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

That Television Calling Card Script.

So I’ve been out of university for awhile and still feel overwhelmed at the amount of screenwriting and industry advice/information available; the monumental task ahead of me in all its stages and phases; the route possibilities and pathways; all compiled with all the other things I want to do like living, writing and stuff. However, one decision has made its way to the forefront and is such an obvious one: to write something. But not just anything.

I'm on the back of a serious two year relationship with WWII Drama and recently have been engaging in many flirts and not committing to anything. But the good news is I'm done playing the field and ready to step into something serious again.

But it would be foolish of me to just write whatever I liked because at this point in my life everything I'm doing is working towards an ultimate goal. So like in a script every line of dialogue and action needs to be leading somewhere; it needs to have a point and a purpose within the bigger picture. So everything that I do and write now needs to have that same point and purpose and be leading somewhere.

It may appear obvious, although not everyone realises that what they write for television needs to be relevant in today's world, suitable for the small screen and is what is wanted by the industry. So this has become my new romance or rather, an old flame I patched things up with.

So the television calling card script is my next target, challenge and focal point for the next six months or so. If all goes to plan it will also form as my entry to the Emmy script competition for 2010.

With this script I'm aiming to demonstrate that I can write effectively within the world of television and write the type of script that people are looking for. Ultimately, it will be used to sell myself as a writer and only time will tell if it's the best possible script to do that.

So there are some basic questions to ask myself before proceeding into the project to make sure I stand the best chance possible in writing a great, relevant and suitable script:

Have I picked the right story that will drive me through the next six months and not leave me having to carry it through or give up on?

Does it move me? Am I passionate enough about it? Do I care about the characters? Is it uplifting, tragic or inspiring?

Is it suitable for television?

Is it a contemporary drama or sitcom? Will it have a realistic budget? Few characters and a general location?

Is it relevant and dramatic enough for television?

Is it relevant to recent national events/issues? Is the issue/event explored in terms of character action and change? Is it emotionally engaging?

Is it relevant and suitable in relation to what's on television now or has been in the past? To what's in demand?

Does it fit into a specific television slot and style of programming? Has it been done or explored before?

Will it be visually appealing?

Is it set in a visually interesting location? Is the location symbolic in any way to the characters and the story? Will it take place as much outdoors as it does indoors?

-- End to the line of questioning --

I am equally excited and anxious at writing this story but feel it's the right time to do so. So with all these initial factors and questions answered in my head, it’s time to get on and commit to this.

However, the usual last minute worry and concern remains:

That it might not fit the sixty minutes, be realistic enough, or even work as a television drama.

That's what rewriting is for. So it's nothing to worry about until there's a first draft. A television calling card script can be up to 90mins for a contemporary drama (30mins for a sitcom). But for now, it's important to just get something written down and then go from there.

Now onto an exciting and intimidating set of words:

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