Conor Montague

Conor Montague is an Irish writer working in London. He grew up in Galway, on the west coast of Ireland. Conor was coordinator for the creative writing programme at The City Literary Institute (City LIt), Covent Garden, from September 2013 to September 2017, at which stage he resigned to focus on his own work. Previous to this Conor worked as a nightclub manager, bin man, music promoter, builder, adventure travel coordinator, academic, bare knuckle boxer, dive master, marijuana grower, magazine editor, sports coach, security consultant, researcher and DJ, spending time in East Africa, North Africa, South East Asia, India, Nepal, South America, the Caribbean, Australia, the US and mainland Europe in the process.

Stage/Screen

Grace: a 10 X 1HR drama series inspired by the remarkable true story of Grace O’Malley (Grainne Mhaol), a 16th Century Irish Chieftain who fought clan and crown for forty years to protect her people and preserve their way of life.

Who Needs Enemies: a series of comedic plays from 2009-2012 which sold out at the Vodafone Comedy Carnival and led to the formation of Vagabond Productions.

Conor adapted Who Needs Enemies for television, a 6 X 1Hr comic drama series. The pilot episode, ‘Houdini’s Great Escape’ was shot on location in Galway in January 2012.

Who Needs Enemies: Trailer https://www.youtube.com/watch?v=VIiaNST4EGc

The Butcher Molloy: premieres at the Galway Theatre Festival, October 2012, selling out three nights at Town Hall Theatre.

The Butcher Molloy was adapted for radio in 2013, with funding of €10,000 from the Broadcasting Authority of Ireland

The Butcher Molloy sold out two nights at the ICC Theatre, Hammersmith in December 2017.

Cursed by Good Intentions: premiered at the Vodafone Comedy Carnival, Galway in October 2017.

Chasing Reindeer: longlisted for the Billy Roache International Playwriting Award 2019.

Killing Donald: produced as part of the Lost Theatre One Act Festival at Stockwell Playhouse in June 2019. It was highly commended by festival adjudicator, Paul Vale (The Stage) who wrote, ‘Conor Montague’s tightly crafted drama sets a benchmark in creating stimulating, almost filmic, drama for the stage.’

Starkers: Feature length screen biopic.

Commissioned by Hot Cod Productions. A feature-length biopic of prolific Liverpudlian streaker, Mark Roberts. The script will be delivered on 30 November 2020.

Coronamona: from April to November 2020, Conor wrote and created Coronamona, the world’s first drama series shot entirely on Zoom. The series, produced and directed by John O’Dowd, has been widely acclaimed and is available to view on the Vagabond Productions YouTube Channel.

https://www.youtube.com/playlist?list=PLNrymZCD76otPyJXjWjNEcf7ZvAjyZM7K

Conor is also a prize-winning author of fiction, and has been placed/shortlisted in numerous competitions, most recently with: Flash 500, Reflex Fiction, TSS 400 Flash Fiction Competition, Ad Hoc Fiction, London Independent Story Prize, The Writer’s Bureau Short Story Competition 2019, Limnisa Short Story Competition 2019, Bray Literary Festival Flash Fiction Comp. The Bridport Prize 2019, The Fish Prize for Flash Fiction 2019, Strands International Prize for Flash Fiction 2020 and The V.S. Pritchett Short Story Award 2020 (RSL). His debut collection of short fiction, Capital Vices, will be published by Reflex Press in April 2021.

Milburn Browning Privacy Notice

Privacy Notice

This Privacy Notice describes how we collect and use personal data about you prior to you being a client of the agency, during the agent client relationship and once the relationship has ended. This notice does not form part of our agent client agreement with you.

We are MILBURN BROWNING ASSOCIATES of THE OLD TRUMAN BREWERY, 91 BRICK LANE, LONDON, E1 6QL. MILBURN BROWNING ASSOCIATES is a “data controller”. This means that we are responsible for deciding how we hold and use personal data about you. We are required under the General Data Protection Regulation 2016 (the “GDPR”) to notify you of the information contained in this Privacy Notice.

TARA LYNCH is the dedicated data protection officer (“DPO”). You can contact the DPO by writing to the above address, marked for the attention of the DPO. Alternatively, you can send an email to tara@milburnbrowning.com.

What kinds of personal data about you do we process?

We will collect, store, and use the following categories of personal data about you:

Personal contact details such as name, title, addresses, telephone numbers, and personal email addresses
Date of birth, gender and/or age, your nationality and/or citizenship status
Next of kin and emergency contact information
National Insurance number
Bank account details and tax status information
Copies of driving licence and passport
Photographs
Your calendar
Agency client engagement information (including copies of right to work documentation, references, samples of work and submissions (in any form including tapes, images and documents), and information included in a CV or cover letter or as part of the client application process).
Career history including work/engagement/project/employment records, project details, job titles, work history, working hours, holidays, training records and professional memberships)
Publications
Filmography
Credits
Manuscripts
Contracts
Payment and fee details including any interest in and connection with any intermediary through which your services are supplied and royalty payments
Merchandising, commercial tie-up rights, advertising, intellectual property rights and other information relating to exploitation of your rights
Details of contractual negotiations conducted on your behalf with third parties
Details of the projects/engagements you are or have been involved in
Disputes, disciplinary and grievance information relating to projects/employment/work you are or have been involved in with third parties
Health information including mental health
Details of your assets and beneficiaries, such as information contained in your will or where you have transferred your beneficial interest in your work or other rights to other individuals and/or companies.
Your marital status, family, lifestyle or social circumstances and other affairs, if relevant to the agency client relationship (for example where we liaise with third parties on your behalf in respect of your reputation or reliability).
Casting information such as headshots, body measurements, and skin, hair and eye colour.
Information about criminal convictions or offences.

