In the comments on Writers and Editors, Sarah Dollard delivered a fascinating treatise on how TV scripts are produced and what a script doctor does. I could not let be lost in the comments so here it has its own post. Take it away, Sarah:
As requested, here’s a rundown of how the process differs in television.
The job of the TV script editor can vary wildly from show to show, genre to genre, country to country. I can only speak about working on soap in Australia, and on numerous dramas here in the UK, as both writer and a script editor. From my limited understanding of the system in the US, things seem very different there; they don’t strictly have ‘script editors’ at all.
In Australia, I’ve found that the script editor job is openly acknowledged as one of re-writing; an editor will literally write whole new drafts of the work after the hired writer has finished on the episode. Next, a supervising script editor will do a polish and, after that, if any changes need to be made for production reasons, it is once again the job of the script editor to step in. This is the norm on high-output shows like soaps, where the writer only has one chance to get it right, and from then on the script is taken into the script department to be fostered through to the shooting script stage.
As far as I know, this type of script editor does not exist in an official capacity in the UK; here, a script editor would not change a writer’s work unless that writer was trapped under something very large and heavy, and even then you’d have to get their permission first. But that’s not to say that re-writing doesn’t happen. For whatever reason, on some shows it does fall to script editor to step in and re-write; maybe the writer hired for the job can’t get the script up to scratch and the head writer isn’t available to take over; perhaps a writer dropped out and couldn’t be replaced; perhaps the script is already being shot and changes need to be made on the hoof. However, when this does happen in the UK, it’s done very much on the quiet. Personally, I’ve never heard of a script editor getting credited for their writing, even if the shooting script contains little of the original writer’s work. Whatever the reality of the situation, script editors are not supposed to re-write in the UK; it’s not the ‘done thing’, and they’re certainly not paid for it.
If anyone is interested, what follows is a rundown of the *usual* experience of a script editor working on drama in the UK. I’ve been inspired to write all this down because I was having a drink with my current script editor the other night and when someone heard what she did for a living, they asked, “So, what, you like correct the writer’s spelling and stuff?”. To her credit, she did not punch this person. She just calmly replied, “It’s a bit more than that, actually.” And then I bought her a large drink.
While it does vary, usually a script editor’s job starts early, before a freelance writer is even brought on board to write an episode. Working with a small team (usually the head writer and the producer, maybe a script producer if there is one), the script editor will help to storyline the overall arc of the series and create a basic plan for each of the individual episodes. Sometimes he/she might have a say in which writers are hired, and which episode each is best suited to.
Once a writer is on board, the script editor will help brief him/her on the overall arc for the series and – along with the head writer/producers – talk through the basic plan for his/her episode. The writer goes away and writes up an outline (anything from five to ten pages, describing the story in full but without dialogue). The writer then meets with the script team again to talk through any problems with that outline. The script editor will write up notes based on the meeting. Sometimes the script editor’s *only* job is to write up those notes, but more often he/she will be fully involved in the meeting on a creative level, giving their own feedback and helping to find solutions.
The writer then does another draft of the outline, and another, and possibly another, and each time the script editor gives written notes, sometimes with a face to face meeting first, sometimes without, until the outline is considered solid and workable and ready to ‘go to script’. These notes are probably very much like those an author gets on a manuscript; there will be feedback on character, structure, tone and style. The big difference is that with TV, the writer doesn’t ‘own’ the story and the characters; they must pour their heart into the work, of course, but ultimately their vision must comply with an already established world; their episode must fit in with the continuity of the episodes that come before and after.
This cycle (writer writes draft –> feedback meeting –> notes from script editor –> writer writes new draft) works in much the same way once the writer has gone to script, only now there will also be notes on dialogue and action, as well as character and structure. There can be any number of script drafts completed before anyone outside the script team looks at the writer’s work. But once the script team is happy with the script, it will be shown to an executive-producer, or similar, to get a fresh perspective. Then the cycle of notes/meeting/new draft continues!
The whole way through this process, the script editor needs to be available to the writer to answer questions via phone or email, to help chat through any problems, and to communicate any new issues that might arise due to changes in other episodes.
The next stage happens when the production team gets a hold of the script for planning purposes. Necessary changes to the script might arise due to restrictions (or exciting new possibilities!) with locations, costumes, casting, stunts, etc. The script editor will communicate any necessary changes to the writer, and the writer puts them on the page.
Sometimes changes must be made due to notes from the network/broadcaster. These notes can be regarding creative issues, or to do with the classification of the program – usually because the swearing, violence, gore or sex needs to be toned down. Personally, I’ve never had a broadcaster ask for more nudity, cursing or carnage, but I’m sure it does happen! Oh, and it’s also the script editor’s job to liaise with the nearest legal-boffin-type-person and make sure that any names or products mentioned in the script are ‘cleared’.
Once the script is actually being shot, the script editor works with the writer to make any necessary day-to-day changes to the script. Perhaps a scene will need to be tweaked because it’s raining on the day of the shoot, and the scene had to be moved inside. Or perhaps the episode has turned out a little short, and the writer will have to write new material.
I hope all of that was of interest to someone! Perhaps I will direct my parents here and they will finally understand what I’ve been doing for the past eight years.
As discussed in the previous post this could not be more different than the process of writing a novel, which is far, far, far, far less collaborative. I do not think I could work on TV show.
Does anyone have experience of working on TV shows in the USA or any other countries? Would love to hear about the differences.