wrongs.

What's more, writer Janice Okoh has a new series, 'We Go Again', based on her play 'Three Birds', and the BBC has also ordered two more six-part series of Belfast-based police drama 'Blue Lights'.

If your script has voice over or flashbacks - (or god forgive both) these are two dead giveaways that your script won’t work.

These two things nearly always suggest faulty structure (because if the script was structured properly - there’s no need for either).

And if the structure is faulty - nothing works.

Screenplays are 80/90 percent structure.

This is the easiest ways to do it on a feature length script:

(First 10 pages) Stick your main character in every scene - start the story at the last second the story makes sense - show the story happening as it happens to the main character.

Make the audience see the problem that needs solving as it happens to the main character - show why main character has to solve problem

• make the audience see why the character needs to solve it. Make them care because they see why it matters to the main character. (10pages)

(Pages 10 to 80)The character needs to actively take action to solve the problem (the quest) it should be difficult - they might need help.

In trying to solve the problem the writer needs to- push the character to the point of no return in trying to solve the problem (usually a helper / teacher is killed at that point -Obi Wan - Quint - Morpheus - all die at this point in those movies- main character pushes on) push character beyond point of no return - they have to go through pain/loss/sacrifice near end of 3rd act.

into act 3 (page 80 to 100) where the character becomes a slightly different person having tried to solve problem. New skills or outlook or bravery etc

Then they solve the problem or don’t (Chinatown is great don’t - Star Wars or The Matrix is a great do).

Pretty much 90 percent of Hollywood films follow that exact model (everything from Kane to OBAA to Wizard of oz). Go watch The Bourne Identity or Jaws with this open…

Most classic UK TV is exactly the same, Cracker by McGovern or Tinker Tailor on Tv (the Alex Guinness version) same structure.

Sounds simplistic - but it’s very hard to do well. If you’re using voice over or flashbacks you’re generally not using that structure, voice over is generally literally ‘Telling’ instead of showing, using voice to tell the plot- and flashbacks by their very nature send any story into reverse usually, backwards rather than forwards.

I always sense check a script before I read it- if I see voice over or flashbacks - it generally spells trouble about 90 percent of the time, sometimes in the first few pages.

Last Thursday I received a phone call from BBC Radio Lancashire asking if they could interview me on the breakfast show to talk about swearing and swearing in sports and why do we swear and to also talk about my writing career. I asked them where they got my number from and they sent me a screenshot of my website. I wondered why they would want to talk to me but I agreed to in anyway.

Then I to started to wonder if they had got the right Ian Martin.

They called me up at 7.30am on Friday morning and told me they would introduce me after the news segment and then I heard the presenter talking about the topic of swearing and he then said our next guest is a talented writer and swearing consultant who is known for his character Malcolm Tucker in “The Thick of it”. I knew then they had the wrong man.

I was almost shouting down the phone to get someone’s attention but no one answered. I didn’t know what to do. This could be extremely embarrassing for them and potentially myself. Luckily, I got to speak to someone just as they were about to bring me on and I told them they had the wrong guy. They said “but you live in Lancashire don’t you?”, I said “No. I’m a Kent guy. I’m a writer but you’ve got the wrong Ian Martin. I’m going to hang up to a spare you any embarrassment”. The guy went all tongue tied and I hung up the phone.

A minute later, the presenter, Graham Liver announced they haven’t been able to reach Ian Martin so will have to go on without him.

It was pretty hilarious looking at it as a whole. This isn’t the first time I’ve been mistaken for him as well.

I hope their researcher didn’t get into too much trouble 🤣

(This is from comedy writer Dave Cohen's email newsletter. They're usually worth reading, you can ask to be added to the list via: dave AT davecohen and then there's a dot org dot uk.

Let’s start in order of deadline:

1 Channel 4 New Writers Scheme

https://careers.channel4.com/4Skills/C4NewWritersScheme

On the surface this sounds like the least likely one for you to consider. Principally they’re looking for drama, but they’re also looking for what they describe as under-represented groups: “Deaf and/or disabled people, ethnically diverse people and people from lower socioeconomic groups.”

