SCRIPT DEVELOPMENT

AND THECOMMISSIONING

PROCESS

ALYXENTWISTLE

I N T R O D U C T I O NI HAVE TO SHOW YOU WHAT PROCESSES

OF DEVELOPMENT A SCRIPTWRITER GOES THROUGH TO DEVELOP A SCRIPT FOR

PRODUCTION.

I HAVE TO INCLUDE SOURCES FROM WEBSITES, BOOKS OR

MAGAZINES/NEWSPAPERS.

I HAVE TO SHOW YOU A QUOTE FROM THE SOURCES. I CAN TYPE THE QUOTE AND

THEN PROVIDE A WEBSITE LINK, A PRINT SCREEN OR A SCAN OF THE BOOK AND

MAGAZINE PAGE.

W E B S I T E S

I WENT ONLINE TO LOOK FOR SOME WEBSITES THAT COULD PROVIDE ME

WITH GOOD INFORMATION AND QUOTES ABOUT SCRIPTWRITING. I FOUND 4 WEBSITES AND I HAVE PICKED RELEVANT PARAGRAPHS

FROM EACH ONE WHICH I FIND VERY USEFUL.

THE FIRST ONE I FOUND WAS;

“Spare a thought to the presentation of your script. It isn't hard to make it easy to read, and it's always worth the effort of rewriting and editing in order to make your story shine.” (Online)

THE ABOVE QUOTE IS TRYING TO REMIND YOU THAT SCRIPTS SHOULD BE APPROPRAITELY PRESENTED AND EASY TO READ. THEY ARE LETTING YOU KNOW THAT IF THE SCRIPT ISN’T VERY LEGIBLE OR LOOKS THE PART, THE

STORY COULD COME ACROSS AS ‘HARD TO READ’ AND WONT DO AS WELL AS A SCRIPT THAT IS PROPERLY PRESENTED. THEY ARE ALSO STRESSING THE POINT THAT REWRITING AND EDITING YOUR SCRIPT IS VERY USEFUL

AND WILL REALLY HELP YOU ALONG THE WAY.

http://www.bbc.co.uk/writersroom/writing/tips_shortfilm.shtml

THE SECOND ONE I FOUND WAS;

“So, in essence, before a series is commissioned for broadcast, the idea has involved the person to whom it first appealed; generally a script editor; the head of comedy; a comedy expert in entertainment commissioning; a channel scheduler and a channel controller.By the time it gets presented, a script will have gone through five or six drafts, had at least one informal read, then two days of rehearsal.” (Online)

I NEXT WANTED TO SEE WHAT THE PROCESS FOR GETTING YOUR SCRIPT AVAILABLE FOR BROADCAST WAS, SO I GATHERED THIS

QUOTE FROM MY SECOND WEBSITE;

THE ABOVE QUOTE IS EXPLAINING THE BBC COMEDY SCRIPT COMMISSIONING PROCESS. IT IS TELLING YOU EVERY STEP THAT OCCURS ONCE YOUR SCRIPT HAS BEEN ACCEPTED BY THE BBC.

THEY LET YOU KNOW THE ROLE OF THE PERSON WHO HAS READ AND ENJOYED YOUR SCRIPT IS EITHER A SCRIPT EDITOR, THE HEAD

OF COMEDY, A COMEDY EXPERT IN ENTERTAINMENT COMMISSIONING, A CHANNEL SCHEDULER OR A CHANNEL

CONTROLLER. THE QUOTE ALSO EXPLAINS HOW MANY DRAFTS IT WOULD HAVE GONE THROUGH (5 OR 6), HAD AN INFORMAL READ

AND THEN 2 DAYS OF REHEARSAL BEFORE IT IS READY FOR BROADCAST.

http://www.robinkelly.btinternet.co.uk/cd.htm

THE SECOND ONE I FOUND WAS; http://www.robinkelly.btinternet.co.uk/cd.htm

I NEXT WANTED TO SEE WHAT THE PROCESS FOR GETTING YOUR SCRIPT AVAILABLE FOR BROADCAST WAS, SO I GATHERED THIS

QUOTE FROM MY SECOND WEBSITE;

THE ABOVE QUOTE IS EXPLAINING THE BBC COMEDY SCRIPT COMMISSIONING PROCESS. IT IS TELLING YOU EVERY STEP THAT OCCURS ONCE YOUR SCRIPT HAS BEEN ACCEPTED BY THE BBC.

THEY LET YOU KNOW THE ROLE OF THE PERSON WHO HAS READ AND ENJOYED YOUR SCRIPT IS EITHER A SCRIPT EDITOR, THE HEAD

OF COMEDY, A COMEDY EXPERT IN ENTERTAINMENT COMMISSIONING, A CHANNEL SCHEDULER OR A CHANNEL

CONTROLLER. THE QUOTE ALSO EXPLAINS HOW MANY DRAFTS IT WOULD HAVE GONE THROUGH (5 OR 6), HAD AN INFORMAL READ

AND THEN 2 DAYS OF REHEARSAL BEFORE IT IS READY FOR BROADCAST.

