Writer Mel Melvin shares a piece from Doon Mackichan's Loch Rannoch writing and wild swimming retreat

UNWRITTEN

Blacken the pages
Take down the books from the shelves
Remove the pen from every scribe
Stand by the gravestone and utter not a word

I can’t write without you

I learnt to form my letters on your knee
I herded ink into squares
Only to delight you,
To lie down in the ‘C’ of your thin-lipped smile

I can’t write without you

At primary school I wrote a pearly sentence to hang around your neck and learnt how to disappear
into a book.

As a teenager, you drew out novels for me from your high shelves
Like an apothecary dispensing a vial of medicine
Heyer, Trollope, Mitford, Shreve

You could spot the past imperfect subjunctive from a mile off,
you taught me how to place an adjective and turn a phrase
You were my grammar,
My exclamation mark,
My full stop.

Finally I wrote my first novel and you kept it beside you during your final chapter,
At the hospice I read you Keats and left gaps for you to mouth the words – Alien corn.

I can’t write without you.

So let’s stand at the graveside,
may the inscription I ordered be my final words:

CICELY KNOWLES
1940-2023
BELOVED MATRIARCH

To join Mel’s Brighton Yoga retreat on Saturday December 7th click here.

Our next event is on Nov 6th, scroll down the blog for more info www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. For free events for subscribers go here: https://blog.mediaparents.co.uk

I’ve been a Production Manager for 24 years and one thing I enjoy most is nurturing my teams, writes Michele Kimber. Attending Media Parents Autumn Drinks has inspired me to blog for the first time about my career.

PM Michele Kimber, left, not wanted by Interpol at the Media Parents Autumn Drinks https://www.mediaparents.co.uk/freelancers/18138/michele-kimber

My job is not just making the budget and schedules work, it’s to ensure that everyone on the team know that they can talk to me regardless of the situation; being able to notice if someone is not happy, getting them to tell me why, and then finding a solution which is best for them and the team. It’s also making sure that you are on the same side as Editorial, so when they come up with a ‘must have’ item, it’s being able to say yes but then asking what they could do without. This ‘must have’ generally goes away!

Every time you think you’ve seen it all, something else happens that you really couldn’t have predicted.   During my 5 years working on Wife Swap (7 series back to back) we had a contributor who decided she wanted to go home before filming completed, the problem was she couldn’t decide whether she wanted to fly back North or go by train; as it was a Bank Holiday, this was causing considerable problems. Whilst she was changing her mind for the umpteenth time she managed to run away from the team into a swanky London hotel and straight into a wedding party having photos taken in the lobby; she then passed a note to a very bemused window cleaner saying she had been kidnapped by Channel 4.  That took some unpicking!

On Made in Chelsea (series 4 BAFTA award winning!)  we were filming a Christmas special in a country house and we had a very specific get out time, otherwise we were going to be heavily fined.  MIC was notorious for not adhering to timings so my job was even more stressful on that day.    I managed to get everyone out with 5 minutes to spare, when the house-keeper announced that the men’s toilet was blocked and I needed to deal with it.  With nothing to use other than my bare hands, the toilet was cleared but I was unable to wash my hand as I had to leave, only to see about ten cleaners standing at the door waiting to come in. My journey home was spent with my hand out of the car window, arriving back home at 3 in the morning.  I laughed about it eventually.

At Blast! Films, the one genre I said I would not be happy with was animals, especially if they were injured.  How they laughed, saying I’d just finished 26 episodes of 999: What’s Your Emergency?  During the first series of The Supervet onlines, I made the Online Editor turn the surgeries into black and white; by the second series I was much more comfortable with the formerly distressing material.  I went on to do not one, but three series of The Supervet!

I’m extremely adaptable and, after experience with shows like 999 and Forensics: The Real CSI (and Wife Swap) I am across all compliance and legal too. I am not good at having my photo taken (I’m afraid to say that I generally end up looking like I’m wanted by Interpol in 26 countries) so here is a picture of my trusty calculator which is currently showing my job situation…

Finally, not working, I miss not being able to tell my team that I’m going to join the Foreign Legion if things get a bit sticky.  The last time I said it, a coordinator asked me if they were a girl band he’d never heard of.  Said coordinator is now a very successful Series Producer!