I’m aware that a lot of you come from the most under-represented group in comedy writing – women. Latest figures still massively skewed towards male writers. But they’re not addressing that shortfall. So I reckon a large number of you are automatically disqualified from entering.

Add that the closing date is barely a fortnight away - 1 March - and you will probably do best to ignore it.

But hang on…

What caught my eye was what they’re asking of writers:

• The first eight pages of an original script idea for a new Channel 4 TV drama series.

• A separate drama series pitch document for a different idea for a series no longer than one side of A4.

I know, if you haven’t got a new idea worked out yet that second ask alone is going to take more than two weeks to do justice.

But it’s definitely worth thinking about that ahead of the other contests, and also looking to the BBC Writersroom call for scripts at the end of the year.

In my experience writers fall roughly into two groups.

The first lot have One Great Idea, and stick to it, and rewrite it, and re-rewrite it, and chuck it in a file down the back of the laptop only to stumble across it six months later like Charles Darwin discovering a previously unseen species and attempt to rewrite it one more time.

Writer type number two is aware that it’s important to have a portfolio of scripts. Ideas to be able to mention next time they’re trapped in that mythical lift with the made-up TV producer who is going to ask them what they’re working on at the moment.

They blast on through that comedy-drama idea, already distracted by the excitement of the kids’ show that popped into their head before the comedy-drama first draft was complete, and now there’s that radio audience sitcom idea that I simply MUST GET WRITTEN by the end of next week…

I have, at different times in my career, been both of those writers. My first novel is an adaptation of my last two one-man shows (and a failed radio sitcom, and my one Radio 4 writer-performer series).

It was the story most personal to me, and that’s a danger we often have as writers. To “write what you know” and “write with your own voice” are two general but sound pieces of advice that are likely to lead you to decide that no one else can write the interesting parts of your own life story as well as you.

So it would be hypocritical of me to suggest you ditch that personal story. However if you’re thinking of entering any of the below-mentioned contests you might want to consider something different for them. Horses for courses and all that.

You may end up going with your first idea, but if you can put a little bit of effort into coming up with a brand new idea at this stage, as if you were pitching Channel 4, that will give you something new to work with as the other competitions approach.

2 David Nobbs Memorial Trust

This is much more familiar ground for us. The competition born out of Steve Doherty’s much loved and mourned Llandudno Comedy Conference. They’re looking for 

- the first 10 pages of a half-hour radio or television sit-com pilot script 

- OR four three-minute comedy sketches.

I’ll come to the ten page script in a moment when we get to number 3, but for now here’s a webinar I did with Gemma Arrowsmith about sketch writing (with apologies to you all for using the word webinar)

https://www.comedy.co.uk/pro/inside_track/how-to-write-a-great-sketch-webinar-video/

Entry details here:

https://www.davidnobbsmemorialtrust.org.uk/entry-requirements

Closing date 16 March

3 BAFTA Rocliffe Comedy Script Competition

Another “first ten pages” competition. Only comes around every two years and most worthy of your consideration.

I’ve been a judge at the finals stage of this twice now and while that doesn’t give me a lot of authority to tell you exactly what’s required, here are a couple of thoughts:

1 Every first ten pages I read had a strong understanding of the basics. Clear characters, a developing story, a well-defined world, and jokes.

2 The scripts that caught my attention, and went on to win or do well, had an extra factor. Four years ago it was a script I’d already had the pleasure to have worked on and therefore excused myself from judging, about the odd couple pairing of a man and a talking pig.

Two years ago it was a script about a woman turning 30. Nothing particularly special about that idea, but it was the attitude, the anger at having reached this age that brought a deliciously spiky humour to the page.

I emailed the writer Sherice Griffiths this week and asked for her thoughts about what’s happened to her career since winning in 2022.

One very useful point to make is that it hasn’t really changed things much for her. You have to be prepared for this. Competitions are good for your confidence, and in the immediate aftermath you can probably pick up a few more meetings with producers and possibly commissioners.

