Share
Explore
Diet of Worms
Table 1
View of Table 1
Name
Tags
Notes
1
Jim Pulk
Character
Known as ‘Wog’ - doesn’t really know why and doesn’t understand why that arouses such derision from the of the when he mentions it. They can’t believe what they’re hearing - a racial slur. One of the friends labels him a racist.
2
Worm
Character
The worm that lives in the bottom of the , emerging every so often when it finds its environment being disturbed and causing carnage. It belongs to a species of worms that exist in some higher, semi-mythical dimension that surface every so often in pools and lakes (like the Lock Ness Monster).
3
Blacksmith
Character
4
Metro Family
Character
A family from London with adolescent children. Maybe there because friends are renting nearby (e.g. Arundel? Or in the village?)?
Family in a state of change, children trying to stop it from falling apart.
A ‘modern’ family. Parents are divorced. New husband also there. Half-siblings. Artistic. (Think of the Fleabag family.) Lots of self-absorbtion.
Some of the kids get with the programme.
A fleabag, a sensible sister (younger? emphasises the older sister’s irresponsibility), a dotty mother, an emotionally stunted father…
The thing they are struggling with - as is everyone - is the instability of it all. The beast of boredom…
Relationship of with - central relationship. Son of the local farmer. They meet when he’s working for the festival, as required by his father .
5
The Worm Whisperer
Character
Someone who thinks she or he knows about the worms, understands then, can anticipate when it will surface.
Considered to be eccentric - or maybe someone less expected (e.g. perhaps the local MP, vicar - ‘look, s/he believes in the virgin birth; s/he’ll believe in anything’?) - but cliche?
A way into exploring the worm’s motivations.
Collected a dossier of evidence concerning the worm; has kept it to themselves? Maybe something in the church records?
So, they are secretive, not unheard or misunderstood. Why? To protect the worm(s)?
6
Metro Daughter
Character
For her, everything’s ‘deep fake’: feelings, friendships, family, life. But what’s real? She hasn’t a clue.
Down to earth: but he’s crude and racist…
7
Farmer Pulk
Character
Irascible, defensive, greedy, nervous, feels he is under attack from all directions: planners, government
Falls in love with the mother of who is trying to find his son/her boyfriend, married to the city type.
8
George
Character
Farm worker. Been on the farm for years. Carmen family… brother Albert, the wastrel cowman.
9
Local historian
Character
An older character who has lived in the village for their entire life and knows all its history and legends. They may initially be dismissive of the idea that the legend is true but become a believer as events unfold.
10
Folklorist or Mythologist
Character
A character interested in the mythology and symbolism of the worm and other similar creatures from different cultures. They could offer interpretations of the worm's actions and its place in the larger scheme of global mythology.
11
Environmental Scientist
Character
This character could be studying the local ecology and stumbles upon the strange happenings. They could provide insight into the changes in the environment, attributing it initially to climate change or other human-induced factors, before realizing the involvement of the worm.
Thinks this is the habitat of a rare moth or frog facing extinction, thanks, the scientist alleges, to ’s farming practices.
12
Skeptic Journalist
Character
A character who initially sees the worm story as a small-town myth, good for a few sensational headlines. Over time, they become more involved and realize the truth. This character could provide an external perspective and add tension to the group dynamics.
13
Local Police Officer
Character
This character could be initially investigating the disappearance of the farm boy and the subsequent odd occurrences. They could provide a link to official institutions and add an element of law and order to the narrative.
14
Mysterious Outsider
Character
A stranger who comes to town with their own interest in the worm. Their motivations could be unclear at first, adding an element of suspense and intrigue. They could have experience with similar phenomena in different locations or times.
Turns out he is someone who surfaced, having come from another era. Trying to blend in, so doesn’t draw attention to himself. But is interested in events relating to the
. Does he challenger to literally take the plunge? Gets arrested by the and suspected of murdering both her and . Goes on a search for both of them through the pool - but can’t find them.
15
Metro Man
Character
Father of the . Works in media or suchlike - e.g. a high powered talent/literary agent? Funny, clever, bit camp, had an affair, fracturing the relationship with (…think NM).
Visits outpost of Soho House in Sussex - maybe en route?