To contact Michele Kimber, log in to Media Parents and click here.

https://www.mediaparents.co.uk/freelancers/18138/michele-kimber

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. Our next event is a hello to new members followed by Jo Woolf's Edit Producing tips - scroll down the blog for more details

Returning to TV as a Producer/Director after my second break in 25 years seems like a bold move when 60% of the industry is still out of work writes Edit Producer Heidi Perry. I’ve tried to reinvent myself as a charity communications manager and PR a few times but I always find I’m longing to do what I do best; collaborating with contributors and finding the gold in hours of rushes to tell a powerful story. Unscripted TV of any kind – I actually love it all – is in my DNA. On a shoot or in the edit, everything makes sense. And I know that the more experience I have of life and of other kinds of work, the more I become a better Producer/Director or Edit Producer. To this end I attended Media Parents Autumn Drinks and had a surprisingly great time, meeting some great hirers and freelancers.

Heidi Perry, centre, was on great form at Media Parents Autumn D. Pictured here with ClearCut MD Rowan Bray, hosting

While travelling with my family last year, I made 5 episodes of Shamba Shape-Up, a popular farm makeover show that goes out to 8 million viewers across East Africa. Filming with a Kenyan crew was an incredible experience and made me want to go back to TV more than ever. So I’m jumping back in! So far I’ve had some feature doc development work with Blackbox Multimedia and I’m putting feelers out for edit producing or directing. The commissioning landscape has changed considerably since I last left, but adaptability is a superpower possessed by anyone working in TV, and I have it in spades. I also have a passion for TV that I can’t shake and valuable experience I know I can put to great use.

Heidi Perry on location in Kenya

The first time I left TV, after a trip to Cameroon undercover filming Crime Scene Wild for Animal Planet, it was because on my return, my two-year old daughter Nina gave me one look and strolled nonchalantly away. It was clearly time to stop going away all the time and luckily, alternatives came along: the first at Immediate Films directing charity fundraising films that would raise £1 million at high-profile events. The second was making films for the Ministry of Justice about the issues faced by vulnerable women in the criminal justice system. Making films with a purpose honed my storytelling fast and I learnt how to impact an audience in different ways.

Heidi Perry shooting in the Cameroon for Animal Planet

When my daughter was older, I tried TV again. I’d missed the camaraderie and collaboration of team-working across a series. I did some development in BBC Specialist Factual, a Hairy Bikers’ food history series, an Antiques Roadshow spin-off obs doc, a few series of Bargain Hunt. Then I fell in love with fixed rig filming as a P/D on One Born Every Minute and The Hotel for C4.

Although bouts of edit producing made TV more compatible with parenting, when my relationship ended, I struggled as a single mum on freelance contracts. So I took an offer of a secure job in a national children’s charity. People asked if I missed TV and I’d call to mind squeezed budgets and crazy hours, trying to convince myself and them that I didn’t, but in truth I missed it unbearably. Now it feels wrong not to be doing what I love so much. So here goes again…fingers crossed!

A Storyteller’s Journey Through Uncharted Waters

Before the industry’s recent turbulence, I was no stranger to navigating uncertain waters, writes Producer Donna Harry. With a passion for adventure, I often found solace in travelling to exotic locales during short bouts of downtime. These experiences not only broadened my horizons but also instilled in me a resilience that proved invaluable during times of professional uncertainty. However, as the industry landscape shifted and I faced the reality of unemployment, I found myself grappling with basic needs rather than the pursuit of adventure. Without a partner or parents there is no safety net and it’s scary to think  my career could be over before I’ve really achieved my ambitions.

Donna Harry, 4th from left on ScreenSkills' Edit Producer for Future SPs Scheme

When the tides turned and industry prospects dimmed, I doubled down on my craft. Through ScreenSkills’ Edit Producer for Future SPs scheme led by Jo Woolf, I’ve secured a work shadowing placement on The Apprentice. Lecturing at the National Film and Television School fueled my passion for nurturing the next generation. These endeavours kept me positive and focused on the long game – because even in the darkest moments, I trust brighter days are ahead.

But let’s be real – even in the darkest moments, hope can feel like a distant beacon. So, I embraced a Plan B – a 3-month marketing bootcamp to potentially pivot if the landscape remains uncertain. After all, versatility is key, and these new skills will only add another string to my bow.  However, pursuing this pivot comes at an emotional cost – potentially sidelining a hard-fought career I’ve poured my soul into.

Nothing has come easy on my journey. As a woman of colour from working-class roots, the odds felt perpetually stacked. Yet I’ve consistently risen above setbacks through sheer grit and an unwavering vision, carving out a space to work on programmes I’m truly proud of. Walking away from that hard-won path to start anew is a daunting prospect. But I’ve never shied away from a challenge.

https://www.mediaparents.co.uk/freelancers/4855/donna-harry

Amidst chaos, my passion for authentic storytelling remained constant. Grounded in 15+ years uplifting diverse narratives, I’ve embraced multifaceted roles – producer, casting producer, welfare producer, editor producer – whatever the project required to bring incredible human experiences to the forefront. Whether unearthing extraordinary tales for the BAFTA-winning McCullin, discovering imaginative artists on The Great Big Tiny Design Challenge, giving a voice to disparate realities on Rich House Poor House, or forward planning on brand new build format Stacey Solomon’s Renovation Rescue,  my mission has been uncovering the extraordinary in the ordinary.

