Role of a Script Editor at Big Finish

I wonder if it's a question they'd answer on the podcast?

Thank you, that's really good of you

Actually id love to know this to. Never thought about it before

I was just wondering (out loud) at this.

The function of an editor is pretty self-evident, but there's this huge spectrum of how involved editors can get, as well as which parts of the process they get involved in. There's definitely a line between doing too much and too little, and I'm curious where that line is for Big Finish.

Actually, I'd be keen to know more about the typical process in general. EG do the writers discuss their prompts in-depth before writing? How much time do they typically have to work on revisions? How often are story drafts entirely rewritten from the ground up because the ideas weren't working? Have they ever had to move a story from one set (or protagonist) to another for whatever reason?

I guess these things might all be a bit too inside baseball for BF to want to comment on publicly, but I'm still curious. 

Though if the answers are gonna be something along the lines of, "Script editors just do a quick once-over at the end for spelling and grammar," or, "what do you mean, how many drafts? We never need to revise" please lock them up in a vault and keep them secret forever.

EDIT: Didn't quite get this in fast enough, eh? Ah well.


I've worked as an editor -- not for fiction, though -- and this has always been my very favorite part of the process, that initial spitballing phase. That and going over the first drafts because, at that stage, we still had (usually) plenty of time to work on things and could really embrace the goal of, "how can we make this better," at ever level.

I am definitely one of those weirdos who can spend an hour going over different iterations of a single sentence though, so my sensibilities may be a bit warped.

I can say a little about this from a writer's POV...

The first thing to say is that relationships and workflow vary from range to range, there's no fixed BF house approach, but typically the writer's most direct relationship is with the script editor, who works alongside the producer. But that can vary and sometimes your first port of call might be the producer, and sometimes you might have a script editor who is also the producer!

But I find a script editor will get in touch with a writer to say "got any ideas to pitch?" or "I hear you've got ideas to pitch?" or "are you able to write a treatment for a story about A, B and C?" You'll know at that stage what Doctor and companions you're pitching for.

The writer writes up a short treatment (maybe just a para) - and often might send over a number of these. The script editor and producer look and confer, then the writer might be asked to do a more extensive treatment (making any amends requested), which takes the form of an episode breakdown - usually a page or two. The script editor then gives notes on that treatment, before it goes to the producer, then the exec producer and finally a sign off from Cardiff.

Then you start writing! The script editor is available to you throughout to bounce ideas off, check continuity and flag up big changes from the treatment.

Typically you complete your draft of the whole thing (which you call draft 001, but which might actually be draft 025!), then you send that to the script editor. They will read and send you back the annotated document full of feedback and suggested amends. The writer works on those amends until the script editor is happy. It is possible that they may ultimately rewrite some scenes themselves, but largely they'll just ask you to do so.

Then the script goes onto the producer who may also have notes (usually fewer than the script editor gave) then the script is locked.

Script editors are great - they're the writer's best friend, they're your older sibling, they are there to help and they're the first person you want to impress.

How's that?