Life On Ashes

And here it is, as promised.

Mark Greig has written for Life On Mars, Taggart, Afterlife and the new Gene Hunt series Ashes To Ashes. He found time in his busy schedule to answer a few nosey questions from myself.

Q: How did you get into writing?

Constantly being told that I was 'good at English' as a boy, and devouring the written word like chocolate raisins.

And http://wordface.blogspot.com/2007/01/how-i-got-started.html for more...

Q: What's your writing highlight to date?

Getting to the end of the first draft of anything. Plus a few neat story beats and some lines of dialogue - most of my favourites of which ended in the cutting room bin. Note for learning writers; dialogue isn't really what it's about.

Q: Readers of your blog are aware of your love for all things stationary, what is your most treasured stationary object and why?

A Pentel propelling pencil I've had for years, because I've had it for years, and because writing in pencil makes the words on the page somehow provisional and fluid, which is a good thing in the early stages of making something up. And the yellow A4 pads from Ryman's, of which I have a satisfying stack. And a lovely notebook from Muji that's too beautifully functional to use. And, and, and...

Q: You're currently working on Ashes To Ashes, is there anything else we should be keeping an eye out for?

No guarantees, but there's a better chance than most that a single I'm developing at the Beeb will make it to screen - an urban fairytale with songs and rent boys - and as I write this, an amber light is flickering to green on a 2 part pilot for a new cop show that will be written before the end of the year.

Q: What can you tell us about Ashes To Ashes with out getting fired or publicly flogged?

Mmm. Most of the stuff we hoped to hold back is now in the public domain - how *do* people get hold of it?? - e.g. 1981, London, female co-lead etc. Same but different. And better, obviously. I find Alex Drake a stronger and more interesting character to write than Sam Tyler (CHARACTER, weirdy fan nuts - no reflection at all on John Simm's excellent performance), who was oddly passive for a dramatic lead.

Q: It was reported that there was going to be a third series of Life On Mars, but this was changed at the last minute and the final episode rewritten to bring an end to the show. As you wrote the penultimate episode how did this decision impact on you and the rest of series two?

It was known that there would only be two series before Matthew started on the last episode, but that start was pretty late. Although Matthew always had the ending clearly in mind, the plot and story mechanics (i.e. how to make it work) didn't really emerge until I was on draft 3 or thereabouts (this was a year ago, so it's hazy). By that time the Frank Morgan/Hyde character had made such an impact that it was obvious we'd be missing a trick if he didn't continue into ep 8 in a big way. The story of the week of ep 7 was locked down quite early, but various bits relating to Hyde - what Sam knows and when etc. - were tinkered with up to principal photography and beyond.

Q: On my blog I've discussed two possible interpretations of the ending of Life On Mars (I may just have been reading more into it than there was). What was your interpretation of the ending and what was the official one?

Sam was in a coma, and entered a 1973 world weaved from a slippery combination of memory and fantasy. A surgical process brought him round from his coma, but he found the 'real' world less vivid and meaningful than this other world, a world where he paradoxically felt more alive and more true to his emotional self, so he chose to return there permanently by killing himself.

As far as I know that's also the official version. Everybody involved were, and continue to be, amazed by the myriad alternative interpretations, some of which were, well - perhaps a little over-complicated. Good reading, though.

There was no time travel.

Q: What instructions were you given for writing Gene Hunt?

I watched the first series and read a couple of early drafts of series 2 eps. You don't get instructions in the way I think you mean.

Q: Your episode of Life On Mars was slightly darker in tone than previous episodes, was that deliberate?

Only in so far as it reflects my apparent inclination towards the heart of darkness. Just can't help it.

Q: Please explain the process once you've been commissioned for an episode of a series?

You have a chat about the series as a whole and your ep in particular with the producers, editors, and sometimes the other writers. You come up with an idea and put it on a page. They like it. You then do a treatment/sequence outline/beat sheet, whatever you've all agreed to call it on that particular project.

