![]() We were looking for a children’s project, and she’s normally a writer of magic realism for adults, but she’d just started doing her first children’s book as a sort of favour to her godchildren. A few of the writers that I’ve worked with and brought in, they’ve written novels – like Jeanette Winterson. So, it’s just great to just broaden your knowledge of different writers. To cut a long story short, it’s great to get as many contacts as you can, but always be aware of who you’re genuinely, passionately interested in rather than faking it. She said, ‘well, I’ve been talking to him about these different ideas.’ The company pretty much hired her on the spot, because they really wanted to work with that particular writer and she had an in. At one of the companies I was working for recently as a freelancer, a producer turned up one day and she’d got a connection with quite a big writer that’s quite hot at the moment. If you genuinely like their work it’s great to try and make a relationship with them, because that can stand you in great stead. Just look through the listings and if there’s a new writer that you haven’t heard of, then go and see them. So, every kind of theatre would be useful. Now it’s a little bit more professional, I suppose, and there’s also a big drive to promote the work of new writers. It was a very cheap way for writers to get their work out there. It used to literally be just a room above a pub with half a light on the stage. But nowadays, actually, the fringe theatre has changed. If you’re in London, I suppose those would be the Finborough and the Gate. It’s a question of getting Time Out and looking at the best places for new writers. It didn’t matter whether it was in London or in Edinburgh or wherever. That’s how a lot of big sought-after screenwriters started. Back then, he was doing plays above a pub kind of thing, and then bigger theatres. SCRIPT GUIDE EDITRA TVHe’s really big now and has written quite a few TV series. When I first started out, I was keen to work with Dennis Kelly. I always advise people that it’s great to go to the theatre as often as possible, because tomorrow’s TV writers are today’s fringe theatre writers. Script editors need a good knowledge of who’s out there writing In that case, you’re helping them to just read the script, providing them with notes, doing research for them etc. Script editors usually start by assisting someone. Or else you might, as a development script editor, come up with your own ideas and then look for a writer to work with on that. So, you’d then go off and think about that, and then set up a meeting with a writer to get them interested in working for you. Then they might ask you to go out there and find a writer who’d be really good at doing that. Your executive producer might say that the BBC really want a new crime drama, or a new precinct drama set in either a hospital or with firemen, or whatever. The actual script editor might research ideas, because you could be required to generate a project. However, you usually start by assisting someone. When I first started you were meant to go into the industry as an assistant script editor, but in my case the company where I worked didn’t have that option or budget, so I went straight into editing a project that was about to go live on television. That’s the most essential task that the script editor does, but it also involves a whole range of different things which can change with your seniority and where you work. To a certain extent it’s what it says on the tin – you edit scripts. The script editor’s role is changeable, really, depending on the level of script editor you are. What sort of role do script editors play in the development process? ![]()
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