Some of the personal data above may also fall within “special categories” of more sensitive personal data such as:

Information about your race or ethnicity, religious beliefs, sexual orientation and political opinions.
Trade union membership.
Information about your health, including any medical condition, health and sickness records
Genetic information and biometric data.

Some of the personal data above may also fall within personal data relating to criminal convictions and offences.

What is the source of your personal data?

Most of the personal data we collect, store and use about you will be provided by you (or third parties authorised by you) as follows:

As part of and during the agency client engagement process prior to you engaging us as your agents (e.g. submissions, CVs and references); and

As part of the agency client relationship to enable us to fulfil our contractual obligations to you under our agency client agreement.

We may also use and store personal data about you from:

Information generated about you in fulfilling our contractual obligations under the agency client agreement; and

Information about you that is available from public sources (e.g. IMDB, Wikipedia, LinkedIn, Spotlight).

How will we use your personal data and what are our legal grounds for processing your personal data?

We use your personal data primarily for the purpose of acting for you as your agent. The situations in which we may use your personal data are set out below along with the legal grounds we will rely upon to process your data. Some of the legal grounds for processing will overlap and there may be several grounds which justify our use of your personal data.

The processing of your personal data is necessary for the performance of an agency client agreement or to enable us to take steps at your request prior to entering into an agency client agreement:

To make a decision about whether we take you on as a client
Determining the terms of our agency client agreement with you
Keeping you up to date and reporting to you
To represent you
To find and put you forward for new projects and engagements
To create an artist/performer profile on our casting database to enable us to assess your suitability for new roles and projects and so that we can easily forward your profile onto third parties such as casting directors and producers and transfer your profile onto a third-party casting database and to find and put you forward for new roles and projects.
Negotiating the terms of your engagement on new projects with third parties including (but not limited to):
The scope of your services
Fees, payments and royalties
Work benefits and expenses
Working hours, dates of the engagement, place of work and your work environment
Restrictive covenants
Disputes
Publicity
Managing your affairs and servicing contracts
To negotiate your intellectual property rights, licence fees and royalty payments
To collect and receive payments on your behalf, to undertake invoicing, to collect and pay VAT and to deduct our commissions
Making arrangements for the termination of any agency client relationship

The processing of your personal data is necessary for our legitimate interests of running an agency business:

Business management and planning
Dealing with legal disputes involving you and/or our employees
Equal opportunities monitoring
Updating client records
To monitor and keep records of our communications with you and our staff
For market research and analysis and developing statistics
For some direct marketing communications

To comply with our legal obligations

Accounting and auditing of our business
To comply with any obligations under employment law and/or under the Employment Agency Standards

Consent

For some direct marketing

Change of purpose

We will only use your personal data for those situations listed above, unless we reasonably consider that we need to use it for another reason and that reason is compatible with the original purpose. If we need to use your personal data for an unrelated purpose, we will notify you and we will explain the legal basis which allows us to do so.

Please note that we may process your personal data without your knowledge or consent, where this is required or permitted by law.

How we use particularly sensitive personal data about you and what are our legal grounds for processing this type of personal data

Special categories of particularly sensitive personal data and personal data relating to criminal convictions and offences require higher levels of protection. We need to have a further legal ground for collecting, storing and using this type of personal data. We may process special categories of personal data in the following circumstances:

With your explicit consent

To collect, hold and disclose data concerning your health to third parties e.g. where disclosure of your health records or a medical examination is a condition of your engagement on a project.

To hold and disclose any criminal records information relating to you (including alleged offences) e.g. where disclosure of such information to a third party is a condition of your engagement on a project.

To create an artist/performer profile on our casting database to enable us to assess your suitability for new roles and projects and so that we can easily forward your profile onto third parties such as casting directors and producers and transfer your profile onto a third-party casting database and to find and put you forward for new roles and projects.

Processing is necessary to protect your vital interests or those of another natural person

To collect, hold and disclose data concerning your health to third parties e.g. where disclosure of your health records is necessary for a medical emergency.

The personal data we wish to process has manifestly been made public by you

Processing is necessary for the establishment, exercise or defence of legal claims or whenever Courts are acting in their judicial capacity

Processing is necessary for reasons of substantial public interest

When do we share your personal data with other organisations or individuals?

We may have to share your personal data with third parties, including third-party service providers. We require such third parties to respect the security of your data and to treat it in accordance with data protection legislation.

A situation where we will often provide your personal data to third parties is where it is necessary for the performance of the agency client agreement with you such as where we put you forward for new projects or where certain categories of your personal data are required by a third party in respect of a project you have been engaged on.

To enable us to assess your suitability for new roles and projects, and so that we can easily forward your profile onto third parties such as casting directors and producers, we will create an artist/performer profile on our casting database. Our casting database is hosted/provided by TAGMIN, who are fully GDPR compliant. We may place your artist/performer profile on a third-party casting database such as CASTING NETWORK. If you wish to see any third-party GDPR privacy notices, please contact TARA LYNCH via tara@milburnbrowning.com.

