Who We Are – Working with black scriptwriters

This is part of a series of articles for Who We Are., an online takeover exploring the artistry behind black British film.

There is a huge misconception that people – let me be specific, black people – within the TV industry don’t support each other. Particular development executives and commissioners like to make you feel that there is space for only one black show or writer at a time. But feelings are not facts. There is room for a plethora of stories that should be shown on screen, including things we are yet to see.

Do not assume the lack of diversity on screen is because of an absence of writers. I know this because I am one of them, I am supported by them and I am passionate about seeing more of us within writing rooms, receiving commissions and winning awards.

Every June for the past four years I’ve taken a social media detox. I love the quietness. I read, write scripts, recharge, and plan my goals for the rest of the year. COVID didn’t even let me have that this year, but I decided to flip it and use the situation to my advantage.

I come from a key time within the UK web series era. Leon Mayne with Brothers with No Game, Danielle Scott-Haughton with Dear Jesus, Shakira Scott with Unfamous and myself with Venus vs Mars are pioneers of producing black British content. Back then, we had no blueprint, no funding and no mentoring. We decided instead to lean on each other.

Years later, not only has our bond strengthened, we have advanced in our careers and we all recognise the importance of breaking down the archaic stereotypes and assumptions regarding our content. We also want to help others who are trying to get their foot in and who require advice on what to do and what to avoid.

Beginning of June, I put out a tweet calling for any black scriptwriters who were looking for guidance. I hoped for five to ten scriptwriters throughout the month… I ended up with over 20.

Over the course of a month, I started our Zoom meetings by checking on their mental and emotional health during this pandemic. It’s important that as writers we prioritise self-care – you are a vessel of creativity, and the scripts and ideas that we need to develop will only be of a high standard if we first take care of ourselves. In the endless drafts and notes it can be taxing thinking that what you’re writing isn’t good enough – you compare your work to your favourite shows or the work of others you have around you.

You allow your self-saboteur to make you feel that you are not good enough. But myself and so many others are testament that it takes hard work, sacrifice and the patience of a saint. The biggest similarity with all the writers involved was that they were writing endless drafts of their TV ideas and concentrating on perfecting them before sending them to production companies. It’s good to know and prepare what your pilot looks like, and the series in its entirety – however my commission came from a conversation, not from writing the script beforehand!

Treatments are a great tool to formulate and summarise the story in its entirety, but the more you develop the script (through a development deal from a production company) the more your characters and your story will evolve. It’s a beautiful thing.

In addition to this, it’s important to research the production companies that you’re looking to work with – what shows they make, how your ideas are similar or different, as well as the key people within production on your favourite shows. It’s common sense to know that you are going to watch TV… A LOT OF TV! Even the shows that you wouldn’t usually like, you will need to research, network, ask for experience on set, promote your skills in order to help them. But the most important thing is to know your voice, what stories you want to tell and to always keep your integrity.

Another key area is finding the right agent. The relationship you have with them is key because they are the ones who not only represent you, but who find you work and sort out your contracts. I still find it ridiculous that most agencies do not take unsolicited scripts, but again this is why networking is important: they can offer introductions to those same agents you need access to.

Things are slowly changing in TV. I will continue to advocate for and support writers as much as I can and be relentless in achieving my goals. But I cannot wait to not only be a part of the necessary evolution but also to celebrate the wins of others. Because when one wins we all win.