I call it a beat sheet and tell the story in sequence units of a paragraph or two, numbered for ease of discussion (much better to refer to number 17 rather than 'you know, that bit where she gets lost in the cave, the one after the bit where the old bloke says 'whatever you do, don't go in the cave'.'). You send that in, you meet and talk about it, and then you revise it. You then either meet and talk and revise or phone and talk and revise, and then you either revise and meet and talk or you go to script.

Repeat the submit, talk, revise process till you have to stop, usually the first day of principal photography. And sometimes beyond...

4, 6 & 8 part series work differently from things like the soaps and Casualty/The Bill etc. where episodes are to a greater or lesser degree storylined for the writer, but the basic process of submit, talk, revise and repeat ad infinitum applies to all.

Q: Have you ever had to turn down work that you regret, and what was it?

Probably the first series of Life on Mars. Who knew?

Q: What's your preferred writing beverage?

Coffee. By the piping hot black cafetiere load. Less of a beverage, more of an essential tool for living.

Q: Where do you write and under what conditions?

In a room at the back of the house with a view of next door's vast holly tree and the bully bastard magpies*, and occasionally with a little girl, who thinks that work means listening to music on headphones, wriggling on my lap demanding to look at pictures of herself on the PC.

*is it legal to shoot magpies? Someone out there must know. And cats, although I'm pretty sure I know that answer to that one. I'd just like it to be different.

Q: If you could have written an existing film or TV series from past or present, which one would it have been and why?

Mm. Don't know. There are lots of films and shows that I love and respect, but that doesn't mean I'd want to write them. I'm still happy to get sucked into someone else's world. And maybe I love them precisely because I *couldn't* have written them.

Q: What's your favourite film quote?

As above - it's not really about dialogue. That's there to move the plot along and show how clever the writer is, but for me the films and film moments that stay with me are about image and sound and the parts between the words.

Oh okay, if you're going to *force* me - uummmmm - "Do you eat the herring?"

Q: What advice would you give to a new writer trying to break into TV?

Have a gift for it, be productive and persistent. You learn more by doing than by being taught. And have a gift for it.

Thanks Mark.

If you want to wonder at Mark's world then check out his blog, but be warned he doesn't update it regularly even though he really should. Naughty boy!

Tease!

Oh yes, it's coming, but I'm going to keep you waiting a bit longer.

I'm such a tease!!!!

Maybe it'll be here tomorrow.....??????????

BBC Writer's Academy 2007 Deadline

Only eleven days left until the final deadline for the BBC Writer's Academy 2007.

Hurry up if you want to apply for this fantastic opportunity.

*News just in. An exciting and informative Q&A is on its way, so stay tuned.

Life On Mars

Life On Mars has come to an end. I haven't written about the ending before because I wanted to examine the final episode from all angles, and there were so many. That's what good drama leaves you with; it answers some questions but allows the viewer to come to their own conclusions on others. Good drama is discussed long after it has ended.

So was Sam really in the past or was he mad? Here are my own conclusions.

For me Sam had been transported back in time after his accident. When he returned to the future he realised that he belonged, and could do more good, in 1973. Sam wasn't really living in 2006, he was just existing, going through the motions. In 2006 Sam was a very small cog in a very large machine, with very little influence on the world he inhabited. He just didn't feel he belonged. Realising this he committs suicide and returns to 1973, a place where he feels alive.

This view of the ending can be disputed and this is what I mean by 'good' drama. You could argue that Sam was in fact from 1973 and because of the childhood trauma, revealed in the final episode, he had created the vision of the future to cope with the loss of his parents. 2006 was all in his imagination, an illusion reborn from a recent accident. Going back to 'his' 2006 Sam was having a breakdown. Making a conscious decision to stay in 1973 he finally saved himself and his sanity.

These are only two interpretations of the ending and I'm sure others have come up with many more.

And then of course there's the ending I would have written.

