TV Drama Spec: Update & Overview

A little over a year ago I decided to write a television drama spec script and one that would ultimately display the best of my writing ability. I believed the story was something that people would want to see and would be moved by. It's something that I still believe, and as I've reached a crucial point, I feel it's time for an update.

The first draft* is finally complete, which is great, but is a strange bag of feelings because a) there's at lot more work to do on it and so I'm refraining from feeling too good about it: "getting carried away." b) it's brilliant that I've managed to reach this point, but don't feel as great as I thought I would clearly because of a), and also due to, c) I haven't read it back yet, and d) it's a long first draft, not the longest, but it means that it's competition status is probably out of the window.

The Writing

Unlike my scriptwriting experience and projects of the past, this one hasn't been a fast process or a reclusive experience. But going in I knew it wouldn't be and that was part of the challenge. The project begun as a highly relaxed one and one that I knew I wouldn't write quickly due to the change in my living and working environment. That meant I no longer had all day and night to write and get lost within the story and writing like when I was at university, or shortly after, whilst being unemployed. The luxury of time had been swept away from me but has only made me value it even more. As well as the beauty of deadlines and working under immediate pressure which had also faded away.

However, I just wanted to get back into writing and test the waters; see the relation between time spend and progress made, finding the best ways to work and getting myself to work, all in order to adjust to a permanent future writing fixture. I feel now that I may have reached that point.

The process itself was often relaxed, however, frustrating a little early on and in the latter stages of the scene breakdown, as it took awhile to see real progress (in comparison as a whole) and it took so long to finish. The script was a much faster process as it was bliss to be back and was bolstered by having a scene by scene guideline of the story, which I could refer to and equally, not solely rely on. There were times when the script was heavy going, towards the middle and especially nearer the end because it was emotionally draining and simply put, I just didn't want it to come to an end.

Overall, a fair few sessions were missed, but self-discipline and habit did kick in over time, as well as some self-generated pressure whilst writing the script: to get to the end and get it down. All along I knew this was going to be the hardest part of the entire project because I was going from nothing to something. But whilst writing the script and seeing progress, it felt great and I felt home, and often wondered why it had taken me so long to get there.

My Craft

With short scripts and ones that I sense (and in this case, partly hoped) are shorter than feature length, I plan practically everything down to each scene and work/re-write that for awhile. Until the characters, plot and experience feels complete and whole. *So sometimes and in this case an actual first draft of the script is usually a second or third draft in rewriting and development terms due to work done within the scene by scene breakdown document. This I then type up into script format and then let it become, followed by further rewrites and improvements. For longer scripts, an out-right exploratory draft with a small plan is the way to go because it's the only sensible one: Just get something written down and as quickly as possible.

However, this one turned into a larger animal than I had initially hoped, and the duration of its scene breakdown document and length of its first draft shows that. Intended as a short one hour drama, it soon became apparent that I was hoping for a miracle first time round. But I powered through and continued with the scene breakdown as previously planned. Not to mention, I had already started it and naturally wanted to see it through. But this wasn't a major problem, only in that it would take a lot more time to complete, but was more a welcomed realisation and green light to walk the road ahead.

As with many stories and especially character-led dramas there can be appear to be a number of different ways in which to tell them, however, with this one due to story and character loyalty, and in favour of a more realistic and compelling portrayal, a short telling disappeared as an option.

A Blessing in Disguise

At last I could fully relax knowing that I had breathing space and could explore this fully, then later choose from what was written down and re-work accordingly. Without room to relax and with boundaries, I would have missed out on a lot of character, story and scene opportunities, and scriptwriting lessons in this first draft.

For the future, I now know better than to frame a story before it's written. It has worked out in the past for me, some exactly on cue, but for some stories I understand that we don't fully know them until they're written down. I think it's nice to have a desired or logical ideal in mind, but not so firm that it can't be broken, as the story preceded by its characters should will out in the end and in their own way.

