We’ll look at the big picture of sitcom-writing, as well as the fine detail of why a script might not be working. We will take some of today’s hits apart by taking a scene, examining how it’s constructed, explore how the writers crafted the beats, and perhaps how filming then buggered everything up.
We will also examine why some sitcoms work, where others don’t. Why do the hits appeal to their audience and why are they funny? Why do some hit comedies get revived, while others are relegated to endless repeats? Is it the concept? Is it the writing? Casting? Running time? Narrative arc? So many possibilities.
Join us for what will be a fascinating in-depth examination of the journey from script to sit-com scene.
Appearing in this session
Credits include: How I Met Your Mother, Friends
Credits include: Misery Bear, Big Train
Credits include: Plebs, How Not To Live Your Life
Credits include: Plebs, Peep Show, Gap year
Screenwriting for Film and Television
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Your characters need to connect with your audience. They drive the story through their choices. They must simultaneously be multi-layered and clearly-defined, nuanced and precise, complicated and accessible. And they must attract actors and directors.
BAFTA Rocliffe founder and Producer Farah Abushwesha reflects on how projects came to her and came to be using Irreplaceable You and The Last Photograph as case studies.
Simon Nelson, Development Executive at BBC Writersroom, provides us with invaluable tips and answers those burning questions we have about breaking in and writing for the BBC.
They met at LondonSWF events, made a Create50 film and committed to making a world class feature together… Their movie, 2:Hrs, is released on July 29th. How did they do it? How can you too?
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Freezing and austere worlds with unspeakable yet all too believable crime, told through the eyes of protagonists we recognise in our own world, dark revelations and slow but unstoppable plotting. We LOVE it!
Yes Minister Creator and Co-Writer Jonathan Lynn will discuss the development and execution of the show, and share insights into comedy writing and show structure, this session will be a must for all lovers of political satire and sitcom.
Join Tony Jordan, the man who’s become synonymous with successful prime time drama, and have your chance to ask him anything! Settle in for an inspirational and entertaining hour.
Feeling bored, confused or constrained by the old paradigms? Yet you’d like to write a tightly structured screenplay that sells? Reach a wider audience without compromising your creative integrity.
In this cracking session we’ll go into what science fiction is, what its conventions are, how to best write it and what the differences are between SciFi for film and TV.
Learn from some of the UK’s most prolific Showrunners how they staff their writers rooms, what they expect of their writers in their day-to-day, and perhaps most importantly, what writers need to do to get (and stay) on their radars.
Our panel of writers (both adaptors and adaptees) will examine broad strategies to help you plan your adapted works, as well as share personal anecdotes of their own adaptation journeys.
Robert Heinlein’s Starship Troopers is a classic in sci-fi literature. Screenwriter Ed Neumeier turned Heinlein’s glorification of militarism into a satire of war and propaganda. Join us as we bug out with Ed to examine his viscerally satisfying, smart and funny examination of our own natures.
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Without character, you have no story. In this session, David Baboulene discusses the primary colours of character so that you can write with greater clarity, depth and brevity.
David Baboulene demonstrates the link between the way the mind works and the way stories grip and engage us; and how you can use this knowledge to create power in your stories.
Dark and light, yin and yang… good and evil, all within us all and inside the characters we write. Scott Myers delves DEEP into powerful, authentic character exploration and development of both antagonist and protagonist in this juicy double bill.
When you choose the subject of your forthcoming TV series, how much do you really know about what the market is looking for next year or in two years’ time? Find out in this session with three of the biggest guns in TV finance, acquisition and distribution today.
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British Screenwriter Timothy Harris wrote some of the most enduring comedies of the 80s: Kindergarten Cop, Twins and the Eddie Murphy/Dan Aykroyd Trading Places. Access to a comedy mind like Harris’ is a fantastic opportunity to get ahead of the comedy curve for delegates.
Writing horror or paranormal? Stephen Volk (Ghostwatch, Afterlife) explores what dark delights the modern genre screenwriter can learn from the demented practitioners of the past.
Lucy V Hay will be discussing the craft that underpins the writing and making of The Handmaid’s Tale, as well as its controversies. When so many writers want to conceive of storylines that ‘say something’ and send red alerts about the state of the world today, this session is unmissable!
Join Jonathan Lynn, creator of the original political comedy Yes Minister and Yes, Prime Minister, director of some of Hollywood’s most enduring comedies such as Clue and My Cousin Vinny, in this masterclass of comedy.
Screenwriter/Directors Stuart Hazeldine and MJ Bassett will examine the intersection between writing and directing, and the challenges of shifting between the two.
Meet Lynne Ramsay who has made a career examining and creating films that leave us often breathless. Her career has spanned three decades, working with unknowns and movie stars alike, while tackling genre stories alongside social issues.
Do you want to write for children, but worry about hitting the right tone? Worry no more! This panel of outstanding screenwriters will give you all the advice you could ask for to make sure your script is aimed at the right young audience.
Horrible Histories is a multi-award winning comedy sketch show for children, in this session, the writers will give us an in-depth insight into the creation of this ground breaking show.
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