You know you can rely on Kay Mellor for a comfort-watching feel-good feast, and her latest offering In The Club certainly didn’t disappoint. Much like Sally Wainwright, Kay has this wonderful ability to weave a multi-protagonist story across a series and still leave us wanting more.
“I’ve always wanted to write about birth as it’s a life-changing situation, no matter who you are; whether you’re a schoolgirl living in a high-rise council flat or a 46-year-old rich business woman – your life will never be the same again.”
Read Kay’s blog on In The Club‘s very long gestation and how Kay brought it to life here. You can also read the first episode here, but do be aware that this is a final shooting script and so doesn’t quite represent how a spec writer might approach a pilot script.
However, just check out the glorious first three pages into which Kay packs a smoothly paced introduction to all of our key characters, and how she then goes on to introduce their lives/situations in more depth.
But today I’m not here to talk about how to write a TV pilot, I’m here to appreciate the last script in a series. Of course, the success of a series relies not only on the pilot and the last script but all those in-between and how the characters and their situations translate into compelling drama. But how does a series keep going?
Personally, I felt the last episode of In The Club was a stroke of genius regarding whetting the appetites of the audience for a potential subsequent series. The trick is to conclude the main stories from the first series whilst also opening up juicy new storylines that an audience will be keen to watch.
In The Club’s first series saw characters go through stuff and come through it with support from one another. Don’t read on if you don’t want spoilers!
However, along with this the last episode also offered these juicy tidbits that made my heart sink when I realised that it was indeed the final episode and I wouldn’t be able to tune in the next week to find out more.
THAT’S recommissioning incentive right there (so long as viewing figures match up as well). So when writing a TV series, remember not only to create flawed characters with interesting situations/dilemmas to be worked through, but also consider other factors that might come into play towards the end of their series arcs; ones that will pave the way for more drama and, indeed, more thirst for your series by audience members.
As long as there is thirst for different drinks, drinks companies can profit. Create continuing interest for your series and its characters, and you’re one step closer to that recommision (or indeed that initial comission in the first place)!
Wanna learn more about making it as a TV writer? London Screenwriters’ Festival is THE place to hear first-hand from TV writers and those who produce TV what it takes to write good TV and get it made. Meet, mingle, learn and sell yourself (ooer!). All at this fab festival.
You can get a massive £31 DISCOUNT! off this year’s LSF using my discount code: SOFLUID14 but BE QUICK – offer only lasts until the end of September! Click HERE to go straight to the ticket page!
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