As an answer to that question – and hoping to help others on a similar journey – here’s an overview of how my writing partner Jon and I are currently developing an idea for television.
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When I signed up with my agent three years ago, she explained that in all likelihood it would take about five years of solid continuous graft before there was even a possibility that I could give up my day job and survive on my screenwriting income.
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My teenage friends and I dreamed about driving across the Sahara. We’d read articles about the Paris-Dakar rally, or (mis)adventures on Overland trucks from Cairo to Cape Town.
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If you google “how to write a logline”, no doubt you’ll hit on various diagrams, paradigms and formulas which promise to be the miracle cure for that stonking screenwriting headache which plagues every writer.
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As screenwriters, how can we persuade a teenage audience to switch off their quick hit, 15-second TikToks, and concentrate on one long-form movie or TV show?
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That is what commissioners, producers, readers and development execs are all clamouring for: that truly authentic voice, newly discovered, blisteringly fresh, painfully honest.
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For the last two years, I’ve been working with Sudanese writers remotely, helping them storyline their experiences of South Sudan’s conflict into radio drama.
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Production often complains about writers: not because they don’t like writers, but because they feel writers speak and think in a different language.
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