Sam discovers Gene Hunt was the person who ran him over in 2006 and to get home Sam has to destroy Gene Hunt in 1973. However, by doing so he has to destroy the rest of the team, people he considers friends. Sam realises he can't do this and saves the team and Gene Hunt, sacrificing his own life for the sake of the others.

What did the finale of Life On Mars mean to you?

Five Goals

I've been tagged...WOO HOO!!!!!

1) To buy a house that I can afford, which has more than one room.

2) To afford my first child.

3) To make some money from this writing malarkey.

4) To write for Doctor Who.

5) To write my first novel this year.

To Swear Or Not To Swear?

Faith is coming together nicely but I'm having a bit of trouble deciding how much swearing is acceptable in a script.

As the script is set in the back streets of London, among the prostitutes and crack addicts, you have to accept there is going to be a few swear words in it. What I don't want to do is write so many it becomes almost farcical. I know SEXY BEAST is a film with a high swear count and that worked, but could I get away with a large count as a new writer? Would production companies avoid a script with lots of swearing in it?

I would appreciate your thoughts on this matter.

Q&A With Steven Russell

Cletic Film's very own Steven Russell has kindly agreed to be my first Q&A victim. He's a very, very nice man.

Q: What's your job title?

Development Coordinator.

Q: What's your job description?

All incoming material (scripts, treatments, books) come through me, and everything stems from that. I ensure everything gets read in a timely fashion, and keep in contact with agents and writers that we like. I brainstorm ideas in-house for the type of TV and film we want to be making, and tally that material up with the right screenwriter. On projects already in active development, it's a case of constantly refining the material at a script stage, and how it is packaged for potential financiers and distributors.

Q: How did you get to where you are now?

Just working hard, and I don't think I ever turned down the chance to read anything. There was a point when I was reading scripts for five different companies at the same time. I just decided what I wanted to do, then did as much of it as I could.

Q: Describe a typical day?

There's no such thing as typical. I start every day reading the news, on Variety, Broadcast and Screen, as well as geek refuge ComingSoon.net. I end every day by going home. The stuff in between, thankfully, is rarely ever the same.

Q: What tool you use at work would you find it hard to live without?

Coffee.

Q: What attracts you to a project?

A hook. Always a hook; every screenplay should be instilled with rewarding arcs and characters that you are interested in, but combining this with a strong hook helps immeasurably. I am a strong believer that a script can be fun and potent at the same time, and there's nothing I loathe more than a bombastic screenplay, trembling under the weight of its own perceived drama. Levity is everything.

Q: What script (of an already produced and released film) do you wish you had discovered?

"Little Miss Sunshine". It's such a smart, self-enclosed piece of scripting but somehow still relates to the world it exists in.

Q: Are Celtic Films open to unsolicited submissions at this time?

No.

Q: What's the best way to approach Celtic Films?

Through your agent.

Q: Does Celtic support new writers?

Yes, but the position I'm in now means I don't read as much as I would like to. A writer not being protected by a fixed agent-client relationship is one reason (if by 'new' you mean unrepped), but also the fact that we are a business as opposed to a public service is another. If you saw our office, and indeed parts of my house, the amount of scripts to read is already an insurmountable pile.

Q: What advice do you have for new writers?

Make sure you're writing in the right medium, don't write selfishly, and write material that people are actually going to enjoy watching.

Q: What's your favourite film quote?

"Jaws", and "you're gonna need a bigger boat." What else is there to say? A moment of levity in a moment of tension, and for me, it still really sums up the fact that Brody doesn't quite feel a team with Quint and Hooper yet, hence "you're" and not "we're".

Thanks Steven.

Choices

I thought I knew which two of my shorts film scripts I was sending to this years BSSC. Then I let my wife read all of my back catalogue of short scripts and she chose another one. She said it was better than the one I wanted to send.

I don't know which to send now so I'm leaving the decision up to you lovely bloggers. The links to all three scripts are below (don't worry only ten pages each roughly). All you have to do is name the two you like the most in the comments and I'll go with the majority decision.

