Javid Rezai is an Iranian-Italian-British Screenwriter.
Winner of the BAFTA Rocliffe New Writing Prize in 2017 for Children’s Media, Javid was recognised as a Changemaker at the 2018 Children’s Media Conference and nominated for Debut Writer at the Edinburgh TV Festival New Voice Awards in 2020. In 2022, he was featured in BBC Teach’s INSIDE THE WRITER’S MIND online series.

Javid is interested in writing for younger audiences, and currently developing various original projects within the teen and children’s space.

Javid’s CV can be found here


Seyi has been building up his experience working on a variety of projects, live action, mixed media and animation writing for a numberof CBeebies shows, Molly and Mack, JoJo and GranGran and he has now joined the writing team for Odo made by Sixteen South for Milkshake, taking part in their virtual writer’s room and contributing episodes.

Seyi’s CV can be found here


Chris is a comedy writer based in Wales who likes to write scripts that have realistic characters and funny dialogue. He loves team-writing, co-writing or writing alone and his projects reflect that. He has written and performed with Greg Davies, Rhod Gilbert and Elis James. He also has a background in live comedy and stand up.

He currently has a teen/family, comedy animation set in the Welsh valleys, in development with BBC Children’s, he is team writer on DENNIS & GNASHER UNLEASHED series two and he is working on a dystopian comedy short about the end of consumer capitalism. Not all of it. Just one aspect of it. Series to follow.


Catherine has been busy! As well as single-handedly writing two series of the Bafta-nominated New Teletubbies, she has also co-created and head-written Waffle the Wonder Dog, and Chip & Potato. Prior to that, Catherine script produced and wrote many episodes of Bafta-winning hit show Topsy + Tim (Cbeebies). Her schtick is immersive, emotionally-engaging, funny story-telling for young children: in other words, love and laughter. Previously, Catherine script-edited many other critically-acclaimed, much-loved, family favourites, including Pocoyo, Girls in Love, My Parents Are Aliens, Shaun the Sheep, Baby Jake, Bear Behaving Badly and Pet Squad.

Catherine is also working on her own feature and short film scripts.

Catherine’s CV can be found here


Sam spent the first decade of his career at HIT Entertainment as their in-house script executive where he script edited an unholy number of episodes of some of the world’s best-loved preschool shows.

The last few years have seen Sam take the leap into the twin worlds of full-time writing and parenthood. He is still trying to decide which is the more loopy. Sam’s big-hearted and funny scripts, together with his sharp sense for story structure, have seen him asked to head write a number of successful series – among them the multi award-winning and BAFTA-nominated Lily’s Driftwood Bay.

Sam’s CV can be found here


At nine years old, An was happiest when writing and drawing, so promised herself that she’d never forget what it felt like to be nine and now she writes and draws for a living.

An’s grown-up writing life started with The Story of Henrietta the Hairy Hippo, the pilot episode for the pre-school TV series 64 Zoo Lane, which has now been broadcast on BBC/CBeebies for 17 years. She works from her converted garage, with a space for writing at one end and a space for drawing at the other, creating charming, playful, character-driven scripts as well as award-winning short films and picture books.

A visionary writer-director, An also works on other people’s IPs.

An’s CV can be found here


With more than 15 years’ experience, it’s safe to say that Jen’s a Children’s Media veteran, albeit a very young one. She has worked in development and production at HIT, Chorion and Disney, acting as creative executive on preschool shows for 6- to 12-year olds.

Always a screenwriter in the background, on the birth of her second child, Jen turned to writing full time, Head Writing for CBBC’s Bottersnikes and Gumbles, Dennis and Gnasher: Unleashed, and Digby Dragon for Nickelodeon, as well as developing and writing for other shows.

Jen specialises in bonkers, fast-paced comedy that is always full of heart.

Jen’s CV can be found here


BAFTA- and BAA-winning writing double act Ciaran and Andrew spent 10 years performing live comedy across the UK (and Denmark, for some reason) with their company The Black Sheep, before discovering that writing for TV meant they could make even more people laugh and get to sleep in their own beds. Since winning last place on The Slammer, they have been in constant demand for their witty, cheeky, irreverent, rambunctious writing style, working across all ages and aspects of comedy. They are also increasingly called on as head writers and script editors.

In 2016, the duo won the Children’s BAFTA writing award as part of the Gumball writing team and, in 2018, they won the writer award at the British Animation Awards for an episode of Counterfeit Cat.

Ciaran and Andrew are delighted to have won the 2020 Writers Guild of Great Britain Award for Best Children’s TV Episode, for the 2018 Christmas episode of Danger Mouse (which was also nominated for the 2019 Children’s BAFTAs!).

Black Sheep’s CV can be found here


Sam’s first script, Doug, was an Australian soap opera version of Macbeth, and since then he has found himself writing mostly for elves, fairies, and animals – especially pigs and sheep. He also directs and animates, script-edits and plays football with incremental slowness.

He writes alone – at a desk – or in a team, and his style is one of silly ideas and snappy dialogue. He loves board games to the point of obsessiveness and likes to be green.

Sam’s CV can be found here


Simon has written scripts and developed projects for a wide range of media, across an equally wide range of ages: from silent pre-school to extravagant action adventure, by way of animation, computer games, sketches, surreal sitcom and occasional fiction. His first professional sale was a script for a comic strip – a five-page Doctor Who story.

Acutely aware of the limited number of pages he has in which to tell his story, he favours fast-paced, tightly-structured, character-led work with a strong sense of storytelling, be it choosing what to watch or read or working on his latest script.