Our team of script readers have been busy reading the 3845 scripts that were submitted in our last window for Drama script submissions. We asked the newest recruit to the team to give an update on progress as they reach the end of the first sift stage.
There isn’t a single formula to ensure a script will progress: for some readers it might be a brilliant character, for others it might be crackling dialogue or a rarely seen world. Ultimately, we’re all here to find exciting voices, and I’ve had a great time reading on the opportunity so far so I can’t wait to read more.
As the newest recruit to the reading team, I was very curious to see how the process worked. It’s very rigorous, as it turns out. Ahead of my interview I had to complete a trial report and read sample scripts as examples of the very high standard set in previous years. My interview was quite relaxed, though we did talk in depth about great writing across film, TV, stage and radio. The first readers meeting felt equally relaxed though there was a continued emphasis on the search for writers with fresh voices.
Of the 3,845 scripts received, 572 scripts have made it through to the second sift. This means many competent entries fail to make it through the process. I have read many impressive scripts; the readers all agree that the standard of submissions this year has certainly been high. However, I have come across a few too many scripts bearing striking similarities to current TV shows like Game of Thrones, Line of Duty and Shetland. This makes me wonder if people apply with projects they think would make it on telly as opposed to truly writing about something they want to say to and about the world. It’s not that the team are averse to sci-fi, fantasy or cop dramas, it’s just that it is important to find a new angle into these worlds.
It was exciting to meet such a diverse group of experienced readers. At the first meeting, it was clear that the team’s diversity allows for a variety of writers to be put through. We have readers of different ages, genders and backgrounds who also have different tastes across the genres so there is no risk of only certain kinds of works being selected. It so happened in the batches I had read, I was particularly drawn to surprising worlds with strong female leads and intriguing set-ups. Listening to the other readers articulating the elements they were drawn to in a good script was very instructive as well. Bring on the thirty page sift!