UK Screenwriting thread incoming: I had a great time Zooming in to this year's @NFTSScotland 'Writing the TV Pilot' course today & there was a question asked that I thought would be handy to share here...

There's lots of advice out there about getting an agent & get your script noticed by producers, some of which I covered in my previous pinned thread, but this question was:

Once you sell your first TV script, what happens next? What's the process from there to the screen?

Disclaimer as always - this is about original TV show ideas in the UK (not writing on existing shows) and is based on my (still quite limited) experience. We good? Good, here goes...

From a writer's pov, to get a show onto the screen involves two big hurdles. 1. Getting into development with a production company. 2. Getting a greenlight from a broadcaster. Let's start with 1.

When a production company wants to make your show (because it's brilliant & original & smart & timely & you're great too) the first thing they'll do is option it. What's 'option' mean?

Optioning a script means the production company (pc) buys the exclusive right to pitch it to a broadcaster for a limited length of time (often 12-18 months). So once you sign the deal, you can't then take this script anywhere else for the duration of the period agreed...

During the option period, you'll work with people in the pc to improve the script and most likely write some kind of supporting document like a two pager or a short treatment. The aim is to get the script & extras to be as good as they possibly can be before you go try to land...

... The big fish (the fish in this metaphor is a broadcaster, BBC, ITV, Sky etc. ). This process of improving the script & writing supporting docs is called Development. So after you get *Optioned*, you are now *In Development*. Easy, right. But before we get too far...

You want to know about money, right? When you sell your first script can you chuck in the day job and get that LA style pool installed? Eeh, sorry, nope.

Option deals early on range from a few hundred pounds to 1 or 2 thousand.

You should also get paid for the work you'll be doing as part of development and this will vary depending on what the pc feels is needed doing, but again this won't be a massive windfall and you're going to have to work hard for it. So, not rich yet. But you're not in it for...

...the money anyway right?

So, Development - what's that about? The key here, I think, is a good development process should be about the pc using its experience & resources to make *Your* show/script *Better*. It may (... will) be painful & difficult at times, but...

... remember if you're working with good people this is the motivation behind every note they give, even if it's hard to see in the moment. So if a suggestion seems wrong or strange to you, you can always ask (or work through yourself) how does this make the show better.

On the other hand, if you start consistently getting notes that you feel don't make your show better or that the pc seems to no longer be aiming at *your* show & are trying to make *their* show, that's when you need to step back and reevaluate.

That doesn't mean throw your toys out the pram and pack up. You could ask to have a general chat with your producer where you each lay out your vision for the piece, find out where you align, where wires might be crossed or misunderstanding crept in and refocus.

Misunderstanding is more likely than malice. Everyone wants to make good TV after all and this is a business of passionate people & relationships more than anything else.

Speaking of relationships - perhaps the most important one for you as the writer at this stage is with your development person. They can have different title like Development Executive, Development Assistant, & you may work with more than 1 on a project.

Their job is to help you do your best work, & to act as a bridge between you & the rest of the pc.

An excellent Dev Exec summed it up to me like this: a good development person should feel like a great bra - provide support, make you comfortable & help you look your best

They are your champion & your guide & probably the person who found your great script in the first place. They have many roles including giving notes, condensing notes from other ppl in the team, helping with research, maybe setting up meetings with...

... useful experts or visits to places of interest if your show requires that, act as a sounding board, and many, many other things.

The most important rule - be excellent to them. It's a hard job and a good Dev Exec is a brilliant help to have.

So, you and the pc *Develop* your show. This can take a long time - a year is not unusual - you may need to do many, many redrafts, your show may change a lot, but eventually you'll finally, finally, after just a few more tweaks, be ready for stage 2: yes, it's big fish time

Getting a broadcaster. A broadcaster is someone who can put your show on the screen, i.e a channel or a streamer (often collectively called SVODs). They also put most of the finance in to pay for production.

In my experience, the first approach to a broadcaster will be done by your producer - sharing the materials you've worked on and selling you as the great, hot new writer - and you won't be directly involved in that initial conversation.

Unlike the US (I think) you as the writer rarely *pitch* your show personally to a broadcaster. I've certainly never had the experience of a Dragons Den style cold pitch where the commissioner (those are the people who decide what gets made) hasn't read the material first.

More common is once your producer has sent it to them & they like it, you'll be asked in for a meeting. At this point the commissioner is already interested in the idea and the focus is more on why is this the time for this story, where is it going, and...

... Why are you the perfect person to tell it.

If this meeting goes well, the commissioner will hopefully take your show onto their slate. Huzzah! Excellent! Well done! You've got further than most.

Does this mean your show is getting made? Err, sorry, still not yet.