THE THIRD ONE I FOUND WAS; http://www.scriptfly.com/articles/developscreenplay.php

AFTER THAT, I WANTED TO SEE IF THERE WERE ANY DIFFERENT WAYS THAT YOU COULD ACTUALLY WRITE A SCRIPT. THIS SOURCE PROVIDED 3

DIFFERENT APPROACHES TO WRITING A SCRIPT.

THIS IS ABOUT 1 OF THE 3 APPROACHES TO SCRIPTWRITING THAT THE SITE GIVES YOU. THIS IS THE 2ND APPROACH, CALLED THE ANALYTICAL

APPROACH. THIS IS OPPOSED TO THE STREAM OF CONSCIOUSNESS – WHERE YOU “STREAM OUT YOUR WORDS” ONTO THE PAGE WITHOUT ANY THOUGHT – AND THE METHODICAL APPROACH – WHICH IS A MIXTURE OF

THE OTHER 2 APPROACHES.

THE ABOVE QUOTE IS INFORMING YOU WHAT AN ANALYTICAL APPROACH TO SCRIPTWRITING IS. IT IS SAYING THAT INSTEAD OF WRITING WITHOUT ANY THOUGHT INTO IT – YOU SHOULD PUT A LOT OF THOUGHT INTO THE BACK STORY BEFORE YOU BEGIN TO WRITE THE SCRIPT. THEY GIVE YOU TIPS ON

DOING A SUCCESSFUL ANALYTICAL APPROACH SUCH AS “USING INDEX CARDS” AND THAT YOU SHOULDN’T “WRITE A SINGLE SCENE UNTIL YOU

HAVE EVERY INCH OF THE STORY DEVELOPED.”

“Analytical ApproachThis is where you develop every detail about your story before

proceeding to write the script. This approach goes hand-in-hand with the popular screenwriting books by Robert McKee, Syd Field, John Truby and Chris Vogler. The plot is worked out in intricate detail. Maybe index cards are used or a 40-page outline written. You don't write a single scene until you have every inch of the story developed.”(Online)

THE ABOVE QUOTE IS INFORMING YOU WHAT AN ANALYTICAL APPROACH TO SCRIPTWRITING IS. IT IS SAYING THAT INSTEAD OF WRITING WITHOUT ANY THOUGHT INTO IT – YOU SHOULD PUT A LOT OF THOUGHT INTO THE BACK STORY BEFORE YOU BEGIN TO WRITE THE SCRIPT. THEY GIVE YOU TIPS ON

DOING A SUCCESSFUL ANALYTICAL APPROACH SUCH AS “USING INDEX CARDS” AND THAT YOU SHOULDN’T “WRITE A SINGLE SCENE UNTIL YOU

HAVE EVERY INCH OF THE STORY DEVELOPED.”

AFTER THAT, I WANTED TO SEE IF THERE WERE ANY DIFFERENT WAYS THAT YOU COULD ACTUALLY WRITE A SCRIPT. THIS SOURCE PROVIDED 3

DIFFERENT APPROACHES TO WRITING A SCRIPT.

http://www.scriptfly.com/articles/developscreenplay.phpTHE THIRD ONE I FOUND WAS;

THE THIRD ONE I FOUND WAS; http://www.scriptfly.com/articles/developscreenplay.php

AFTER THAT, I WANTED TO SEE IF THERE WERE ANY DIFFERENT WAYS THAT YOU COULD ACTUALLY WRITE A SCRIPT. THIS SOURCE PROVIDED 3

DIFFERENT APPROACHES TO WRITING A SCRIPT.

THE ABOVE QUOTE IS INFORMING YOU WHAT AN ANALYTICAL APPROACH TO SCRIPTWRITING IS. IT IS SAYING THAT INSTEAD OF WRITING WITHOUT ANY THOUGHT INTO IT – YOU SHOULD PUT A LOT OF THOUGHT INTO THE BACK STORY BEFORE YOU BEGIN TO WRITE THE SCRIPT. THEY GIVE YOU TIPS ON

DOING A SUCCESSFUL ANALYTICAL APPROACH SUCH AS “USING INDEX CARDS” AND THAT YOU SHOULDN’T “WRITE A SINGLE SCENE UNTIL YOU

HAVE EVERY INCH OF THE STORY DEVELOPED.”

