In June at this year's RTS Scotland Awards , we presented the inaugural Writer's Award to Lorna Martin for her newly scripted TV comedy, "Women on the Verge". As a society who celebrates the craft within our industry, we are delighted to bring you an evening with three successful and established TV writers.
If anyone ever doubted that comedy and tragedy go hand in hand, look no further than the much-garlanded BBC Two sitcom, Mum, starring Lesley Manville as Cathy, a late-middle-aged mother coming to terms with the death of her husband.
Making a TV audience laugh is among the most difficult skills for any screenwriter to learn, but to make them laugh one minute and almost cry a few moments later is the hallmark of a very special talent.
At a time when there is growing evidence that television is dominated by people at the upper end of the social scale, a new writing scheme hopes to break though the medium’s so-called “class ceiling”. With luck, it may also broaden the range of voices heard across TV drama.
The week begins with an epic clear-out of my extremely messy home office in time for a makeover. Marie Kondo I am not. What does spark joy, though, is a small brass plaque inside one of the fitted cupboards. It reads: “Specially installed for Lynne Perrie.” This is a reminder that soap history is literally in the walls here.
“I think everyone can relate to that [feeling]” comments the 34-year-old. “When you’re 16 and you think everything’s conspiring against you.”
The award-winning drama garnered a cult following almost overnight earlier this year when it debuted on Channel 4 and shortly followed globally on Netflix.
Now's a great time to get into writing for TV. There have never been more opportunities for scripted programming. To stand out from the crowd, an idea should seem original and distinctive.
While the breadth of programming has increased, the traditional formats have remained dominant. Your writing should fit the standard models for a mini-series, a serial or an episodic series; 30 minutes for comedy, 60 minutes for drama.
Red Planet has invited four rising screenwriters to join the programme, where they will be paired with an established showrunner to develop an original idea from the its inception to production.
The first stage of the scheme will see the writers develop a contemporary crime thriller. The eight-part series, set in London, will be developed from start to finish by the Writers’ Room and be led by Red Planet CEO Tony Jordan.
Co-writer of Sky 1's You, Me and the Apocalypse Mickey Down explains how to write for drama.
Last year he was on a panel discussion at the RTS Futures Christmas Party which focused on diversity in the television industry.
Here he reveals that avoiding cliché is key when writing for the genre.
Students were given the opportunity to listen industry experts about their craft.
From cameraman Steve Robinson describing how to portray personal moments on camera to editor of BBC One's The Missing explaining how a show comes together in the cutting room, the two-day masterclasses provided advice and insight into the television industry.
You could be forgiven for thinking that the award- winning screenwriter and producer, Jeff Pope, approaches his work by trying to find the most gruesome story possible.
This is the man who has made TV dramas based on the dark deeds of serial killer, Fred West, Moors murderers Ian Brady and Myra Hindley, and Britain’s most prolific hangman, Albert Pierrepoint.