We caught up with Brisbane-based writer, producer and director Clare Sladden about her experience working as a Screen Queensland-supported Showrunner Attachment on Good Cop/Bad Cop. Working alongside John Quaintance (Will & Grace, Workaholics) on the Stan Original series starring Leighton Meester, Luke Cook and Clancy Brown, Clare discusses writing for the series and her thoughts on the showrunner model in this new Spotlight profile.
Clare Sladden is a Meanjin/Brisbane-based writer with a passion for women-driven stories. Her television credits include the recently released Good Cop/Bad Cop (Jungle Entertainment & Future Shack for Stan, Roku and The CW), NCIS: Sydney (Endemol Shine AU for Paramount+), Eden (Every Cloud Productions for Stan), and Sunny Nights (Jungle Entertainment and Echo Lake Entertainment for Stan—premiering in 2025). In the audio space, Clare wrote on the Wentworth spin-off podcast (Fremantle Media for Audible), and she wrote, directed and co-produced Winding Road, a narrative podcast that stars Dacre Montgomery (Stranger Things) and Yael Stone (Orange is the New Black). Clare has also recently been awarded Screen Australia development funding for her debut feature Sophie Next Door, which she’ll write, direct and co-produce.
How did you begin your career in the film industry?
I studied creative writing at university and wrote my first feature script around 2013. In 2016 I quit my day job to pursue a career in screenwriting. Over the next few years I wrote, directed and produced three short films and a web series, worked on my craft and applied for funding opportunities and initiatives. In 2020 I started working in the audio space, and then in 2021 I got my first television credit on the Stan Original series Eden. Since then I’ve written on a variety of television series, including Good Cop/Bad Cop, and I am in development for my feature, Sophie Next Door.
The showrunner is an esteemed role in the US, but one that is still being established on Australian projects. What are the benefits of the showrunner model?
The showrunner carries the ultimate vision of the show through development, pre, production and post. It’s their job to advocate for and deliver on that vision while navigating the intersection of creative vs budget. When you look at the standard of shows the US model has delivered over the years, it’s clear that empowering a visionary showrunner can result in world-class television. I believe that moving to a showrunner-led model in Australia will give us the best chance of creating and executing bold, authorial shows that can compete on the world stage.
I was struck by how lucky I was to have John Quaintance as my mentor. John was generous, inclusive and invested in my learning, which optimised the whole experience and allowed me to walk away with knowledge and skills I otherwise wouldn’t have.
Walk us through a day-in-the-life on the set of Good Cop/Bad Cop.
As the Showrunner Attachment, I was on-set with John for four weeks as a staff writer at the beginning of production, and then he asked me back for my episode (which is when I did my Screen Queensland-sponsored showrunner attachment). John was on-set every day of production, so I was on-set with him. We watched the takes and talked through what John wanted to achieve scene-to-scene and why. I also directed a photo shoot, watched casting auditions for future episodes and gave feedback, put together audition sides, watched the dailies and discussed them with John and did on-set writing.
What was your biggest takeaway from working alongside John?
The culture of a show is dictated by the people in charge. John was personable and respectful—he knew everyone’s name on set. It’s also a really difficult job and John did it with grace, humour and generosity. For him it wasn’t about ego, it was about making the best show possible and empowering his collaborators to help him do that. I also saw first-hand how important it is for a showrunner to be surrounded by people who are actively looking to lighten their load.
How was working on a US television series different from your experiences on Australian sets?
The showrunner model was probably the most obvious difference. We were working with an Australian crew and (mostly) an Australian cast, so there was a lot of familiarity there. And I think the whole experience really confirmed for me that Australian cast and crews are world-class. John said as much, many times over, and I think that’s obvious in the finished product.
What advice would you give to emerging writers who are interested in pursuing the role of a showrunner?
If you’re writing an episode, ask for time on-set. Unfortunately, it’s rare for Australian writers to be paid to be on-set. But that’s slowly changing with the rise of domestic showrunners who recognise the value in investing in and up-skilling writers. You can also ask your state screen agency for a showrunner attachment—I was lucky enough to be supported by Screen Queensland. When you are working with a showrunner, ask questions to better understand their job and look for ways to be of value to them—showrunners want to work with writers who will lighten their load.
How has the experience of being a Showrunner Attachment on Good Cop/Bad Cop impacted your career and what’s next for you?
The Showrunner Attachment and working so closely with John has positively impacted my career. The experience and knowledge I acquired through my time on set (and in the writers’ room with John) means I’m better equipped to write on other people’s shows, and to run my own shows in the future. After Good Cop/Bad Cop wrapped, I started working with CAA in the US. My producer, Danielle Redford, and I are in the process of financing our Screen Australia-supported feature film. I’m currently pitching my original shows and planning another trip to the US. And I’ve got a few exciting things (that I can’t talk about yet) in the pipeline.
Good Cop/Bad Cop from Jungle Entertainment and Future Shack Entertainment for Stan is proudly supported by Screen Queensland through our Production Attraction Incentive and Post, Digital and Visual Effects Incentive.
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WATCH GOOD COP/BAD COP NOW ON STAN
