Being a script editor on Eastenders....

… was one of the best jobs of my life. I edited over 100 episodes - which was a shit tonne of ‘Gettouttamypub..’(s). Gawd bless the late, great, Babs Windsor - a total pocket-rocket goddess. Every Xmas Babs would get some nice burly chap to wheel around crates of mini bottles of Moet and give one to every single member of the cast/ crew / staff. When one leaves the square (not in a black cab - IFYKYK) after 2 years, you get given a big ‘Albert Square’ street sign and the cast all sign it. Mine has June Brown, Babs Windsor and Pam St Clements’ signatures across it and is very cherished. (That’s Dot, Peggy and Pat for the uninitiated).

However, the only downside was folk never really knowing what my job was about - outside the industry. You do what exactly? Do you write the scripts? No you edit them - well what does that mean???

So a script ed is basically the conduit between the writers and the producer/directors/cast/make-up/props/anyone you can think of. So when a poor trembling writer hands in their first draft (‘yellow’ in my day - meaning the pages were literally yellow) - certain producers would read it and then feed back notes to the script ed alongside research folk and ‘scheduling;' who in turn would shape into some warm cozy: ‘there, there, it is gonna be alright,’ notes to the writer. Schedulers, to me, had the hardest job of all - trying to juggle where you could film cast with whom. In a LARGE cast. So their notes were always - you can have Pat but not with Dot and never ever Dot outside in winter. Outside being ‘the lot.’ Research notes made sure that stories were authentic and other notes could come from props, design, even make up…

The writer hands in draft 2. (Pink). The director comes onboard with more thoughts - mainly practical ones, like - do we have to film a real chinchilla? There is another draft, more notes, a published script and the dreaded amends when things need more tweaking… (Or actor’s want a say…). When scripts went ‘white’ - therefore ‘published’ - we used to space hopper around the office filled with glee. It was punishing work as obviously soaps never end. Each editor was responsible for a week of scripts. Usually just as one set of scripts began shooting, they would move on to edit a new batch of scripts… Just as another batch would be in edit - and we’d have to sit in with the big boss and director and justify (at times) why we had done what we had done. So lots of juggling. LOTS.

But the greatest skills I used when script editing? The ones I picked up training to be a Samaritan. I’m not joking. Writers are sensitive creatures who have to dig into their very souls to bleed all over a page - and telling them ‘yeah it’s not a total re-write’ in a voice that implies it FUCKING IS a total rewrite - takes a certain soothing, gentle tone. On more than one occasion I talked a writer down from a ledge - metaphorically speaking.

Having crossed over to being a writer myself, I value above all a really good script editor. Worth their weight in pure gold they are. Having been one, I think I know what it takes:

1. Patience. Writers have egos. Often fragile ones and a soap especially does not have time for egos. It is a MACHINE. A brilliant, well oiled, ‘nothing is more important than the show’ machine - and it does not have the time to pussy foot around with people’s feelings. A patient script ed will list to the writer in a kind voice, explaining WHY they have to have the scene written exactly as they ask and then explain to them gently that they can’t actually be as ambitious to set a house aflame - that the budget is allowing for a… er… toaster. With a few sparks flying. Maybe a sparkler…

2. A good script editor will have a writer’s back. Which means going into a meeting with producers/directors etc and being the writer’s voice in that room and explaining what they tried to achieve. Not, throwing them under the bus and saying - yeah, I’ll just get so and so to do the whole thing again… because you are telling me to. I once worked with an editor (as a writer myself) who never fought for anything - which made the process so exhausting. It meant I had to wait until I met with the producer, fight my corner and more often than not - I got my way. Save time. Fight for your writer. If you do and they know this - and trust you - they will walk over hot coals for you. Naked.

3. No script editor should ever give the note: HAVE MORE FUN WITH THIS. What the fuck does that even mean?

4. Ditto - Dig DEEPER. We are not planting spuds here folks.

5. Remember the shit sandwich? Begin by saying how great the script is - even if it isn’t. Then tell them what needs done. Then end with a fabulous note about what is also great in the script and how confident you are in them. Bread, shit, bread.

6. NEVER talk about ‘with one last push…. this will be great.’ We aren’t in labour. This isn’t childbirth - although upon reflection, some scripts I have worked on felt a LOT worse I can tell you.

7. DO not give notes on a Friday at 6pm and then turn your phone off. You coward. Likewise, on 21st Dec ask for something due in on Jan 2nd. Writers have lives! Children, dogs, plants, friends, family, dates, partners, dental appointments. Appreciate this and act accordingly.

8. Headline notes are almost certainly a waste of time. Scene notes are the best. All writers want scene notes ONLY. If it is a headline note then make it a question like: why does X decide to have an affair? Is that clear in their motivations? Questions are great. Prescriptive picky notes not so. One producer I know used to write such intrusive notes at published drafts that a writer once texted her: do you want to write this? If you are a producer who secretly wants to be a writer, please go and write. Otherwise, let a writer do what you are paying them to do.

9. Warmth and respect goes a long way. I only ever worked with one writer who was deeply unpleasant and egotistical/narcissistic. In general I had the most wonderful time with lovely, creative, fun, people who were simply trying their best and you, as script ed were there trying to help them achieve this. In my book - the person with the best idea should be followed - no matter who that is. Treat people as you would like to be treated yourself. It is after all, only telly. We aren’t saving lives here folks. Perspective is our friend.

10. Keep it brief. Unbelievably, with two small kids I never worked weekends at EE. I only did once - for a Xmas day special. I sure worked after the kids went to bed - but I banged those notes out in the most concise way possible. Writers loved it. They usually got 4 pages instead of 8… I was probably a bit too direct at times, but the concise nature of my notes meant writers thought they had less to do and that made them HAPPY. Also, be available to talk those notes through. Because one note can have a poor writer stewing all night - and when chatted through can be worked out in a jiffy. Remember, you two are IN THIS TOGETHER. You are a team. The best script eds know this.

I left Walford and went back several times in between having my daughter and her going to nursery. Couldn’t have asked for a better bunch of colleagues. I will never forget the week I first started, when my boss kindly took me down to the Square and I sat on Arthur’s bench. I couldn’t speak I was so choked up. I truly believe that I wouldn’t have got through raising two small kids if I hadn’t had such a brilliantly fun job back then with such ace colleagues. Both times I left, replete with leaving parties, cake, the whole shebang, I sobbed my heart out. Really, isn’t that what we should all be aiming for - working with fun people and learning as we go?

What about you guys - any best ever jobs? Please feel free to vent below.