In order to market your work abroad we may, after discussion with you, engage a suitable co-agent. In this situation, we will seek your consent before providing any of your personal data to the co-agent.

We will not share or use your personal data in a way you would not expect under the agent client agreement.

We may also share your personal data with third parties where required by law or where we have another legitimate interest in doing so.

Transferring your personal data outside the EU

We are based in the UK, but sometimes we may need to transfer your personal data outside the EU. A common example is where we need to provide your personal data to a company or organisation outside the EU as a requisite to you providing your services to that company or organisation.

We will seek and secure your explicit consent for transferring your personal data outside the EU in circumstances where (a) the transfer is not necessary for the client agency agreement (b) the EU Commission has not made an adequacy decision in respect of the country in which the recipient of the personal data is based (c) the transfer of the personal data is not subject to appropriate safeguards as set out in Article 46 of the GDPR (d) there are no binding corporate rules in place (e) no other derogation is applicable.

What if you don’t want to share your personal data with us?

If you fail to provide certain information when requested, we may not be able to perform the agency client agreement we have entered into with you or we may be prevented from complying with our legal obligations to you (such as paying you or putting you forward for new projects).

What should you do if your personal data changes?

You should tell us, so we can update our records. The contact details for this purpose are in this Privacy Notice, otherwise please inform your usual contact at MILBURN BROWNING ASSOCIATES.

How do we keep your data secure?

We have put in place appropriate security measures to prevent your personal data from being accidentally lost, used or accessed in an unauthorised way, altered or disclosed. Your data is currently stored on client management software TAGMIN, a GDPR compliant company. In addition, we limit access to your personal data to those employees, agents, contractors and other third parties who have a business need to know. They will only process your personal data on our instructions and they are subject to a duty of confidentiality.

We have put in place procedures to deal with any suspected data security breach and will notify you and any applicable regulator of a suspected breach where we are legally required to do so.

For how long do we retain your personal data?

We will only retain your personal data for as long as necessary to fulfil the purposes we collected it for, including for the purposes of the agency client agreement and satisfying any legal, accounting, or reporting requirements.

Details of retention periods for different aspects of your personal data are available from TARA LYNCH via tara@milburnbrowning.com.

To determine the appropriate retention period for personal data, we consider the amount, nature, and sensitivity of the personal data, the potential risk of harm from unauthorised use or disclosure of your personal data, the purposes for which we process your personal data and whether we can achieve those purposes through other means, and the applicable legal requirements.

In some circumstances we may anonymise your personal data so that it can no longer be associated with you, in which case we may use such information without further notice to you.

Once you are no longer a client of the agency we will retain financial and contact data for the purpose of processing residuals. All data kept in this regard will be stored in accordance with GDPR guidelines.

Your duty to inform us of any changes

It is important that the personal data we hold about you is accurate and current. Please keep us informed if your personal data changes during your client relationship with us.

Rights of Access, Correction, Erasure, and Restriction

Your rights in connection with your personal data

Under certain circumstances, by law you have the right to:

Request access to your personal data (commonly known as a “data subject access request”). This enables you to receive a copy of the personal data we hold about you and to check that we are lawfully processing it.

Request correction of the personal data that we hold about you. This enables you to have any incomplete or inaccurate information we hold about you corrected.

Request erasure of your personal data. This enables you to ask us to delete or remove personal data where there is no good reason for us continuing to process it. You also have the right to ask us to delete or remove your personal data where you have exercised your right to object to processing (see below).

Object to processing of your personal data where we are relying on a legitimate interest (or those of a third party) and there is something about your particular situation which makes you want to object to processing on this ground. You also have the right to object where we are processing your personal data for direct marketing purposes.

Request the restriction of processing of your personal data. This enables you to ask us to suspend the processing of your personal data, for example if you want us to establish its accuracy or the reason for processing it.

Request the transfer of your personal data to another party.

If you want to review, verify, correct or request erasure of your personal data, object to the processing of your personal data, or request that we transfer a copy of your personal data to another party, please contact TARA LYNCH in writing.

No fee usually required

You will not have to pay a fee to access your personal data (or to exercise any of the other rights). However, we may charge a reasonable fee if your request for access is clearly unfounded or excessive. Alternatively, we may refuse to comply with the request in such circumstances.

What we may need from you

We may need to request specific information from you to help us confirm your identity and ensure your right to access the information (or to exercise any of your other rights). This is another appropriate security measure to ensure that personal information is not disclosed to any person who has no right to receive it.

Your right to withdraw consent

In the limited circumstances where you may have provided your consent to the collection, processing and transfer of your personal data for a specific purpose, you have the right to withdraw your consent for that specific processing at any time. To withdraw your consent, please contact TARA LYNCH or your usual contact at the agency. Once we have received notification that you have withdrawn your consent, we will no longer process your personal data for the purpose or purposes you originally agreed to, unless we have another legal ground for doing so in law.

Changes to this Privacy Notice

We reserve the right to update this Privacy Notice at any time, and we will provide you with a new privacy notice when we make any substantial updates. We may also notify you in other ways from time to time about the processing of your personal data.

