成人论坛

成人论坛 Writersroom hosted the #WritingDoctorWho event on Friday 30 September. This was an opportunity to discover “the journey from initial story idea to shooting script and beyond”, an event attended by would-be show-writers eager to hear lead-writer and executive producer, Steven Moffat, and the show’s script editor, Nick Lambon talk about the writing for the programme.

The first question was about the ownership of a programme like Doctor Who – with so many stakeholders and such scrutiny on it Gavin asked: “To what extent is it yours?” "There is no one overlord,” replied Steven swiftly, adding that the only hierarchy was, “the hierarchy of the best idea.”

Next, Gavin asked about what goes on in a ‘first meeting’ ahead of a new series. Both said it was the script team (not writers) who all got together in a room to talk about the last season, and what had and hadn’t worked. Nick said that this year (2016) was an easier task to plan the season because of the arrival of a new companion for the Doctor. Thinking about her and what stories would work best to illuminate her character was the main focus of discussions. 

On the subject of story arcs that stretch over the season versus individual episode plots Steven said,  “It’s a weird thing with Doctor Who, but the reality is that the story of the week is king. At the same time you want to create a feeling that it is all building to something”, that something being an end-of-season climax. 

The next all-important question came: “When do you decide which writers you want to bring on board?”

Nick fielded the question about how which writers are brought on board for the series. "We start by discussing which writers we want to bring back or writers Steven wants to work with, or writers we’ve met. They need to be a good fit for the show”.

"The unique thing about Doctor Who is that there’s no typical process," said Steven, commenting on the scripting process. "A good Doctor Who script is a world unto itself.” Nick said often with the first draft of a script from a writer new to the series, “people get very excited and throw every idea at it. As a Script Executive you have to be diplomatic, but you want to make what they’re writing even better.”

Steven offered his philosophy on giving script notes – which I found incredibly refreshing:  “You will make more improvements by praising the good than by criticising the bad. Praise is not sugaring the pill. It is more important to grow the good than shrink the bad. There are many ways to miss a target – but only one way to hit it. Find the great about a script and get more of that.”

More insights followed when Steven shared some of his own script-writing process. Moffat revealed how he always writes "strictly in scene order", writes and delivers a script in three parts, ensuring that each ends with a cliff-hanger, adhering to a kind of traditional  three-act structure. "With the first draft you hand in, you must have two thoughts: it’s perfect - and I’m prepared to change it all”.

Next, Gavin asked about the mysteries of the 'tone meeting'.  “What are they and why does everyone hate them?” Both explained that all the heads of department meet seven weeks before filming, how everyone goes through the script to make sure concepts and ideas are on the same page to achieve tone and technical elements. Necessary as they are, it seems the reason they are not popular is their length - it seems they can go on for rather a long time."

And what of the infamous read-through? Nick said this was a vital stage in the process. “You can read a script 100 times to yourself," said Nick, "but only when you hear actors say the lines can you understand what does and doesn’t work. After the read-through there is invariably another draft of the script in response to what’s been discovered.”

The production of a shooting script follows soon after, in which anything where anything which didn't immediately translate when being performed gets amended - that's the point in time when the so-called 'pink pages' with extra scenes and other material can be added.

What about short-form content? Gavin pointed to the  (a special mini-episode made as part of the programme’s 50th anniversary celebrations) as a good example. What advice did Steven have for writers attempting short form work? "There’s no guarantee that it’s easier. As Richard Curtis said 'sorry it’s so long I didn’t have time to make it shorter'.Effectively, what he's saying is, whatever the length the job’s the same – to tell a good story.”

Moffat pre-empted three often asked questions when Gavin invited questions from the audience. “No, there are no plans for a Doctor Who/Sherlock cross-over. As there is no new Doctor planned in the near future we don’t know if it would be a woman next time. And, my favourite Doctor is Doctor Who.”

One question came on the subject of pitching. Steven was interesting on the subject. He said that to be skilled at pitching can be a poison chalice. If you pitch something as a writer you’ve made a promise, but to his mind a writer should be able to change their mind. So, he suggests lose, open pitches that don’t give away the whole plot. 

Steven was also asked about how they tackle more adult themes in a programme with younger viewers. He had this to say,

The final question was from Gavin who asked both Moffat and Lambon what would stand out from their experiences on Doctor Who in 10 years time.

"It’s absolutely mad, relentless," replied Nick, "so I hope in 10 years time I’ll have a chance to look back and consider everything we did and say ‘wow’.” And Steven had this to say: “it was the best and most brilliant and surprising job I could ever have done.”