This week’s newsletter is really about primary experience.

I meet a lot of people who wax lyrical about how they hated something they’d watched, or they've heard bad things about something, and they're not going to watch it. Or even that they wouldn’t watch it because of the platform it was on. (Who remembers the classist snobbery of ‘Channel 3’ (aka ITV) over the BBC way back when?!)

What I can tell you is that you need that primary experience so you can form an informed opinion. Then you can explain why something didn't work for you, what you would have done differently, and demonstrate the depth of your thinking in a story discussion or writing sample.

I love this phrase. For those in the dark, it’s essentially saying that a skinny baker doesn’t try their own goods, therefore, have a better waistline for it. But if they don’t try their own goods, how do they know they taste good?

An example: As I’ve mentioned before, I love adaptation, historical, and period pieces. When Apple TV+ released Buccaneers – I watched five minutes of it and said to myself, “nope! I can’t commit to this; it played so loosely with the period!” And then switched it off.

But. A few weeks later, I began thinking… If this was the audience period drama was reaching, I need to understand why.

I had a word with myself and reminded myself that I needed to understand my market if I want to be able to sell in it. So, I watched it. AND LOVED IT. Yes, there were things that still made me crave for the Midas touch of Julian Fellows. But the story, oh, the story. This beautiful unexpected rich story about sisters, and sisterhood. Beautiful.

And now, I can bring this experience into my own work.

I can look at its place in the market as a show that brings in a new, younger, or less convinced audience towards period drama. I can learn from the way they shaped character and world to attract that audience. And most importantly, how I can ensure that every one of my female characters doesn’t fall short of the bar they set.

I think we’ve all watched the Oscars and wondered why a movie had an inflated presence over something more wholesome. And in these spaces, it helps to remember that there’s a lot more than taste that goes into the selection.

There are still films and shows that become huge successes and leave us wondering how on earth we're going to claw back those two hours.

My mantra is: NOTHING IS WASTED. EVER.

There is value and a lesson in everything. Sometimes it might be as small as being able to contribute to the conversation, and others it could be that you found something in the structure or the characterisation that you can pocket for later.

Don’t underestimate how much value being part of the conversation gives you when building your profile as a serious writer.

We’ve talked before about pre-selecting, reading, and judging for competitions and opportunities and the value you can gain from this.

When you’re faced with the decision of films that range across budgets and skill, you’ll remember I talked about finding that nuance.

I do this in my theatre adjudications too. No, they’ll never be West End quality. But even the volunteer led, village hall, untrained interpretations of plays can be compelling and meaningful. You just have to look beyond to see it.

And I encourage you to do the same with the shows and films you gave up on.

One thing I've learned as I've spent more time in the industry is that every film represents years of someone's life. Hundreds of people may have worked on it. And you don't have to love it.

But learning to talk about work with curiosity instead of dismissal will serve you incredibly well. I’ve even been guilty of being very blunt about a show. But since I’ve grown in my knowledge and experience, I vowed never to do it again.

It is fair to say that some things aren’t executed well, maybe even written to the best they could be. But you can’t fault people’s drive to bring you a story.

The more you delve into this industry, the more you realise just how much hard work, creativity, passion, and unpaid labour goes into it; especially when you’re just starting out.

My second short film had over 130 cast and crew involved. The final film may not be everyone’s cup of tea, but to say it is terrible would be doing those people a disservice.

I’ve spent time with these creatives, and I’ve seen the relationships they’ve formed, the enthusiasm for their potential, and the thing I love the most, the encouragement they’ve given each other, let alone the joy this process brought them (eventually!)

It isn’t terrible btw. It’s awesome and I’m very proud of it!

Besides, if you walk into an industry event or you’re just having a casual chat to someone, you have no idea that they didn’t have a role in whatever you’re about to slam.

Don’t do it.

We don’t all like the same things, that’s fair. I like Chelsea buns my husband prefers Belgian buns. But we’ve both tried the other and can explain why we prefer it. But we can only do this because we have had a primary experience and can draw on that. Rather than what someone else may or may not have said.

We can’t be expected to watch everything. That’s insane. But we can endeavour to watch episode one, we can read the script, we can listen to a deep delve podcast. But it is important to take a bite out of every type of bun in the shop. Even the ones with cherries on top.

So, what did you watch/read? Did it change your mind? Or just inform your own experience? Let me know!

Stay curious.

Helen

Next up… Why everyting takes sooooo looooooooong

© Helen Tompson 2026 | Feel free to share this newsletter with other writers. If you'd like to reproduce or quote larger sections, just drop me a message first.