If you have any questions about this Privacy Notice, please contact TARA LYNCH via tara@milburnbrowning.com

Mulcahy Sweeney Associates Privacy Notice

Privacy Notice

We are MULCAHY SWEENEY ASSOCIATES of 165 Highlever Road, London, W10 6PH. MULCAHY SWEENEY ASSOCIATES is a “data controller”. This means that we are responsible for deciding how we hold and use personal data about you. We are required under the General Data Protection Regulation 2016 (the “GDPR”) to notify you of the information contained in this Privacy Notice.

EDWINA DE CHARNACE is the dedicated data protection officer (“DPO”). You can contact the DPO by writing to the above address, marked for the attention of the DPO. Alternatively, you can send an email to edwina@mmbcreative.com.

What kinds of personal data about you do we process?

We will collect, store, and use the following categories of personal data about you:

Personal contact details such as name, title, addresses, telephone numbers, and personal email addresses
Date of birth, gender and/or age, your nationality and/or citizenship status
Next of kin and emergency contact information
National Insurance number
Bank account details and tax status information
Copies of driving licence and passport
Photographs
Your calendar
Agency client engagement information (including copies of right to work documentation, references, samples of work and submissions (in any form including tapes, images and documents), and information included in a CV or cover letter or as part of the client application process).
Career history including work/engagement/project/employment records, project details, job titles, work history, working hours, holidays, training records and professional memberships)
Publications
Filmography
Credits
Manuscripts
Contracts
Payment and fee details including any interest in and connection with any intermediary through which your services are supplied and royalty payments
Merchandising, commercial tie-up rights, advertising, intellectual property rights and other information relating to exploitation of your rights
Details of contractual negotiations conducted on your behalf with third parties
Details of the projects/engagements you are or have been involved in
Disputes, disciplinary and grievance information relating to projects/employment/work you are or have been involved in with third parties
Health information including mental health
Details of your assets and beneficiaries, such as information contained in your will or where you have transferred your beneficial interest in your work or other rights to other individuals and/or companies.
Your marital status, family, lifestyle or social circumstances and other affairs, if relevant to the agency client relationship (for example where we liaise with third parties on your behalf in respect of your reputation or reliability).
Casting information such as headshots, body measurements, and skin, hair and eye colour.
Information about criminal convictions or offences.

Some of the personal data above may also fall within “special categories” of more sensitive personal data such as:

Information about your race or ethnicity, religious beliefs, sexual orientation and political opinions.
Trade union membership.
Information about your health, including any medical condition, health and sickness records
Genetic information and biometric data.

Some of the personal data above may also fall within personal data relating to criminal convictions and offences.

What is the source of your personal data?

Most of the personal data we collect, store and use about you will be provided by you (or third parties authorised by you) as follows:

As part of and during the agency client engagement process prior to you engaging us as your agents (e.g. submissions, CVs and references); and
As part of the agency client relationship to enable us to fulfil our contractual obligations to you under our agency client agreement.

We may also use and store personal data about you from:

Information generated about you in fulfilling our contractual obligations under the agency client agreement; and
Information about you that is available from public sources (e.g. IMDB, Wikipedia, LinkedIn, Spotlight).

How will we use your personal data and what are our legal grounds for processing your personal data?

The processing of your personal data is necessary for the performance of an agency client agreement or to enable us to take steps at your request prior to entering into an agency client agreement:

To make a decision about whether we take you on as a client
Determining the terms of our agency client agreement with you
Keeping you up to date and reporting to you
To represent you
To find and put you forward for new projects and engagements
To create an artist/performer profile on our casting database to enable us to assess your suitability for new roles and projects and so that we can easily forward your profile onto third parties such as casting directors and producers and transfer your profile onto a third-party casting database and to find and put you forward for new roles and projects.
Negotiating the terms of your engagement on new projects with third parties including (but not limited to):
The scope of your services
Fees, payments and royalties
Work benefits and expenses
Working hours, dates of the engagement, place of work and your work environment
Restrictive covenants
Disputes
Publicity
Managing your affairs and servicing contracts
To negotiate your intellectual property rights, licence fees and royalty payments
To collect and receive payments on your behalf, to undertake invoicing, to collect and pay VAT and to deduct our commissions
Making arrangements for the termination of any agency client relationship

The processing of your personal data is necessary for our legitimate interests of running an agency business:

Business management and planning
Dealing with legal disputes involving you and/or our employees
Equal opportunities monitoring
Updating client records
To monitor and keep records of our communications with you and our staff
For market research and analysis and developing statistics
For some direct marketing communications

To comply with our legal obligations

Accounting and auditing of our business
To comply with any obligations under employment law and/or under the Employment Agency Standards

Consent

For some direct marketing

Change of purpose

Please note that we may process your personal data without your knowledge or consent, where this is required or permitted by law.

How we use particularly sensitive personal data about you and what are our legal grounds for processing this type of personal data

With your explicit consent

To collect, hold and disclose data concerning your health to third parties e.g. where disclosure of your health records or a medical examination is a condition of your engagement on a project.
To hold and disclose any criminal records information relating to you (including alleged offences) e.g. where disclosure of such information to a third party is a condition of your engagement on a project.
To create an artist/performer profile on our casting database to enable us to assess your suitability for new roles and projects and so that we can easily forward your profile onto third parties such as casting directors and producers and transfer your profile onto a third-party casting database and to find and put you forward for new roles and projects.

Processing is necessary to protect your vital interests or those of another natural person

To collect, hold and disclose data concerning your health to third parties e.g. where disclosure of your health records is necessary for a medical emergency.

