How I took my first steps as a Script Editor
The cogwheels have been moving in my life recently. I find myself looking back on what steps I have taken to become a Script Editor.
After studying a BA in screenwriting for three years I knew I wanted to work in television; specifically in development. There appeared to be very little specific training in this area, so I set out to teach myself from the ground up.
I began by reaching out to writers on Stage 32. I read anything that I could get my hands on; feature films, shorts, television pilots. This exercise forced me to read genres and stories that I previously wouldn’t have been drawn to. In return for my editing and feedback services the writers offered to write testimonials about the editing experience I had provided them with.
This led to Samuell Benta, a writer and producer, actively seeking me out as a Script Editor. I read several of his television scripts and treatments. The few months that I worked with Samuell pushed me to be a more proficient Script Editor. I had to learn very quickly how to verbalise my thoughts, and convey them in a way that was in line with the vision of the writer.
I proceeded to volunteer as a Script Mentor in my final year of university. This involved me working closely with three first year students as they wrote half hour drama and comedy TV episodes. This helped to sharpen my interpersonal skills, as previously my only interactions with writers had taken place either through a computer screen or over the phone. It was this particular role that helped me understand the place of the script editor within the overall writing process. The writers are the ones with the tools; it was my job to sharpen those tools and guide them to the finish line.
After my time as a Script Mentor ended I set up my own website, where writers can purchase my proofreading, feedback and editing services. I enjoy taking story apart, and inspecting the building blocks of what make a great script work. The job never gets old because I never know what script I will receive next. It could be Dramedy television pilot, an action-thriller feature, or a short horror film intended for a festival.
My overall goal is to become a Script Editor within a production team, as this would involve being a lot more hands on. I wrote to Open Door, an online screenwriting magazine, asking about what steps I should take in order to reach my goal. I was advised that I should keep “knocking on doors”, and that it just so happened Yvonne Grace was leading a course that focused on the role of the Script Editor.
Yvonne has a long stretch of experience as both a script editor and producer for shows such as Eastenders and Holby City; I knew that this wasn’t an opportunity that I could pass up. I was fortunate enough to land a place in Yvonne’s course in May, as there were only ten places available. The course was the first of its kind; created in response to Creative Skillset realising that there isn’t any formal training for this type of role, despite the demand for talented Script Editors! It took place over two consecutive weekends; something I was thankful for as I spent the week in-between digesting the information that Yvonne passed down to us.
The course analysed the role of the Script Editor within the production process; using real examples from dramas that have been produced and are transmitting, such as the episode “Black Dog” written by Patrick Homes for Holby City.
Yvonne was infused with a brilliant energy and a love for story that was infectious. It was the perfect environment to soak up new information on a job role I only really know bits and bobs about from my time at university and from my interactions with writers on Stage 32. It was great to be surrounded with people who have a similar goal as myself, and interesting to see how we had all come from different backgrounds. Just as no two writers are alike, the same can be applied to script editors.
During the two weekends we had six guest speakers; The producer of Coronation Street Kate Oates, Exec Producer of Lionsgate Films Sarah Conroy, ITV Development Producer Kat Reynolds, HBO Europe Executive Producer Steve Matthews, as well as writers Jeff Povey, and Ashley Pharoah.
This course also involved me working closely with prolific and successful writer Jeff Povey on one of his first drafts of "Hooten and The Lady." Jeff has worked on Casualty, Holby City and Eastenders, and passed on his wisdom and knowledge of what writers look for in a Script Editor; fundamentally a trustworthy, honest individual who can be the diplomatic middle piece.
As I shook hands with Jeff he passed on the wise words, “Be Brave”. With his words still echoing through my mind I’m taking one step at a time to shape myself into the best Script Editor I can possibly be.
