The BBC stresses that they are looking to judge writers by their original work, not scripts for existing shows, and they are interestef in authorial voice and the ability portray drama. The script itself is unlikely to be made; they are looking for writers who demonstrate enough potential to be nurtured in their development programs, and eventually become regular suppliers of scripts to ongoing series.
There are many guideline links to follow that will almost certainly answer any questions that arise. The BBC are nothing if not thorough.
Not really no (exemption for the Republic of Ireland).
Scripts from overseas – we are looking for writers with whom the BBC can develop a strong working relationship and who have something to say that will appeal to British audiences. You may be a non-British-born writer, but you must be resident in the UK or Republic of Ireland. If you are currently living overseas, only consider submitting your script when you return to the UK or Republic of Ireland.
Medical works with Casualty and Holby City still popular. So would a police procedural. I don’t have the confidence in my knowledge to do either, so I’m looking at personal drama: death, attempted suicide, affairs, punch-ups - you know, normal everyday comic-forum life with @markabnett and @mattgarvey1981 . I now have an outline and the first eight pages. Progress.
To be honest, any drama will do. The readers are more interested in a professional writerly voice, and a hint that you can follow a brief.
By the way, I notice there are a lot of funny people in MillarWorld, so if it’s comedy you’re after, the submissions window for that is later in the year
That really came from my interest in local hospitals making mistakes and people dying because of them. I wanted to write something that really delved into the hospital boardroom so to speak and peel off the layers seeing blame trickle down to the level of paramedics and porters and vice versa and seeing inter-work relationships pan out through that lens. I’m quite lucky knowledge wise as I am close friends some people who can answer a lot of my questions and having spent a lot of time in hospital there’s a write what you know aspect there for me.
I also have a decent crime drama called Bad Gateway but I think it’s a bit garish for something like this.
Some stuff I’ve gathered that may help everyone - With TV I think ‘write what you know’ is a big trick of getting a solid spec script because your background elements will have a strength that really shows off any drama (though your drama, at it’s heart, should always be good enough to play in a ‘bare room’). If you’ve got better first hand knowledge of something than most other people the authenticity in that will make the drama itself play more authentically and that’s what you want to get across because your way up the ladder in the BBC is through Doctors and Casualty and things like that where they need a high turnover of ‘backdrops’ for the ‘action’ and drama to hang off, so if you can give an insight into being a taxi driver or a teacher, that can be utilised in a stand alone story where you can ‘earn your stripes’ so to speak and then you can learn what they want from a script more easily - so it can be two birds, one stone. Then you have to bring what you’ve learned in that process to things you may not have prior knowledge of and pitch scripts to start building a resume.
A lot of that caper and then you can write the next Mr Robot
Well, I had my (loose) outline done, and had written 9/60 pages up to yesterday. Then I came to a crashing halt. I am definitely someone who needs a detailed synopsis, with pretty much all the plot points and emotions mapped out. So, I went back to the outline and gave it a good seeing to, and in doing so, I feel that the story is already more interesting, more authentic, and more meaningful. Plus, I feel that I can crack on with scriptwriting again. Craft is the key.
But of course; at first, it’s merely suggestive - then there’s a dark moment when our protagonist after having removed a boil from a ballerina absconds into a shoe store and watches as ladies are fitted for their first heels. We don’t want to go all the way from the get-go. Pilot closes with Mr. Hoof paying money to gently caress the the ball of some harlot’s foot, as his eyes roll back, and we cut to his mother, “Be a good lad, and wash your feet, Buddy. Scrub, scrub, scrub. The devil hides between toes.” He shamefully endures the sound scrubbing. Then passes out. Something like that.