New Voices
Original voices. Distinct perspectives. The next generation of screenwriters.
In a world of generated content, these are writers with something to say. Writers developing original work for film, television, and new narrative forms. Explore their work below.
Name
Alex Muncy
Your Quote
I am interested in writing character driven LGBTQ+ period dramas, drawing on focussed research and personal experience to create authentic worlds and dialogue.
About Your Writing
I enjoy writing character-driven stories exploring social, personal and political themes in a variety of time periods and settings. I am fascinated by faith and religion and how it interacts with personal and queer identities. At the heart of my stories are characters exploring themselves on their own personal journeys.
Final Major Project
Title: Taiga and Parsley
One-sentence logline:
Taiga and Parsley explores themes of class, society, freedom, and love in a coming-of-age journey set on the Victorian railways.
If you would like to provide a short quote from the script, action or dialogue that best exemplifies your writing, you may:
EXT. BETCHING VILLAGE. DAY.
Parsley bursts through the doors of the hall and runs, pelting through the quaint houses round the village green, turning a few heads as they pass.
Parsley reaches the edge of the village, the houses thin and it turns into a dirt track country lane. A horse-drawn cart trundles along up ahead, upon it sits DAVID DUNDRIDGE (68), a farmer with a worn jacket, flat cap and a country accent.
Parsley increases speed as fast as they can to come up behind the cart, though it travels slightly faster.
Parsley
Mister Dundridge!
David turns round slightly to see Parsley.
He smiles and slows the cart a little, Parsley readies and jumps grabbing on to the back, hauling themselves up. David slaps the seat next to him, indicating Parsley come over.
Parsley climbs over the bundles of spring vegetables and steps over, to sit next to David at the front.
DAVID
Mornin’ ‘assocks.
Parsley
Morning sir. Had to be done.
David yanks the reins and they increase speed.
David
So ‘assocks, what brings you in such fine haste?
Parsley
(remembering)
Oh lord. This.
Parsley fumbles with the telegram and holds it up.
David
I can’t read, Parsley, I’m driving.
Parsley
Apparently Taiga’s going to Bristol. D’you remember? From that missionary outreach thing-
DAVID
Yes we all know her. You’ve taken quite a liking to her, haven’t you?
Parsley
(defensive)
Come, I like everyone.
David chuckles to himself.
David
But what’s she going there for, you says she was comin’ here Sunday next? We was lookin’ forward to it.
Parsley
Well, David- listen to it:
(reading)
‘I regretfully inform I must abscond Sunday and instead make indefinite departure to Bristol, Taiga Brown* stop.’
(changing tone)
When she writes like her mother, it’s a message.
David
Back in my day lovers did all such sorts.
PARSLEY
She’s not my lover.
The cart approaches the station. A train is pulled in at the platform. Parsley poises, ready to jump from the cart.
David
Don’t jump it ‘assocks, I’ll stop the cart for yer. Who d’yer think I am?
David yanks on the reins, the cart comes to a stop.
DAVID
And yes she is.
Parsley glances at David, but can’t think to reply. David chuckles to himself. Parsley readies and jumps down from the cart.
Parsley
Much obliged Mister Dundridge.
DAVID
Any time, ‘assocks. You got yer money?
Parsley
Should do-
Parsley turns and runs for the platform.
Themes in Your Writing
– Queer identity
– Faith
– Relationships
Genres You Enjoy Writing
– Historical Drama
– Social Drama
– Romantic Drama
Currently Writing
Roses – a drama exploring identity and religion during of the Wars of the Roses exploring faith and conflict through the love between two medieval women.
The Powers That Be – a character drama colliding medieval power play and faery magic.
The Book of Margery Kempe – a holy woman’s journey through religious strife, social upheaval and high-stakes politics, adapting her autobiography from the1430s.
Influences (Optional)
– Upstairs, Downstairs (1971-75) – one of the biggest inspirations in how I aspire to write character drama, with both moments of huge impact and small interactions, social deconstruction and emotion.
– Hayao Miyazaki – Miyazaki’s films define magical realism against grounded world building, imparting vast amounts of depth with powerful emotional catharsis and minimal exposition.
– Andrea Arnold – Fish Tank (2009) – a film that has defined the visual style of how I write action, the camera used to create a feeling of really being on the ground with the characters.
– Chloé Zhao – Nomadland (2020) – a film that carries a huge emotional power through a naturally developed and character driven story influencing my own style of conveying emotion.
– Sally Wainwright – Gentleman Jack (2019-22) – the balance of tender character moments and thriller-style pacing and tension influencing my style and how I like to present antagonists as conflicting characters as opposed to villains.
– Brian Gilbert – Wilde (1997) – this is the film that for me has created the most convincing creation of a historical era, and contributed strongly to how I visualise my settings.
Chichester Screenwriting
The group workshops during TV script have changed my perspectives on my writing through the feedback I received, providing me with knowledge of how to improve my writing and creative process. The strategies I use to write were developed in this module to a consistent level and inspired me to keep writing since.