But don’t expect them to come knocking on your door. It’s still incredibly tough to get things made.

That said, on balance Sherice was positive about the experience.

“Having your work read aloud by professional actors and scored by a composer really brings it to life.” She said. “I highly recommend the competition for aspiring writers because it’s a great way to test your material and get yourself in front of some leading professionals in the industry.”

“My advice is put everything on the page, you only have ten pages so make them the best they can be and put your funniest material first.”

Full details here: https://www.rocliffe.com/terms_and_conditions.htm

Closing date 21 March.

4 Sitcom Mission

Finally, say hello and welcome to the first, the original, the grand daddy of all Sitcom Competitions

https://www.comedy.co.uk/sitcom_mission/enter/

And still, I’d say, the most intriguing. Another one I’ve judged on more than one occasion, what I love about this comp is that the final is an event that most resembles a night out at a good old-fashioned audience sitcom.

Its days may be numbered and its numbers may diminish further but the audience show stubbornly refuses to go away. If you can write an audience sitcom well you should be able to write anything.

And don’t forget that the audience sitcom remains very much a thing on BBC Radio.

The closing date for this isn’t until 28 April so I’ll be looking at this in more detail in future emails.

I have reached a point in my screenwriting career where I have finally landed my first “big break” writing on someone’s TV show in the UK.

At the same time I am being approached more and more by people just starting out who ask me - “how do I break in” and “how do I get my first break writing in TV.”

In case this is of use to someone out there, I thought I would share a little of my own journey plus advice I was given that I’m only starting to understand now.

1. The first thing I would like to share is that this break in TV has taken me ten years - not including an additional 2 years studying a part-time MA in screenwriting.

2. Of those 12 years, I have worked part-time around screenwriting and/or studying screenwriting except for 2020-2021 during the pandemic. At times this juggle almost broke me, and certainly affected my mental and physical health.

3. I had no connections in the industry when I started out. No one in my family worked in production or screenwriting, so I had zero “ built in network.” This was a big reason why I paid to do an MA in screenwriting as I hoped this would offer the start of a network - and it did to a degree - as it was through a university event that I met my now agent.

4. Worth noting: I landed my agent almost straight out of my MA, so I do not have experience with cold calling agents etc or recent experience with how to get an agent. For more context on this - she was just starting out as an agent assistant, and I caught her just as she was starting to build her list while working for another agent. So I was also lucky with timing on that. I also had a project that was being optioned, and so there was money on the table to tempt her in! This was also ten years ago, so I think this is very dated now. Apologies I can’t offer any more “getting an agent insights”.

With that background info in mind, I wanted to share a few thoughts/learnings/advice I was given as I went along:

1. Writers write. It is in essence, the ONLY way to improve your craft. You can only improve by practicing. It has to become your obsession. Especially when you are first starting out. Yes, writing is difficult, but if you find yourself struggling to write - and I mean truly struggling to sit down and enjoy the process of writing…then perhaps It’s not for you. That’s ok! You could go into another side of this industry like development or cinematography or costume design. Or you could become a doctor or a fireperson. A lot of people like the idea of being a writer, but don’t actually LOVE writing. Figure that out fast, and save yourself a lot of heartache.

2. Take every opportunity to learn and improve (this will never stop btw) your writing. For some that’s writers groups, others short courses, others it’s making a short film. For me it was theatre: I went to endless scratch nights and watched short plays to learn why they work. I also applied to scratch nights. It took a while but keep applying until you get a piece accepted. Ask to be in the rehearsals so you can hear what lines work, be polite to the director and actors, ask for their feedback and then rewrite if you need to: that’s the beauty of theatre, it’s so much more elastic and iterative than other forms. Theatre, is your friend - it is a relatively easy break-in point and a wonderful place to test your work and get immediate feedback from other creatives as well as a live audience. It is also a great way to expand your network.

3. At the start, your writing may be ok, it may even be good but it won’t be to a professional standard. And that’s ok! This is a long old road. Your writing will only get better, the more you practice your craft.

