Missing

Today I have happened upon a relevant TV show for what I’m currently writing. After a morning of writing (only 9 pages today) I had my usual lunch break for Doctors, which is allowed because it's work-related and showcases lots of new writers. Today was a particularly well-written episode (Risky Business by Helen Farrell) about a student working as a prostitute to fund her studies, only to be hired by her own father accidentally when he was in town for business. Anyway, I digress as the point being I watched doctors followed by a five minute special celebrating a decade of Doctors. Now, before I continue I want you to understand it’s been a busy week at work with late finishes every night so I’m pretty tired and not feeling at my most inspired, but before I could get off the sofa and back to my desk Missing started. Missing is a daytime drama on BBC One following the investigations of a missing persons unit. They handle a new case each episode, and the mystery is introduced and solved within the 45 minute instalment. This interests me because the script I am working on at the moment centres around a missing woman and the police investigation. So turns out my laziness was serendipity.

In the script I am writing the missing woman’s husband is having an affair and the central theme is the husband’s choice. Does he stay with his mistress now the wife is out of the picture or does he finish things with his mistress and play the loyal husband, knowing this could result in him losing both of them? And there is an array of permutations in between. So far I’m about 35 pages in, which should equate to about half an hour of airtime. At present it feels like a radio play as the dialogue is dense and as I write I don’t feel like it needs images. Once I have a full draft down on paper I’ll do a complete edit/ re-write as even now I see areas which I feel are weak. I was aiming for around 100 pages of dialogue, but I know editing will be a long process until I have something I’m happy with.

I’m not feeling exceptionally inspired this afternoon (and just so tired) so instead I’m going to start reading The Screenwriter’s Handbook 2010 (edited by Barry Turner, Macmillan). I’m also going to contact a few production companies to beg for the opportunity to do some reading and editing, which I now realise is more crucial than ever.