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What is this partnership trying to change?  

For too long deaf, disabled and/or neurodivergent writers have been overlooked by the television industry. By making a clear statement to the creative community in the UK (agents, script editors, producers, directors, writers and creators) that we want to put stories from deaf, disabled and/or neurodivergent writers at the heart of our content, we are inviting increased and accelerated engagement. We do not want to prescribe what those ideas are or do, other than to ask any brakes to come off, so that we are bold and ambitious about creating work that will dazzle our audiences. These high-end TV dramas are the shows that will be front and centre of our content. The bar for that content is very high for the entire creative community but we want deaf, disabled and/or neurodivergent creatives to be working on the biggest and brightest shows in UK drama.

Whilst the partnership shifts focus to deaf, disabled and/or neurodivergent writers, and is intended to have an impact by putting those stories on screen, it is categorically additive to a collection of different approaches and initiatives that the ´óÏó´«Ã½, Netflix and other industry partners are undertaking to try and remove barriers. Of course there is no instant fix, but we are committed for the long term. We will keep restating this demand consistently and regularly so it is part of the fabric of the commissioning process, and part of our dialogue with producers and developers. In this way we work towards a time when having deaf, disabled and/or neurodivergent creatives at the heart of storytelling is the norm. 

What opportunities exist for un-agented writers?   

The ´óÏó´«Ã½ Writers is a key point of entry and engagement for un-agented and emerging writers and for 2022/23 has committed to a 12% minimum target across the board for those identifying as deaf, disabled or neuro-divergent. The ´óÏó´«Ã½ Writersroom team runs a series of annual programmes that newer writers can apply to in order to develop their craft skills, industry knowledge and grow their experience. Our next window for submissions to our Voices and Drama Room writer development opportunities, Open Call, opens on 9 December 2021 and closes on 13 January 2022. Details can be found here.  

´óÏó´«Ã½ Writers also run the Writers’ Access Group, a programme of writer development specifically for deaf, disabled and neurodivergent writers every other year and plan to open a call for submissions for this group in 2022. Through this programme a group of 12-15 writers will take part in a series of craft sessions, masterclasses, roundtables and structured networking, and they will also be supported in the development of a new spec script.  

The ´óÏó´«Ã½ Writersroom website regularly shares details of free to access writing opportunities from organisations that share our goals and values and provides excellent resources such as an extensive script library and blog posts sharing craft and industry knowledge and insight. ´óÏó´«Ã½ Writersroom also regularly runs free to access webinars and podcasts and the team scout, track and meet new writers across the whole of the UK via hubs across all four UK nations.  

How do I find an agent?   

We understand it can be incredibly difficult to get the attention of agents, developers and producers. Writers need their agents in a practical sense, to do their deals and ensure they get the best terms contractually. They need them to broker the relationships in the wider industry with script editors and producers. They need them to guide their careers with advice on useful next steps, on what jobs to accept and when. But an agent also provides pastoral support and advice, because writing can be lonely, and tough, and having that safe ally who is always on your side and fighting your corner can be transformative. We all know TV and film is a very competitive industry and many people wish to be screenwriters. To give yourself the best chance of standing out we would advise: 

• Having a very strong sample script that really articulates your specific voice, as a first step   
• Watch as much scripted content as you can; having a sense of what different channels, platforms and broadcasters are making, is important. When you get to meet agents and producers, being able to talk about the sort of shows you would love to write and the writers whose careers you would love to emulate, will help them get a sense of your creative ambitions.  
• If you have the opportunity, try to get your work read/performed/filmed and invite agents and industry contacts along, this can be a more dynamic way for them to engage with your work. 
• Research agents and the writers they represent to determine who you feel might relate to your work before making an approach. 

The ´óÏó´«Ã½ Writersroom asked script consultant Philip Shelley to write a blog on the importance of agents and how to find one:  

Read Philip Shelley's blog post on agents 

The barrier that has come through loud and clear from engagement in recent weeks is around creatives having access to agents and producers. We are aware of this and will be looking at what ways our industry can help facilitate more change here.  

For deaf, disabled and/or neurodivergent  writers attempting to get representation, how do you recommend introducing yourself? For example, should you present yourself as neurodivergent and link to your interest in this initiative and finding relevant producers for your work?   

We would welcome that – the success of this partnership depends on its existence being widely and consistently communicated to all those in the industry. However we also understand that the deaf, disabled and neurodivergent community is a collection of individuals and not everyone wants to declare or self identify.  We also realise that individuals are not defined by their disability. And that people may have other protected characteristics that are raising barriers to their progress in the industry.   

We are using our own agency and platforms to state a desire for this content, in the hope that it is one way of working towards a more inclusive culture in the industry. Perhaps that will mean some individuals feel safe to self identify, and more people will be offered the reasonable adjustments that will enable them to do their best work. But it is of course a completely personal decision.    

Are you willing to take a risk on new and untried writers or would you prefer more experienced writers on board too?   