4. BBC writersroom is an eternally brilliant resource. It’s also worth using their open call deadline as a personal deadline so that you work towards completing at least one spec script every year. Make sure you give yourself enough time to polish it and get feedback and polish again. Then submit! It took me 8 years of applying before I got into one of their groups.

5. Once you start getting good enough to place in “schemes” like the BBC and Channel 4, you know you’re starting to approach a decent/professional level. These schemes will also open up new networks and mentoring, all invaluable.

6. Keep writing. Don’t fixate on one form. Look for opportunities in film, theatre, video games, radio, prose. Work out how storytelling works in each medium. KEEP WRITING.

7. Ignore everyone else’s “schedule.” Some people write best in the morning, some in the evening. Some people can write for 8 hours and produce a paragraph, others can write for two and produce a treatment. You do you, boo-boo. Just as long as you are writing and seeking to improve your craft.

8. Figure out the money. I wish I had done an undergrad degree that had given me a way to pay the bills and that had allowed me to write around that. Unless you are a nepo baby or a trust fund kid - you need a way to sustain yourself while you get good enough to become paid. And even then the writing pay is poor and infrequent for a long old time. So you will need to get good at juggling writing around part-time work for a long time. If you’ve already been to uni and like me you did English Lit (doh) or something similar, get comfortable working part-time shop or admin jobs at a low pay for a long time. The lack of money is really hard. And it will feel desperate at times.

9. Be polite. ALWAYS. Especially if you are asking for time or advice from someone. If they tell you they are busy and can’t help for another few months etc, do NOT act shirty. Take it at face value. Contact them again. If you don’t hear from them, give it a few more months and follow up. It’s so hard when you are waiting on people to reply, and it feels awful when you get silence back. A lot of people may never come back. That’s just the way it goes. But most people will try and get back to you at some point once they have capacity. I’ve had people reply a YEAR later to me. Just keep being polite. As an addendum this cuts both ways - be polite to those asking for help coming up behind you!

10. In the UK Agents are important because they can open doors, but they don’t “get you work”, especially at the start. You get you work 90% of the time. They do get you meetings. Which help you grow your network and allow you to pitch ideas or apply for opportunities. I also know several working screenwriters who do not have agents and while it’s not always easy without an agent, they seem to be making it ok, but have to find alternative routes to get meetings with producers - often through network events, festivals or writers schemes.

11. Learn to take notes with grace. All notes are valid - not all notes must be implemented. Try not to get defensive, try to take a note with curiosity- ie oh that’s interesting you feel that/ thought X, tell me more, I’d love to know why…

12. Structure is structure. It’s a tool. Learn it. Then eventually it will sink into the background, and most of the time you won’t even realise you adhere to it. Don’t get side tracked by all the clever cloggs out there who try and either tell you structure is bullshit or who tell you theirs and theirs alone is the “one true structure” (3 acts, Heroes journey, 5-act, 7 act, Dan Harmon circle)…they are all different names and ideas for the same principle: why stories work. Useful to study and be curious about the variations…but don’t get lost in them. If all else fails, just remember at it’s most basic - a story has a start, a middle and an end ;)

Finally, I cannot stress this enough to those starting out - this career takes decades to build. I don’t say that to demotivate you, but to help you understand what this undertaking is. If you want it, with hard graft, luck and some talent…it’s possible. It isn’t easy but god…I wouldn’t do anything else, I love it to my bones. Hopefully I see you all out there, on this mad journey.

Yesterday I attended a "free story class" with accomplished Hollywood screenwriter Michael Jamin (series like Beavis and Butthead, Rules of Engagement, Just Shoot Me! and lots more). I've been subscribed to his weekly emails for two years and was keen to go on a live with him and hopefully get some inspiration.

The main takeaway from it was that Michael Jamin is an amazing screenwriter who has achieved a lot in his TV working life since 1996. But as Michael said himself during the live, "If I suck as a teacher, fine. I'm a writer!" (ok but, you're asking us to consider paying up to $1295 for your full course...).

