Sam goes to the Screenwriting Weekender and writes about it….

I’m Sam, Neale like the antichrist but spelt different. I’m a writer and actor from Newcastle upon Tyne. I have a TV show in development with Channel 4 and Bonafide Films, I’m one of the current New Writing North Creative Associates and I’m the Tyneside Cinema Screenwriter in Residence. I have two kids and two cats. I don’t have a writing agent (yet).

Friday 31January came around, and I was on my way down to Live Theatre
for the opening event of the New Writing North Screenwriting Weekender, nursing a head cold that made covid feel like my honeymoon. I was asked to write something engaging,
possibly even inspiring, at the very least coherent for the New Writing North and BBC Writers website and socials. I decided I would plough through the fog and fatigue the best way I knew how…alcohol. So, I arrived at Live, medicinal wine in hand, awkward, anxious, and excited.

Writing can be a solitary pursuit, sometimes even lonely (more on that later). I was
acting professionally for more than a decade before I became a writer, and I still find
networking events excruciating and socially crippling. It’s hard to put yourself out there. Especially if you’re new in the game, have had a break in your career or have experienced more than your fair share of rejections. Every writer I spoke to had their own story of what brought them down to the theatre that weekend. They carried their own vulnerabilities, insecurities, and aspirations; their desire to be seen and accepted as an artist and find validation and community from that. Fortunately, New Writing North had us covered.

The Weekender…

Friday kicked off with the eagerly anticipated keynote speech by Peter Straughan fresh off the back of his Oscar nomination for Conclave. Peter tells us about his early life growing up in Gateshead (same!) How he began his writing career at Live Theatre (uhm… also
same!) and then went on to receive support from New Writing North to become a
screenwriter (omg we’re practically twins I can’t wait for my Oscar nom!). Joking aside, Peter’s talk was really inspiring not just because his beginnings seemed ordinary and relatable, but because his sense of wonder at the magic of it all was contagious. He talked about listening to and trusting the “little voice” inside of you. That this voice is “fingerprint unique” in the way that it responds to and processes “the outer world.” Only you can tell the story you are going to tell in your unique voice. He encouraged the room to hold on and keep going, even when it seems like it might never happen. That it can get easier and wonderful things do happen if you hold on long enough. Following Peter’s keynote was…

 

Working with Indies

Lydia Hampson from Sister, Adam James from Wall to Wall and Rachelle Constant from Clerkenwell Films

It can seem daunting when you hear their resumes and the kind of projects the panel have worked on, notably Fleabag, Chernobyl, and Baby Reindeer. However, they were all keen to stress how enthusiastic they were about new writing and how important it is to encourage emerging talent outside of London. Adam advised the room not to put developers on a pedestal.

Saturday was…full on. I attended eight panels in total and the whole day is mixed up in a sort of delicious memory broth. New Writing North crammed in some amazing panels and guest speakers so there was a lot to digest. I’ve included the panels with what I think were the most important takeaways for any emerging writer. If you want the whole run-down, you’ll just have to come to the next one.

Saturday highlights…

 

What Makes a Perfect Spec Script

Jess Loveland (BBC) and Kirstie Macdonald (FilmNation).

When it comes to crafting the perfect spec script, both Jess Loveland and Kirstie Macdonald emphasize the importance of writing the story you truly want to tell. Rather than trying to cater to what you think development executives or programmers are looking for, focus on creating something that excites you. A strong opening act is essential – engage the reader immediately with intrigue and compelling storytelling. Be mindful of stage directions; keep them concise to allow the story and characters to take centre stage. As Head of New Writing at BBC Writers, Jess Loveland is responsible for discovering the best new talent across the UK. She works directly with emerging writers, helping them develop fresh and original ideas for television. The BBC Writers team look for writers rather than projects, meaning your spec script should demonstrate your ability to tell a great story with a unique perspective. Instead of treating your script as a pitch for production, think of it as a showcase of your voice, storytelling ability, and the kinds of narratives you are passionate about creating.

Kirstie Macdonald, originally from South Shields, has built a career as a script editor, producer, and development exec. Now at FilmNation, she collaborates with a team to develop ideas with both new and experienced writers, pitching projects to broadcasters. She is particularly passionate about nurturing talent from the North East, believing that writers shouldn’t have to leave the region to find success. Kirstie stresses that storytelling is paramount – many writers fall in love with their characters but mistake dialogue for true narrative progression. Before submitting your spec script, ensure that the story itself is strong enough to bring your characters and world to life. Finding your unique voice is crucial: How can you tell this story in a way that no one else can? Both experts caution against overly long stage directions, clichéd tropes, and imitations of existing shows – these can count against you. Ultimately, the most important thing is to write a script that excites you, because if you are passionate about it, that enthusiasm will translate to the reader. And when it comes to perfection, Jess offers some reassuring advice: if you’re happy with your script at 70%, it’s ready to send!

 

Writing Comedy for TV

Ashley Storrie, Jason Cook and Mark Brotherhood

There’s no single path into TV comedy writing, as Ashley Storrie, Jason Cook, and Mark Brotherhood proved in a lively panel discussion. Ashley, raised in stand-up, defied industry advice by setting her short films in Scotland, parodying popular franchises like Harry Potter and The Handmaid’s Tale – a bold move that helped her find an audience and transition into TV writing. Jason’s journey began with stand-up, where he told stories about his family. This became the foundation for his first TV show, Hebburn. He launched his own production company, Schnoobert Productions, at 50 – showing that it’s never too late to start. Mark’s career took off through a BBC writing scheme, eventually leading to his recent show Ludwig on the BBC.

