Quotes:

“As well as urging improvement, ScriptWriter provides a cool overview of the politics and tactics of the industry so that writers don't have to get too involved in the politics or tactics of their industry and can remain writers rather than politicians or tacticians.”

Tim Firth, playwright and screenwriter, Blackball, Calendar Girls, Cruise of the Gods, Our House, Neville's Island, All Quiet on the Preston Front.

“It's ‘the knowledge’ for British scriptwriters.”

Jack Rosenthal, screenwriter, Lucky Jim – 2002, Ready When You Are Mr McGill – 2003, Cold Enough For Snow, Eskimo Day, Bye Bye Baby, London’s Burning, P'Tang Yang Kipperbang, Bar Mitzvah Boy, The Evacuees.
Full Credits

“Excellent articles, very thought-provoking, really good to have in the office to read in the breaks – or to read all morning when the work’s not going well.”

Andrew Davies, screenwriter, Daniel Deronda, Zhivago, The Way We Live Now, Take A Girl Like You, Bridget Jones’ Diary, Pride and Prejudice, Middlemarch, House of Cards, A Very Peculiar Practice.

“Reading ScriptWriter is like a cocktail of group therapy, treasure seeking and shopping at the DIY shop. After each issue, I feel less lonely, richer and better equipped with new useful tools.”

Peter Andermatt, writer, script editor and script consultant, Madrid (Ibiza Dreams, Mi casa es tu casa, Nicolas, Gladiator Academy).

“At long, long last Britain has joined the other major film-making countries in gaining a serious, worthwhile magazine for screenwriters. To my mind it is a positive duty of every professional writer, and every emerging professional, to support this initiative. ScriptWriter is brilliantly informative, deliciously opinionated, and admirably open to all perspectives and points of view. From the in-depth analysis to the penetrating interview to the beady-eyed news coverage, ScriptWriter is a pleasure as well as an obligation.”

Bernie Corbett, General Secretary, Writers' Guild of Great Britain.

“Finally, a magazine that addresses script-writing and script-writing issues from a British perspective. Intelligent, witty and argumentative, it makes a significant contribution to understanding and illuminating the role of the creative process within the film and television industry.”

Ashley Pharoah, writer and creator of Where the Heart Is, Paradise Heights, Down to Earth, Life Support.

“Very useful for writers and it has great informative articles.”

Nicola Shindler, Executive Producer, Red Productions (Queer as Folk, Bob & Rose, Clocking Off, Linda Green).

“Every scriptwriter should have a copy on his or her desk.”

Jurgen Wolff, teacher / writer (Benson, Family Ties, Relic Hunter; script doctor Mannequin, Pluto Nash).

“It's great that there is finally a magazine for screenwriters about screenwriters. ScriptWriter Magazine is necessary, important and welcome. Anyone involved in film and television writing in Europe should be reading this magazine.”

Stephen Cleary, Director, Arista Development (Producer New Year's Day, Co-producer Goodbye Charlie Bright, Co-writer Alexandria).

“For £30 it is the best, cheapest and most effective scriptwriting course on the market.”

Matthew Friday, scriptwriter, script reader.

“ScriptWriter provides clear and fascinating articles about the world of film and television writing. It should be on the desk of every television commissioner.”

David Docherty, MD Broadband Content, Telewest; (formerly Deputy Director of TV BBC; author The Spirit Death, The Killing Jar, The Fifth Season).

“Extraordinary and profound articles.”

Thomas Spieker, producer 42nd St Productions, Barcelona.

“I was absolutely delighted when ScriptWriter was first published. It promised to fill such an important role in supporting the development community, and has continued to live up to that promise with panache. We are thrilled to read it every month, and honoured to be associated with it.”

Jonny Persey, producer, APT Films (Wondrous Oblivion).

“There are three I's in ScriptWriter: Insight, Inspiration and Information.”

Graham Lester George, TV and film writer.

“Cover to cover, it's full of information and insights that all screenwriters should know about. A vital career aid to anyone in the screen trade.”

Lucy Daniel, writer (Big Kids, and children's novels).

“An invaluable behind-the-scenes look from the 'twinkle in the eye' to the Hollywood blockbuster.”

Kumari Salgado, Script Executive (Sirens, Goodbye Mr Chips, Lucky Jim, The Lakes, The Sculptress).

“There is always something interesting to read and learn in ScriptWriter… thought-provoking articles allow me to think out of the box.”

Deanne Edwards, Director, Short Course Unit, National Film & Television School.

“Full of sharp insights, occasionally infuriating but always stimulating.”

Rib Davis, author (Writing Dialogue for Scripts and Developing Characters for Script Writing).

“ScriptWriter Magazine is essential reading for anyone who wants to be a successful scriptwriter. It is packed with informative articles and advice written by people in the business.”

Ken Rock, President, The British Society of Comedy Writers.

“Eminently practical, gloriously philosophical, absolutely required.”

Dominic Minghella, scriptwriter.

“ScriptWriter gives access to the knowledge and experience of leading writers, pundits, tutors and lecturers who can be heard on the writer's training circuit without the costs of the course fees and time away.”

Roger Gregory, television script editor and producer for BBC and ITV (Reluctant Chickens [David Cregan], Heart of the Country [Fay Weldon], The Man from the Pru [Robert Smith] and Jilly Cooper's Riders).

“I have been really impressed with ScriptWriter. It patently wants to help writers come up with better scripts and that has to be good for television and film in general.”

Ray Marshall, producer / writer, Festival Film and TV (Catherine Cookson series).

“Really well focused, well written and well edited – the best writer-to-writer street corner I've come across in a very long time.”

Adrian Lunney, writer.