We are looking for high-end drama series and authoring an original piece is a hugely challenging role for an experienced screenwriter. However, both ´óÏó´«Ã½ and Netflix have a number of pieces in production by authors who have never had their own series made before (for example, Nicôle Lecky with Superhoe, Laurie Nunn with Sex Education, Tony Schumacher with The Responder). This does not mean they are brand new to screenwriting; they have been working hard to hone their craft on the way to this opportunity. But each writer and each piece of work is unique, so what a particular idea will need to get commissioned is always bespoke to the people and the content in question.   

The initiative is not the only way to get an idea into development or production with the ´óÏó´«Ã½ and Netflix. It might be that if you are a newer writer, you look at the professional development opportunities available through ´óÏó´«Ã½ Writersroom, or you and your producing partners pitch through the more usual channels to either or both broadcasters.   

Does this mean there won’t be disabled writers commissioned outside of this initiative?

This initiative is categorically intended to be additive to the work that ´óÏó´«Ã½ Drama, ´óÏó´«Ã½ Writersroom and Netflix are already doing. It is an additional approach to ensure more ideas and productions of scale and reach are coming in to us from deaf, disabled and neurodivergent creatives. Both broadcasters were already developing work from deaf, disabled and neurodivergent writers and will continue to do so. 

We will also be encouraging producers on our shows to hire deaf, disabled and/or neurodivergent creatives in teams and on shows that aren’t necessarily focused on stories about disability. We want access to improve in all areas.   

How does the Drama commissioning process typically work outside of this initiative?   

The specific process can vary between broadcasters, but usually production companies (indies)  bring ideas and scripts to commissioning teams. These submissions are read, considered and discussed. We take the most exciting and original pieces into development, entering into a creative dialogue on each version of an idea or script, with the aim of getting it on screen. Not all the things we develop make it to commission, but the process of development is also valuable in terms of honing a writer’s craft, and building relationships of trust and understanding between writers, script editors, producers and commissioners. Good work with good collaborators is never wasted. If a honed script isn’t greenlit by the broadcaster or platform who commissioned the development, it is sometimes picked up by another buyer. At the very least, it also becomes a strong script sample for that writer to use in the marketplace.   

How do I submit ideas to this initiative?

This is not a scheme to which individual writers can submit scripts or ideas – it is a partnership that the ´óÏó´«Ã½ and Netflix have formed to carve out space and create a demand for stories told by deaf, disabled and/or neurodivergent creatives. All submissions should be made via independent production companies. To make a brilliant high-end drama series, a huge amount of expertise is needed. The writer and creator will need the very best support from their production company, from the cast and crew, and from the commissioners. It is not something anyone can do without the right collaborators and allies.   

The current eligibility criteria will mean that a number of disabled-led production companies, for example, can’t pitch ideas because they haven’t had a commission in the past 3 years, so will Netflix and ´óÏó´«Ã½ facilitate co-productions and collaborations?   

To realise ambitious high-end drama productions of scale needs a certain level of expertise and infrastructure. However we constantly work to build relationships and slates of projects with smaller indies, especially those that are diverse-led or out-of-London. Talk to us and we will work with you to help put the right structures in place, whether that is co-production partners and/or the right practical and financial support.   

How many submissions can a production company make and how many ideas can be submitted from the same writer?  

It is up to individual producers and production companies what and how they develop, and what they choose to pitch to ´óÏó´«Ã½ or Netflix, either in the regular way, or via the partnership. We often have projects by the same writer or company on our development slates at any one time, and we are frequently pitched multiple ideas from writers who are working with different partners. We aren’t putting any limits on the partnership.  

What will indies be required to submit?  A one pager?  A longer treatment?  A script?   

We don't ask for a specific format and have already had a range of formats pitched from shortish story documents to whole scripts. We usually advise that you submit in the form that you believe is rich enough to do justice to the idea you are passionate about. For something simple that could be a one pager. For something more complex, it might need a longer doc to do justice to the promise of the idea. We are also happy to read scripts.    

What shape of show will you be commissioning as part of this?  

We would love to find landmark returning series that become the very best of what we offer our audiences year after year – pieces that are beloved in the way that Line of Duty, Sex Education, Peaky Blinders or The Crown are. We don’t want to be too prescriptive about what kinds of stories those would be – who knows what an audience will be thrilled by in the time it takes to develop, commission and make a big drama show. We always want the shape of a show that best fits the idea, but for this initiative that is also about scale and impact. So returnability is desirable but not essential, and we are looking for multi-episodic pieces.   

Are you open to international stories?

We will be looking for stories that are authentic and meaningful to audiences in the UK so some elements will need to feel accessible and relevant from a British perspective.    

What happens if one of you wants to develop or make an idea and the other doesn’t?

