Coming up for air. You know the rules: if I’m not blogging, I’m writing. That is, writing for a living. It’s Wednesday. This is the first five minutes I’ve had to myself on a working day since just after Christmas. Some non-working days – I usually call them “Saturday” and “Sunday” – have become working days, in order that the work that needed to be done got done. On Monday evening, I printed a 58-page script out, at home in my office. A glorious reward in itself. A collaboration, it is the script that is the culmination of the project that has been exercising my co-writer and I since the day after Boxing Day.
Naturally, I cannot go into any details, as it is “in development” and not a commission. There’s a lot riding on it though. It will be my first drama script since leaving EastEnders in 2002, since which I have been exclusively writing, or script-editing, comedy. I’ve realised over the last year or so that drama is what really gets my juices flowing. From where I’m sitting ie. on my settee, when TV drama is done well, it is far more substantial than comedy. (I even admire the comedy I love the most for its structure and plotting.) As misfortune would have it, I had another sitcom pilot script turned down by a broadcaster (it was the BBC, what the hell) in early January, but because I was so into writing this drama, I had no time to sit around and mope and conclude that I am no good at this. (Here is a selfie of me wracked with self-doubt.)
So, my current project – we’ll call it Drama A – is a life-saver. The green-light came through just before Christmas, which was the best present a writer can receive: the go-ahead. Our brief was to provide one script and eight detailed story breakdowns for the whole series. This has been a massive undertaking. We have willingly let it infuse every moment of the waking day. It was actually a pleasure to succumb to it. I have been going to sleep at night thinking about, waking up in the morning thinking about, grinding away on the treadmill at 9.2kmh at a 6 gradient with it going around in my head, and falling upon the laptop of a breakfast with gusto. None of this means it will be a good script, but boy, have I enjoyed writing and storylining it. This is a pleasing development. Even if it fails to win a full series, it’s been an uplifting start to the year, a fruitful collaboration, and, crucially, a bit of paid work.
A new shirt for Telly Addict 2014 [pictured], which turned 141 weeks old this week. Still loving it. Still loving the engagement with viewers below the line. Still preferring this season’s neat, product-assisted new haircut on camera (I think it’s called age-appropriate). And I’ve just written a longer piece for the actual paper about medical documentaries. Look out for it in March.
Another unexpected job came in amid all this: script-editing the second series of an existing sitcom and working for the firs time with a talented and much younger writer and performer. Interestingly, the first series was script-edited by a comedy writer I already hold in ridiculously high esteem, so I feel lucky to have stepped into his shoes. I’ve been sat in an office at a production company in Shoreditch with the writer and thoroughly enjoying bouncing story ideas around and turning the beats into Post-It notes (and ordering in lunch from Pret and not having to pay for it). More on this when it gets closer to fruition. I’ve enjoyed being the only clean shaven man in Shoreditch, too.
Talking of heavily bearded areas of East London, I found myself perched on something that wasn’t strictly a stool beside the mighty Ben Watt (historically of Everything But The Girl) at Rough Trade East on Brick Lane last Thursday, interviewing him about his compelling and beautifully etched new part-memoir-part-detective-story Romany & Tom. It’s about his elderly mum and late dad, and paints a vivid and candid picture which will strike a chord with anyone with parents over the age of 70, a parent who is no longer with us, or just any parent at all. I had literally stepped in for Alexis Petridis, who had a bad foot, and it was more pleasure than work. (Thanks to Geoff Titley for the photo. He was among a particularly friendly and attentive crowd.)
A busy start to 2014, then, but welcome, as last year wasn’t without its financial worries. (Hey, join the club.) I also managed to squeeze in a fine social evening at posh burger joint and boozer in London with Chris Chibnall of Broadchurch fame (he’s writing series two and told me who the murderer is) (I’m joking, of course), especially as I was able to tap him for a few drama-writing tips at a crucial time for me. Also, the annual Radio Times Covers Party, one of the only glitzy dates on my calendar and an excuse, as is traditional, to play Zelig with willing celebs I have never met before. (You know the drill by now. The year I become blasé is the year I hand in my badge and gun.)
This year, I had my photograph taken by choirmaster Gareth Malone with top artist Grayson Perry, and my photograph taken by Grayson Perry with Gareth Malone. I think it may have been an art project.
And here’s one of all of us, taken by Gareth’s wife! And finally, me and the Broadchurch posse: Olivia Colman, Andrew Buchan and that Chibnall bloke. (What’s he doing in the picture? All he did was write it.)
After which I packed my best jacket away for another year and put my writing beret back on. Thank you for bearing with me while I have pretty much boycotted my own blog, and I hope you will excuse me if I slope off again for a bit. There’s a window of solipsistic opportunity here, of course, as I wait for my homework to be marked by the teachers. That’s exactly what it feels like when you’ve delivered a script. The red pen cometh.
Oh, and we were lucky enough to live on an incline quite a long way away from the Thames in London during the rainy season so avoided actual flooding, but it breaks my heart every time I see a family home underwater on the news. I fucking hate this government. Because it’s all their fault.
Fingers crossed for you, Andrew. Also, it’s about time you had some time back on 6 – I’ll have a word with management. ;0)
I doubt you’ve seen it, so here’s my take on the best radio station, even if they continue to pass up the chance to give you some more air time:
I should have added that you and Frank gave me the moniker Colonel Colin, back in the early days. I’m still known as the Colonel in some circles.
Great to hear everything is going so well. One question though, why’s your mouth always shut in every photo I’ve ever seen of you?!
I had wonky teeth that I was enormously self-conscious about for many years and never got out of the habit.
Had no idea you were a writer on EE.
This is major news!
Always been my guilty pleasure, still watch it now.
What years were you involved, and what was your major storyline?
I wrote for EastEnders from 1999 to 2001; I had the sole writer’s credit on 11 episodes. The biggest storyline was “Who shot Phil?” (in one of my episodes he was hooked up to a life support in hospital), although I’m glad to have been there when the Slaters were introduced. There’s a whole chapter on my time there in my book That’s Me In The Corner.
hello there. new to your bloggs and to you really. reading through all your autobiographys at the moment , on with That’s me in the corner, all good reads.. Hope all your hard work pays off and your new projects do well.