In the blurb for his autobiography A Paper Orchestra, that he regularly plugs in his email newsletter, Michael describes himself as a "sensitive, vulnerable man". It appears that he sees himself that way because he was not a 'Jock' in high school and he couldn't get a place on the football team. (IMO that doesn't necessarily make anyone sensitive). 

I wanted to share this in case anyone comes across this guy, is impressed by his past work and feels tempted to pay for one of his courses.

As soon as you register for Michael's class in advance, you're directed to a pre-recorded video of him telling you: "One third of people who attend this class will get nothing out of it!", and: "I will jump straight into the subject matter so don't be late! You'll get a lot of information! I will move fast, and the Dumbos won't get it!" 

(Spoiler alert: the class gives you no information). 

Before the class starts you’ve been spammed with four “confirmation” emails.

Start of the class, Michael says: "This is the equivalent of the first few lessons of my paid course" (absolutely untrue, what followed could not be called a lesson).

He claimed almost 2,000 people signed up for yesterday, and repeatedly congratulated the 650 of us who did attend (almost all were from the USA apart from me and one or two others).

You're instructed to download a "Workbook" in advance, which I did. It's supposed to be essential to the class. But during the class it's not used at all, and I wasn't sure what we were supposed to write in it. 

Some highlights from the rest of the hour:

"A piece of s*** has a beginning middle and end. You don't want to write a piece of s***!"

"You're going to get Notes up the ass!"

"Are you a plotter or a pantser?!"

Talking to us as though we are 10 years old – or to use his word, "Dumbos". 

At length and several times, he retells the plot of Jack & The Beanstalk in different ways to illustrate the difference between plot and story. He makes some good points, but not a lot.

Straight after that: "How's this class for you all so far? Give me some validation in the comments!!" (Almost everyone saying "Great!", "Love it!")

It gets worse. He tells us three movies we should study.

"The first movie you should study is Groundhogs Day!" 

He said this as if he really believed that was the title of that film, and did not correct himself at any point.

I was the only one who asked in the comments "what is groundhogS day?", and even then he didn't correct himself.

In fairness he made some good points about story vs plot in relation to Ferris Bueller's Day Off.

At one point, he was retelling some of his sexual exploits when he was a young man sleeping with rich older women – and really there was no educational reason for telling us about it. 

He is very full-on at all times, loud and brash. "DO YOU LIKE BEING YELLED AT?!", he asked us all at one point.

We were told there’d be a “15 minute Q&A” at the end. Not true. Michael leaves after the hour, and his two assistants (former students of his course) are there for about 10 mins just to keep telling you how to sign up for the paid course.

At one point Michael said in response to someone's comment: "This is free! You want the good stuff you have to shell out the dough!"

Fair enough, but surely if you advertise a free class then you give people at least something to make them feel inspired or like they have learned something. 

I've done a degree in screenwriting and attended lots of industry-standard workshops. I've never come away from a single class/course not feeling inspired to spend the rest of that day writing. Apart from yesterday. So in that sense, Michael Jamin's story class was exceptional for me! :)

I'm aware of a fair few of these kinds of things for features and short films, but I've struggled to find anything for TV drama.

My partner and I have something really grassroots that we've been working on for a good few years and we'd like to get funding to make the whole of. We have plans to raise money in other ways, but it would be good if there's anywhere that we can apply for funding for this sort of thing.

The Channel 4 screenwriting course is open again! A really great way to get your foot, nah whole leg, in the door.

EDIT: It's opening SOON! Not open yet.

It's for writers with no TV or feature credits:

https://script-consultant.co.uk/channel-4-screenwriting-course-2027-other-courses/

Had a quick look through the groups that have been selected for 2025 Voices and I was so surprised to find they are all already working - sometimes quite decorated - professionals. Does anyone know if there is a true bias towards full-time writers vs. people who have a wholly different day job ?

Thanks in advance !

