So, what’s the big deal about budgets, I hear you say. Well, it could simply mean the difference between your script getting made or not, that’s all… When I remind new screenwriters of the importance of trying to keep their stories set in the PRESENT DAY or NEAR FUTURE, I can hear them sighing. However, as a new screenwriter, if you insist on staying in the Victoria era or 1960’s and set your story in Outer Mongolia, as fascinating as this place is, no UK producer will care and simply use this as a reason to turn down. The high amount of recent submissions, even from film graduates that don’t even state WHERE their story is set, let alone WHAT year, is staggering. Please set the tone!

Horror and Sci-fi genres (and some modern-day dramas) can easily come under budget if they’re careful about using a minimal cast, few SFX, no star-names and a location in the middle of nowhere. Some of my favourite films, like REAR WINDOW, ROOM or SAW were obviously set in one place producing a genuinely claustrophobic atmosphere. The astounding 2015 US film, TANGERINE’s miniscule budget was only $100,000 as it was shot on an iPhone! Feature film budgets vary wildly and because of the current ‘streaming wars’, new TV series are enjoying the bigger budgets from the film world. I was shocked to learn that some episodes of Netflix’s show, THE CROWN cost as much as £20 million per hour and not just because of the starry cast but also the supremely high standards of costume, hair/make-up, room décor, cars, etc., being 100% authentic. I was impressed by the fact that MADMEN’s costume designer, Janie Bryant used genuine 1950’s/60’s/70’s vintage outfits that were then tailored for each actor.

When you contrast THE CROWN’s high budgets to a ‘normal’ hourly rate of TV being a paltry £500,000 to £1 million, you can see how challenging it is for UK TV companies to compete in this ultra-competitive world, which is why we’re seeing an increase in international co-productions.  Although the impressively ‘deep pockets’ of Netflix, Amazon, Apple, etc., have created a ‘gold-rush’ in terms of UK & US production, it also means that the powers that be will rarely take a risk on an unknown writer, preferring instead to base a series on a best-selling novels (OUTLANDER, HIS DARK MAERIALS, NORMAL PEOPLE), regardless of genre as the audience is already ‘out there’ or on a popular graphic novel (UMBRELLA ACADEMY, END OF THE F***ING WORLD) and numerous prequels, sequels, spin-offs and revivals (SEX & THE CITY & FRASIER).

So, my challenge to new screenwriters is this: please set your exciting, fresh and original story in present day UK and send it to us – simple! We’re open to all genres. Every writer has to start somewhere – look at the career trajectory of your favourite writers and you’ll see that they’ve had to work hard to get that episode of future writing on top series like SUCCESSION or KILLING EVE. And then, one day in the not too distant future, you could be writing your own original TV series. It’s not impossible to achieve this but it does require focus, tenacity, a thick skin (to cope with criticism), good luck, good timing and of course, a good agent to push your work into the right producer’s hands.