by Gina Batzia

Jasmine Jagger is a script editor and screenwriter. Her work as a script and story editor  includes acclaimed series such as Baby Reindeer, The Night Manager and The Change.  As a screenwriter, she is developing her own work for TV and film. 

How did you get started in the industry? 

I was quite a late starter, as I left university with no idea what I wanted to do or what I’d be  good at. And the TV and film industry just felt like this unreal dream world, which was only  accessible to people with super connected parents or friends. In the end, I went to my  university career service and they gave me a load of advice about networking and work  experience, and I followed it and I just networked and took every unpaid opportunity I  could while working another job on the side. When I was finally offered my first paid job, I  grabbed it. 

In your work as a story editor, how do you balance improving what’s in the original  script, while also staying true to the voice and tone of the show? 

That’s an interesting one. A script or story editor’s job is to help a writer translate,  communicate their message and vision in the best possible way on screen. So I always  start with message because, sometimes, even the writer doesn’t know, or has lost sight of  what they’re trying to say. And they sometimes need reminding throughout the  development process because there’s just so much other stuff to think about. But once you know the message at the heart of the show — for example, Donny’s need to confront his  demons in Baby Reindeer — you’ve got somewhere to go, and that’s your North Star. And  that really should inform every decision you make. So, improving a script through, for  example, structural analysis, character work, dialogue, focus, all of that should amplify and empower the voice and tone. It should never dilute or go against those instincts. 

Is this different when you join a show later on, when some things are already  established?  

I guess. If you’re a script or story editor joining after a first season, you really have to  immerse yourself in the world of the show that already exists. And for that you need to do  extensive research, as well as working as closely as possible with the writer(s) and  executive producer(s) who have been on the show from the start. For a second season,  you’re helping more with, “How can we take this message and these characters further?”  “How can we take the audience down unexpected paths?” The characters already live in  time and are already fleshed out, or should be. And so it does feel a bit more like they’re  telling you where they want to go rather than you dictating where they should go or who  they are. But characters often have hidden parts of themselves that have been waiting to  come into the light. So that’s the juicy stuff for me. We all hide aspects of ourselves.  What’s Jonathan Pine been hiding, for example?

Would you say it works the same for all the genres that you’ve worked on or do you  focus on different things based on the genre? 

Τhe story essentials are all the same, but different genres are like different animals which  have different needs. I think it’s a shame when broadcasters are over-focused on fitting a  show into a certain genre, because the best art is utterly individual and complex. And you  can’t cut a brilliant show out with a cookie cutter. While I don’t think writers should feel  enslaved by genre, there are certain rules that need to be followed. If you’re making a spy  thriller, for example, the scripts can’t consist of endless deep chats like in Normal People.  That said, if the characters do nothing but run around after each other with guns, then  they’re going to be pretty emotionally unengaging to watch for six hours. So it’s about  finding and striking the right balance. 

What do you think makes a good story editor? Is it about finding the message of the show like you mentioned earlier?  

Listening is really, really crucial. Patience, flexibility, analytical skills, emotional intelligence, and a deep knowledge and understanding of story. 

If someone is interested in becoming a story editor, what advice would you give to  them? 

I would tell them to read loads of books, watch loads of film and TV, and start meeting  people in the industry and building up a network if you can. Luckily, many people in the  industry are fun and interesting, and you can make great friends with others who have the  same love of TV and film. I’d also advise people not to be too picky about their first jobs.  It’s almost impossible to start at the top. Take what you can, work hard, be reliable, be  friendly. And if you’re good, people will notice and either ask you back or recommend you  to others.  

You’re also writing your own scripts and developing your own work; is there  something you’ve learned from working as a story editor that you’ve applied to your own work?  

I’ve learned so much from working as a story editor and script editor. About the power of  structure, and the importance of collaboration and listening to notes while keeping sight of  your vision and message. My own writing has improved hugely and I find it a lot easier  now, knowing what I know, than when I first started out. 

So you’d say it’s good experience. 

Really good experience. It could not be more relevant. But, to be a good story editor, you  kind of have to turn your writing hat off because you’re not the writer. For both roles you  need to think creatively about story. But your primary concern as a story/script editor is to  support another writer rather than trying to become the writer yourself. 

Is there something you’re currently working on that you might want to share? 

I’m working on so many wonderful things that I would love to talk about. What I will say is  that The Night Manager Season 2, when it comes out on BBC and Amazon Prime Video,  will be an absolute cracker.