She’s the scarily young theatre writer who created and wrote her own TV series by the age of 26. Lucy Prebble took a blog about the life of a London escort and turned it into a TV series for ITV2, the first original drama the channel had ever commissioned. The second season of Secret Diary of a Call Girl has just started, but I caught up with Lucy at the Cheltenham Screenwriters’ Festival this summer to interview her for the Shooting Screenwriters Showand we talked for a half hour (fittingly enough) about the demands of writing for television. Here is a sneak preview.
I’m interested in the format of the show because you went for the half-hour per episode format, which is traditionally associated with the sitcom.
I wanted a bit more time to include slightly bigger, deeper stories, but there were a lot of people who felt that there is something going on at the moment with half-hour dramas: Californication, Weeds, Entourage.
It’s a difficult episode slot because it is almost always associated with the sitcom or the soap opera, and I think there’s good reasons for that.
In a soap opera you’re dealing with a large number of people, but you’ve got very long-running storylines, and people know those characters very well and audiences are familiar and comfortable with them.
With the sitcom you have a smaller group of characters, but fundamentally the biggest difference is that at the end of most sitcoms everything is back pretty much to how it was at the beginning. Although you have story movement, you begin each sitcom not necessarily having had to have seen the one before.
I think you pretty much have to make a choice between those two models to write a half-hour slot, and I think we chose the sitcom model, as in, you could probably watch those episodes in any order and not be too confused.
There are more of these half-hour dramas coming up and I think it’s because the generation who are watching them are quite happy to be told things very quickly. It panders to that MTV-Generation-with-no-concentration-span cliche, but I think it’s the reverse of that. I think they’re more clever. They’ve been brought up on the Simpsons and shows where the plot turns ten times in the first act.
But it does give a slightly lighter weight feel to a show. Deadwood or The Sopranoscould never be a half hour show, and quite rightly. So I think what you gain in speed you will lose a little bit in depth.
I think on channels like Showtime and HBO, Americans are more used to having amoral central characters, and having borderline illegal matters discussed. And also they marketed it very, very well. They’re very good at making sure the audience they know will like it will watch it. They marketed it much more as a comedy, because it is quite light and comic, and with quite friendly Sex and the Citystyle shots of her, and I think there was an approach here in the UK that was much more full on and aggressive.
There’s a lot to be said for being challenging, but we set ourselves up for what happened in the UK, and what happened was The Guardian decided it this was the worst thing that had happened for a long time and there was an awful lot of political criticism of it. There was artistic criticism of it as well, but I think the political criticism really overshadowed it.
I’m writing something in a similar vein myself at the moment and being confronted with this archaic attitude to sex we seem to have in this country.
Yes, that’s exactly what it is! It’s so funny. I was hanging around and talking to a large number of escorts by the time this show was being made, for research purposes, and every single one of them said ‘Please don’t portray us as victims’.
They’re a tiny sliver at the top of an industry that’s full of violence, drugs and exploitation, but it is a sliver, and it does exist. These women doexist, I’ve met them, and they are intelligent, fascinating, self-aware women who have never been represented on television in anything other than bodybags before. And those women say ‘Please don’t cop out and pretend it’s all about abuse, because my life is not like that’.
And then you go away and try to do them some justice, and another group of women (and men) who work for The Guardian decide you’re betraying your sisterhood. Well, you know, fuck off, really.
We will put up quite happily in this country with shows which represent violence, but sex is a subject that people don’t want you to be showing, and certainly not being challenging and different about.
There are other writers on board for the second season. Have you been showrunning this time?
I didn’t have the time to do that as much as I would have liked. What I want to do in the future on series is to be a showrunner. One thing I think British television could do much better is to allow those writers who want to and have the ability to showrun, to showrun.
Because the other thing that really joins together those series that most people who love television do really like, is that the person who creates and writes and originates the idea has that level of showrunning control, and even Executive Producer status. That is not unusual in America and I think it can produce really great work, and I think it’s something I’ll always be doing in the future if I can.
The full interview is available for free download at the Shooting People podcasts page.