Alma's Not Normal

Sophie Willan interview

Series 2 of Alma's Not Normal sees the central character back in town and desperate for things to be different. She bags herself a talent agent, who turns out to be a bit of a blagger. She buys herself some new wheels, that she can't afford. And she lands herself an acting role that is completely demoralising. It's safe to say, things are not panning out for Alma. Sophie Willan explains more here:

We left Alma at the end of last series with her dumping Anthony and feeling empowered to follow her dreams - what does this series bring for Alma?

This series Alma faces a new set of challenges that change Alma forever. There is a loss of innocence; a sort of coming of age and finding her own voice - both as a person and a creative.

How difficult was it to write the second series after the first, or was it always scoped out?

Once I realised that the stories I needed to tell weren't just about Alma or personal to me - they were political, philosophical and things we need to talk about - the story just flowed out of me.

Mental health is a theme that is reflected in this second series, especially in terms of the mental health services in the UK - it's clearly very important to you - can you tell us more about that and how you decided to tackle it in this series?

I continued to tackle it with humour and heart ... but with more candid rage. I wanted to take the state to task and show how people's lives have genuinely been affected for the worst by the detrimental cuts to social care services. I wanted to show how this cycle along with the housing crisis has criminalised and institutionalised vulnerable people and particularly, I wanted to show the impact on vulnerable women.

The power in your writing - the way we laugh and cry with Alma is incredible, you're so good at communicating her desperation and heartbreak - where does that inspiration come from?

Humour is about rage and optimism, in my opinion and the emotion of the story comes from a place of love and sadness. I believe if you're able to tap into all these emotions and authentically tell the story with generosity and pragmatism, that's what will come out. Also, Northerners have a natural gallows humour so it's sort of innate.

Why do you think that scripted comedy can be so powerful when exploring darker themes?

In my view, comedy is both a rebellious act and a survival mechanism. I don't really see comedy and drama as separate - they naturally co-exist. If the story is authentic and the characters feel real, the comedy and drama will seamlessly intertwine and move an audience in equal measure.

Female relationships are central to the series and it's wonderful to see a female ensemble piece on our screens. Tell us a bit about that - what's it like on set, how do you all work well together?

I am so lucky to work with three wonderful women who are all super talented and a joy to be around. With Shiv [Siobhan Finneran] and Lorraine [Lorraine Ashbourne], I've learnt so much from them, whilst also feeling so supported and respected as a writer. I've fallen in love with them both and adore being on set with them. We have a lot of laughs but they always give their whole selves to the project and the character which I'm very grateful for.

Jayde [Jayde Adams] and I both came up together through stand-up and then Alma was both of our first big things really. So it has been wonderful to share that journey.

There are some very emotional scenes in this series, how did you all prepare for that?

A coffee, a pastie and a fag with Shiv before and after the scene.

Grandma Joan has become an icon - her attitude is infectious - tell us how her character develops and what you love about writing for her.

Joan's a joy to write because of her brilliant one-liners, her original/not-normal take on day-to-day things (like Feng Suey or eating eggs) and her unruly, unfiltered approach to life. She is very much like my own grandma, Denise, who passed away in 2021 - and celebrating Denise through Joan is a joy and a privilege not many people get to do once they've lost someone.

As the series progresses, we get to explore more of Joan's childlike vulnerability and petulance, which is something we haven't seen much of before. This vulnerability is almost clown-like and in my opinion makes her even more loveable. We also get to meet her family, which explains a lot - it certainly shows us where and how she developed that acerbic wit!

Alma's best friend, Leanne, has an unwavering support of her - how does that develop in this series?

What's brilliant about Leanne and Alma is that, despite all the chaos in Alma's life, Leanne remains her constant - the only true, unwavering presence she can rely on. In Series 2, we see Leanne take on new challenges and start to carve out her own path, but that doesn't shake the core of their bond.

