BBC to open up its Writers’ Academy to non-professionals

A couple of days ago we posted about how The Society of Authors in the UK is setting up a fund to help writers get through the financial problems that are part of the current worldwide Covid crisis.

Today we bring news of another way our British cousins are supporting our favorite art form – TV writing. Wow. Just wow.

The BBC is to throw open the doors of its Writers’ Academy to anyone who wants to have a shot at writing for television, in a move dubbed “X Factor for writers”.

In the past, only professional screenwriters have been allowed to apply to the academy, but in a bid to bring in voices from different backgrounds any budding writer will be able to try to follow in the footsteps of previous winners such as Killing Eve and The Victim writer Rob Williams.

The eight successful applicants will write for BBC Studios’ biggest shows such as EastEnders and Casualty, have lectures from writers such as Line of Duty’s Jed Mercurio and Years and Years writer Russell T Davies and get three months of paid training.

The move may be welcomed by those in self-isolation due to the coronavirus outbreak who are looking for something to focus on. Recently, stories have been shared about the creativity that has emerged from historical quarantines. William Shakespeare is thought to have penned King Lear during a plague outbreak and Sir Isaac Newton reportedly discovered gravity while in quarantine.

The head of the BBC Studios Writers’ Academy, John Yorke, said writing could help people cope with anxiety….

Read it all at

by Tara Conlan


All bibles don’t have to be holy ones, but those for television series come close, at least in the eyes of their creators. And while the executives who read them as part of their prep for green-lighting a series may make changes, they expect to see something fresh, new, exciting, and just plain impossible to turn down in their email boxes or on their desks.

Here’s some good advice on how to write your maybe-not-so-sacred manuscript so it zings.

Learn how to write a TV show bible and market your pilot like a pro
by Script Reader Pro

So you’ve got a great idea for a TV show…

Do you just write the pilot and start sending it out into the industry? Or do you first write one of those mysterious things known as a “TV show bible”?

If you want to learn how to write a series bible but are unsure what it should include, where to start or whether you need to write one in the first place, look no further.

In this post, we’ll be covering:

 What is a TV series bible?

 Do you have to write a TV show bible? And if so, when?

 TV series bible template and format

 40 TV show bible examples to download and study

And much more. So let’s dive on in!

What is a TV series bible?

A TV show bible is a 5- to 15-page document put together by a writer to help them sell their TV show.

A well-put-together TV series bible is an in-depth blueprint of the show—story world, tone, plots and characters, etc.—and how each develop during season 1 and beyond.


Beginner Tips on How to Write and Sell Your Screenplay

It’s always best to start with the basics, and Stage32.Com knows the basics very well indeed.

via Stage32 Blog

What makes a good screenplay? This is one of the most important questions that an artist needs to be aware of every single day. In coming up with the best work of art, it is important to note that instead of relying on the meta aspects of essential tips of writing a good screenplay, hence for effectiveness, a better focus on the concept of the story structure is essential.

Friedrich Hegel, one of the most renowned screenwriters of all times stated that “structure is the single most important element in writing and selling a screenplay”. Considering the general structure, the flow of a story is directed into three great pillars which include: the beginning section, middle and the ending section of the story. Notably, for a perfect screenplay, there exist three important pillars that play the governing role and when the three are not incorporated in the process then it is not possible to come up with the best screenplay. The governing elements include thesis, antithesis, and synthesis.

1. Thesis

To start with, the idea of the thesis is a significant figure of a good screenplay. Adam Wiener, a creative script writer at SolidEssay and ConfidentWriters, describes it as ‘the set up’ in which “the screenwriter sets up the play, establishes the character and launches a dramatic premise, illustrates the situation, and create a relationship between the main character and supporting characters.” The importance of the thesis in a screenplay is that it sells the idea of the film. In other words, it’s a crucial element encompassing a package of things to persuade people to invest money in a movie, book, or play to come out from that script….

Read it all at

Getting Notes for Your Writing – The Screenwriting Life #1

Here’s an outstanding video (podcast?) for all screen and TV writers. It’s the first in a series featuring Meg LeFauve and Lorien McKenna, whose combined credits include writing and production on such films as Inside Out, The Good Dinosaur and Captain Marvel, and we’re hoping it will be followed by many more.

From Popcorn Talk


Ageism, like so many other isms, is as rampant in Hollywood as it is so many geographical and professional areas. Perhaps even more rampant. Our friends at Script Reader Pro are here today with some excellent and practical advice on how to deal with it in the real world:

by Script Reader Pro

Unfortunately, ageism in Hollywood is definitely real. The many lawsuits and payouts over the years are proof of the fact that the industry views more mature writers a little differently from those in their 20s and 30s.

For some reason, the general theory goes that if a writer hasn’t produced anything of quality by the time they reach, say, 45, they’re unlikely to… ever.

Yes, this thinking is as silly as it sounds, but it’s all part of the uphill struggle many aspiring writers face when trying to break in, and so deserves to be addressed.

But here’s the good news: age discrimination in Hollywood is often not the determining factor in whether a writer over 40 breaks in or not…

The determining factor is much more likely to be the writer themselves.

Click to tweet this post. 

In this post, we’re going to show you the top five actions you can take right now to combat ageism in Hollywood. So let’s jump on in.

1. Focus on your strengths as an “older” writer.

If you’ve been writing for a number of years, ask yourself if you’re a better writer now than you were ten years ago. Chances are, you’re a much better writer now than you were then and therefore much better positioned to break in.

Could a 25-year-old have written Marriage Story or The Irishman? Possibly, but it’s highly unlikely. Write down what you bring to the table as a more mature writer: your experience, life skills, writing craft, personal confidence, and so on.

Yes, a writer in his or her 20s may be better positioned to write a sitcom starring a bunch of millennials or a high school coming-of-age movie. But so what? You’re probably better positioned to write practically everything else.

What’s your life story? What makes you unique among all the thousands of writers out there trying to break in? Write it down and turn a negative—your lack of youth—into a positive—your experience.

2. Ask yourself if you’re using age as an excuse.

structure entails