We’re creating a feedback loop between DN21 and DN22. The roles will vary depending on demands of the production, while taking into account participant experience, location and requirements. The placements will span a twelve-week period between May – September.

Workshops will take place in a fully accessible London venue, followed by production roles across the UK. Placements will be facilitated by the BBC and SPT, and will be in partnership with producers as yet to be approached. 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. This year the bootcamp training will prepare the cohort for on-the-ground placements in production, which will follow the workshops. We’re expanding this year’s cohort to include at least six individuals. 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.

Our joint ambition is to scale up and skill up this year’s cohort. We’re excited to collaborate so closely with partners who share a passion for changing our landscape. The intention this year is to deliver wholly inclusive training with the support of the BBC and Sony Pictures Television.Īs 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. Approaching it singularly reinforces barriers. Reviewing all the applications last year alerted us to the fact that the range of exclusion in scripted television is mountainous. Eventually we selected five promising, talented, and kind individuals: Andin Ngwa, Amir Amirsolimani, David Cheung, Marissa Ogbeide, and Uju Enendu.Īfter 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 another unannounced greenlit project, funded by the BBC and Sony Pictures Television (SPT). The launch exceeded our expectations, with more than 200 applications. The workshops were designed to skill up aspiring script editors, arming them with a practical understanding of production and a support network. We launched Duly Noted 2021 (DN21) as a training programme for people in comedy and drama development.

Duly noted about