Their experiences highlight the importance of persistence, adaptability, and seizing unexpected opportunities. Ashley landed her role as lead writer on Dinosaur after submitting a self-tape for an acting role. Mark’s time with BBC Writers was a steppingstone, while Jason’s career evolved through years of stand-up comedy and storytelling. The key? Know what makes you laugh, be open to new experiences, and don’t be overly selective – small production companies can be just as valuable as major broadcasters. Most importantly, be friendly, collaborate well, and you’ll find that people want to help.

 

In Conversation with Tony Schumacher

With an origin story to rival Batman’s, Tony talked about his journey from leaving the police force with his mental health in tatters and finding himself homeless; to his serendipitous meeting with a magazine publisher while driving a cab which would eventually lead to him becoming a best-selling author and award-winning TV writer. Tony says the first secret to becoming a writer boils down to two things – opportunity and a deadline. If you are presented with both, you must respond (…sorry!). Tony was advised to write about his own life by the great Jimmy McGovern, knowing what a great story it was. Tony believes this to be a great exercise for all writers, even if it never gets made or shown to anyone. “Write you” he tells the room, “Write what you want to write, tell your story.” Embrace your own unique journey. Side note: Tony is BBC Northern Writers Voices alumni. He participated in the scheme just before he got the green light on his hit show The Responder.

 

How to Get an Agent

Kate Haldane, Grace Baxter, and Ellen Gallagher

When it comes to securing an agent, one golden rule stands out – do your research. It’s as simple as that. Agents specialise in different types of clients and projects, so before reaching out, take the time to understand their preferences and the kind of work they like to make. Sending a generic submission to every agent you can find won’t do you any favours. Instead, target those who are a good fit for your style and genre. Look at their client lists, read interviews, and check agency websites to get an idea of who they are. Once you have identified your preferred agent, approach them professionally – not everyone likes a “Hi.”

Do your best to craft a clear, concise query that showcases your work and why you’re reaching out to them specifically. Ellen rightly advises that you should only approach an agency when you actually need an agent – for example to negotiate a contract. If an agent expresses interest, be prepared to discuss your long-term career goals and where you see your writing going. Getting representation isn’t just about having a great script, it’s about finding someone who believes in your work and can champion your career. Be patient, expect rejections, and keep refining your craft. The right agent is out there, but they need to see that you’ve done the legwork to approach them thoughtfully.

 

Pitching Yourself and Your Ideas

Emma Millions

A well-crafted pitch deck can be the key to breaking through industry barriers. More than just a summary, it’s a chance to showcase your creativity and immerse potential investors, producers, or publishers in your world. If you have design skills, use them – your artwork, layout, and font choices should feel like an extension of your story. Take inspiration from Stranger Things, which famously pitched itself as ‘Stephen King meets Steven Spielberg’. A quick Google search of their pitch deck shows just how effectively they communicated their vision.

Beyond visuals, a strong pitch is built on substance. Talk about why your story matters to you, what personal connection do you have to it? Introduce the hook: the compelling circumstances in which we find your character. Then, explore the theme – what is your story really about, beneath the plot? A great pitch deck doesn’t just explain your idea; it sells the experience, making it easier for decision-makers to see its potential.

Sunday Funday…

On Sunday, Jess Loveland gave us the lowdown on the BBC’s schemes for emerging writers – Scripted, Voices, Pilot, and Access. BBC Writers try to be as ‘open access’ as possible. Application guidelines are clear and (speaking from experience) the submissions process is reassuringly painless. On top of this, their website is packed with resources, including guest blogs, writing tips, and an extensive script library. If you have a script or even an idea that you’re excited about, I urge you to apply. I learned so much about the industry during my time on North East Voices and made some really useful connections. Jess and her team genuinely care about finding and supporting new talent, so get on it! Details on how and when to apply can be found at https://www.bbc.co.uk/writers/opportunities/

Jess was later joined by North East screenwriter and director Benjamin Bee, who participated in both the BBC Access Group and BBC Comedy Collective. Ben challenges the narrative of the ‘born to do it genius writer’, sharing how his struggles with dyslexia and ADHD made writing seem like an impossible career choice. Funny and relatable, Ben talks about the “long and horrible” struggle to get to where he is now, with multiple TV projects in development. He sees writers as “really fucking odd” (can confirm!) with overactive imaginations constantly trying to figure out how the world works and how we all fit into it. During his time on BBC Access, Ben spent 18 months with a group of “very funny” people learning everything from the basics of storytelling to the psychology of character. It helped him to better understand his craft and build his confidence, for as Ben says, “your writer’s voice is your confidence.”

 

Mental Health and Wellbeing for Writers

Chaired by Rupert Jones-Lee of the Film and TV Charity

A staggering 30% of industry workers admit to feeling lonely, which is four times higher than the national average. There has been a rise in freelancers considering leaving the industry due to poor mental health, and a worrying 32% of all respondents to the Film and TV Charity’s Looking Glass 2024 survey had taken firm steps towards leaving. The survey also revealed that in the last year a horrifying 30% of industry workers who responded had thought about ending their own lives, which is six times the rate among the most recently reported figures for the population as a whole.

It is clear we are still a long way from protecting the workers in our sector. This is another reason events like these are so valuable as they bring people together where they can talk openly about their struggles as well as their triumphs.

New Writing North knocked it out the park with the Screenwriting Weekender and if it happens again, I urge you to grab a place. You won’t regret it. Until next year!

The Film TV Charity offer a free support line if you are currently struggling with your
mental health and looking for advice – 08000 540000