As a welfare producer, creating an ethical space where people feel safe and empowered to share their truths is paramount. On the casting side, I have a knack for identifying singular talent and pitching them in a way that lets their authenticity shine through nuanced protocols and evocative tapes. Securing institutional access is also key.

As a producer my versatility spans a range of genres – from the high-wire logistics of Stacey’s renovation series to uplifting character-driven narratives like The Farmers’ Country Showdown through edit producing.

I’m ready to chart a course through these turbulent waters. Brighter days may be on the horizon, but until then, I’ll navigate with resilience and creativity, determined to leave my mark as an enduring storyteller.

https://www.mediaparents.co.uk/freelancers/4855/donna-harry

In an ideal world my dream scenario is for my TV career to keep evolving. Over the next few years, I’d love to really hone my storytelling skills by spending some dedicated time Edit producing. Bringing  character-driven narratives to life – that’s the kind of work that truly fulfils me. And  if I can avoid getting pigeonholed along the way, even better! Branching out into fresh formats like renovation shows, food programs, maybe even dipping into true crime…that freelancer versatility would be amazing for satisfying all my creative cravings.

But at the end of the day, what really drives me is that bigger picture goal of eventually levelling up to Series producing, nurturing the next generation of diverse filmmaking voices. Guiding them to craft their authentic perspectives and visions…that’s the dream.

Donna Harry is currently in work through Media Parents! Woohoo!

https://www.mediaparents.co.uk/freelancers/4855/donna-harry

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. We offer free CV advice for subscribers

I’m a Creative Producer Director, writes Dave Baker, with 14 years’ experience in factual,  (The One Show, A Place in the Sun, Watchdog). I’ve worked in factual entertainment (Strictly, Come Dine with Me, Cash in the Attic), sport (MOTD, the Paralympics – I came into TV via BBC Sport), children’s, cookery (I had a previous career as a chef), corporate and online promotional films. I’ve diversified to get work!

Dave Baker is available now https://www.mediaparents.co.uk/freelancers/12141/dave-baker

At the moment, like most of the freelance TV workforce, I’ve kind of had it with television. Whilst I don’t want to give the impression I’m hard work, or hard to work with, I feel let down by the broadcasters’ approach to this go-slow, it’s apparent that they haven’t supported the freelancers they usually can’t survive without. Where’s the reassurance? The outreach? The suggestion of any kind of plan? Is it any wonder that TV Mindset is overflowing with freelancers at this stage of the game, to the point that they are broadcasting video messages from beleaguered freelancers? (I mean something stronger than beleaguered).

I’m currently looking for work in TV or out of TV, because whilst I’m experienced, my family can’t survive on nothing. I’m a confident and effective self-shooter on FS6, and I direct crew and talent.  I live outside the M25. I have substantial edit time (Watchdog, The One Show) and the ability to write tight and engaging scripts. (See?)

Dave Baker shoots, directs, edit produces and much more

I’ve updated my CV with invaluable advice from Media Parents Director Amy Walker but despite that it’s not yet secured me work. In addition to self-shooting, directing and edit producing, I’m also an effective contributor finder and casting producer. And I have fast turn-around edit and international shoot experience. What’s a freelancer got to do to get a gig these days?

To contact Dave Baker, log into Media Parents and click here. Dave is available now.

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media. We offer free CV advice for subscribers

When Offline Editor Daren Tiley hadn’t worked in a while, he chucked Easter under a bus and worked through it on a fast turnaround doc – in fact two in a row. So was it worth it?

Offline Editor Daren Tiley working on C5's fast turnaround doc Kate and the King https://www.mediaparents.co.uk/freelancers/9614/daren-tiley

I’ve worked on two fast turnaround docs commissioned by Federico Ruiz at channel 5 in the last month for Mentorn Media part of the Tinopolis group, writes Daren Tiley. “Wonka: The Scandal that Rocked Britain” and “Kate & The King: A Special Relationship”.

Both productions worked on an unusual fast turnaround of 11 days from production start to channel delivery with TX on Saturday night primetime viewing. So 12 days to TX for a 45 min Channel5 hour.