THE FOURTH & FINAL ONE I FOUND WAS; http://thescriptlab.com/screenwriting/story/development

NEXT, I WANTED TO SEE WHAT WAS BASICALLY NEEDED FOR A SUCCESSFUL SCREENPLAY. I FOUND THIS WEBSITE AND IT GAVE ME A

GOOD IDEA OF WHAT SHOULD BE INCLUDED IN EVERY SCRIPT THAT YOU WRITE.

‘ “The basic spine of any successful screenplay is character, objective, obstacles, and theme. A good story is about an interesting protagonist (character), who wants something badly (objective) and is having trouble achieving it (obstacles), and the story is worth writing because it illustrates some kind of universal message (theme).” (Online)

THE ABOVE QUOTE IS LETTING YOU KNOW WHAT IS ESSENTIAL FOR A SUCESSFUL SCREEN PLAY. THEY EXPLAIN THAT THE “BASIC SPINE” IS THAT

OF A CHARACTER, AN OBJECTIVE, AN OBSTACLE AND A THEME.

B O O K S

ALTHOUGH I HAVE 4 GOOD WEBSITE SOURCES, I ALSO HAVE TO GATHER

INFORMATION FROM BOOKS AS WELL.

I LOOKED IN A COUPLE OF BOOKS AND PICKED OUT SOME USEFUL

QUOTES.

‘ “HOW DO YOU MAKE THE PLOT INTERESTING?You have an idea, you have worked out a broad structure, now take a look

at how you can write a script in an interesting way.The importance of conflictExamples include a problem to be solved; an obstacle to be overcome; a threat to be handled; a decision to be made; a challenge to be met.Decision making by principal charactersIt ceases to be a story and just becomes a succession of incidents if there is no decision making by principal characters on show.Consequence of action – cause and effectSomething happens, and as a result something else happens. You set up a situation and then see how the characters react to it.Creating empathyViewers like to know who to identify with; they like to know who they are cheering for.Plots to avoidIdiot plot – Script editors hate plots which only work if basically intelligent characters behave in a totally stupid way.Scenes that go nowhere – Every scene should move the story on. It should either advance the plot or illuminate the characters – but preferably both.Plots that lose tension – We must always want to know what is going to happen next”

THE FIRST BOOK I READ THROUGH WAS;‘How To... Write For Television’

‘HOW TO... WRITE FOR TELEVISION’ IS WRITTEN BY WILLIAM SMETHURST. ISBN 1-85703-04501

THE PARAGRAPH I GATHERED FROM THE BOOK WAS ON PAGES 22 AND 23.

THE FIRST BOOK I READ THROUGH WAS;‘How To... Write For Television’

‘HOW TO... WRITE FOR TELEVISION’ IS WRITTEN BY WILLIAM SMETHURST. ISBN 1-85703-04501

THE PARAGRAPH I GATHERED FROM THE BOOK WAS ON PAGES 22 AND 23.

THE FIRST BOOK I READ THROUGH WAS;‘How To... Write For Television’

THE ABOVE QUOTE IS TRYING TO HELP YOU MAKE THE PLOT OF

YOUR SHORT FILM INTERESTING USING A LIST OF THINGS TO TAKE IN MIND. THEY GIVE YOU 5 POINTS AND A BASIC SUMMARY OF WHAT

THEY MEAN.

‘HOW TO... WRITE FOR TELEVISION’ IS WRITTEN BY WILLIAM SMETHURST. ISBN 1-85703-04501

THE PARAGRAPH I GATHERED FROM THE BOOK WAS ON PAGES 22 AND 23.

THE SECOND & FINAL BOOK I READ THROUGH WAS;‘The Art and Science of Screenwriting’

‘THE ART AND SCIENCE OF SCREENWRITING’ IS WRITTEN BY PHILIP PARKER.

ISBN 1-84150-065-8THE PARAGRAPH I GATHERED FROM THE BOOK WAS ON PAGE 57.

‘ “Let us start from the beginning. What are we after?Is it a premise? An interesting situation? A character? Some action? A dilemma? A social issue? An artistic expression? A post-modernist interpretation of angst or a large cheque?The first, simple, answer is: it could be all of these and many more besides. However, in essence the start of a screenplay’s development is an idea which the writer believes in.”

THE ABOVE QUOTE IS BASICALLY GIVING YOU TIPS ON HOW TO START OR DEVELOP YOUR SCREENPLAY. THEY GIVE YOU MANY DIFFERENT EXAMPLES OF A WAY TO BEGIN YOUR STORY, ENCOURAGING YOU THAT IT WOULD BE BETTER IF YOU USED EVERYONE THEY MENTION PLUS MANY MORE THAT

YOU MAY KNOW – BUT THEY ALSO SAY THAT “THE START OF THE SCREENPLAY’S DEVELOPMENT IS AN IDEA WHICH THE WRITER BELIEVES IN” – WHICH BASICALLY MEANS DO WHAT FEELS RIGHT TO YOU BY PREFERABLY ‘DOING WHAT YOU KNOW’. SO, IF YOU ARE A FOOTBALL FAN, YOU MIGHT BE BETTER AT WRITING A SCREEN PLAY FOR A FOOTBALL MOVIE RATHER

THAN A RUGBY MOVIE, FOR EXAMPLE.

