I’m responsible for maybe 90 hours of mainly prime time television. This may not sound a lot but it equates to writing between 40 and 50 movies. This ranges from original pieces, animation, children’s drama right up to the likes of EastEnders, Casualty, Holby City, City Central and a few others. So far I haven’t managed to get a film made but each year I have a close call. Next year will be no different. I got into writing because I originally wanted to be a great novelist but a huge love of films and the written word seemed to draw me to screenwriting. Being young and confident in those days I expected to at least be the next Woody Allen. So far I’ve got the glasses and the thinning hair. Though saying that I still have high hopes of one day breaking through. In the meantime I’m very happy doing what I do, which is writing scripts that get made and shown. I can’t really think of anything else that I would enjoy as much.

If you’re really serious about screenwriting then my advice would be to start writing. This may sound simple but I bump into people every week who tell me they’ve got a great idea or concept and it’s just the best thing ever and I then ask them how it’s coming along and they hesitate and then admit that they haven’t got round to actually writing it yet. And as soon as they say that I know they never will. Anyone can have an idea but to sit there for weeks on end thrashing it out is the true test of a writer. I also meet a lot of people who say they don’t enjoy writing – so why do it – I ask myself. I mainly do it for the sheer unadulterated pleasure of it.

Advice wise I would also watch my favourite film over and over and try and listen to it as much as view it. Try and split it into each scene (not the actual frames) and visualise it as a script and work out why certain things happened when they did. Piecing a film together isn’t a bad way to work out how scripts are written. Generally you’ll find that in a good film the dialogue doesn’t tell the story, the plot and atmosphere does – which is always a good one to learn as quickly as possible. It’s what they show rather than what they say. Fantasy is also an important part of the process, just dreaming about one day seeing your name on the screen or on a film poster or even in the Radio Times isn’t anything to be ashamed of. Basically re-conceptualise yourself as a writer and give yourself a goal to aim for. Even if you don’t win ten Oscars falling short might have some extremely interesting benefits.

The idea is the first step in everything. Get the idea. Write it down, leave it to simmer for a few days then return to it, look at it again and see where you can improve it. Then sleep on it again. Then improve on it again. Basically let the idea live a little. Don’t just go mad and start writing. So let it live, try and get some scenes in your head, some moments of dialogue, a forming of possible characters. Make notes then start a relationship with your idea. If you were dating this idea, initially you’d be excited but hesitant, then you’d get to know the idea a little better, then when you’re ready to fall in love start writing for real. When it’s over ditch it for something new. The rules of love apply everywhere. Now that the script is finished the first person you show it to is your agent. They read it and hopefully recall a person they met only last week over a lobster bisque who was looking for just such a Romantic Comedy Horror Sci Fi Low Budget Sleeper Hit like the one you’ve just written. In Britain and the States people like to see scripts rather than ideas. I also have my own contacts that I would send scripts to but that takes a bit of time to build up.

With regards to what I do day in day out I either offer a story for a TV show or get provided with one. We then work on this synopsis ironing out its wrinkles and bad points. When I say "we", I’m talking about me and my script editor who is also armed not only with his/her thoughts but also those from the Producer of the series and probably the Executive Producer’s notes as well. The editor then offers up all the suggestions, you listen, you either accept or dismiss some or all of them and then depending on your ability and your experience you would go straight to first draft.

Then second draft, then third draft and then a polish. But only if you’re lucky. Rewriting is the name of the game I’m afraid. Everything you write could be better. Sorry to say this but a first draft won’t do. Not ever. It’s just a starter, a way to find character voices, to see if the plot works, to try and experiment with tone and style. It’ll be the most enjoyable of times but then after that it’s down to the business and craft of re-writing. If you get 50% or more of the finished article on the first draft then you’re doing brilliantly. Of course others will disagree but I like to work on things until I’m completely satisfied that I’ve done the best I can in the time allowed. A lot of people are reluctant to rewrite because they think they’re brilliant wordsmiths (as you should do) but in my business you have to take into account other people’s ideas as well. It’s the nature of the beast.

I piece a script together starting with the idea and then letting it gestate. Sometimes I wait a year to write it because something just isn’t quite right. By then I have a small notebook of ideas for scenes, small pieces of dialogue that help round out the character, and always, always a title. I have to have a title otherwise I know it’s not going to work. It’s almost as if the idea isn’t good enough to merit a name otherwise. I then start writing. Not the opening scene but a scene maybe a few minutes in. Something that gets the ball running. And there I stay, writing constantly, coming up with a batch of new ideas and plotting it out as I work. It’s only when I actually write that all the hazy little ideas I had beforehand wilt away to reveal what I was really thinking of (not that I knew it at the time). I aim to write between ten and fifteen pages a day. Sometimes I sit there until midnight and have written forty and I can’t sleep such is the buzz so I get up about five and start again. I try to write everything without any revision, so that it’s an ugly misshapen lump that I can then spend the next few weeks editing and reshaping.

The best software I have encountered is Final Draft. It might seem a bit pricey but it is definitely something you should get. Scriptware is good until you try to e-mail your scripts and realise you have to chuck it into Word before anyone can open it. Most people I know work in Final Draft so e-mailing is very simple.

The main thing I would impress on new writers would be to get an agent. I’ve seen the piles of unsolicited scripts sitting in people’s offices and it is tall, uninviting and you can tell people don’t want to wade through them. Sad to say the consensus is if you haven’t got an agent then it’s highly unlikely a production company will pick you up. It does happen but much better to come with a recommendation. I would also enter every writing competition I could. Log on or subscribe to a writers’ forum and see what’s going on out there. Write a play, write a novel, write anything, just get used to the discipline and craft of writing. And get yourself noticed if you can. What’s the point of giving your brand new script to your best mate who’s a mechanic, try and worm out possible avenues where someone with some knowledge of the industry could clap their eyes on your masterpiece. And don’t be precious about your work. It will be criticized and it will be torn apart and you will be asked to start again on it. But at least you’ll be talking to someone about it, and if you’re really good you’ll be getting paid to sit on your arse in front of a computer for weeks on end with a big grin on your face.