As we begin preparations for our second season, we are looking to expand the Liars & Leeches crew with an editor that can help us edit our upcoming crowdfund and second season scripts. If you're an editor that loves audio dramas and horror, we'd love to hear from you!

Let's kick off Tuesday with the first big announcement of the week: the unveiling of another member of Team Unseen... 

He’s the man behind the curtain in our writers' room. One of the brightest and sharpest minds in the world of audio fiction, one of our favorite writers, and one of our best friends, doing us the honor of serving as Unseen’s script editor... 

 It’s the fabulous Mr. David K. Barnes! 

If you haven’t heard David’s work yet, do yourself a favor and seek it out. He is the creator and the showrunner of one of the audio fiction medium’s brightest star’s, the glorious Wooden Overcoats. 

We're thrilled that he's agreed to bring his storytelling expertise and keen critical eye to Unseen as our script editor!

The former Doctor Who writer and script editor Terrance Dicks has died aged 84.

Dicks had a long association with the BBC’s longest-running sci-fi show, writing episodes from the late 1960s until the early 1980s. He also served as its script editor from 1968 to 1974 and wrote numerous Doctor Who novels.

The programme’s official fan site confirmed the news in a post on Twitter. “Just received comms that legendary #DoctorWho writer, Terrance Dicks has died,” it read.

“Genuinely gutted. An incredibly talented man who we had the pleasure of interviewing over the years. He also regularly took part in Q&As on the DWO Forums. He will be sorely missed!”

All through college I worked my butt off. I didn't have a job, but I was focused on my studies. I never did near as well as I wanted, and eventually lost interest because I wasn't learning anything new. Instead of offering me a new challenge or ways to find interest in paying $100 a day for repetitive classes, you scolded me for being lazy.

So I turned my attention to my sorority. I was going to be the best member I could possibly be. I devoted my time to helping with everything and taking roles I knew I'd be good at. And I thought I was doing well. But you proved me wrong. Instead of telling me what I needed to do to be better (or telling me I was doing poorly in the first place), you began to shoot down all of my ideas, ignored my direction after putting me in a leadership position. You shunned me for moving out of my comfort zone and putting myself out there.

So I stopped. I stopped everything. I moved back home, took minimal classes at a school I loathed and fell back into the depression I'd tried so hard to escape from. I considered dropping out of school and heading straight into the workforce – you don't need a degree to clean hotel rooms, after all, and a local hotel was hiring. And what did you do? You wrinkled your nose up. Told me I'd never amount to anything. Degraded me for wanting to take a different path. You called me ignorant and selfish.

So I started making costumes. Taking road trips with my friends and showing off my sewing skills at conventions – even going so far as to win awards. I threw myself into that, too. Whenever I wasn't in class, I was at the sewing machine making something I loved out of nothing. But instead of being happy for me, or – at the very least – going along with it, you scolded me. Told me that this was a complete waste of time and money. You belittled me and said it would never amount to anything.

So I started voice acting. And I felt my whole world change. Never before had I felt so passionate about something. Never before had I seen so many open doors just from sitting behind a microphone. I dove in head-first. Funded my own equipment, actively sought out lessons, attended every event I could, read every scrap of advice I could get my hands on. I wanted to do this and I wanted to be the best. And what did you tell me? “Why can't you focus on your studies?” “Settle down, become an English teacher.” “You're never going to make it.”

So. Here I am.

A private costumer, supplying costumes to local theatres.

An assistant director, helping out theatre directors and giving acting lessons.

A script editor, filling plot holes and fixing stupid grammatical mistakes.

A voice talent, lending my voice to various projects and a professional table reads company.

I'm giving my all to every one of these jobs, and you want me to “settle down, become an English teacher.”

I'm giving my all to every one of these jobs, and even still you reprimand me. Because now I “work too much”. Because now you “never see me”. Because now I don't have any free time. Because now I'm always tired. Because now I'm proving you wrong.

I can't please you people. Because no matter what I do, it's not what you want of me. And you know what? That's fine.

I don't have a spouse, I don't have a kid, I don't have anyone whose lives are dependent on me. Well, there's the cat, but she's always got food, clean water, and a comfy place to sleep so I really don't think she cares all that much.

So scold me. Call me lazy. Shoot me down. Ignore me. Shun me. Wrinkle your nose. Degrade me. Call me ignorant. Belittle me. Tell me I won't amount to anything. Tell me I work too much.

Go ahead.

Because even still, I'll thank you for it. Why? Because you've taught me something.