The personal data we wish to process has manifestly been made public by you

Processing is necessary for the establishment, exercise or defence of legal claims or whenever Courts are acting in their judicial capacity

Processing is necessary for reasons of substantial public interest

When do we share your personal data with other organisations or individuals?

We will not share or use your personal data in a way you would not expect under the agent client agreement.

We may also share your personal data with third parties where required by law or where we have another legitimate interest in doing so.

Transferring your personal data outside the EU

What if you don’t want to share your personal data with us?

What should you do if your personal data changes?

You should tell us, so we can update our records. The contact details for this purpose are in this Privacy Notice, otherwise please inform your usual contact at MILBURN BROWNING ASSOCIATES.

How do we keep your data secure?

We have put in place procedures to deal with any suspected data security breach and will notify you and any applicable regulator of a suspected breach where we are legally required to do so.

For how long do we retain your personal data?

Details of retention periods for different aspects of your personal data are available from TARA LYNCH via tara@milburnbrowning.com.

In some circumstances we may anonymise your personal data so that it can no longer be associated with you, in which case we may use such information without further notice to you.

Your duty to inform us of any changes

It is important that the personal data we hold about you is accurate and current. Please keep us informed if your personal data changes during your client relationship with us.

Rights of Access, Correction, Erasure, and Restriction

Your rights in connection with your personal data

Under certain circumstances, by law you have the right to:

Request access to your personal data (commonly known as a “data subject access request”). This enables you to receive a copy of the personal data we hold about you and to check that we are lawfully processing it.
Request correction of the personal data that we hold about you. This enables you to have any incomplete or inaccurate information we hold about you corrected.
Request erasure of your personal data. This enables you to ask us to delete or remove personal data where there is no good reason for us continuing to process it. You also have the right to ask us to delete or remove your personal data where you have exercised your right to object to processing (see below).
Object to processing of your personal data where we are relying on a legitimate interest (or those of a third party) and there is something about your particular situation which makes you want to object to processing on this ground. You also have the right to object where we are processing your personal data for direct marketing purposes.
Request the restriction of processing of your personal data. This enables you to ask us to suspend the processing of your personal data, for example if you want us to establish its accuracy or the reason for processing it.
Request the transfer of your personal data to another party.

No fee usually required

What we may need from you

Your right to withdraw consent

Changes to this Privacy Notice

If you have any questions about this Privacy Notice, please contact EDWINA DE CHARNACE via edwina@mmbcreative.com

Kay Stonham

Kay is a writer performer with many years’ experience in TV, Film, Theatre & Radio. She won the Titheridge Award for promising new comedy writer in 1995, one of only a handful of women ever to do so and has been on the writing team of many award-winning TV shows including ‘My Family,’ ‘Shaun the Sheep,’ ‘Harry Enfield and Chums,’ and ‘Alistair McGowan’s Big Impression.’

Kay is the co-founder of ‘FEMALE PILOT’ CLUB’ a new showcase for female comedy writers launched in June 2019 featuring Arabella Weir, Rob Webb, Tracy Ann Oberman and Jordan Stephens. The club partnered with UKTV in 2023 to produce a female writers initiative for sit-com scripts with leading characters over 45. Two of the featured scripts are now in professional development.

The FEMALE PILOT CLUB PODCAST hosted by Kay and Abigail Burdess launched in January 2022 with episodes featuring Georgia Pritchett (Veep, Succession, Janice Hallett (The Appeal, The Twyford Code) and Julie Bower (So Awkward.)

For Radio, Kay created the original and critically acclaimed radio series ‘Audio Diaries’ which ran for three seasons on Radio 4. She also co-created ‘Robin and Wendy’s Wet Weekends,’ which featured Amelia Bulmore, Sharon Horgan, and James Corden and created the Radio 4 comedy drama series ‘Bad Salsa’ starring Sharon Rooney, Camille Coduri and Natasha Little. Both series are now on Audible.

Film and Television

2024

THE LITTLE ITALIAN HOTEL – TV Script commission , adaptation of the novel by Phaedra Patrick- Blackbox/ZDF

2023

QUEER JIG and THICKER THAN WATER – Director – FPC/UKTV Writers Initiative

2022

FEMLAE PILOT CLUB – Producer – UKTV Female Writers Initiative

2022 – FEMALE PILOT CLUB PODCAST SERIES 2 – with Athena Kugblenu, Sioned William

2022 – FEMALE PILOT CLUB PODCAST LAUNCH – with Georgia Pritchett, Janice Hallett and Julie Bower.

2021 – FEMALE PILOT CLUB PODCAST In development with Abigail Burdess

2019

WHAT WOULD BOUDICCA DO? – Adaptation of the best-selling book, with Bafta Award Winning screenwriter Catherine Williams (in development)

2018

THE PACT Comedy-drama pilot script co-written with Helen Jacey
In development

BAD SALSA Treatment in development with Hat Trick Productions for TV adaptation of radio series

2017 TEE & MO 1 x 7 minute episode for Plug-In Productions

2016

MILLIE INBETWEEN
1 x episode for series 3, The Foundation/CBBC

MEET THE SIVF-LINGS
Original comedy-drama

WHERE’S WHALEED
Treatment for Children’s series in development with Devonia Road Productions

2013 YE OLDE DRAGON’S DEN
BBC Children’s Sketch Show, 2013.

2012

HEATHCLIFF ALONE
Feature film inspired by a character from Emily Brontë’s Wuthering Heights.
In development.