Production starts on a Tuesday, with interviews shot on Wednesday, Thursday, Friday and some at the weekend. Staggered edits start Friday to Wednesday through the weekend at MSV post in Hammersmith, with 5 editors and EPs working for 5 days to get to picture lock by end of day Wednesday. Each editor takes on a part each with the 5th editor cutting pre titles and any extra bits and bobs. I cut part 4 on both Wonka & Kate myself.

Then voiceover, dub, grade and online all on the same day for channel delivery on the Friday lunchtime for Saturday primetime TX. Phew!

Daren Tiley right and the fast turnaround production team at Mentorn Media

A great team of experienced editors and edit producers worked between 10 & 12 hours a day to make the shows. The calm and collected nature of SP Stuart Strickson on both productions meant a pleasant working experience. Tayte Simpson Execed Wonka and Nicolai Gentchev on Kate also perpetuated the calm.  When working at such speed for delivery you need a great unflappable team behind you.

These fast turnarounds are becoming more popular with Channel 5 commissioners these days and although I don’t think it’s great to see 11-day turnarounds as the norm, it is getting us telly folk back to work on some commissions at least. And the viewers are over all liking the speed of reacting to a breaking news story! Wonka pulled in an audience of 800k, peaking at nearly a million, and was the most watched programme of the day, as was Kate & The King.

Having had no work for the last 6 months it was nice to get five days on Wonka and four  days on Kate. To be back as a team all working together was helpful for my mental health as the last year or so has been and continues to be so hard for so many of us in the TV world! The pace and last-minute nature of this work isn’t sustainable on a single, TV income, so whilst I am grateful for it, I hope it’s replaced by programming that’s scheduled further in advance.

Daren Tiley is available for offline editing work either remotely or from London post houses. https://www.mediaparents.co.uk/freelancers/9614/daren-tiley

www.dtediting.com

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media.

I’ve worked in unscripted development for 15 years, writes Development Exec Chris Monk.

Chris Monk: https://www.mediaparents.co.uk/freelancers/17745/chris-monk

During that time, I’ve held senior positions at some of the UK’s most highly regarded production companies including Optomen, Hat Trick, Boundless and Expectation. My credits encompass premium documentaries (One Shot: The Football Factory, House of Maxwell), returning formats (Rich House Poor House, Grand Designs: The Streets), and specialist factual programming (Pride and Prejudice: Having a Ball, Uncle Vanya).

In recent years, I’ve established myself as a freelance development consultant, available to provide creative advice to start-ups as well as established companies, while continuing to originate and develop my own ideas with support from collaborative indies.

I’m looking for a part-time position in which I provide general consultancy services, or work on specific projects. I am equally comfortable working as a one-man band -  conducting my own research, writing and designing my own treatments using Keynote and Canva, edit-producing sizzles – as I am managing teams of researchers, APs and producers.

At present, I have capacity for two days per week, but I would also be open to one day per week, or perhaps more ad-hoc, occasional work. So, if you’re looking for someone to refresh your existing slate, provide strategic advice, write a top-notch proposal, or collaborate on ideas for a specific brief, then please get in touch.

https://www.mediaparents.co.uk/freelancers/17745/chris-monk

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media.

Emma Bellars https://www.mediaparents.co.uk/freelancers/17828/emma-bellars

freelancers finding it tough out there contact the Film + TV Charity for support here: https://filmtvcharity.org.uk/get-support/

www.mediaparents.co.uk - the jobs and social networking site for short term, part time, job share and regular hours jobs in media.

Hi there! writes Producer Stephanie Carpanini. I’m a first time mum and long time Producer looking for a job share. I have worked in casting (C4’s Secret Life of the Safari), location and story (A&E’s Prison Brides), studio (BBC’s MasterChef), as well as commercial and branded content projects (Southampton FC’s 23/24 kit launch).

Producer Stephanie Carpanini is looking for a job share or part time work. https://www.mediaparents.co.uk/freelancers/17704/stephanie-carpanini

I’ve been in TV for over 13 years working across fact ent, obs docs and some reality. I would like to gain edit and welfare experience, and work on varied content jobs.

If anyone at a similar level with a similar CV would want to chat about a job share then please get in touch!

https://www.mediaparents.co.uk/freelancers/17704/stephanie-carpanini

I am looking to return to work in April/May either in a part time (3/4days a week) or job share capacity. Then build back up to full time, as my daughter settles into nursery. I am happy to do recces or location shoots in the UK, for short periods of time whilst my daughter is still young.

Producer Stephanie Carpanini is looking for a job share or part time work. https://www.mediaparents.co.uk/freelancers/17704/stephanie-carpanini

If anyone at a similar level with a similar CV would want to chat about a job share then please get in touch! Log in to Media Parents and click here for Steph’s contact details.

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