In development at... 4Screenwriting 🧪
Philip Shelley, script editors and the supernatural by Jon Champion!
Good morning everyone, we are bringing you yet another insight into LABS - or schemes, programmes, residencies, courses… you get it.
This time, we asked our OG Messy Jon Champion to tell us about his experience at the 4Screenwriting course taking place every year!
Tell us a little bit about the lab
The Channel 4 Screenwriting Course, led by script consultant and general all-round wizard Philip Shelley, has been running since 2010. Each year, from January to June, the course takes on 12 screenwriters to work on an original pilot script, from conception to outline to a second draft.
In order to emulate the process of writing an actual episode of television, each writer is assigned two script editors who provide feedback at every stage of the process.
The course is bookended by two weekends at Channel 4’s headquarters in London; during the first weekend in January, writers are welcomed to the course and present pilot ideas to their assigned script editors. There are also guest speakers who shed light on a particular component of the industry and provide a huge amount of inspiration for the process going forward.
During the second weekend in June, writers reconvene with their completed scripts. A section of each project is read aloud by a group of actors. This is followed by one final round of feedback from an external script editor, giving the writer an opportunity to refine their work beyond the course.
How was the application process for you?
This course’s application process is quite simple. You send your basic details, a CV, and a PDF of a script you have written with an accompanying logline. The minimal nature of the application as well as the course’s stellar reputation culminate in a very high number of submissions each year. The 2024 course alone received 2,063 applications.
What about the communication and preparation before the lab?
Every step of the process, including the preparatory period, is thoughtfully planned and efficiently carried out.
The 12 successful writers are provided with comprehensive details from Philip regarding what’s to come, and there is a pre-first weekend get-together in December, giving the writers a chance to meet and gain a better understanding of the course’s shape before things officially get underway.
Writers are encouraged to attend that first weekend with at least three possible ideas for their pilot scripts so that they can begin the writing process with a defined trajectory.
What did you work on? How was the process?
The name of the pilot I wrote for the 2023 course is called Heart of the Earth. This was the final logline:
A grief-stricken college freshman is presented with the opportunity to bring his brother back from the dead but must find someone else to take his place in the afterlife.
I knew I wanted to write a university story that incorporated an ensemble cast and the potential for a supernatural component, but the specifics of the pilot episode grew and evolved throughout the entire process. As I touched on above, you write the outline first, which is drafted three or four times before you start working on the actual script.
As I sent outlines to my script editors, the story slowly but surely began to reveal itself. It is not uncommon for writers to change their ideas halfway through the process, but this can obviously become very stressful as the June deadline approaches.
I never completely changed my idea; however, one of the outlines I submitted was substantially different from my original pitch as I was grappling with the task of simplifying the story’s timeline and better utilising potential areas of conflict. I was encouraged to return to the initial idea, but with a more focused perspective.
After one final outline that prioritised this suggestion, I started drafting the script. I ended up doing three drafts of the pilot, constantly working on logic and stakes and making sure the episode’s various threads came together in a cohesive way.
The process was challenging but extremely rewarding. I felt like I learned a great deal from my script editors and the excellent notes they provided at each stage.
How did you feel? How was the social aspect of it?
I could not have been luckier regarding the writers I got to do the course with. The writing process is obviously very singular, but a WhatsApp group is put together by the end of the first weekend, and so you have 11 other writers who are going through the exact same experience as you.
There is often a lot of emphasis within the industry around forming connections with professionals and creatives that are further down the road, but forming connections with other peers is, in my opinion, a massive weapon because the context of those relationships is inherent. You can lift each other up and offer support whenever needed. Not everybody has access to this kind of network. It’s one of many gifts that the course provides.
Additionally, we were able to go to a nearby pub during both weekends, which is a lovely opportunity to get to know your fellow writers in a more social environment.
There is also a mid-course meet up around March or April, when everyone is truly in the thick of it. This is a great source of inspiration because it acts as another reminder that you’re not alone in your ambition to emerge on the other side with a piece of work you can be truly proud of.
What are the next steps?
Once the second weekend has concluded, a drinks evening is scheduled for July. This is a big event where many industry professionals are in attendance. The 12 scripts are sent to various production companies and agencies, which means that many of the people you get to meet at the drinks evening have read or heard about your work.
Beyond this event, Philip is very generous with his insight and support, as he cares so deeply about good writers being seen. If you’re an unrepresented writer, the course can be a great platform to find an agent, which is what happened in my case.
Typically, people are very keen to learn more about you once they know you have been a part of such an amazing scheme; writers tend to have a lot of general meetings in the diary after July, and this is a great way to gather the momentum required to make your mark within the industry.
Thank you so so much, Jon!
The entires for the 2024 Channel 4 Screenwriting Course are currently closed, but typically open around mid-September, so if you’re interested in applying, mark it in your calendar - or you can simply join our WhatsApp group where we can all freak out together when the submissions open!
Interested in other lab experiences? Check out our previous Substack post!
In development at... Torino Film Lab 🧪
Big love,
The Messy Women xx