Hi Anon,

It’s great that you are aware and actively seeking out good reviewers! The advice I was given was: ask your most professional friend and your most honest friend to critique your script.

Your professional friend can tell you what you are doing right and wrong in terms of format and content in relation to the film business. Your most honest friend will tell you what they liked, but more importantly what they didn’t like. They are a real person who watches films and TV like the average person so they will react like an audience member, not like a film critic.

Teachers and professors are also good editors.

If you still don’t think your reviewers are being honest with you, try finding a beta reader via social media. There are lots of groups out there dedicated to helping writers.

@thewritinghole made a great post about finding and being a good beta reader.

And if all else fails, I edit scripts as well. Just message or email me and I’ll be happy to discuss your script with you!

Best,

Nick Fore I’m so pleased that Nick Fore, London-based script consultant/script editor, agreed to be on the podcast. Nick’s read thousands of scripts, including mine (sorry Nick!), and offers insightful, positive script coverage for shorts, features, and TV pilots. He works with the British Film Institute, StudioBinder and has just finished working alongside BAFTA-winning writer/director Michael…

The cogwheels have been moving in my life recently. I find myself looking back on what steps I have taken to become a Script Editor.

After studying a BA in screenwriting for three years I knew I wanted to work in television; specifically in development. There appeared to be very little specific training in this area, so I set out to teach myself from the ground up.

I began by reaching out to writers on Stage 32. I read anything that I could get my hands on; feature films, shorts, television pilots. This exercise forced me to read genres and stories that I previously wouldn’t have been drawn to. In return for my editing and feedback services the writers offered to write testimonials about the editing experience I had provided them with.

This led to Samuell Benta, a writer and producer, actively seeking me out as a Script Editor. I read several of his television scripts and treatments. The few months that I worked with Samuell pushed me to be a more proficient Script Editor. I had to learn very quickly how to verbalise my thoughts, and convey them in a way that was in line with the vision of the writer.

I proceeded to volunteer as a Script Mentor in my final year of university. This involved me working closely with three first year students as they wrote half hour drama and comedy TV episodes. This helped to sharpen my interpersonal skills, as previously my only interactions with writers had taken place either through a computer screen or over the phone. It was this particular role that helped me understand the place of the script editor within the overall writing process. The writers are the ones with the tools; it was my job to sharpen those tools and guide them to the finish line.

After my time as a Script Mentor ended I set up my own website, where writers can purchase my proofreading, feedback and editing services. I enjoy taking story apart, and inspecting the building blocks of what make a great script work. The job never gets old because I never know what script I will receive next. It could be Dramedy television pilot, an action-thriller feature, or a short horror film intended for a festival.

My overall goal is to become a Script Editor within a production team, as this would involve being a lot more hands on. I wrote to Open Door, an online screenwriting magazine, asking about what steps I should take in order to reach my goal. I was advised that I should keep “knocking on doors”, and that it just so happened Yvonne Grace was leading a course that focused on the role of the Script Editor.

Yvonne has a long stretch of experience as both a script editor and producer for shows such as Eastenders and Holby City; I knew that this wasn’t an opportunity that I could pass up. I was fortunate enough to land a place in Yvonne’s course in May, as there were only ten places available. The course was the first of its kind; created in response to Creative Skillset realising that there isn’t any formal training for this type of role, despite the demand for talented Script Editors! It took place over two consecutive weekends; something I was thankful for as I spent the week in-between digesting the information that Yvonne passed down to us.

The course analysed the role of the Script Editor within the production process; using real examples from dramas that have been produced and are transmitting, such as the episode “Black Dog” written by Patrick Homes for Holby City.

Yvonne was infused with a brilliant energy and a love for story that was infectious. It was the perfect environment to soak up new information on a job role I only really know bits and bobs about from my time at university and from my interactions with writers on Stage 32. It was great to be surrounded with people who have a similar goal as myself, and interesting to see how we had all come from different backgrounds. Just as no two writers are alike, the same can be applied to script editors. 

During the two weekends we had six guest speakers; The producer of Coronation Street Kate Oates, Exec Producer of Lionsgate Films Sarah Conroy, ITV Development Producer Kat Reynolds, HBO Europe Executive Producer Steve Matthews, as well as writers Jeff Povey, and Ashley Pharoah.

This course also involved me working closely with prolific and successful writer Jeff Povey on one of his first drafts of "Hooten and The Lady." Jeff has worked on Casualty, Holby City and Eastenders, and passed on his wisdom and knowledge of what writers look for in a Script Editor; fundamentally a trustworthy, honest individual who can be the diplomatic middle piece.