They are the backbone of any television production. They not only conceive award winning shows but also have the foresight to gauge their potential.They also provide the moolah that keeps these shows alive and kicking for years. In this column, we speak to some of the most vibrant writers who have made shows that have set trends in the television industry and try to find out what makes them tick!

How do you go about writing a script? How do you fix in on your ideas and finally how do you pitch it to the right broadcaster or a producer. These are perhaps just a few queries that Julian Friedmann tries to answer for budding scriptwriters across the world.

Friedmann is Joint managing director Blake Friedmann Literary Agency in London which represents 200 book and script writers worldwide and Editor of ScriptWriter Magazine, Europe's leading magazine for professional scriptwriters. He was recently in Mumbai to conduct a workshop on scriptwriting in association with National Film development Corporation Ltd (NFDC).

Here in an interview to Tellychakkar.com, Julian sheds light on the various aspects of scriptwriting. Excerpts.

Is this your first trip to India?
I would really call myself a `virgin visitor'. I grew up in South Africa and I am based in London. My work as an agent for writers takes me to different countries across Europe and America. A few years ago, I met the Managing Director of NFDC, Nina Gupta in Cannes where she invited me to conduct a training session in India for budding scriptwriters.

Tell us a little bit about your journey as an agent and a trainer,because the concept is pretty new in India?
As a child I used to love story telling. Later, it was a chance meeting with a producer associated with Channel 4 that encouraged me further. She asked me whether I would be interested in being associated with EAVE (European Audiovisual Entrepreneurs). So, I joined them as a script expert and also conducted a producer-training course. It was my first experience of reading more than 20 scripts in four days. I also got an opportunity to design a programme for the International Launch of Television Series for MEDIA 1 which focused on the writing and developing of long-running television series.

You've met some writers as well as some producers in India. What's your take on the Indian scenario?
I haven't been exposed to too many scripts here. So, I can't judge the writing but I am quite impressed by the wide landscape that the country offers. Writers have ideas, though some of them are country specific so I cannot make out whether they will work here or no. During the course of the workshop, some of the budding scriptwriters have impressed me with their stories.

Have you tried to sell some of your scripts to Indian producers? What's been your first impression about the market here?
Some of the producers I've met are very businesslike and professional. I have three potential Indian writers which I've been trying to pitch. Balraj Khann's book Rajah Of The Jungle is about Indian tales and mythology. It's highly viable to make a great animation film from it. Writers like Indra Sinha who has penned The Death of Mr Love and Sujit Saraf of The Peacock Throne fame are also very promising.

How open are the producers?
We'll have to look at new ways of producing the series, probably look at co-producing it. Initially, maybe we'll have to invest in the script and find a writer who can do justice to it. The concept of agents yet doesn't exist in India, be it in the television or the film world. So, sometimes the going gets really tough for new writers. One could either start by setting up an agency or maybe the industry should set up a Writers Guild. Like in Britain, writers are able to better negotiate their packages.

How would you advise a fresher to go about it?
I don't recommend a new comer to write scripts, as that requires some sophisticated knowledge. Initially, just concentrate on reading at least 50 scripts. But then, if you're new, you don't have access to scripts easily. This is where an organization comes into the picture. Maybe, one could create a library for budding writers. Or maybe some broadcasters, who feel an obligation to teach and educate, can be roped in.

Which of the famous television series in Britain have been pitched by you?
The Eastenders, Coronation Street on ITV, The Cop series, The Bill and Heartbeat

What is that one vital element a good writer should possess?
He has to be a keen observer. Jane Austen is one of the finest examples is this respect. Also, one has to feel a great compulsion when it comes to telling a story. And yes, most importantly to write, write and write.

Most of the writers feel inspiration is enough?
No, its not enough. Talent and intuition are also important. Learn to use words carefully. Also, you have to be inquisitive and interested in people; if two people fight, why do they fight? When people don't get along, what could be in their minds? This is the mystery you should be wanting to explore. So, narrating a story is about intuition, talent and inspiration along with experimenting with a classic dramatic structure.

In your training workshop what is the key thing that writers get to learn?
My workshops give students an opportunity to develop an idea into a film, a TV series or a book. Pitching your ideas to a broadcaster or a producer is all about carefully selecting what to say. You can actually walk home with a project if you make a good verbal presentation..

How do you select winning ideas?
Select ideas that are relevant to the audiences and not what you like. Like, I personally don't like the show Big Brother but then people love it. Also, it's dangerous to assume that some of the ideas are original.