This happens while
16
Metro Woman
Character
Mother figure in . Carrying one of ’s earlier children? Maybe she’s ?
Does she have an affair with , complicating the investigation into ’s disappearance?
17
Metro Friends
Character
18
Knucker Hole
Location
19
Lyminster
Location
Is the story of this village? And is the real monster change, because the village is falling apart due to change becoming so fast?
20
AirBnB
Location
Fancy new AirBnB that’s just opened. Revenue earner for local farmer struggling to make ends meet.
Cabin-style pod, in a field near the pond.
21
Six Bells
Location
Owned by a celebrity (James May) or ex-sports star (Stuart Broad) who has turned it into a high-profile gastro pub with the help of a talented manager.
22
Campsite
Location
Static homes campsite for poorer holiday makers with tuck shop?
23
slurry pit
Location
24
Other British worms
Research
Monster of Mordiford
From the Oxford Dictionary of English Folklore:
Mordiford. In the 17th century, the village church at Mordiford, Herefordshire, had on its
exterior wall a large picture of a dragon with four pairs of wings, which was repainted several times before being finally erased when the church was repaired in 1810-12. It was
locally taken to be proof that a monster had once lived there, and been killed—though as to how, and by whom, stories varied. The hero was usually said to have been a criminal who volunteered to fight the dragon instead of being hanged; he hid in a cider barrel, and either shot it dead through the bunghole or tricked it into attacking the barrel, which was studded with knives, so that it wounded itself mortally. But the dragon’s deadly breath poisoned him, so he never enjoyed his victory.
J. Dacres Devlin, The Dragon of Mordiford (1848/1978);
Simpson, 1980.
Thesis that dragon stories may be an echo of the age of dinosaurs (published when the term was still unknown - ref to the ‘dinotherium’).
Dragon of Wantley
26
Village festival
Scene
Dragon as a float. Old tradition.
Ends in a rock festival which has become famous, like Latitude?
The ‘dragon’ seems to come alive. Wipes out the festival?
27
Dead cow
Scene
and find another dead cow in one of the sheds (where they’re put for the duration of the festival). It has had its throat ripped out. Need to get rid of it quickly. If the vet is called in, then they’ll have to close the farm completely.
28
World on fire
Scene
29
Harvest festival
Scene
Showcases the everyday life of the village: the natural beauty of the countryside, the slow pace of life, the sense of community, the traditions that tie the villagers together.
Is this the scene that is shattered by the first witnessed evidence of an attack by the worm?
Scenes where the locals gather to make a traditional corn dolly, a local motif is the dolly depicting the worm (curled around the cross?).
30
Protected status
Scene
manages to get protected status for the Knucker Hole, despite ’s efforts.
In the final scene, we see fencing and other protective measures going up around the Hole. That seems to settle things down.
31
Pilot episode outline
Story
32
Change
Structure
Change is easy. It’s stasis that’s hard.
Everything in the village has been changing: the land, who lives off it, old traditions (e.g. harvest festival) which seem increasingly irrelevant.
33
Perpetuity
Structure
Scenes that might demonstrate this:
Start off with the having protected status, so that the can investigate it as an undisturbed habitat. As a result, has lost access to some prime land. He’s furious about it.
[Is there a species that is unique adapted to chalk springs, similar to the ? E.g. Common tree frog - changed its colour? or European pond terrapin?]
34
Story engine
Structure
The series (?) is about tradition and in the face of rapid change, which accelerates with each generation.
Old vs new.
So, each series shows a phase in Lyminster’s development from 1900s to 2000s? The constant is the monster.
Similar structure to Stranger Things?
How about the as a portal from the same location but at different times, past and future? The character dives in, sinking becomes resurfacing. That’s what makes it bottomless.
moves between these worlds, trying to stop them all changing, trying to return the world to mythic times.35
Overview
Structure
Basically, all the famous dragons and worms in British history are in fact related and meet somewhere - the ‘Diet’ of the title.
They are conducting a battle against change. They were born of the Ice Age, and ever since, humans have come along and mucked up their world.
They’re immortal - or think they are. Maybe that’s the change we all have to embrace, that they can’t confront, until one of them dies (by committing suicide?).