FLIPSIDE
Bible and pilot script commission with Red for BBC

2011 LIFE OF RILEY
Additional material and script polishing across Series 3 for Catherine Bailey / BBC1, 2010-2011.

2010

THE STRUGGLE MOSEY’S ON
Writer/Director of short film.
***Shortlisted for best film Tricycle Theatre’s Women, Power and Politics Festival.

EBABY BOOM
Further development commissioned for CBBC, based on NANNY KNOWS BEST, 2009-10.

MY GHOST MUM
Original series in development.

2009

MUDDLE EARTH
2 x 10 minute animated script for CBBC.

THE IMP
Animation storylines and 7 minute script for Red Kite.

2008

SHAUN THE SHEEP
One episode for Aardman.
**Winner of the Writer’s Guild Award, 2010.
**Winner of the International Emmy Awards, 2010

DANI’S HOUSE
Two episodes for RDF/BBC.

2007 BORN AGAIN DAD
Original comedy script commission for BBC 1, 2006-7.

2006

MY FAMILY
Table-writing for DLT/BBC 1.

NANNY KNOWS BEST
Two original sitcom scripts commissioned for BBC 1.

2005

GIRLS IN LOVE
Two episodes for Granada/ITV, 2004-5.

KERCHING!
Six episodes written over four series for Children’s BBC, 2002-5.

2004

DEAD RINGERS
Series 4, sketch for BBC 2.

GRANGE HILL
Three episodes for Mersey TV/BBC, 2003-4.

2002

ALISTAIR MCGOWAN’S BIG IMPRESSION TV TO GO
Two series for Vera/BBC, 2000-2002.
**Winner ‘Best Comedy’ at The Comedy Awards.

ONLY NOW
Original pilot script commissioned by Tiger Aspect.

ROBIN AND WENDY
Two original scripts commissioned by Channel X.

POPE TOWN
Animation series for Channel X.

2001 THE SKETCH SHOW

Series for Baby Cow/ITV.

1998

ALAS SMITH AND JONES
Series for BBC, 1994-8.

COMEDY NATION
Series for BBC.

BARKING
Writer and performer for series on C4.

1996

SPITTING IMAGE
Series for Central/ITV, 1995-6.

HALE AND PACE
Series for LWT/ITV, 1993-6.

RORY BREMNER WHO ELSE?
Series for Channel 4.

1994 HARRY ENFIELD AND CHUMS
Series for Channel 4.
**Won the Writer’s Guild of Great Britain Award

Radio/ Audio

2024 FEMALE PILOT CLUB PODCAST SERIES 3 – with Araabella Weir, Gina Lyons, Emily Lloyd Saini,Nikki Patel, Sydney Stevenson, Leigh Douglas

2022 FEMALE PILOT CLUB PODCAST SERIES 2 – with Athena Kugblenu, Sioned William

2022 FEMALE PILOT CLUB PODCAST LAUNCH – with Georgia Pritchett, Janice Hallett and Julie Bower.

2021 FEMALE PILOT CLUB PODCAST In development with Abigail Burdess

2017 BAD SALSA
3 x series for Radio 4 starring Camille Coduri, Sharon Rooney and Natasha Little (2014-2017)

2016 CURFEW 24/7
Original YA e-book and audio book commissioned by AudioGo.

2012 SECRET DIARY OF A MAGISTRATE
BBC Radio 4.

2011 LAST CHANCE TO SEE
1 X 30 minute for BBC Radio 4.

2010 SECRET DIARY OF A CALL CENTRE GIRL
1 x 15 minute pilot for BBC Radio 4.

2009 MADAME MAESTRO
6 x 10 minutes for BBC Radio 7, Unique.

2005 ROBIN AND WENDY’S WET WEEKEND

Creator, Writer and Performer of four original series for BBC Radio 4,

2002-05

SUNDAY FORMAT
Series for Radio 4, BBC.

THE POWDER ROOM
Series for Unique/BBC Radio 2.

ROBIN AND WENDY IN EDINBURGH
Original spin-off from the BBC Radio series.

2002 DEAD RINGERS
Writer on series for Radio 4.

2001

AND THIS IS THEM
Series for Radio 2, BBC.

AUDIO DIARIES
Creator of three original series, for BBC Radio 4, 1997-2001.
Series 1: Writer
Series 2: Writer and Script Editor
Series 3: Co-Producer
**Nominated for a Prix Italia Radio Award.

1997

LIFE AFTER LIFE
Comedy drama for BBC Radio 2.

THE TREATMENT
Series for BBC Radio 5.

1996

WEEKENDING
Series for BBC Radio 4, 1993-6.

THE BEATON GENERATION
Series for BBC Radio 4.

