Beth Granville and I started working on the scripts for Series 4 of our BBC Radio sitcom Foiled at the end of March, making use of the uncertainty of the first lockdown to produce first drafts of three of the four episodes. We worked remotely, of course, and although we shared script ideas and weekly phone calls, we wrote more or less independently during this first phase.
(For the writing data geeks among you 👋 I spent 75.5 hours working on the project over those three months of sunny loneliness.)
We took a hiatus over the summer months and then, slapped with a November deadline, took up our keyboards again at the beginning of October.
I don’t mind sharing with you the fact that our producer hated two of the draft episodes we’d handed in. It’s hard to say whether that was down to the distance between Beth and I, the distractions of the health crisis or—I think most likely—the natural process of writing anything.
This second, autumnal phase was marked by much closer collaboration, with phone calls every other day and the luxury of ten days of in-person time, spread over three blocks. There was a lot of work to be done.
But gradually, as the hours totted up, the scripts, as they do, started to fall into place. We got great feedback from the producer, first on one episode (‘Oh my giddy aunt this is wonderful’), then on another (‘Hoorah! This is fucking WONDERFUL’) and finally on the series closer (‘I think this is the best episode you’ve ever done’).
There was just one problem: we’d been hired to write four episodes, not three. Episode 1, that big bang series opener, didn’t exist yet. This was last Tuesday, the last Tuesday in November. Our deadline was the first Tuesday in December.
We made that deadline.
I don’t know how, but we started, muddled and finished a 30-page radio sitcom episode in a week. Actually, I do know how: by spending a lot of time writing.
(Precisely 30.5 hours from my side, plus more from Beth and a day with comedian Adam Hess. Incidentally, this episode broke last year’s three-week record for fastest ever script—but the number of hours spent writing were identical.)
On Wednesday, we heard from our producer: ‘This is fucking great. Funny, feasible, surprising but makes sense—it’s ticking all my comedy boxes.’
Finally, 8 months, 213.5 logged writing hours and a global pandemic after we started, we have (almost) finished.
(This compares with our experiences last year. I estimated that Series 3 took about 50 hours per episode, but that excluded time spent talking through story with Beth. The ~54 hours per episode this year includes most of that time. Although our 2020 writing process has felt quite different, the amount of effort has been identical.)
Foiled is due for broadcast on BBC Radio Wales and BBC Sounds in late January. I hope you enjoy listening as much as we’ve enjoyed writing. There really is no substitute for putting the hours in.