Submitting such a project to a standard TV production company or a literary agent could actually damage your career in the short term.
In the UK, apart from the long running dramas like Holby, Casualty, Emmerdale etc, we have always gone for shorter runs. Any number between 2 and 10 basically, and that number is often decided comparatively late in the process.
How do you like to give/receive feedback and notes on a script? Do you use questions, like Adrian Mead suggests: his ‘Power of 3’ idea? Are there certain things that can really help (or screw up) writers? Jonathan Young jyoungcreative.info Adrian’s Power of Three idea is pretty
Are TV production companies more likely to be interested in good pitches of single dramas or long-running series from brand new writers?
There are so many screenwriting software packages on the market it can be confusing – and very expensive. But you actually don’t need to spend a lot of money.
Is there a type of script that agents/readers crave for that they simply don’t see enough of? I feel that I’m writing in a vacuum. There is no point me writing scripts about, say, female gangsters or comedies set in Hull if they already have loads of
How in-depth does a writer need to go to research a story? This is fiction, after all. Isn’t it best if I just make things up? I don’t feel very creative when I’m researching – it just seems like I’m stealing things. I should be more inventive shouldn’t
“Is it worth the time and money to enter script competitions?”
“If a spec script will never get made and is more of a showcase, what are readers/producers looking for that I should highlight in my writing?”
How do you know when you’ve finished a draft of your script? This article gives you a simple way to know.