THE SECOND & FINAL BOOK I READ THROUGH WAS;‘The Art and Science of Screenwriting’

‘THE ART AND SCIENCE OF SCREENWRITING’ IS WRITTEN BY PHILIP PARKER.

ISBN 1-84150-065-8THE PARAGRAPH I GATHERED FROM THE BOOK WAS ON PAGE 57.

THE SECOND & FINAL BOOK I READ THROUGH WAS;‘The Art and Science of Screenwriting’

‘THE ART AND SCIENCE OF SCREENWRITING’ IS WRITTEN BY PHILIP PARKER.

ISBN 1-84150-065-8THE PARAGRAPH I GATHERED FROM THE BOOK WAS ON PAGE 57.

THE ABOVE QUOTE IS BASICALLY GIVING YOU TIPS ON HOW TO START OR DEVELOP YOUR SCREENPLAY. THEY GIVE YOU MANY DIFFERENT EXAMPLES OF A WAY TO BEGIN YOUR STORY, ENCOURAGING YOU THAT IT WOULD BE BETTER IF YOU USED EVERYONE THEY MENTION PLUS MANY MORE THAT

YOU MAY KNOW – BUT THEY ALSO SAY THAT “THE START OF THE SCREENPLAY’S DEVELOPMENT IS AN IDEA WHICH THE WRITER BELIEVES IN” – WHICH BASICALLY MEANS DO WHAT FEELS RIGHT TO YOU BY PREFERABLY ‘DOING WHAT YOU KNOW’. SO, IF YOU ARE A FOOTBALL FAN, YOU MIGHT BE BETTER AT WRITING A SCREEN PLAY FOR A FOOTBALL MOVIE RATHER

THAN A RUGBY MOVIE, FOR EXAMPLE.

M A G A Z I N E S

I FINALLY DECIDED THAT, TO MAKE MY RESEARCH MORE THOROUGH, I

WOULD ALSO GET A QUOTE OR TWO FROM A MAGAZINE.

THE ONE & ONLY MAGAZINE I READ THROUGH WAS;‘Media Magazine’

THE ARTICLE - TITLED ‘SPIN OFF AND TAKE OFF’ - IS WRITTEN BY A SCREENWRITER CALLED IAN PIKE. HE “TALKS US THROUGH THE PROCESS OF ADAPTING A ‘LID-LIFTING EXPOSÉ’ NOVEL FOR SCREEN AS A SPIN-OFF

FOR THE BBC’S HOTEL BABYLON. ONLY THIS TIME, IT’S SET IN AN AIRPORT”.

‘ ‘Adapting a book? That’s got to be easier than starting from scratchhasn’t it? There are already characters and stories to draw upon andthere’s the added bonus that all the Babylon books are lid-liftingexposés, so plenty of inside knowledge to be gleaned.”

THE QUOTE IS SAYING THAT IT WOULD BE CONSIDERABLY EASIER TO WRITE A SCREENPLAY FROM AN ALREADY EXISTING STORY, RATHER THAN HAVING

TO MAKE EVERYTHING UP YOURSELF. HE COMMENTS ON HOW THE CHARACTERS AND CERTAIN STORYLINES HAVE ALREADY BEEN DEVELOPED, SO HE WOULD ONLY HAVE TO MAKE MINOR CHANGES IN HIS SCREENPLAY

TO MAKE THE ON SCREEN VERSION WORK.

THE ONE & ONLY MAGAZINE I READ THROUGH WAS;‘Media Magazine’

HOWEVER, HE ALSO POINTS OUT THAT MAYBE THAT ISN’T ALWAYS THE CASE AND THERE MAYBE SOMETHING ELSE TO THINK ABOUT. MY NEXT

QUOTE HIGHLIGHTS THIS;

‘ “Starting points there may be from the book, but there is also thedawning realisation that the readers will have pre-conceived expectations that need to be met.”

THIS QUOTE TELLS YOU THAT THERE ARE THINGS YOU NEED TO THINK ABOUT WHEN TURNING WRITTEN WORDS INTO AN ON SCREEN

ADAPTATION. HE MENTIONS THAT PERHAPS THERE ARE MANY FANS OF THE ORIGINAL BOOK THAT MAY NOT LIKE ANY CHANGES THAT THE

SCREENWRITER MAY HAVE DONE AND WILL WANT THE TELEVISED VERSION TO HAVE CERTAIN SIMILARITIES WITH THE ORIGINAL BOOK.