Heartland is a family drama set in Alberta, Canada, with the story centered around a female horse whisperer. This slice of life about a multi-generational family explores the nuances of what family means. Created by Murray Shostak, this Canadian Broadcasting Corporation (CBC) production has been on air since 2007, with season 15 the most recent one to air. This kind of longevity implies that there are loyal fans and a built-in audience. It has shades of The Waltons, with down-to-earth characters and a rural environment.

Heather Conkie, who’s the showrunner, knows the show’s endurance isn’t a fluke. This actress-turned-writer cut her teeth as a writer on Avonlea before accepting the role of showrunner on Heartland. She’s also contributed to 7th Heaven, Dark Oracle, and The Zack Files, all family entertainment. Though the production is a collaborative effort, she thinks the writer’s room is key. That’s where the magic happens. 

Heather Conkie

How long does it take to write an episode and is there a writers’ room?

Yes, we’ve had a writers’ room for the entire fifteen years of Heartland. One of the writers, Mark Haroun, has been with us from the beginning. Then we’ve had freelancers. But I like keep it small. There are usually four writers and a coordinator. We start arcing a new season before we get the go ahead for a new season because the arcing process takes time. By the time we finish arcing all the episodes, we’ve usually had a pick-up.

What is the arcing process?

We figure out the theme of the season. Then we break it down. Then we see how every character responds to that theme in their own personal arc. We create an A story, B story, and C story. And also runners, which are usually to add a little humor because our stories are very dramatic. That’s where we start, which is terrifying because it’s a blank screen! Eventually we’re ready to pitch. Usually, the process is about a month depending on the number of episodes we’re dealing with. We’ve had probably a good eleven years of eighteen episodes.

So, the process starts with the pitch?

Yes. We pitch the producers first. We take their notes. With those in hand, we go to the broadcaster. Usually, they’ve given the written pitches ahead of time, which is good, so we don’t take up an entire day of their time. Then they give us their notes. Outlines usually take the longest. We coordinate everyone’s outlines to make sure there’s a nice flow, from one episode to the next. If you go to draft and everyone is happy with the outline, it’s far harder to change a draft. We’re very fast with drafts. Usually about two weeks per episode.

How did you get attached to Heartland?

I was not attached to the pilot. But when they decided to go ahead, I was very lucky. I’d just pitched a couple of family dramas to the broadcaster. I’d also worked on a family drama when I first started writing. It was called Avonlea, through Disney in the States. It was a CBC show. They knew me from that. They had just heard me pitch. I have a passion for family dramas. They were looking for a showrunner and they came to me. I remember watching the pilot and thinking, “how do you write episode after episode about a horse whisperer?” Certain scenes there was a join up between Amy and the horse her mother had saved. I got goosebumps and I thought, “I can do this.” This has something, it speaks to me in some way. Getting the job was a stroke of luck that’s been a total gift.

What do you think is the key to the longevity of the show?

I think the cast is amazing. I think people believe that they are the characters. They believe in that family, they believe they know that family. Fans want to be in that family, and they want to live in the beautiful foothills. Plus we have an amazing crew and producers. We all had the same vision and kept it. But mainly I think it’s because of those eighteen episodes per year that I mentioned. The audience gets to see four seasons. A Canadian spring, summer, fall, and winter. I think they feel like they’re living a year in the life. It just makes it feel that much more real. I had never been to Alberta before filming, I’m from Toronto. It’s so beautiful, it’s like a painting. We do most of our filming on location and it’s so calming.

Main cast of Heartland. Photo courtesy of CBC

What would you say is your writing process in general?

Fear! That’s a good motivator!

The blank screen never gets any easier. I never start a script thinking I can actually write. Sounds ridiculous, but it’s true. Once I get going, I get in a mode. Things spring into my mind, then all of a sudden, the screen isn’t quite so empty. You gain confidence with every script you write. I think some people face it in a much easier way than I do. I’m very competitive with myself.

How did you celebrate your first paid writing job and what was it?

My first writing job really wouldn’t have bought me anything…! I was writing episode 4 of Avonlea, which was the only one I was hired to do. Then they brought me in to redo episode 1. I found out there were going to be twelve episodes of the show and that there would be productions fees. When my first one arrived, I bought a car, a Honda Prelude.

What advice would you give those interested in TV writing?

It’s really important to get into a room and it’s really hard. I watched my daughter go through the process. She took the most menial jobs just to get into a room to learn. There’s a lot to learn. Write specs. Get an agent. I don’t have a manager. I’ve been with my agent for years now and we still don’t have a signed contract. We’re friends, we trust each other. We vent to each other. Find your favorite show and your favorite episode of that show and write a great spec.

How did you get your agent?

She actually came to me and again it was because of Avonlea. I needed a buffer in between production and producers. She was one of the other writer’s agents. She called me up and I told her I was leery of agents. Then, when I had harried negotiations, I knew I needed her. And we’ve been together ever since.

Who are some writers who’ve influenced you?

Mostly book authors. It changes. The Road to Avonlea was based on L.M. Montgomery books. I’d read them all when I was growing up. I couldn’t believe she could write so beautifully about women who like to write. I started reading Ann Cleeves and couldn’t stop because she’s a master. And Louise Penny in that genre. Certainly C.S. Lewis. I think I’m mostly influenced by books I read as a kid.

What was the last television show you watched?

I don’t watch television shows while I’m writing because I find it takes me out of the zone. But Ann Cleeves’ Shetland was probably the last thing I watched. I love atmosphere. It evokes the story as much as the words do.

What do you love about writing?

I love when a script is done! As a showrunner, I love being able to see it through the writing, the production. But especially post. To see an idea on the screen for the final time during a playback is the moment I love the most. It’s so collaborative and it’s taken your idea beyond wherever you thought it could go.