‘Why won’t you work with us?’

Dear UK TV drama commissioners,

In recent years, a new tradition has been established among us female television writers. It starts with one of the channels announcing their drama commissions for the coming season.

A list of projects full of promise: some will become new favourites, some will be flops and some will mysteriously never quite make it to the screen. But, without fail, they will overwhelmingly be written by men.

And once again our irritation will boil over on to Twitter and Facebook and another day of writing will be lost to another collective social media howl of pain and frustration.

We howled again when cultbox.co.uk proudly listed ‘Every drama series ITV has planned for 2018’.

Of the nine new dramas listed, only one had a female lead writer. In fairness, the article was by no means defi nitive, as since it was published, ITV has announced two further dramas for 2018. Both by male writers.

That suggests that less than 10% of new drama greenlit by ITV for this year will be written by women. Perhaps you can now understand our rage? Less than 10%.

And the statistics are not much better when you start channel-hopping. And so, we want to ask you, the commissioners, a very simple question. Why? Because we are at a loss.

Is it because there just aren’t enough female writers out there?

No, it can’t be that. UK soap opera writing teams have plenty of women who write for the nation’s favourite characters on a daily basis. Women who are sharpening their skills and discipline on the most exacting shows on British television.

Soaps are the boot camps of TV writing. They demand unrelenting creativity, consistency and a photographic memory for years of story and enormous casts of characters. And yet these talented and hard-working female writers remain an untapped resource.

They do not seem to be ‘graduating’ onto next-level shows where they could develop their skills further and raise their profiles. Flagship shows like the BBC’s Silent Witness, which has employed only five female writers during its 20-year run. Or Doctor Who, which managed to go five series without an episode written by a woman.

So, maybe it’s about the ratings? Perhaps dramas written by women simply don’t put bums on seats?

If anyone truly believes that, we have three words for you: Call The Midwife.

This ratings behemoth has a female showrunner, the mighty Heidi Thomas, and a female writing team. For the past two years it has won the Christmas Day ratings battle, with 10 million viewers tuning in to have their hearts warmed by something other than postturkey heartburn. And that isn’t just a Christmas miracle.

The show hit the ground running, with its first series averaging more than 10 million per episode and it has maintained that audience across another six series. Surely you commissioners pray for that kind of audience loyalty?

And those lovely nuns are not outliers. The second series of Sally Wainwright’s Happy Valley attracted 1 million more viewers for its second series, averaging 9 million-plus. Her other award-wining BBC1 series, Last Tango In Halifax, averaged 7.5 million.

We know that there are plenty of female-led projects on your development slates. And yet very few of these shows are making it into production.

The gap between being commissioned and being produced seems disproportionately large when it comes to women’s work. And we’d really love to know why.

Once again, we are left desperately looking for a bright side. It is encouraging that many of the new ITV dramas have female characters front and centre. It is great to see that women’s stories are now being told. It’s just that we feel we might be better qualified to tell our own stories.

And this goes double for our BAME colleagues, who also seem to be consistently conspicuous by their absence.

So, we pose the question again. Why are you not making drama by female writers?

Come on, tell us the truth. We can take it. We look forward to hearing from you.

Yours in confusion and anger

 

The signatories

Sally Abbott

OD Aiyegbayo

Abby Ajayi

Carey Andrews

Henrietta Ashworth

Jessica Ashworth

Perrie Balthazar

Roanne Bardsley

Helen Blakeman

Tracy Brabin MP

Claire Bennett

Elly Brewer

Karen Brown

Lucy Catherine

Catrin Clarke

Suzanne Cowie

Kate Delin

Sonya Desai

Ann Marie Di Mambro

Samantha Doland De Vaux

Amanda Duke

Soulla Eriksen

Helen Farrall

Karen Featherstone

Lilie Ferrari

Hilary Frankland

Hannah George

Andrea Gibb

Lisa Gifford

Brenda Gilhooly

Wendy Granditer

Stacy Gregg

Janice Hallett

Kirsty Halton

Henrietta Hardy

Jay Harley

Sian Harries

Sarah-Louise Hawkins

Sarah Hehir

Olivia Hetreed

Jo Ho

Lisa Holdsworth

Alison Hume

Maggie Innes

Louise Ironside

Judith Johnson

Kelly Jones

Lauren Klee

Emma Ko

Line Langebek

Zoe Lister

Jane Marlow

Johanne McAndrew

Lisa McMullin

Loren McLaughlan

Caroline Mitchell

Debbie Moon

Chloe Moss

Alice Nutter

Janice Okoh

Anita Pandolfo

Jane Pearson

Sophie Petzal

Lyn Papadopoulos

Laura Poliakoff

Helen Raynor

Emma Reeves

Gail Renard

Gillian Richmond

Amy Roberts

Penelope Skinner

Emma Smithwick

Sarah Solemani

Sumerah Srivastav

Frog Stone

Kay Stonham

Sally Tatchell

Sue Teddern

Catherine Williams

Lindsay Williams

Dee Williamson

Charlotte Wise

Edel Brosnan

Melissa Bubnic

Rachel Dawson

Hope Dickson Leach

Dana Fainaru

Ruth Fowler

Taylor Glenn

Ella Greenhill

Anna-Lisa Jenaer

Charlotte Jones

Emma Kennedy

Dawn King

Jayne Lake

Jenny Lecoat

Kim Millar

Natalie Mitchell

Caitlin Moran

Regina Moriarty

Rachael New

Debbie Oates

Julie Parsons

Becky Prestwich

Georgia Pritchett

Sarah Quintrell

Heather Robson

Avril E. Russell

Naz Sadoughi

Ella Saltmarshe

Rachel Smith

Tina Walker

Katharine Way

Nicola Wilson

Alexis Zegerm

 

And the many others who gave their support but didn’t wish to be named at this time.