LIAM O’BRIEN

Liam’s desire to be a writer can be traced back to the moment that, aged five, his parents explained to him that Thunderbirds wasn’t a factual documentary but was actually a made-up story written by clever people from the 1960s. From that day on, watching countless films and TV shows has been his “research” to work out how to tell a good story, and not just an excuse to get out of the washing up.

Liam now creates TV and movie scripts full of lovable characters, witty dialogue and fast-paced, entertaining stories. He writes in a room where Luke Skywalker, Batman and every incarnation of The Doctor keep an eye on him.

RICHARD MEWIS

Having re-written and polished TV and feature-film scripts as a successful TV and feature-film script editor and producer, Richard was encouraged by many in the know to write in his own work. He secured his first on-screen credit on a BBC drama, which was watched by more than six million people and starred Vanessa Redgrave, Brian Cox, Eddie Izzard and Dougray Scott, and has since written a number of features, returning drama series and comedy dramas.

PAUL MARI

Paul’s parents insisted he got a sound education and introduced him at an early age to the classics – Steptoe and Son, The Sweeney, Porridge, Boys from the Black Stuff, MASH, The Singing Detective … Well-crafted working-class stories with a dark comedic edge.

A graduate of the BBC writer’s academy his love affair with film and tele continues; a love that has never deserted him, let him down, or left him waiting at a bus stop.

CATH STAINCLIFFE

The Secret Seven are mostly to blame for Cath’s life of crime. A compulsive reader and writer, Cath was already an established novelist when her TV breakthrough came with her debut series Blue Murder.

As a self-professed lazy researcher, all her work is set in Manchester and her stories invariably feature women juggling the demands of kids and home life with the exacting task of catching murderers. Her stand-alone novels focus on the impact of crime, following ordinary people caught up in extraordinary circumstances. As well as adapting her own work for television and writing original radio drama, Cath has also written novels based on the Scott & Bailey characters. She is the proud owner of a CWA Dagger for her short story, Laptop.

Cath’s writing recipe is warmth, grit and a dose of humanity with buckets of strong tea.

NIALL LEONARD

During his 30 years in the business, Niall has had a hand in British TV classics, such as Monarch of the Glen, Wire in the Blood, Wild at Heart and Hornblower. He wrote the Crusher trilogy of novels and the screenplays for the international blockbusters Fifty Shades Darker and Fifty Shades Freed.

His novel M, King’s Bodyguard is a gripping thriller about one detective’s mission to preserve the life of his king and prevent a bloody war in Europe. Published by Parthenon in 2021.

Niall has gained a reputation for being fast, funny, flexible and passionately committed to his material – or as some script editors might put it, an argumentative PITA. If you want an original, skewed and irreverent approach to your project, call Val and see if he’s available. If you want an easy life, she has lots of other good writers too…

KIT HESKETH-HARVEY

1957 – 2023

MUCH LOVED

Kit wasn’t a bad person, he just liked to make people cry. As a cathedral chorister at Canterbury, he realised that hard work made art, and art made people cry. He wrote from that moment, and has not only produced reams of award-winning scripts, but performed and directs too.

Kit wrote from the comfort of his bed, in a Barbara Cartland style, but believed in the power of hard graft. It’s a winning formula that has resulted in the Biennale award for Maurice, the Vivian Ellis for Orlando, a Grammy nomination for The Bartered Bride, Writer of the Year for IPC, the Prix Marulic for A la Villa Bab Azzoun and Olivier nominations for Kit and the Widow.

 

OBITUARIES

The Guardian
The Scotsman
The Telegraph
Operawire
The Times
The Stage

SARAH-LOUISE HAWKINS

Sarah-Louise wanted two things when she was small: straight hair and to be a writer. Having had one of her stories published by Jackie magazine at the age of 13, she thought she was heading for journalism super-fame, but decided to turn down an apprenticeship at the paper to study Scriptwriting at Bournemouth University.

Sarah-Louise was a key writer on The Bill when it won a Writers’ Guild Award and a BAFTA for Best Continuing Drama Series. She has worked continually in mainstream TV drama.

Sarah-Louise’s CV can be found here

HENRIETTA HARDY

Henrietta’s writing gets under the skin, drawing you in with stories of disenfranchised teenagers kidnapping their siblings; an Iranian family and a Norwegian family going head to head following a murder; and a suburban woman who makes a pact with her death-row devil.

With an MA in Scriptwriting from the Northern Film School under her belt, Henrietta has more recently taken part in the EU TV Drama Writers Lab 2016 in Berlin and Creative England/BFI Talent Campus East. She’s an insightful writer with a talent for emotionally hard-hitting drama about people in very real but impossible situations.

MATTHEW GRAHAM

As an 11-year old, Matthew read a script that would shape the rest of his life: The Empire Strikes Back by Lawrence Kasdan. Little did the young Matthew know that he would go on to work with George Lucas on his Star Wars TV series. Matthew learnt his craft hard and fast, writing for EASTENDERS before creating the alcoholic, homophobic, 1970’s DCI with bad hair, otherwise known as Gene Hunt in LIFE ON MARS. Following the success of the spin off ASHES TO ASHES, Matthew co-created 6 part drama BONEKICKERS, and fantasy drama ETERNAL LAW, as well as fulfilling his lifelong dream of writing episodes for DOCTOR WHO. After adapting the novel ‘CHILDHOOD’S END’ into a miniseries, he also wrote the first episode of ELECTRIC DREAMS, each episode being an adaption of short stories by Philip K Dick.

Recently, Matthew co-developed and produced THE SPANISH PRINCESS.

RACHEL DAWSON

Despite a hi-tech office, Rachel likes to sit and write at her kitchen table with a full teapot and a view of the lively North Sea. Hugely experienced at writing for children’s television, she also has a couple of films to her name. She writes from the heart and boasts an uproarious, heart-warming and funny style.

Rachel’s CV can be found here