The TV Drama Writers' Programme is a unique initiative which gives promising screenwriters the opportunity to write the first episode of a potential original series or serial for the ±«Óătv with the aim that that the writer’s series or serial will be taken into full development.
Leanne Davis was one of the eleven writers on the 2020/21 scheme, which culminated just before Easter with script read-throughs, and explains what it has involved and meant for her development as a writer.
To say the past year has been challenging would be an understatement. My beautiful mum died during the launch week of ±«Óătv Writersroom TV Drama Writers' Programme and just a couple of weeks later a major global pandemic ensued. Taking all this into account, I must say I’ve never been more grateful to have something both thrillingly creative and wholly concrete to focus on, all the while supported by some wonderful people, not least my phenomenal team at .
But let’s begin at the beginning over eighteen months ago; June 2019.
A ±«Óătv Writersroom post alerted me to the fact there was only 1 week to go to the closing date of the ±«Óătv TV Drama Writers Programme; submissions requiring both a full length script and treatment idea for an entirely different show. At this point I didn’t fully comprehend what the scheme was exactly but it sounded exciting and worth a shot.
I pulled a very early draft of an old script I had sat on my computer and spent a full week re-writing it. Alongside this and with limited time, I roped my partner into helping me brainstorm an idea I’d had for a feminist dystopian thriller; A Handmaid’s Tale slash Years and Years. By the end of the week I was chuffed to have, at the very least, two new pieces of work that I felt worthy of sending out to producers. Deadlines, it appears, are a writer’s friend.
The eleven writers on the 2020/21 TV Drama Writers' Programme
A couple of months passed and I had totally forgotten about my application; until I received an email stating that I had been shortlisted. The ±«Óătv Writersroom team wanted to meet with me to discuss my submission - plus two further treatment ideas - in two weeks time. I thus had fourteen days to write two more brand new treatments and suddenly I wasn’t so keen on deadlines anymore! High on adrenaline, I scrambled around for ideas and finally pulled together two additional and very different proposals. Once again, though somewhat frazzled, I was chuffed to have two more well-explored ideas that I could use in generals and producer meetings.
A fortnight passed and my meeting at ±«Óătv Broadcasting House in London ensued, complete with ninety minutes of serious grilling with two ±«Óătv Writersroom Development Producers; asking about my journey as a writer, the inspiration behind my submitted pieces and ultimately a fairly thorough interrogation of my work. Difficult questions were posed which I didn’t always have the answers to and areas of improvement suggested which were received with gratitude. I was then told to go home and work on all four ideas, as should I be successful, the next stage would be sending these works out to the ‘indies’ (independent TV producers).
Again many more weeks passed and I distracted myself by launching into the development period of my first short film. A podcast interview with once taught me to always have several projects on the go, so nothing ever becomes too important. I really do heed this advice. One morning a gloriously unexpected email arrived telling me I had made the next stage and to send my spec script, the three improved treatment ideas and a writer biography forthwith. Fourteen of the hottest indies in the UK were being sent our work, including , , , , , , , , , Heyday, , , and . A few weeks later I received emails inviting me to meet with the development execs of ±«Óătv Studios, Bad Wolf, Heyday and Clerkenwell. I literally couldn’t believe my luck.
Wearing my finest, dark green, leopard print power suit, I trained it down to London once more. Each indie meeting was thrilling; allowing space to further explore my ideas and hone my pitching skills. I would have been delighted to be chosen by any of these amazing indies but I can’t deny the small hope that Heyday would make the offer, given the absolute blast we had in the meeting. I felt really safe in their hands, especially when discussing ideas and issues close to my heart - something I feel is imperative in order to create my finest and most honest work.
More weeks passed and during the week of my Directing course, whilst sat alone in a Beaconsfield Travelodge and drinking red wine out of a mug a la Alan Partridge, I got the call I had never dared to hope for. Heyday (Harry Potter/Paddington/Once upon a Time in Hollywood, The Longsong, The Capture - those guys) had chosen to spend the next year working in development with me. I rang home; told my partner and then my Mum and Dad and spent the rest of the night chin-chinning my lone self in the mirror. Partridge would have been proud.
Script read-throughs for the TV Drama Writers' Programme
Of course, life never quite goes to plan. The very week of the ±«Óătv Writersroom's event at BAFTA was the same week we discovered that my phenomenal mum had very little time left to live. However, much against my better judgement and very much with my family and Mum’s own encouragement, I made my way down to London for the big event. The great and the good of TV development filled the room, allowing we writers to awkwardly ponder how best to strike up a conversation with any and all of them. Mercifully, the wine flowed and soon too did the mingling. My heightened state made for some unusual conversations but I felt confident in the knowledge that Mum had her hand on my shoulder across these endeavours.
Five days later she passed away at home, surrounded by people she loved.