36
Brainstorm
Structure
Initial impressions of the idea
I am wanting to develop a TV series called 'A Diet of Worms', combining elements of popular dramas such as 'Stranger Things' and the BBC series 'Detectorists' with elements of mystery in series like 'Lost'. The setting is an English village called Lyminster. Next to the village is a pond known as the 'Knucker Hole'. According to legend, the pond is bottomless and is home to a dragon or 'worm' which in the past would emerge from the pond and rampage through the countryside, killing livestock and destroying crops. A local boy called Jim Pulk eventually managed to vanquish the worm, bringing some order and peace back to the village. There is an ancient gravestone in the local village church which originally marked the worm's grave. I want to use this scenario as the basis for the TV series 'Diet of Worms'. Initially, from the point of view of a TV producer or commissioner can you give me your initial impressions of this as the basis of a drama series.
ChatGPT
Pros:
Points to consider:
Overall, this sounds like an exciting and original concept with lots of potential. The next steps would be to flesh out your characters, develop an outline for your first season, and start working on a pilot episode script.
As a drama series
Here are my first thoughts on developing it as a drama series:
It will (at least initially) be set in the present. A family has hired an AirBnB in the village for a summer holiday. They arrive, and the teenage daughter soon strikes up a romance with the local farmer's son. The son's father is having problems on the farm, with crops being damaged by disease. Matters reach a head when one of the wheat fields catches fire. All appears to be lost.
The son introduces her to the Knucker Hole, and he tells her the legend. They skinny dip, cementing their relationship. He then goes missing, and the girl is convinced that he has either been taken by the worm, or drowned in the pool. Nobody believes her, so she decides to dive into the pool herself to see if she can find him or his body. When she enters, she swims as deep as she can go, but to her surprise, ends up resurfacing. However, she resurfaces in either a pool in another place, or the Knucker Hole at a different time. This marks the beginning of a search for the boy, and the worm that may have taken him.
I haven't thought this fully through yet, but wondered if you could think of ways this story line might be developed. I am thinking that she, and/or the boy, and/or a widening ensemble of people, set out to find out if the worms exist (which they do) and the reason they are rampaging across time and the world (or just rural England) causing so much damage and misery. They work out that the worms go back to the Ice Age (the Loch Ness Monster perhaps being one of their number) and that, thanks to modernisation, they have become an endangered species and are fighting for survival. The major theme of the drama is change and how we cope with it, whether it means change in terms of technology etc. or personal change, as we mature into adults and eventually (or prematurely) die. The latter will be explored with perhaps the death of one of the major characters occurring in the first season. Please. give me your initial thoughts on this approach.
ChatGPT
It seems like you have developed a compelling initial setup and have some engaging themes in mind. Here are some thoughts on how you could expand and refine your ideas:
Expanding the Storyline
Time Travel or Different Location: You mentioned that when the girl dives into the Knucker Hole, she resurfaces in a different place or time. Both options have exciting possibilities. If you choose time travel, she could experience the village in different eras, encountering previous generations of villagers and perhaps even the original dragon slayer, Jim Pulk. If you choose a different location, she could find herself in other parts of the world where similar legends exist, connecting these seemingly disparate cultures and exploring their commonalities.
Ensemble Cast: Gradually introducing more characters who become involved in the quest could add depth and complexity to your story. These could include the villagers, who each have their own beliefs and opinions about the legend; experts in folklore, geology or biology who could provide insight into the worm's nature; and other outsiders who stumble upon the mystery. Each character could bring a unique perspective to the situation and help to unravel different aspects of the mystery.
Endangered Species Angle: The idea of the worm as an endangered species fighting for survival due to modernization is a fascinating one. It could allow you to explore themes of environmentalism and conservation, and the often destructive impact of human progress on the natural world. This could also provide a motivation for the worm's actions, giving it a more nuanced role beyond simply being a monster.
Exploring Themes of Change
Technological Change: You can weave the theme of technological change into the storyline by showing how modern technologies like mobile phones, GPS, and drones are used in the search for the boy and the worm. You could also contrast this with older, more traditional methods of problem-solving and knowledge, such as local folklore and natural signs.