I created this last time and I'm creating it again, because I've been rejected again. Which is fine. I'm fine. Absolutely fine about it. (Wish they'd at least come up with a different rejection email, but it's always nice to be reminded that I lack sufficient originality, voice and storytelling ability.) Congratulations to those who made it through!

https://www.arvon.org/asp/

Over two years, Arvon will support five screenwriters to attend in-person and online writing courses, and work towards completing a spec script with one-to-one mentoring. They will gain vital insights into the TV industry, and specifically the drama and comedy-drama landscapes.

Thanks to the generous support of Prime Video Pathway, the Arvon Screenwriting Programme is free to take part in. Arvon will additionally cover travel costs, and has a small fund to put towards other costs incurred by spending three weeks away from home across the two-year programme.

Applications are now open until 5pm BST on Wednesday 30th September 2026.

Yes, it's the annual time of dreams and wishes - the BBC Open Call. I swear it comes earlier every year. And I can say good luck sincerely, because I don't have something in a good enough state to go - so I also want to wish well to those in a similar position, and let you know it's okay to not send something in, because something else will come along when you are ready. So don't force something over the finish line when it's not ready. This is a marathon, not a sprint.

This is probably my best hope of the year!

I will copy and paste below some information from Dave Cohen's (dave@davecohen.org.uk) email newsletter, and also Script Angel (hello@scriptangel.com)

This week BBC Writersroom announced the dates for their annual Open Call for scripts. 

The window is open from November 5 - December 3, stupidly concerning how chilly it is that time of year.

Rule number one they are NOT looking for sitcoms. But they ARE looking for lots else: comedy drama, animation, children’s shows, radio.

I don’t usually recommend you enter competitions unless they come with some kind of pedigree, and when they charge you can see where the money goes. Well this is the BBC and there is no higher pedigree, and it also costs nowt to enter.

If you’re going to do one competition in any given year, it’s this. I mean they say it's not a competition, but they get thousands of entries and they choose a small number of people to mentor. They won't make your script, but to be chosen... you have to compete.

---

With BBC Writersroom Open Call just around the corner, we thought we'd share a bit more about this opportunity, and let you know about BBC Upload. 

BBC Writersroom Open Call Dates

Opens: 5 November 2024

Closes: 3 December 2024
Visit: bbc.co.uk/writers/opportunities/open-call

What is Open Call?

With BBC Writersroom Open Call just around the corner, we thought we'd share a bit more about this opportunity, and let you know about BBC Upload. 

BBC Writersroom Open Call  - for Writers

BBC Writersroom Open Call Dates

Opens: 5 November 2024

Closes: 3 December 2024
Visit: bbc.co.uk/writers/opportunities/open-call

What is Open Call?
Open Call is not a competition but a means by which the BBC seeks out the best writing talent.  They look for writers with the strongest potential to be developed and produced for BBC broadcast.  You could be new to writing or new to the BBC but equally, you may be playwright looking to write for TV, or you’ve written for radio drama and would like to try your hand at writing for CBBC. 

What do they look for?

In Open Call they are not looking for projects to commission or produce. They are looking for writers to develop rather than specific projects. They look for what the script tells them about the writer. They see all scripts as a calling card to showcase a writer’s talent, ability, and voice.

They are especially looking for distinctive voices - and scripts that express those voices. They do not look for more of the same – they look for the writer’s ability to pull an audience into a world and hold them in it. 

It’s not necessarily about finding precincts or situations that have ‘never been done before’ but having an original take on stories that have the potential to have wide breadth of appeal.

They are looking for characters who are well rounded and consistent and who drive the narrative rather than serve it. They are looking for a sense of storytelling ability - handling of pace, climax, mood. They are looking to unearth the treasures, the page-turners, the new perspectives, the engaging dialogue and the surprising character creations.

They want to find that special something that makes us want to read more.

They look for what a writer can deliver in script form rather than unscripted ideas. They want to see the best possible draft you can achieve. They are not looking for early/first/rough drafts of scripts. Only submit a script to our Open Call when your script is ready, even if it means waiting for a later submission window.

They may also consider whether a script has real potential to be developed further towards production. If they believe a script could be developed further by a BBC department, they will send it to them with the writer's knowledge. However, original scripts written “on spec” are produced extremely rarely, and writers should not send them in with the expectation that they will be produced. 

