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Guidelines
THE LOWDOWN ON:
Writing for TV soaps
The genre
Definitively, all soaps deal with primarily domestic themes, are centred around a set cast of characters and are broadcast on a regular, ongoing basis. Today most industry professionals use the term ‘serial drama’ or ‘continuing drama series.’ As one of the most narratively complex genres of television, soaps demand considerable knowledge from both writers and viewers. Their continuing popularity may be due to their ability to tackle head-on issues seldom broached by other formats. Decent pay and regular work are benefits of writing for soaps, as is commanding a large audience.
3 of the best
- EASTENDERS, BBC1 (started 1985): Set in fictional Walford,East London. Some seminal storylines. Gritty, with a high body count.
- CORONATION STREET, ITV1 (1960): The UK’s longest running TV soap. Set in fictional Manchester suburb Weatherfield, with some legendary feisty females.
- EMMERDALE, ITV1 (1972): Set in fictional village Emmerdale, West Yorkshire. Rural-based. Often filmed around the fictional Woolpack pub.
What’s hot
‘The increase in number of episodes per week by most soaps means that stories really must have legs,’ says writer Helen Farrall, whose credits include Crossroads and Emmerdale. ‘Brookside was revolutionary – it redefined what a soap was: they had the first gay kiss; a posh heroin addiction. Now we all want bigger stories.’
The market
- With almost nine million viewers tuning into an average episode of Corrie, soaps are invaluable to commercial stations. In today’s multi-channel environment, producers look at audience share rather than ratings alone. If 45 per cent of the audience share are watching, they know they’re doing well.
- Each show’s themes are tailored to the audience and time of airing. Hollyoaks, with its younger audience, obviously tackles different issues to the more staid daytime Doctors. ‘Producers want stories that reflect the lives of their viewers,’ says Helen Farrall. For that reason more gay relationships, drug stories and teenage pregnancies feature in soaps nowadays.
The competition
Soaps’ increased weekly output means more available work, but discipline, persistence and – all too often – a lucky break are still required. Corrie, Emmerdale and Eastenders have core teams of up to 30 writers who attend storyline meetings. Here, ideas are thrashed out among seasoned regulars and newcomers alike; knowing the show’s history, characters and locations inside out is imperative. Of those attending, several will be commissioned to write the required episodes.
The money
- The financial rewards can be worth the graft: according to Katharine Way, experienced drama writer and Chair of the Writers’ Guild. A regular soap scripter can earn more than £50,000 a year.
- Method of payment differs: TV pays new writers a minimum of £1,674 for a script – £2,012 if they deliver both storyline and script – for 21 to 30 minutes’ worth of show; the Beeb pays a minimum of £108 per transmitted minute. ‘It’s also not unusual for good writers to be working on more than one episode at a time,’ says Farrall. ‘The ability to keep track of where characters are in different episodes and continuity becomes very important.’
- Payment is staggered: Usually the writer receives half the fee upon signing a contract for each episode, 25 per cent upon delivery of the first draft and the remaining 25 per cent after final acceptance. (If the last draft needs extra attention, the final instalment may be withheld). Some shows, such as Doctors, have two payment rates: one for beginners and one for more experienced writers.
- Writers’ Guild members receive automatic membership to Authors’ Licensing and Collecting Society (ALCS), who ensure that writers are paid monies from repeats of episodes or overseas exploitation of episodes. ‘Contracts are very complicated!’ affirms Farrall. ‘For this reason alone an agent is invaluable.’
The best strategy
- Get an agent. Many soaps won’t read your work until you have one.
- Take a short course in scriptwriting. Often tutors at local colleges are the same as those teaching on the MAs.
- Watch the programme you want to write for religiously. Note the number of scenes, locations and cast in each episode. Learn the voice and vocabulary of each character. Consider their motivations.
- Write to the programme’s production office. Find out if they accept unsolicited scripts and, if so, who you should address yours to. Find out whether there are new writers’ initiatives you can apply for.
- Send a sample of work that plays to your main strengths, whether they be plotting, dialogue or character. Never send a spec episode until you’re asked; for legal reasons, it won’t be read.
- Look at samples of scripts on the BBC’s Writers’ Room and use the Script Smart tool to ensure correct formatting.
- Nurture the right temperament. Can you stand your ground? Do you enjoy working collaboratively? Do you thrive under pressure? If you don’t deliver your script on time you will not be re-commissioned. Flexibility is a must – what you’re asked for between drafts might be very different from the original idea – as is resilience and willingness to work under others’ direction: hierarchies do exist within core writing teams. Also, you must love the show!
- Writers are allowed varying degrees of scope: stick to the brief. ‘Stranded storylines,’ such as the ones used by Doctors, give writers an outline of action to be fleshed out with dialogue.
- Doctors and Hollyoaks are more open to newcomers and may afford you a foot in the door; your work may be noticed by the top-rated Corrie and Eastenders.
- Test yourself: note the writers who have contributed to each episode. You know you’ve researched well when you learn to spot their style.
‘You can have endless conversations with the script editor, debating, for instance, whether this character would say “good morning” or “hello.” It takes a long time to write an episode – turnaround can vary from a week to two weeks.’
TESS HUDSON, soap writer
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From Issue 35 ◊ Oct/Nov/Dec 2007
The info you need
FAST-TRACKING
Run by John Yorke, controller of BBC’S Continuing Drama Series, The BBC Drama Series Writing Academy is a new writing initiative that aims to find the next generation of writers for flagship shows. By the end of the year-long training scheme each student will have written an actual episode of Doctors, Casualty, Holby and Eastenders. Payment is £400 per week for the three month classroom period; commissioned fees thereafter. Predictably, competition is fierce with over 600 writers applying for eight places. (See jobs at the BBC)
RESOURCES
With episode and character guides as well as features useful for sussing out characters’ motivations:
Coronation Street
Doctors
EastEnders
Emmerdale
Hollyoaks
ORGANISATIONS
www.writers.net has news and opportunities for dramatic writers with a directory of published writers and literary agents.
The Writers’ Guild ensures writers are properly represented.
Television Arts Performance Showcase (TAPS) runs workshops and showcases writers’ work to television professionals.
The Authors’ Licensing and Collecting Society (ALCS) ensures writers are fairly paid.
BBC's Writers’ Room champions new writing talent.
The Script Factory promotes new screenwriting talent.
Scriptwriter Magazine is a bi-monthly magazine for scriptwriters.
COURSES
See www.ucas.com to search for a range of scriptwriting and other television-related courses.
The National Film School offers professional training in film, television and related media.
Joining a script-focused writing group is invaluable, as is attending one of Arvon Foundation’s script courses.
BOOKS
Writing for Soaps by Chris Curry (A & C Black, 2002)
Writing for Television by Gerald Kelsey (A & C Black, 1995)
Making a Good Script Great by Linda Seger (Samuel French, 1994)
Creating Unforgettable Characters by Linda Seger (Henry Holt, 1990)
