Micheal Jacob
Wednesday 31st October 2012 8:37pm
Manchester
299 posts
Quote: David Bussell @ October 31 2012, 7:55 PM GMT
Bad luck, Stott. Have to say I to agree with your point though - when you've already read two and a half thousand scripts, doesn't it make sense to read the forty you've shortlisted in full? Not to knock anyone who made the final five (well done, Martin H!) but isn't there the distinct possibility of having shortlisted a handful of really good sitcom beginnings? The first ten pages is no promise that the ones to follow it will be as good. Isn't the real mark of the writer that they can bring their script to a satisfying conclusion?
The first ten pages should be enough to let the reader know what the story is, who the characters are, and whether it's funny. This competition (not involving me), like those that I've been responsible for, gets the writers together for workshops and mentoring, so that the finished script benefits from a development process. The judges, I'd say, were looking for work which demonstrates that the writers know what they're doing and can benefit from more experienced eyes to help them deliver the promise of their extract.
As a judge/selector/short-lister, if something grabs you and seems promising, it provides a foundation for further work. That work can just be tinkering with a full script, or a radical rethink. But always at the front of the mind is whether this is a show that can be produced.
Personally, I've always included scripts which would never be produced but are by writers who have an interesting and original voice, though this competition may be more focused on the idea than the writer. So anyone who didn't make the final five may have been really good but a hard sell.