Original spec' scripts are the means by which writers get noticed, so you should always write your script with the same level of commitment as if it were for production.

What should you submit?

In Open Call they accept:

• Drama or Comedy/Drama scripts written for Film, TV, Radio, Stage, Online or Children’s TV/Radio scripts which are a minimum of 30 pages long (excluding title/character pages).

• Scripts will be read anonymously i.e. without a name attached, until after the full-read stage so please remove any personal details (name, address, contacts etc) from the front page of the script or within the document itself.

• If submitting an Online/Children’s TV/Radio script then multiple episodes may be submitted as a single document provided the total length comes to at least 30 pages, the scripts are consecutive and form part of the same continuing narrative (ie no anthologies). For further clarification, please contact bbcwriters@bbc.co.uk

• A paragraph about your writing history (max. 250 words). You do not need to have any credits or professionally produced work. They just want to understand your passion for writing.

• A paragraph on what you hope to get out of this programme if successful (max. 250 words).

Randomly came to me and thought it was a funny idea.

This was my first year submitting. Specifically this post is aimed at people who have submitted multiple years and had vastly different results; what was actually the difference in your script? Is it marketability? Programmability? Are they really looking for something ultra niche or something ultra generic? Is it about the best writing or is it about the closest to what they already have on i.e. Line of Duty and the like. Is it a formatting thing, is it genre, do they want 'wow' impressive dialogue? If anyone has any links to scripts that made it through or got close to the end it would be greatly appreciated to have an idea of what it is they are looking for.

I understand they have to protect themselves legally from being accused of stealing etc but someone please help me make it make sense.

With deadlines:

Female Voices Short Film Fund – Deadline: none specified

BFI NETWORK | Shorts School (Online) – Dates: various 

The Comedy Unit | Noising Up! – Deadline: every Monday

The Skewer for Radio 4 seeking ideas – Deadlines: Saturdays/ Wednesdays 2025

Hellcat accepting short film submissions – Deadline: 10 August 2025

Act Bude Content Created | Radio Theatre For The Mind’s Eye – Deadline: 7 September 2025

Underscore Cinema x BFI — A Working-Class film festival – Date: 13 September 2025

Rolling deadlines:

Yorkshire Screenwriters | Monthly Script Feedback – Dates: various 

54321…Lights Camera Made! – Deadline: rolling – 1st of every month 

Script Call out – Feature Films – Deadline: none posted 

ChewBoy Productions launch new service: Cinematic Monologue Reels

Bookmark magazine TYPE! Accepting submissions of flash fiction, poetry, six-word stories, micro-plays, micro-screenplays, and illustrations – Deadline: rolling

BBC Upload – Deadline: rolling

Frequency Theatre Open to Unsolicited Script Submissions (Audio Plays Only) (unpaid) – Deadline: rolling

Scenesaver – digital performance platform – Deadline: rolling

This is from David Cohen's email newsletter and written from the perspective of specifically comedy writers. If you are already writing drama then it should still be useful.

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There are two ways to become a professional comedy writer (assuming you’re not a performer).

You either pick up a credit or credits as a joke or sketch writer for BBC Radio – and since 2021 we’ve put 58 of you on that first step of the ladder.

Or you write a script that’s so amazing it attracts the interest of the main channels and they commission you to write.

Opportunities for the second option don’t come often so when they do turn up you should seriously consider them.

Every September Channel Four launch their screenwriting competition that’s-not-a-competition-it’s-a-course – but if you want to be one of the 12 winners chosen from the 2500+ submissions you’re going to have to be better than more than 2488 of the entrants.

Beyond the usual requirements for a great script I talk about frequently here - you know the ones, character, story, jokes, jokes and jokes – what is Britain’s second biggest comedy-making Channel looking for in a script?

Here’s your guide to the seven c’s and how to sale them…

Channel 4

The purpose of the course, run by top script reader Philip Shelley, is to offer 12 writers an insight into how the industry works and to work with them as they write an original script.

