My Latest
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How to Structure a TV Series
How to Structure a TV Season and Series Story for the Commercial Market In this blog, I’ll guide you through the process of how to structure a tv series, structuring a TV season and crafting a compelling series story that appeals to the commercial market. [...]
PITCHING FOR TELEVISION – HOW TO DO IT WELL
Creating a cohesive, engaging, comprehensive, creative and commercial world for television from scratch, getting it out of your head, on to the page/screen and ultimately across the desk of people who can produce and distribute it to the world is a huge, daunting task. But [...]
The Development Path Writing Television Scripts That Sell
The Development Path is not often an easy one. Writers must not only create a series that is true to their voice, to their interests and intentions, but also this series must deliver to a sophisticated, seasoned, critical audience. To be creative is one thing, [...]
How To Write a Pilot for Television
How to write a Pilot for Television. This is my mark 2 chapter on the subject. A note of caution from the Off. Firstly, do read my blog How To Write the Pilot for Television (part 1) here Then, do not write anything initially. Have [...]
WRITING THE TELEVISION PILOT – FIRST TEN PAGES
Writing the Television Pilot - the first ten pages - can be daunting for Television writers. In this blog, I want to set out the five key factors that must be in those crucial first ten pages in order for a potential Producer to not [...]
HOW TO WRITE A TREATMENT AND STRUCTURE SERIES NARRATIVE
Do you want to know how to write Television Treatments and learn how to structure your series narrative?
“Students in the UK studying scriptwriting, creative writing, TV production and media courses would do well to read this book, with its practical focus and instructive guidance on the realities of writing for series in the industry. Read Full Quote
Dr Helen Jacey
“If you want to get an impressive insight into the industry and routes in to make your work competitive then buy this book now.
Peter Devonald
““From Creation to Pitch: How to Write Stories for Television That Sell” by Yvonne Grace is like a GPS through the maze of TV production. With the finesse of a seasoned writer and the wisdom of a TV industry insider, Grace has distilled her years of experience into a compact powerhouse of guidance. This little guide isn’t just handy; it’s your secret weapon for navigating the turbulent waters of TV drama. #TVWritingWizardry #YvonneGraceMagic
Dominic Carver, Writer
How To…
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You can’t create experience, you must undergo it
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Yvonne has worked with the following companies and can proudly wear the ‘been there, done that’ T-shirt
“Yvonnes had 30+ years in the industry and seemed to fundamentally understand TV drama. She was the right person to help. I’d had lots of positive feedback about how strong my opening pages were. I was really, really proud of them. And one of Yvonne’s first comments was, “the opening’s got to change”…I trusted her though, and she was right…
MARTIN BELL
“Working with Yvonne these past three months has changed everything regarding how I feel about myself as a writer, knowing that my work can translate to a commercial, saleable entity. Yvonne is a genius in her process, allowing the artists she works with to embody their true calling, showcasing what makes them extraordinary while giving them the proper tools and feedback to generate original and credentialed material that will stand alone in this highly competitive industry. We have a lot of laughs in the works, which makes the overall relationship so enjoyable.
LAURI LEVENFIELD WRITER/DIRECTOR
“Yvonne is fabulous. I had the pleasure of one of her screenwriting intensives a few years ago and it really helped demystify structure. She’s also the real deal having worked on the biggest soaps and drams on TV.
LYNDA KENNEDY
JEM DRYER Delegate/script editor If you ever want to see a real wizard at work, sign up for Yvonne Grace’s Script Editing for Television course right this second. The way Yvonne can take apart a script is genuinely dazzling to watch, and you can’t help but feel yourself becoming ten times the script editor you were just by watching her process. There is no explanation for being able to cover every aspect of script analysis and editing, storylining, delivering notes to writers, and understanding the script editor’s role in production in only four days other than magic.
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