1988 NAKED VIDEO
Writer on Sketch Show for BBC Scotland

Performing

Kay’s performing credits include BBC films directed by Mike Leigh (‘Home Sweet Home’), Jonathan Miller (‘Beggar’s Opera’) and Mike Newell (‘The Nation’s Health’) and a season at the National Theatre. She also appeared in cult BBC series ‘A Very Peculiar Practice’ and ‘The Young Ones’. Kay also has many acting credits in BBC Radio 4 productions. Kay’s performing credits in Television & Film are as follows:

NEW TRICKS
BBC/Wall to Wall

BROKEN NEWS
BBC

DEAD RINGERS
BBC

HUSTLE
Kudos Film & TV

VIGO
Impact Pictures

TIME GENTLEMAN PLEASE
Avalon

NORTH SQUARE
Working Title

PEOPLE LIKE US
BBC

BARKING
Channel X

DOES CHINA EXIST
BBC

INSPECTOR MORSE
Carlton

LAZARUS & DINGWALL
BBC

MR LOVE
Enigma/Warner Bros

SHALOM JOAN COLLINS
C4

AN AFFAIR IN MIND
BBC

A VERY PECULIAR PRACTICE
BBC

BUDDY
BBC

THE LENNY HENRY SHOW
BBC

THE YOUNG ONES
BBC

THE BEGGARS OPERA
BBC

CARROT’S LIB
BBC

Script Development and Consulting

Script Consultant for Script Angel 2018-
Short and feature film development for London Film Academy Diploma Students. 2012-
Script Development work for Catherine Bailey Productions 2011-15 Includes working with new writers on features, sit-coms, and radio series
Freelance script editing on short films, short stories and other projects
Ministry of Stories: Writing Mentor working with children

Lecturing, Masterclasses and Workshops

2020– LONDON FILM ACADEMY
MA Screenwriting, MA Film-making, BA FILM-MKAING

2016- LONDON FILM ACADEMY
Screenwriting Diploma/Film-making Diploma/BA Film/Making/Directing Diploma

2015/16 BOURNEMOUTH UNIVERSITY
Lecturer in Screenwriting

2014

LONDON FILM ACADEMY
Screenwriting Diploma/Film-Making Diploma

ROYAL HOLLOWAY UNIVERSITY
What Next? How to Start and Continue a Career in Writing (Oct)
Industry Read- Script Development Tutorial (Jul)

CITY UNIVERSITY (MA Creative Writing)
Comedy Master Class (Jul)

LONDON ACADEMY OF FILM (Screenwriting Foundation Course)
Short Film Development Programme (Jun)

LONDON FILM ACADEMY (Film Foundation Course)
Short Film Writing Module (Jan)

2013

LONDON ACADEMY OF FILM (Screenwriting Diploma Course
Master class: What is a Sit-Com? (Nov)

ROYAL HOLLOWAY UNIVERSITY (MASTFiR)
Guest Sessions (Oct/Nov):
Understanding the TV Landscape
Getting Started – How to make the most of your MA

UNIVERSITY OF WORCESTER
Teaching Fellow in Screenwriting (2011-2013)
Joint Course Leader in Screenwriting (2012-2013)
Modules Taught (BA Joint Honours):
Screenwriting Fundamentals
Screen Adaptation
Radio and TV Comedy
Modules Written:
Industry Practices and Applications
Scriptwriting – Ideas, Development and Structure
Scriptwriting – Concept, Development and Realisation

Short Courses and Intensives:
3 Day Film Challenge
2 Day Sit-Com Intensive

2010

ROYAL HOLLOWAY UNIVERSITY
Writing for Radio

THE INSTITUTE HAMPSTEAD GARDEN SUBURB
Creative Writing For Wimps!
Group Writing Project

2009

LONDON COLLEGE OF COMMUNICATIONS (MA and BA)
Master class- Writing Comedy

ROYAL HOLLOWAY UNIVERSITY
Writing for Animation

2008

LONDON COLLEGE OF COMMUNICATIONS (BA)
Film Writing Module

THE INSTITUTE HAMPSTEAD GARDEN SUBURB
Creative Writing For Wimps!

WRITER’S WORKSHOP
Ran “Made in East Finchley” a writing group for new writers.

Other Relevant Experience

TALKS SCHEMES AND ACHIEVEMENTS

2019 WHEXT Festival, San Paolo, Brazil

2019 BFI Future Films Festival, London

2018, SPEAKER AT TRAILBLAZING WOEMN IN FILM AND TV CONFERENCE, Greenwich University, London

2018 SPEAKER/WORKSHOP LEADER TALENT LAB, LONDON SCREENWRITERS FESTIVAL

2018 KEYNOTE SPEAKER WHEXT Festival of Advertising San Paolo, Brazil

2017 STORYLAB – PANAMA FILM COUNCIL, PANAMA
Development project working with local film-makers

2014

SPEAKER AT LONDON FILM FESTIVAL
The Art of Adaptation

SPEAKER AT SALFORD SYMPOSIUM ON TEACHING SCREENWRITING

2011

SPEAKER AT LONDON COMEDY WRITERS FESTIVAL

FEATURE SCRIPT ‘HEATHCLIFF ALONE’ SHORTLISTED FOR GUIDING LIGHTS MENTORING SCHEME

2010

SHORT FILM ‘THE STRUGGLE MOSEYS ON’ SHORT LISTED FOR BEST FILM
Shown at The Tricycle Theatre’s ‘Women Power and Politics’ short film festival in 2010 and shown at the London Independent Film Festival in 2011

SELECTED AS ONE OF THE 12 PARTICIPANTS TO ATTEND ‘THE LAST LAUGH PROGRAMME’
A feature film development initiative from Warp X and Bird’s Eye View

Laila Rose

Laila Rose writes screenplays, stage plays and the occasional TripAdvisor review. She recently had two of her comedy sketches commissioned by Channel 4. Her first sketch, All Restaurant Menus These Days, in which she played the part of the waitress, received over 8 million views on C4 Facebook. She also directed her second sketch, I Can’t Remember Your Name. Drunk on the wild success of her sketches, Laila is currently developing her comedy pilots Dead End, Guardians and Loose Ends.

