EVENTS
The Bookseller Children’s Conference From CBeebies to Beetle Boy
CBeebies creator Pickard says subscription models can plug public service screen gap
Nigel Pickard’s TV career spans more than 30 years of creating shows for children, including stints as controller of BBC Children’s, for which he oversaw two new channels, CBeebies and CBBC. He offers an insight into the changing world of book to screen adaptations
How has the children’s TV world changed in recent years, particularly where rights and content creation are concerned? Children’s TV production has faced many challenges over the past 10 to 15 years, including a reduced commitment from commercial public service broadcasters, which has resulted in a decline in the number of productions, overall, per year, due to less money being available and fewer commissioning terrestrial broadcasters. Children’s fiction, in particular, has had to mainly rely on the BBC, especially in the six to 11
age range. Producers increasingly have to raise money beyond the licence fees to fully finance shows requiring careful management of the rights they share with the author.
How can you tell if a book will work on screen? This is entirely subjective. It tends to be a personal belief and then a lot of development! Great characters, strong narrative and a relevance to the target audience.
What are the biggest risks and opportunities when it comes to adapting books? The greatest risk is wasting a great story with a poorly executed adaptation. “The Story of Tracy Beaker” ran for more than 120 episodes and had two spin-off series—its huge success was due to it having compelling characters and a world really well adapted for the target audience.
What opportunities and risks do you think the next five
Beetle Boy creator M G Leonard: key to screen adaptations lies in balancing creative licence with loyalty to the source
10 7th September 2018
What have you learned about screenwriting? Screenwriting is a collaborative process, just as film is a collaborative medium. To create a strong script that works for everyone, you need to know your characters and understand the requirements of the medium. Tis is something I’m learning. It’s important to understand the essence of the project but allow everyone the creative freedom to produce their best work. Flexibility and knowing when to fight your corner, are key. I think my 15 years working in theatre has helped me considerably—there are many artists who jump between or combine the two mediums.
What tips would you give to those considering screenwriting? Do it. At first, I was worried
that I wasn’t a seasoned pro, but I had never written a book before I wrote Beetle Boy. I think if you want to try writing for the medium, you should give it a go. I’m addicted to learning. I am always pushing myself to understand the ways in which stories can resonate, whether it is in the theatre, in a book or on the screen. Find the people whose work resonates with you and read everything you can about them and their work. It’s like a detective trail: they in turn will have been influenced by others and you’ll be exposed to great work and critically consider processes. See theatre, go to galleries, see film, watch TV and read, read, read. I bought my first book on screenwriting, Adventures in the Screen Trade by William Goldman, 20 years ago.
years hold for children’s TV? The new SVOD (subscription video on demand) platforms such as Netflix and Amazon offer opportunities for new children’s series and hopefully this will continue to expand. However these platforms tend to buy exclusive rights, which will limit long-term revenue potential for producer and author.
Fiction series will remain an essential element, in some form, of CBBC’s offering.
A reduced commitment from commercial public service broadcasters has resulted in a decline in the number of productions, overall
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