Personal Change: The experience of growing up could be a significant theme for the teenage characters. The disappearance of the boy and the subsequent search could serve as a metaphor for the journey from adolescence to adulthood, with all its challenges, discoveries, and transformations.
Dealing with Loss: The death of a major character could be a pivotal event that forces the characters to confront their mortality and the impermanence of life. It could also bring the community closer together and strengthen their resolve to solve the mystery.
Coping with Change: As the characters navigate these various changes, they could learn valuable lessons about adaptation, resilience, and the importance of community. These themes could be particularly resonant in a time of global change and uncertainty.
In summary, your concept for "A Diet of Worms" is rich with potential. The key will be to balance the fantastical elements with relatable characters and universal themes, creating a story that is both thrilling and deeply human.
Exposing the worms’ motivation
One of the challenges I face is how to explore the worms' motivations and actions. I am reluctant to have the worms communicating with humans directly - it makes them less monster-like. So the approach of the main characters has to be more like zoologists observing animal behaviour to try and work out the creature's nature. How might this be done?
ChatGPT
That's a great point, and it indeed adds a layer of complexity to your narrative. Here are some ways you can portray the worms' motivations and actions without direct communication:
Remember, the process of understanding the worms can be gradual and should provide room for misinterpretations and surprises. This will keep the mystery alive and the audience engaged throughout the series.
User
Say there is a group exploring this idea: the girl, the farm boy (who, it turns out, had dived into the pool, but then turned up somewhere else as she did, and the two are reunited) and some others. These make up the ensemble that lies at the core of the series throughout its seasons. Any thoughts on who else would make up this ensemble and what brings them together?
ChatGPT
Certainly, an ensemble cast can provide different perspectives, skills, and backgrounds that add richness and diversity to your story. Here are some suggestions for additional characters:
Local Historian: An older character who has lived in the village for their entire life and knows all its history and legends. They may initially be dismissive of the idea that the legend is true but become a believer as events unfold.
Folklorist or Mythologist: A character interested in the mythology and symbolism of the worm and other similar creatures from different cultures. They could offer interpretations of the worm's actions and its place in the larger scheme of global mythology.
Environmental Scientist: This character could be studying the local ecology and stumbles upon the strange happenings. They could provide insight into the changes in the environment, attributing it initially to climate change or other human-induced factors, before realizing the involvement of the worm.
Skeptic Journalist: A character who initially sees the worm story as a small-town myth, good for a few sensational headlines. Over time, they become more involved and realize the truth. This character could provide an external perspective and add tension to the group dynamics.
Local Police Officer: This character could be initially investigating the disappearance of the farm boy and the subsequent odd occurrences. They could provide a link to official institutions and add an element of law and order to the narrative.
Mysterious Outsider: A stranger who comes to town with their own interest in the worm. Their motivations could be unclear at first, adding an element of suspense and intrigue. They could have experience with similar phenomena in different locations or times.
The key to forming this group could be a shared sense of curiosity, a desire for truth, or personal involvement in the mystery (like the farm boy's disappearance). Each character's unique skills, knowledge, and perspective would be vital in investigating the mystery, and their diverse backgrounds could lead to interesting group dynamics and conflicts. Remember, character development is crucial in an ensemble cast, and each character should have their own arcs and growth throughout the series.
User
And who would they be their nemesis, if not the monsters? I want this to be the struggle that reflects the dilemma of their position, particularly for adolescents, or perhaps menopausal women): resisting change (because it is scary) vs embracing it (living life). There are ways of demonstrating this dramatically, perhaps with one of the characters being saved by the wonders of modern medicine on the one hand and villagers being suspicious of well-intentioned strangers on the others (e.g. coming to stay in an AirBnB that was once the cottage of a much loved local). Perhaps also this dilemma can be explored through a parent trying to cope with the death of a lost loved one, and then perhaps the loved one coming back to them (for example, the girl, who is lost presumed drowned or kidnapped, but who reappears when she resurfaces from the Knucker Hole in the appropriate time as she continues her exploration).