Those Channel 4 sketches:

https://www.comedy.co.uk/people/laila_bouromane/

Laila has also written and produced two plays with Hambre Productions, the theatre company she co-founded. Her debut play, Absolute Certainty, in which she also performed, received blush-inducing reviews and her second play, Lost Unfound was performed to sold out audiences at the White Bear Theatre in South London.

In her leisure time, Laila enjoys playing with her Bedlington whippet (not a euphemism) and writing moderately amusing paragraphs about herself in the third person.

Reviews of her debut play, Absolute Certainty:

For a debut play, Absolute Certainty is a pretty fine piece of writing.

★★★★ – LondonTheatre1.com

This is an excellent debut play, seasoned by a fine cast and augmented by first-rate direction. ★★★★ – Act Drop

This debut play is an accomplished and slick production – A Younger Theatre

Dramatic Rights Guide

Hello TV or Film Person.

Welcome to our online, regularly updated, Dramatic Rights Guide.

It’s a snapshot of all the books and scripts we are selling.

If you’d like to read a book or script, discuss a screenwriter, or fancy a longer take on anything, please contact one of the following, cc’ing the other:

Ivan at ivan@mmbcreative.com
Marc at marc@mmbcreative.com

Happy hunting.

Radley’s Twelve Days of Christmas

Steven Lenton, Nosy Crow and Radley worked together to create Radley’s Twelve Days of Christmas – a picture book featuring Radley, the loveable Scottie dog long-associated with the brand.

Radley’s Twelve Days of Christmas takes the reader on a story through the well-loved Christmas carol, The Twelve Days of Christmas. The book is available exclusively in Radley stores and online at www.radley.co.uk with £2 from each book sold being donated to Kids Company, the charity founded by Camilla Batmanghelidjh to provide practical, emotional and educational support to vulnerable inner-city children.

Camila Batmanghelidjh, founder and Chief Executive of Kids Company, said: “I am extremely touched that the team at Radley has created such a beautiful book to help support our children. Sadly, for many children Christmas is not a time of joy but one of fear and loneliness. Every year at Kids Company we hold a party for over 4000 exceptionally vulnerable young people, providing them with a gift, a hot meal and the chance to have some festive fun. By buying this book you are giving the gift of a Christmas to remember to children who deserve to know we care.”

Xavier Simonet, CEO at Radley, comments: “We are delighted to announce the launch of our first ever book published in partnership with Nosy Crow, and are proud to be once again supporting the inspirational charity, Kids Company”

Tom Lister

Tom Lister’s first play, ‘The Gift’ in 2001, was produced by the Gilded Balloon and named ‘Best of the Fest’ by the Edinburgh Evening News.

In 2004 he wrote The Butler, which ran for three weeks at the Hen and Chickens, Islington and was then performed in Bologna, Italy.

He returned to the Gilded Balloon in 2007 with the highly regarded ‘Sting for Nolte’, which won a Fringe Teapot award for ‘Outstanding Theatre’ and was nominated by The Stage for both writing and acting. It also had month-long runs at The Old Red Lion and Theatre 503, Battersea.

REVIEWS for The Gift, The Butler and Sting for Nolte

“Borders on Genius. You’ll feel better for seeing it” – FringeReview.com “Lister clearly has talent for sharp dialogue and clever ideas” – The Times; “Erudite and enjoyably crazed… a thing of comic beauty” – The Guardian; “A real must see” – The Stage; Perfectly-paced vitriol… A victory” – Time Out; “Lister’s writing is richly observant and displays a sharp wit… highly enjoyable” –The Metro; “A stream of sparkling dialogue delivered with impeccable comic timing” – Evening News, “A joy to watch” – Three Weeks, “Lister plays it brilliantly” – Ham & High; “As writer, director and lead actor, Tom Lister is amazing” – Write Words; “Hilarious, refreshingly original and with laughs from start to finish” – Camden New Journal

Goodbye, Perfect

Goodbye, Perfect is a beautiful and emotional contemporary YA novel, with a powerful friendship at its heart, by bestselling author Sara Barnard. Now with a bold updated cover look.

When I was wild, you were steady . . .
Now you are wild – what am I?

Eden McKinley knows she can’t count on much in this world, but she can depend on Bonnie, her solid, steady, straight-A best friend. So it’s a bit of a surprise when Bonnie runs away with a guy Eden knows nothing about five days before the start of their GCSEs. And it’s the last person she would have expected.

Sworn to secrecy and bound by loyalty, only Eden knows Bonnie’s location, and that’s the way it has to stay. There’s no way she’s betraying her best friend. Not even when she’s faced with police questioning, suspicious parents and her own growing dohttps://mmbcreative.com/?post_type=books&p=24838&preview=trueubts.

As the days pass and things begin to unravel, Eden is forced to question everything she thought she knew about the world, her best friend and herself.

Keelan Kember in February Face at King’s Head Theatre

February Face, written by and starring the wonderful Keelan Kember is debuting at the King’s Head Theatre. The show runs from 15-19 May and tickets are available from their website here: February Face | What’s On | King’s Head Theatre (kingsheadtheatre.com).