Competition Entry

I had hoped to use this as a competition script for The Peter Ustinov Award, which is why I partly assumed it would be short and wanted it to play to one hour. Its original and list form scene breakdown written in August 2007 (wasn't considered for this due to enlightening knowledge on writing for Television, and changing its arena and visual nature) was perfect in structure and development for a one hour drama. This partially led me to believe it would be fine the second time round but I guess a lot had changed since then.

It's quite possible, although, unlikely that I may be able to get a solid sixty page script from this. At the moment I believe it's a feature-length drama, at least. It may work best as a two-part drama, but who knows. It just depends on which works best for the story, the development of its characters, and the experience of the reader/audience. That's something I won't know until I return to it at some point in the future. Either way, it's exciting stuff.

Back on Track

"Transitions and exposition are the mark of a good writer."

- Aline Brosh McKenna




This is something I heard early into the actual writing of the script and had a profound affect on me. The advice was solid and totally inspiring. However, it affected me because I knew it was true and it was something that I hadn't consciously thought about. But after having a few months away from writing scripts (whilst developing), and then six months whilst writing a scene breakdown, I hadn't been involved in the theory and actual practice of screenwriting for awhile. But that was an important quote and realisation to have because it made me realise I was a little out of touch with it, and that wasn't where I wanted to be.

With this project I was aiming for relaxed so I could assess the how, when, and why of writing to figure out an ideal plan and solid way forward. But now I have witnessed it in action (and non-action) and seen the evidence of progress over a twelve month period of writing, whilst working full-time (plus seen three months go down the pan, which I could have written a lot in). But ultimately, I know I need to be doing more each week on a project in order to make worthy progress; should be using my passion and turning it into motivation; should be seizing the moment, every moment: all to stay on top of my game, and if I'm to stand a chance in writing half of what I want to write within my lifetime.

What happens next?

This will be shelved for around four months at least, or until I've had the right amount of distance from it. Then I will read it for the first time (a first in my book), and rewrite it. But before then, the next and thankfully, shorter script awaits....

It's clear that if we want to get ahead on something then we have to step out of our comfort zones and push ourselves everyday, and in addition to doing everything else. Getting through the day and completing the usual feats isn't enough. We have to go further than that.

"Success comes to the person who does today what you were thinking about doing tomorrow."

- Unknown

Year Two Begins...

The passing of August marked the first year since handing in my final piece of university work, and therefore the beginning of Year Two in the big wide world. The quick passing of September (this post is somewhat overdue) clearly marked the first month into the second year.

It's quite fascinating how things and yourself can change within a twelve month period, and how you adapt under high stress from a continual pressure and expectation, not to mention intimidation by various ambitions ahead, life, the future, and everything. But my answer is: ignorance is bliss, and so is distraction. Not to mention, application.

For ignorance, I have found it easier to avoid and ignore the conversations and opinions of Joe and Joanne Public (non media related and everyday persons) regarding film education and university, screenwriting courses, film criticisms, and the "So where were you before this?" line, and the corkers, "What do you plan to do next?" or "What are you up to at the moment?", slide by the "You went to uni and you're now working here!" line, and if possible, but not probable, their 'valuable' input on your potential career and ambitions (take with a pinch of salt), and on some occasions, avoid the topic of screenwriting all together.

What's also wise and easier not to do is to butt in on a related conversation and give your opinion and/or insight just because you have one. But that is unless you find a like-minded person who you know or detect occupies the trenches with you. Then you can take cover and find solace. But even then there's still a line not to be crossed, and one if you want to be taken seriously. Otherwise it's all wasted conversation that is there to serve your own ego, to look good and nothing else. And in the end, you have accomplished nothing but being removed a little further from reality. If it's not constructive then it's not worth participating in, however tempting.

