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bookcover front tv book

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

You can’t create experience, you must undergo it

—–

Yvonne has worked with the following companies and can proudly wear the ‘been there, done that’ T-shirt

Once I had a first draft, I honestly couldn’t tell if it was any good. I hadn’t written for TV before and had no idea what the structure for an episode was…I knew I needed to get some expert eyes on it, so I went to Yvonne… She’s 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

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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