To my gratitude, both Heyday and the ±«Óătv were beautifully respectful and kind, allowing me time to grieve (and slowly prepare for the imminent global pandemic). Upon my return to Nottingham, Heyday and I scheduled something I’d never before heard of, a “zoom meeting”. We discussed the three treatments I had submitted as well as my spec script and it became apparent to all of us there really was only one story we all wanted to tell; that of a madcap Northern family truthfully, lovingly and most importantly, positively dealing with their mother’s early-onset Alzheimer's diagnosis. Based on some of the themes addressed in my original spec script as well as my one woman Edinburgh show some years previously, we set about brainstorming the piece with me regaling crazy tales and fond memories of the past 10 years with Mum.
My utterly stupendous team, Head of Development and Development Execs Anna Hargreaves and Catherine Gobert-Jones, guided me carefully through what could have been a very tricky period, allowing me space to step back when the subject matter became too painful. Their patience, alongside constant belief and encouragement, meant that a year that could have felt so bleak and dark was actually filled with much joy, hope and light. We became a little family on zoom and over the months I wrote (and then re-wrote) the first two thirty-minute episodes of a show I’d wanted to write for years. Twelve months and many drafts later, all under the exquisite guidance of these phenomenal women, we finally sent my work to the chiefs at ±«Óătv Writersroom alongside the work of my ten other, brilliantly talented, ±«Óătv Writersroom pals.
Writers Bella Heesom (Firebird Pictures), Catherine Moulton (Moonage Pictures), Dipo Baruwa-Etti (Duck Soup Films), Emma Dennis-Edwards (The Forge), John O’Donovan (Element Pictures), Lindsey Alford (Red Production Company), Melissa Osborne (±«Óătv Studios), Naomi Sheldon (Bad Wolf), Rabiah Hussain (Clerkenwell Films) Stef Smith (Dancing Ledge Productions) and myself became a solid unit throughout the year; meeting regularly on zoom for wine, chats and gossip; one hour meet ups running to three. I feel so lucky to now have a solid group of brilliant, professional writer pals to call on for advice, support and guidance in this challenging and often solitary career. What was heartening is that we were all chosen for our individual merits and distinctive voices; meaning we all had something new and unique to bring to discussions.
Leanne Davis
Finally the week came where we were to hear our work, 20 pages read aloud on zoom by some well known acting talent and directed by the brilliant . With 2-3 pieces scheduled each day, mine was timetabled for first thing Friday. A pre-meeting with my team and Heyday President Tom Winchester both calmed my nerves and bolstered my confidence and the stage was quite literally set. I gave my two minute introduction, explaining my reasons for writing this piece and why I believed it needed to be made. And I just managed to hold it together when mentioning that the day of the read-through would have indeed been my parents 55th wedding anniversary. My poor actors, now somewhat choked by my X-Factor introduction, then had to go on to perform comedy. Being professionals they stormed it and the hour ended with further comments and questions. A zoom call with my Heyday crew alleviated post-show nerves and we, and the rest of the ±«Óătv Writersroom group, were left with the knowledge that the rest of this journey was now out of our hands.
Two weeks later and I am here contemplating the year that was. After all the many discussions and last minute re-writes, I desperately miss the pandemonium and excitement of the last few months and weeks leading up to our submission to the commissioners. But fortunately I am still in touch with all those mentioned above and the conversations have continued.
None of us yet know what will become of our last twelve month’s work; some may be commissioned by the ±«Óătv, some elsewhere. Some of us may start work on something entirely different, buoyed by the confidence and learnings of the past year. I for one know that my writing has improved immeasurably, I’ve had a wholly unique and rewarding experience that no one can take away from me and I’ve made friends whom I will champion for the rest of my career. And for that I am truly grateful.
It really has felt that someone immensely special has been looking out for me.
TIPS for success when submitting to ±«Óătv Writersroom:
â—Ź Why you?
Know why you’re the one writing this piece - you and not someone else entirely. What is your personal connection to the story, no matter how deeply buried. That truth will be revealed in your writing as distinctive and honest. This is particularly pertinent when it comes to pitching your idea. Make your viewers, listeners and readers care.
â—Ź Why now?
Know why this piece needs to be written now. What is going on in the world which makes it relevant? Even if the script is set way in the past, know how it links to our current and future. Again, why should we care?
â—Ź What else?
Commissioning ideas, winning awards and being selected often comes down simply to taste. It’s not that your script and idea isn’t fabulous - it just might not appeal to the person reading it. Or indeed, they may already have something similar on their slate. Think about what keeps you awake at night; what angers you, turns your blood cold or brings you great joy. Turn these little balls of fire into brand new stories using your wholly distinctive voice. If it scares you to think about writing about it, you’re probably on the right track!
Find out more about the TV Drama Writers' Programme
The writers and productions companies taking part in the 2021/22 TV Drama Writers' Programme will be announced soon, Keep an eye out on our social media and website for details. The opportunity was open for applications in June-July 2020 and will be open again for applications to the 2022/23 scheme later this year with details on our Opportunities page.