ChatGPT
Your series could certainly benefit from a nemesis or antagonist character who embodies the fear of change and the desire to maintain the status quo. Here are a few suggestions:
Local Authority Figure: This could be a village council member, the mayor, or a wealthy landowner who holds considerable influence in the village. They could be resistant to changes in the village, such as the opening of the AirBnB or the introduction of modern farming methods, and view the outsiders with suspicion. They could also attempt to downplay or cover up the strange occurrences to preserve the village's reputation.
Corporate Interest: An individual or group representing a corporation with vested interests in the village could serve as an antagonist. This could be a construction company wanting to drain the Knucker Hole for a development project, or a company exploiting the local natural resources. Their actions could pose a direct threat to the worms and add urgency to the main characters' mission.
Denial or Disbelief: Sometimes, the biggest adversary can be disbelief or denial within the community. This could be represented by a group of villagers who refuse to accept the evidence of the worm's existence or the need for change.
External Investigative Agency: A government or private agency that wants to capture the worm for their own purposes could also serve as an antagonist. They could see the worm as a threat to be neutralized, or a potential scientific breakthrough to be exploited.
Media Sensationalist: A media personality who is more interested in sensationalizing the events for their own fame or profit rather than understanding the truth. They could twist the narrative, creating additional problems for the group.
These antagonists could embody different aspects of the resistance to change: fear of the unknown, selfishness, ignorance, exploitation, and manipulation. Their actions could present obstacles for the main characters, exacerbating the central conflict and highlighting the themes of change and adaptation.
Exploring the theme of change through personal loss and coping mechanisms, as you suggested, is a great approach. It adds emotional depth and allows for character growth, as they learn to navigate their personal grief amidst the larger events happening around them.
User
But I also want to show the merits of stasis: a beautiful, settled, peaceful country village where everyone seems to get along. Can that be done too? Or is that having my cake and eating it?
ChatGPT
It's definitely possible to show the merits of stasis, and in fact, it's essential for a nuanced depiction of change. Here's how you might do it:
Showcase the beauty and tranquility of village life: Your series could spend time showing the everyday life of the village: the natural beauty of the countryside, the slow pace of life, the sense of community, the traditions that tie the villagers together. You could highlight moments of peace and tranquility, like a quiet evening by the Knucker Hole, a community gathering at the local pub, or the simple joy of a sunny day in the fields.
Highlight the strength of community: Show how the tight-knit community supports each other in times of crisis, and how the traditions and shared history create a strong sense of belonging. The relationships between the villagers could be a source of comfort and stability amidst the chaos caused by the worm.
Show the positive aspects of tradition: Tradition and routine can provide a sense of stability and continuity. You could show characters finding comfort in the rituals and routines of village life. This could range from community events like fairs and festivals, to individual habits like a morning walk along the same route.
Contrast with the drawbacks of change: Change, especially rapid and uncontrolled change, can have negative aspects. You could show the disruption caused by the outsiders and their modern ways, or the damage caused by the worm's activities. This would help underline why some characters might resist change and prefer to maintain the status quo.
While change is inevitable and often necessary, it's also important to acknowledge the value of tradition, continuity, and stability. This approach would allow you to explore the tension between change and stasis in a balanced and thoughtful way. It's not so much having your cake and eating it, as it is acknowledging that both change and stability have their merits and drawbacks. Balancing the two is a part of the human experience, and it's this balance that could be at the heart of your drama series.
User
Excellent response.
ChatGPT
I'm glad you found the information helpful! If you have any more questions or need further assistance in developing your TV series, feel free to ask. Good luck with your project, it sounds like a fascinating concept!
User
I would like you to have a go at sketching out a structure for the first season, perhaps comprising eight episodes. Be creative and adventurous in what you suggest, ranging as far and wide (or close and narrow) across times and space as will best serve the drama we have discussed.
ChatGPT
Absolutely, I'd be happy to help. Let's consider an eight-episode arc for the first season. We'll want to establish the setting and characters, delve into the mystery, and end with a cliffhanger to set up the second season. Here's a rough sketch:
Episode 1: "Arrival"
The protagonist family arrives in Lyminster for their summer vacation. They get to know the village and its quirky residents. The teenage daughter meets the farm boy. Ends with the farm boy taking her to the Knucker Hole and sharing the local legend.