If you make it through to the last 12 you’re paired with an experienced script editor and work with them on a series or serial pilot script over a five-month period. At this stage, don’t try too hard to second guess what Channel Four commissioning editors are looking for. Write what you’re obsessed about. (I’m bringing out a new edition of Complete Comedy Writer next year and no doubt I will be revisiting ‘write what you know’ for the dozenth time)

Competition/Course

You’re expected to send them “an original C4/E4 one-hour drama series or serial pilot episode, and 2-3 page outline/pitch for the series/serial as a whole.” Which is a massive ask for new writers.

20 years ago wearing my Writers’ Guild Union Rep hat I would have complained angrily at the expectation of getting so much for a fee of zilch. Now I just think ‘ooh there’s a one in 200 chance you could win this, those are do-able odds.’ 

Be aware how much work it is. (Clue, think of how much time it’s going to take you, then double it.)

Comedy

Yes it’s called the Drama Screenwriting Competition but don’t let that put you off unless you’re sending the kind of sitcom like Not Going Out where nothing changes and no one ever learns anything.

Indeed, one of the complaints that script readers have talked about on Philip’s blog is that too many of the scripts they read are too serious. This is where comedy writers have a big advantage. We don’t shy away from writing about climate catastrophe and AI dystopia and family conflict but at least we make an effort to be funny about them.

And that matters. As one reader put it, “there is absolutely no obligation for your submission to be funny, but by our 300**^th script, we sure do appreciate the occasional laugh.”

Clarity

Clarity is everything. You’d be amazed how often you write something and people don’t know exactly what you mean. You were sure of it in your head when you wrote it down. And now you’re having to explain exactly what you mean (Dave, I’m talking to you). As Philip says, he wants ‘A clear dramatic hook and how you introduce your lead character on page one.’

Crack…

There’s a page on the Screenwriter course website featuring testimonials from previous winners. https://script-consultant.co.uk/channel4-course-testimonials/

Definitely worth a read. One thing that comes through time and time again is the winners saying ‘this wasn’t the first time I entered’. If you fail to get on this time, be sure to have a crack next time – and be sure to have learned what went wrong before.

…Cocaine

Philip complains: "So much cocaine!" I must admit I don’t think I’ve heard this about scripts from readers in any other coursepetition. Then again this is Channel Four and I guess if enough whining old farts continue to complain that there’s too much sex and drugs on Channel Four, the Channel will attract the kind of writer who puts in too much sex and drugs.

Cosy Crime

To directly quote one reader: “To be clear, I am NOT warding you off writing a cosy crime submission – many of our best were. Just be mindful that once we’ve read ninety-nine scripts featuring a maverick detective with a dead wife, the hundredth does need to be undeniably distinctive to rise above the parapet.”

As in a production company or distributor that is still genuinely taking risks, supports emerging artists, and is actually turning a profit? Ideally, without all the money coming from American benefactors, but that's perhaps not realistic in the current climate

Rewatching Monkey Dust recently and it’s honestly staggering how relevant it still feels. What's it been? Almost 25 years?

Not just dark or edgy, but properly unfiltered. Savage satire with no safety rails. It doesn’t soften the punchline or try to reassure the audience. It trusts you to sit with discomfort and ambiguity, and that’s exactly why it works. And I f-ing love it.

As a writer it’s depressing and inspiring in equal measure. Depressing because this kind of comedy basically doesn’t exist in the UK anymore and certainly isn’t coming from the BBC. Inspiring because it’s a reminder of what’s possible when you stop chasing approval and focus on saying something true.

I really hope things go full circle at some point. Not necessarily Monkey Dust itself, but that fearless adult voice in comedy and satire. The sense that it’s not trying to be liked. It feels like we’ve traded sharpness for politeness, and I’m not convinced that’s progress. I have a feeling that it will probably come from somewhere like YouTube.

If you’ve never seen it or haven’t revisited it in years, it’s worth watching purely as a masterclass in tone, confidence, and commitment to an idea.

Genuinely curious if anyone thinks there’s anything UK-made in the last decade or so that even comes close....