We launched Duly Noted 2021 (DN21) as a training programme for people in comedy and drama development. The workshops were designed to skill up aspiring script editors, arming them with a practical understanding of production and a support network.
The launch exceeded our expectations, with more than 200 applications. Eventually we selected five promising, talented, and kind individuals: Andin Ngwa, Amir Amirsolimani, David Cheung, Marissa Ogbeide, and Uju Enendu.
After the success of the workshop series, we created a Duly Noted Assistant Script Editor role across two of our productions: BBC Three’s Red Rose and BBC One’s Ten Pound Poms.
DULY NOTED 2022
Reviewing all the applications last year alerted us to the fact that the range of exclusion in scripted television is mountainous. It’s entirely intersectional. Approaching it singularly reinforces barriers. The intention this year is to deliver wholly inclusive training with the support of the BBC and Sony Pictures Television.
As a result, this year applications are encouraged from all people from historically excluded groups; this includes aspiring script editors who are Deaf, disabled, neurodivergent, LGBTQ+ and from lower socio economic and/or ethnically diverse backgrounds, from across the UK.
We’re excited to collaborate so closely with partners who share a passion for changing our landscape. Our joint ambition is to scale up and skill up this year’s cohort. Running the training last year, we became acutely aware that everything we were discussing would be better absorbed if we could immediately apply that learning, which is why we all felt it imperative to create behind-the-camera roles alongside the workshop training.
We’re expanding this year’s cohort to include at least six individuals.
This year the bootcamp training will prepare the cohort for on-the-ground placements in production, which will follow the workshops.
The training will take place across a week at the end of April, prior to the production-based Assistant Script Editor placements, earning the DN22 cohort their first broadcast credits. Placements will be facilitated by the BBC and SPT, and will be in partnership with producers as yet to be approached.
Workshops will take place in a fully accessible London venue, followed by production roles across the UK.
The placements will span a twelve-week period between May – September. The roles will vary depending on demands of the production, while taking into account participant experience, location and requirements.
We’re creating a feedback loop between DN21 and DN22. Some members of the first year cohort will return to facilitate and mentor the participants in this year’s group.
We feel it’s important to not only train up and pay the knowledge forward, but also vital that we nourish and sustain a network of emerging editorial brains who’ll likely be the leaders of our industry tomorrow.
- Who can apply?
This year we’re opening applications to all people from historically excluded groups; this includes aspiring script editors who are Deaf, disabled, neurodivergent, LGBTQ+ and from lower socio economic and/or ethnically diverse backgrounds, from across the UK.
Ideal candidates will have a track record focused on editorial. We’re looking for individuals with script reading and script development experience (or transferrable skills) under their belts. However, we very much welcome applications from people who’re looking to crossover from other TV or Film production roles.
- Is Duly Noted Paid?
To support costs of travel, accommodation and equipment hire, Duly Noted is offered as a paid training opportunity. Participants are compensated for their time during the workshop series and throughout their production role as Assistant Script Editors.
The submissions window opens on Monday, February 14th.
Applicants will need to email us at firstname.lastname@example.org, sending their current CV as PDF, along with a PDF responding to the following provocations:
- In what ways do you feel that TV storytelling and the broader industry would benefit from the inclusion of individuals like yourself and the perspective of your community?
- What does script editing mean to you – why are scripts and story your chosen path?
- Tell us about a show you love and why.
- Tell us about a show you didn’t get along with and why.
- Which show would you love to have script edited and why?
- Tell us why you would benefit from participating in Duly Noted.
- Let us know if you have any access requirements.
Applications must be submitted by 5pm on Monday, March 14th to be considered for Duly Noted 2022.
Please note that we will only use personal information supplied to us for the reasons it has been provided for. We will only hold information for as long as necessary to fulfil that purpose. We will not pass information to any other parties unless this is made clear at the time supplied. In this instance, we will share personal information with prospective mentors to help support applications. All parties who have access to personal data or are associated with the handling of that data are obliged to respect confidentiality.
DN21 – WHERE ARE THEY NOW?
|David Cheung –|
‘When starting Duly Noted, I was a script researcher. The amazing bedrock of knowledge from the scheme prepared me to rise to assistant script editor, then script editor on the silver anniversary 25th season of Silent Witness. There I helped develop, from the ground up, the storylines with the team and both new and experienced writers. Since doing Duly Noted, it’s been a fantastic year where I’ve honed my craft to the point where it’s no longer the goal – it’s what I do for a living!’
Andin Ngwa –
‘Before Duly Noted, I was development assistant for three years at the lovely Hillbilly Films. I was eager to get some hands-on production experience so that I could have a more informed take when reading scripts as well as being able to enjoy some of the general production buzz that comes with making a show. Since taking part in Duly Noted I’m very pleased to say I’ve had plenty of this.
During the course, I began working as assistant script editor on Wild Mercury/Amazon supernatural thriller The Rig and stepped up to script editor for the second block. Straight after this, I moved onto Greenacre Films/ITV/Amazon drama Riches as script editor. And I’m delighted to say I’ll be going on to be development executive at Firebird Pictures.
It’s been fantastic working with a varied group of people and lots of talented individuals! I learnt so much about script editing and strengthened my development skills with the help of Carissa and Tolula at Duly Noted, along with all the wonderful guests, which enabled me to feel confident in future roles. The course has certainly opened up a fruitful and exciting pathway, as well as providing continued support, which I’m extremely thankful for!’
|Amir Amirsolimani –|
‘After Duly Noted, I went on to join the editorial team in production on a high profile, 10-part-series for a major SVOD. Following wrap, I’m now in-house as a Development Editor at SunnyMarch. Duly Noted has been a brilliantly educational, deeply supportive experience that I cannot recommend enough.’
Marissa Ogbeide –
‘During the workshop series, I worked as a freelance script consultant and was also the Development Executive on Unearthed Narratives, a series of 5 short films by up-and-coming filmmaking talent for DBK Studios and Sky Studios. The films were shot in early 2021. I have now joined the in-house team at Sugar Films as a Development Executive, working across their drama slate on projects helmed by both established and emerging writers.’
|Leon Jan –|
‘The Duly Noted Assistant Script Editor role at Eleven has been fantastically informative but also beneficial in terms of giving me a focus and foot hold in my career path. When offered the opportunity, I leapt at the chance and 10 months later here I am telling you about my journey working on Red Rose created by the Clarkson Twins and another unannounced greenlit production.
Passionate about story telling this opportunity has not only enhanced my love for it but it has made me articulate in the construct of it. I’ve learnt the skill of notetaking in writers’ rooms with some prominent writers of the day, organised memos within time constraints for production, proofed and prepped scripts and issued amendments, as well as helped across ADR. The opportunity to see cuts of the programme you’re making, and then to be invited to give notes just goes to show how safe and heard this role is.
I’m not yet the fully-fledged Script Editor I hope to become and the only reason I say that is because I’ve been taught by the best, but now, I have a career purpose and something to aspire to.’