Episode 2: "The Dive"
The farm boy disappears, causing a stir in the village. The daughter decides to dive into the Knucker Hole to find him. Ends with her resurfacing in a different place or time.
Episode 3: "Lost and Found"
The daughter explores this new place/time and tries to find her way back. Meanwhile, in the present, her family and the villagers grapple with her disappearance. Ends with her return to the present, bringing back an object or information that hints at the reality of the worm.
Episode 4: "Believers and Skeptics"
The daughter shares her experiences, causing a divide between believers and skeptics in the village. The ensemble group starts to form, with each member having a personal reason to join her quest. Ends with a shocking event (e.g., another disappearance, a clear sign of the worm's activity) that convinces more people that something strange is happening.
Episode 5: "Into the Past"
The group conducts their first collective dive into the Knucker Hole, resurfacing in the past. They experience a past incident related to the worm and learn something crucial about its behavior. Ends with a dramatic escape back to the present.
Episode 6: "Pieces of the Puzzle"
The group struggles to interpret what they've learned and apply it to the present situation. They face opposition from the antagonist(s), adding tension. Ends with a personal loss or setback that tests the group's resolve (e.g., the death of a major character, a significant disruption caused by the worm).
Episode 7: "The Trial"
The group carries out a risky plan to communicate with or influence the worm, using their newfound knowledge. They face unexpected consequences, leading to a crisis. Ends with the return of the farm boy, who shares his own experiences and provides a missing piece of the puzzle.
Episode 8: "Tipping Point"
The season finale. Armed with new knowledge and determination, the group confronts the worm or the effects of its rampage. They achieve a partial success, offering hope. But the episode ends with a cliffhanger that sets up the next season—a bigger threat, the arrival of a new character with their own agenda, or a shocking revelation about the worm's true nature or purpose.
Remember, this is a very rough sketch and might need to be adjusted based on the specifics of your characters, setting, and plot. But hopefully, it offers a starting point for developing your first season.
User
I was thinking that for episode 8 we could end with the Knucker Hole being given protected status as a site of nature conservation, so that it and the surroundings are protected from any human intervention. It's confined in a fence, and only authorised personal can get in. Then, perhaps, we see someone break in, an inkling of a further bout of havoc. What do you think of this, and if it works, how would you adjust the episodes leading up to it?
ChatGPT
That's a great idea for a season finale. The protected status of the Knucker Hole could serve as a resolution to some of the conflicts in the season, while the break-in sets up new challenges for the next season. Here's how you could adjust the episode structure to lead up to this:
Episode 5: "Into the Past"
The group conducts their first collective dive into the Knucker Hole, resurfacing in the past. They witness the worm causing significant damage to the environment in the past, which hints at its potential impact if left unchecked. Ends with a dramatic escape back to the present.
Episode 6: "Pieces of the Puzzle"
The group struggles to interpret what they've learned and apply it to the present situation. A significant disruption caused by the worm leads to discussions about how to protect the village and its surroundings. Ends with the proposal of giving the Knucker Hole protected status.
Episode 7: "The Trial"
The group lobbies for the protection of the Knucker Hole, facing opposition from the antagonist(s) who have different plans for the area. Meanwhile, they carry out a risky plan to communicate with or influence the worm. Ends with a personal setback that tests the group's resolve (e.g., the death of a major character).
Episode 8: "Tipping Point"
The season finale. The group's efforts pay off and the Knucker Hole is granted protected status. They have a partial success in their interaction with the worm, offering hope. But the episode ends with a cliffhanger—a figure breaking into the protected area, hinting at further challenges to come.
This approach maintains the core elements of your story while integrating the conservation aspect. It allows for an exploration of environmental themes and adds another layer of complexity to the conflict.
37
Reality of the Worm
Structure
Is it revealed to everyone that it is there, or does it remain a matter of conjecture?
The latter would be better.
Means maintaining a sense of dramatic irony: we (the audience) know it exists, but the villagers, festival goers and
There are no rows in this table
Want to print your doc?
This is not the way.
This is not the way.
Try clicking the ⋯ next to your doc name or using a keyboard shortcut (
CtrlP
) instead.