Leanne is the ideal best friend - always loyal, supportive, and unafraid to speak her mind. The joy and comedy in their relationship is a celebration of female empowerment and friendship. Everything audiences loved about their dynamic in Series 1 only deepens in Series 2.

Alma is an incredible character - a mix of reckless and fabulous but vulnerable and powerful too - which side of her do you like writing/playing most?

Alma is such a joy to write and play because she's so multifaceted; reckless, fabulous, vulnerable, passionate, sometimes all at once! The combination of fearlessness and fragility make her complex, and playing with that balance is what makes her exciting to play.

As we know, music and costume is an integral part of what makes the series so special - how did you develop this for Series 2?

From the very beginning of crafting the show, I had a clear vision for the music and costume because they play such a huge part in her world. The soundtrack was all about rebellious women - Riot Grrrl, punk, soul, divas, voices that reflect Alma's own boldness and vulnerability. That spirit of defiance and passion is woven through every scene.

Costume was just as important and was actually written into the script on some occasions; a leopard print onesie for Joan, a silver bomber jacket for Lin, and of course, Alma's iconic pink fluffy coat. I had a mood board from the start, mapping out how I wanted the font, colours, and the overall feel of the series to look.

Then, I got to collaborate with some incredibly talented people - particularly Andrew Chaplin the director who brought a brilliant creative vision and sophistication to the show.

And Daniella Pearman, our costume designer, who took that vision and infused it with so much thought and imagination, adding intricate details that really brought each character to life.

It's great working with people you have such an established connection and creative shorthand with. We've worked long enough now that we all share a collective vision for the show. That collaboration has only strengthened the series, making it feel even more cohesive and grounded in this world we've built together.

The physical comedy is always present in your writing too - how do you manage that in the writing process? Does that develop at readthrough stages or while you're on set? How does your vision for the aesthetics and how things look and sound evolve while you're on set.

I don't really separate physical comedy from dialogue humour. For me, it's all about character - what they do, what they say - and I can always see that in my head as I'm writing. If it makes me laugh in the room, it goes straight into the first draft of the script! The physical comedy naturally flows from the characters and their personalities, so by the time we get to the read-through or on set, it's already embedded in the script.

That said, things do evolve once we're on set. The actors bring their own energy to it, and there's often something spontaneous that adds another layer of humour. The aesthetics and how things look and sound definitely develop as we go. I have a clear vision in my head when writing, but I'm always open to seeing how it translates visually and adjusting it based on what's working in the moment. Collaboration with the actors, directors, and the crew often enhances those physical moments, and that's what brings the comedy to life in such an authentic way.

Being the creator, writer, executive producer, central lead is an enormous amount of roles to play on the show. Does that make the whole process easier or more difficult?

Being the showrunner on a production comes with both its benefits and challenges. On one hand, it's wonderful to have the autonomy to oversee the whole process and really bring a clear vision to life. I can ensure that everything from the first script to the final cut in the edit aligns feels right which is a huge privilege. But it's also a lot of responsibility, and you have to manage it carefully.

What's crucial is working collaboratively with the team. I'm very lucky that the director is not only a joy to work with but we have a great shorthand and a shared vision, which makes the process much smoother. It's been important for me and Chappers [director Andrew Chaplin] to have fun working together and brainstorming and that's come about naturally through a mutual respect of each other's work.

What would you like viewers to take away from this series?

This series is much more about Alma finding her voice and confronting the injustices around her, so there's definitely more rage in it. It's bittersweet, because while Alma's resilience and humour are still there, we don't shy away from the reality that there's no happy ending within a broken system.

I hope viewers come away with a deeper understanding of the challenges people face when institutions don't support them, but also with an appreciation for Alma's fight. She's not giving up, and while she might not get everything she deserves, she's still carving out space for herself and finding her own strength. That mix of frustration and hope is really at the heart of this series.

Alma's Not Normal is on BBC Two on Mondays at 10pm.