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An interesting and passionate debate has developed over at the BBC Writersroom blog following the recent announcement of a change to their terms and conditions regarding unsolicited scripts from overseas.
Several writers living overseas have expressed their frustrations articulately and with great spirit, feeling that the door is being closed to them. Paul Ashton has answered their comments making an equally persuasive argument as to why the policy change is necessary.
I know several people who will be effected by this change to the terms and conditions, both British citizens living abroad and European writers keen to work in the British radio and television industry, so I do sympathise with their frustrations. However, it’s also true to say that the vast majority of writers I know who’ve successfully launched their writing careers, have done so by making contact with producers and script editors directly – and not from being passed along on the basis of an unsolicited script.
For this reason, my opinion has come to be that whilst the service offered by the Writersroom is a valuable and important one, it is an extra, additional avenue for writers to explore, and not the only route in for new writers.
For those writers who’ve commented on the Writersroom blog expressing their concerns about finding a way into BBC Radio Drama, the breakdown of the Radio 4 commissioning process I wrote up earlier this year contains details of independent production companies who produce radio drama including which slots they are eligible to tender bids for as well as a link to the contact details of various in-house BBC radio drama producers – all of which is publicly available via the Radio 4 website itself.
Since writing that post I know of at least one writer who has used this information to diligently research and approach producers directly and now has several radio drama proposals being considered. And bloody good on him, I say.
In terms of television and film, there are still many independent production companies who will accept unsolicited scripts, and the same goes for theatre companies if you’re interested in writing for the stage. Hayley McKenzie has compiled helpful lists in each of these areas providing links to companies who may be willing to read your work, as well as a list of writing competitions which is another great way for writers to get their work read by producers looking for new talent.
Alternatively, as would be required for any British writer attempting to seek work in America, an agent would open doors directly to producers and production companies and if you’re confident that your work is of saleable quality perhaps it’s time to consider making an approach to an agency for representation in the UK. At the start of the year I posted a Q&A with agents on how writers should go about making contact with agents, and you can also search the Writers and Artists Yearbook for details of agencies and the sorts of writers they represent.
In short, whilst it may be frustrating to feel that a potential route into the BBC has been closed off by this policy change, the Writersroom is just one avenue to explore. And whether you’re inside the UK or living overseas, pinning all your hopes on squeezing through one small doorway may not be the best approach.
Why not try the side entrance?
There was a Q&A with agents Rob Kraitt of AP Watt and Matthew Bates of Sayle Screen as part of the Screenwriters’ Festival Launch Event which took place at BAFTA on Thursday. Here’s some of what was said:
On the state of the industry
RK: It’s hard out there at the moment, but there will always be opportunities because there will always be TV drama.
MB: It’s a numbers game. The hours available are being cut. The Bill is just one example, it used to make 100 hours of TV drama and now it makes 50. This means writers who have gigs are reluctant to move on and give them up, and producers have got reduced budgets to worry about which makes the risk of a new writer less appealing than a safe and proven pair of hands. But there are opportunities out there – like the Writers Academy, although it only takes 8 writers a year, whereas it used to be that there was a more fluid coming and going throughout the year. It’s always been a fight though, it’s just got a little bit harder.
RK: It’s not like there’s suddenly going to be a glut of cheap talking heads stuff. Keep doing what you’re doing. Get to know script editors. Make yourself known to the Writers Room and the Writers Academy. Things are a little bit more positive in the film industry and there are still low budget production opportunities out there, although funding has been cut to some extent, mostly due to the Olympics, but there are still places like the Film Council and Guiding Lights.
MB: The British film industry has never been that brilliant so nothing’s really changed now. The dedicated and entrepreneurial will continue to succeed. Writers just have to know the market. They should always have done but now they really have to make that effort. Although, saying that, at the start of your career you should be writing specs that will get you noticed, not ones you think might get made. Nothing will get made unless you get noticed first. You have to impress people and build relationships to get through the door. Not write generic, samey stuff that you think is hitting market trends.
RK: The reality is, you’ve got to be good at treatments and pitching. You’ve got to get producers excited in your projects. You’ve got to be always coming up with fresh ideas. If you’re not writing commissioned stuff you should be coming up with new work. The industry has been bloated for a long time. The current climate will help rebalance things and the people who deserve to shine through will.
On approaching agents
MB: Make sure you’re ready. It’s demoralising and depressing to keep hitting a wall of rejection. Agents take referrals and recommendations more seriously than unsolicited approaches but if you can get some attention and a bit of glitter on you then you’ll be more interesting to an agent. And writers generally get agents after they’ve done quite a bit of work for themselves, not just written a couple of scripts. We do accept unsolicited submissions but we get inundated so you really have to make yourself stand out and capitalise on your exciting moments.
RK: We don’t look at unsolicited submissions so a writer has to be recommended or come to our attention through schemes and so on. The other thing is, some people think if you turn up with a deal on the table you’ll get signed straight away. It’s not just about one deal. It’s about a body of work and a career. If you’re already doing the business for yourself you’ll be more attractive. An agent is just there to take you to the next level. I don’t want clients who are just in it for the money. They have to have a love of what they do and be willing to work hard to forge a long term career. They have to be self motivated and resourceful, and always be fostering new relationships.
MB: Agents are there to provide legal advice, contract negotiations, career guidance when there are choices for the writer about which project to take on next and also to provide honest feedback. But the writer has to be a hard worker, they have to work at their craft and their writing, and be always learning about the market. There can be no laziness or cutting corners.
On the Screenwriters’ Festival
RK: The Screenwriters’ Festival is really great for networking and bringing together a disparate community of writers, producers and directors who don’t have many opportunities to meet up throughout the year.
MB: And it gives you a real energy boost, a buzz. It’s a celebration, and it helps you remember why you do what you do. People go to share their war stories, share their vision for the future, even share their anger on certain aspects of the industry. Established writers go to maintain relationships and foster new ones. And for new writers, going along shows commitment and dedication to your career. So much about this business is luck, new writers need to be in the right place at the right time, so going to events like SWF opens you up to the potential of good fortune.
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You can read more about Thursday’s launch at Phill Barron’s blog, where he’s gone on to make some very sensible and pertinent comments about the UK film industry in general. He’s also drawn a couple of pictures of some sperm but, you know, you can’t have everything.
Piers Beckley has also posted about the event and explained why he thinks the Screenwriters’ Festival is worth every penny. He’s even told you where you can apply to for help getting those pennies together, how’s that for service?
The Screenwriters’ Festival is running from 26th to 29th October 2009. If you’ve not already bought your ticket, you can get it here.
See you there.