No disrespect intended to Joe and Joanne Public but when you're currently on a step at ambition's door, and don't want to think about the 100th and being categorised and judged in that respects, it disrupts the flow and confidence a little. It can be a little frustrating, although it is lessening the more it occurs. But if you ever find yourself in the same situation, just follow the golden scriptwriting rule, less is more because it truly is. Don't be too eager to show your hand. Leave them wondering and guessing. Let subtext breathe and give your own story and character power and a life of its own. If you're willing to talk too much and reveal all in the real world, then what is there left under the surface and to say in your writing?

For me, it's a simple case of I don't need reminding, as I know the deal. I just want to get on with it, and ideally, to be left alone to. I know the conflict is good for me in order to learn how to deal with it, but sometimes it would be nice to stay in the confident, peaceful, and enjoyable zone and mindset, and not have it interrupted every now and then. But after all, I am still learning.

And the important thing with that, I believe, is the fact that I know my place within the world of all this, I know my level, where I want to go, and have an idea how to get there. I'm not trying to be someone I'm not. I'm trying to be someone I know I can be.

What also, and just as crucially paved the way for change over the last year, is having the freedom to do, and the doing, which I term, distraction. And that's to get some paid work, structure, and responsibility, earn money, treat yourself, develop relationships, practice the arts of what you love, find new interests, meet new people, have new experiences, all to learn new things, have fun, develop personally, to widen your experience, and broaden your horizons. To live basically.

The third and just as important, is application, to keep reading, writing, watching and analysing, to develop professionally, set provisional goals, learn self-discipline and the ways of your mind, get involved with other writers and learn from them and their work, make and develop contacts, read scriptwriting blogs and leave supportive and constructive comments, create your own related-blog or write relevant online articles, and if possible, apply for work experience, help out on short films, make short films, etc. All one step at a time and of course, with vigour.

Everything in ignorance and distraction informs application. All that you do, every encounter, decision, observation, or new experience, has the power to change you and develop your writing and professional self. Every strand of your life is more important than you may realise. Everyday and every moment is an opportunity to be had, and further knowledge and perspective to be gained, to move you forward to where you want to go and to help you do it. Keep that in mind and even more so on a negative day or moment, because there's still something to learn, a new experience to be had, and ultimately, if reacted to positively, an opportunity to develop.

Inevitably it brings me back to the old chestnut of university, as it was home for awhile and quite a profound experience, and one naturally, has taken time to process and move on from. Essentially it was a place that appeared to be selling dreams in respects to screenwriting, a tin box (and an expensive one) that packed you in rather tightly, and one where the everyday reality was lost, until you leave that is. Then you slowly apply what you learnt there (and/or acquire what you didn't learn there) to real everyday living. To correct the off-set in balance and restore equilibrium. As well as apply what you learnt about the craft of screenwriting to a new era of writing, and discover new lessons and insights as each project passes. To ultimatley keep a healthy momentum of output, learning, enjoyment, and a steady increase in confidence.

But fundamentally, a university screenwriting degree isn't a means to an end and reaching a dream. It's a means to a beginning and that dream transforming into an ambition. It's a start that I feel glad to have taken and look back proudly having made the right choice.

So generally that's how I've coped this last year and have been enjoying the post-university freedom and dealing with its pressure and external expectations. But importantly and key, striving to do that in a patient, constructive, and positive way.

One of the major things realised and accepted, is that everything takes time. No matter how large or small. Even the smallest achievement takes effort and time to conquer. But it's about doing what you can realistically achieve and not trying to do too much and being overwhelmed, and potentially underachieve. That leads to putting your ambitions and projects into perspective and into steps. Then it's a process of taking each step as they come. Whether you start now or later on. But as long as you stick at it, remain patient, optimistic and enjoy it, then you can't go wrong.

All this may sound strict and by the book but it's really not. When you're having fun, being engaged, challenged, and enjoying every aspect, it doesn't feel like a chore or set rules to be followed. Once habit kicks in. It's living. And it's an infinite education. That's the beauty of it.

"Live as if you were to die tomorrow. Learn as if you were to live forever."

- Gandhi