The Stage

TV execs have too much creative control, claim screenwriters

Published Tuesday 15 July 2008 at 17:10 by Matthew Hemley

Screenwriters have become the latest group to criticise senior television executives for having too much creative control over drama production, claiming there is a lack of consultation when it comes to key decisions about their scripts.

The criticisms - outlined in a new good practice guide detailing how broadcasters should work with authors of television dramas - echo those made by leading TV directors last month, who complained they have been increasingly “marginalised” by producers.

According to the guide, compiled by members of the Writers’ Guild of Great Britain on behalf of the trade body, “there is a tendency - particularly in formatted series and serials - for the producer to think the writer’s part in the proceedings is finished” once a script has been submitted.

This means writers are not given a say in decisions relating to the casting and the overall shape of their piece.

The document, due to be officially released in September but seen by The Stage in advance, also claims writers are being kept apart from directors hired to work on their shows, because producers fear their own “authority will be undermined” if they meet.

“As the director and his team take over, the script is often regarded as just one element of the overall production. It is easy to forget that everything else depends on the script. Regrettably, it has become common practice to keep the director and writer apart - producers and editors may fear that their own authority will be undermined, or believe the writer needs protection from the demands of the director. Either way, they do both writers and director - and themselves - a disservice,” it reads.

The guide recommends writers should be able to meet directors at least once because it “may spark off productive new ideas”. It also suggests “the creator of an original work should be involved in final casting sessions for their lead characters”.

Called Working with Writers - A Good Practice Guide, the majority of the document has been put together by Anthony Read, a prolific screenwriter who has more than 200 credits to his name, including episodes of Z-Cars and Heartbeat.

Guild members Edel Brosnan and Ming Ho have also contributed.

It will be distributed to broadcasters and independent production companies, and tackles issues relating to writers being dropped from long-running series with no explanation, the correct manner in which broadcasters should provide feedback on a writer’s script and the recommended levels of pay for initial storylines and script treatments.