There is an option for either company to develop an idea solo, if the partner doesn’t think it is suitable for the partnership. Similarly at the point of greenlight on an active development, Netflix will have right of first refusal on any projects passed on by the ´óÏó´«Ã½ so can proceed alone. And ´óÏó´«Ã½ may decide to continue with a piece once Netflix have turned something down.     

Can I submit comedy or factual ideas/will there be a range of genres considered?  

This is a drama initiative, from the Drama Commissioning teams. It is not for unscripted content. The boundaries in scripted are more fluid these days, but if something is clearly a comedy or a documentary, it's not for us.   

What is the deadline? 

There is no deadline - development in drama is not fast, and we want ideas to come to us when they are ready rather than in a hurry. Equally, the sooner we can see more deaf, disabled and neurodivergent authors’ work on screen, the better.    

Opportunities for disabled directors are also a challenge: will this partnership focus on those too? 

This specific initiative is aimed at writers. We believe that putting stories from deaf, disabled and/or neurodivergent creatives into the heart of our content will help bring authentic portrayal and also opportunities behind the camera, without us having to prescribe the ideas or types of stories we are telling. As we have seen with other under-represented groups, if you give a platform to the storytellers, representation improves across all roles.  

More specifically, directors can look for opportunities via ´óÏó´«Ã½ Elevate which is an initiative to progress mid to senior level disabled production talent industry-wide who have experienced blockers in developing their career. The initiative is from ´óÏó´«Ã½ Content and offers an opportunity to work on ´óÏó´«Ã½ commissions.

The scheme is re-launching in January, more information will be available soon via the ´óÏó´«Ã½ commissioning website however if you have any questions in the meantime you can contact the Elevate project manager Nichola Garde on nichola.garde@bbc.co.uk 

Will there be a full commitment to deaf, disabled and/or neurodivergent actors to play deaf, disabled and/or neurodivergent roles as well as roles which don’t require the character to be deaf, disabled and/or neurodivergent? The industry continues to award non-disabled actors, for example, to play disabled roles.   

We believe deaf and disabled actors face many barriers getting into the industry and should not have to face the additional one of non-disabled people being considered for those roles. 

Casting directors should be briefed to bring in disabled actors to be seen for a range of other roles as well, and background artists should also include deaf, disabled and/or neurodivergent actors.  

We would recommend that producers have conversations with a deaf, disabled and/or neurodivergent actor as soon as they’re cast to see how their lived experience can be woven into the script or direction, regardless of whether the character is disabled or not, to ensure authentic portrayal.   

How can you make sure that onscreen representation adheres to the social rather than medical model of disability? 

As commissioning teams, we are educating ourselves about the social model of disability and the appropriate use of terms and language. We will be offering disability awareness training to the producing community. We are also planning to be ever more stringent about consultancy at a script stage and on our productions so that we can get this right.  

How long would you expect the development to production process to take?  

Drama development is a long process. All scripts need writing and rewriting, however brilliant and/or experienced the writer is.  The process of getting a script to the point where it is ready to be pitched to a broadcaster can take anything from a few weeks to several months, then there will be a process of notes and redrafting to get a piece into the best possible shape for a greenlight decision. The more original and unusual the idea, the longer it sometimes takes to refine it into the most potent, pure version of itself. However, each development is unique and will have its own journey.     

As a disabled creative/artist/performer where can I seek advice, support or training around working in the Drama industry?   

There is a wealth of information that you will find useful on the ´óÏó´«Ã½ Writers website if you are an aspiring writer. 

As an artist or a performer you can approach one of the many excellent organisations out there such as DANC and DDPTV.  

TripleC DANC is a not-for-profit disabled-led community interest company whose mission is to elevate the role of deaf, disabled and neurodivergent people in the arts and media. DANC (the Disabled Artists Networking Community) is TripleC's professional strand. It offers training, career development, mentoring opportunities, and support for individuals and organisations in the screen and arts industries. To hear more about DANC and the opportunities and training on offer, visit the website where you can sign up to the regular newsletter. You can also contact TripleC DANC by email at contact@triplec.org.uk.   

 is a private online space for deaf & disabled television professionals across all genres to connect with like-minded professionals, share job opportunities, and to ask for and share advice and guidance, based on their considerable lived experience. DDPTV also run workshops to help identify best practice.  

There are more links that you may find useful here:  

Resources: 

• ´óÏó´«Ã½ Writers: Welcome to ´óÏó´«Ã½ Writers 
• Deaf & Disabled People in TV | Facebook  
• DANC | TripleC  

• Source of multiple resources including advocacy/campaigning groups and networking/training organisations: 

• Information about producers:  
• Screenskills    

Other Links 

• Access to Work: get support if you have a disability or health condition - ()  

• Disability Rights UK  
• National Register of Communication Professionals working with Deaf & Disabled People: NRCPD  
• Making your production disability-inclusive – Creative Diversity Network  
• Inclusive language: words to use and avoid when writing about disability - ()  

Read the press release announcing the partnership on the ´óÏó´«Ã½'s Media Centre website