Thanks for your help.

The Dead Side Of Life.

Goodbye.

I Do?

Faithful

Faith is coming on in leaps and bounds, alternative plot lines are suggesting themselves on a daily basis. As I'm on a no rewrite policy I just add a script note so I will be reminded of these alternative ideas at a later date. Some might work better, others might not. God I love writing a new script, I've missed it so much.

It's hard to resist the urge to go back and rewrite what I've written, but so far I've succeeded. Every time I've been tempted I get up and have a quick wander around the room, or look out of the window, just to distract myself. It works.

However, one problem has reared its ugly head. I've found that I've named many of my characters with the same first letter. So far I have three 'F's, Frank, Faith and Flash, and two 'M's, Mary and Michael. With the names too similar it might cause confusion with the reader so I'm going to have to face facts and admit I will have to change some of the character's names. Again this is something I'll leave until the first draft is finished, I don't want to distract myself before I'm done.

Things are on track for an end of April finish.

Three Is The Magic Number

I hate rewriting, not because it's a never ending task, but because as writer you can get so involved in a script you become blinded to its faults. Then you're just rewriting for rewritings sake and not actually doing the script any good.

So after listening to Adrian Mead last week talk about his Power Of Three I put out some feelers offering to read other people's work. I received a couple of offers and was pleased with the results.

So now I'm going one step further. I'm going to start my own Power Of Ten group.

How's it going to work? I'm going to look for nine willing volunteers, who are prepared to read other people's work and ask questions about it. Then those nine people, and myself will swap contact details so that we all have nine people to send our work to, to be read. That way we don't have to spend time seeking new people to read our work, they are already there ready, willing and able.

So those of you that are interested please email me on my website email address and let's start helping each other and ourselves. I haven't presumed that those two people who have already swapped scripts with me would automatically want to be included in this. If you do then please email me.

Don't forget, this is as much for your benefit as it is for mine. We're here to help each other.

Look forward to reading your emails.

It Does Exactly What It Says On The Tin

THE LONG DISTANCE SCREENWRITER

'Adrian Mead's classes are brilliant - exciting, informative and
inspirational. Nobody does it better!' Alanna Knight Crime Writer

As an aspiring screenwriter you will quickly learn that the vast majority of
PAID work comes from companies and broadcasters based in London. People
will tell you that in order to get that work you need contacts and "Insider"
information. But what if you live hundreds of miles from the media
capital? How can you build your career?

Marc Pye, Rob Fraser, Louise Ironside and Adrian Mead are successful
Scottish based writers who have written for shows such as Eastenders, Waking
The Dead, River City, The Street, Holby City, Where The Heart Is, Taggart,
The Bill, Monarch Of The Glen and numerous other film, TV and radio
projects.

Come and discover how they got started and how you too can build a career as
a screenwriter. The details of the day are as follows:-

MORNING - Adrian Mead will teach the highly practical strategy that you
need in order to work as a "long distance writer".

1. PLANNING THE TRANSITION TO BECOMING A PROFESSIONAL WRITER - Financial.
Personal. Bursaries. Building a profile. Networking.

2. GETTING YOUR WORK READ

What to write - The most recent briefs from broadcasters, producers and
financiers.

What to send - Log Lines. One page Pitches. Treatments. Spec and sample
scripts.

Who to send it to - Current opportunities.

3. MEETINGS - Scheduling meetings. Cheap travel and accommodation deals.
Pitching at meetings. When to ask for expenses.

4. GETTING AN AGENT .

5. MANAGING REWRITES AND NEW WORK.

“Informative, informal, inspiring!” Peter Hynes

LUNCH BREAK

AFTERNOON - The afternoon panel session will give you the opportunity to
ask the writers about their experiences and gain career advice.

The panel will chat about their own approaches to the subjects covered in
the morning and their experiences of working in the industry. Discover how
they deal with script editors, tight deadlines and the challenges and joys
of working as a freelancer. This is also a unique opportunity for you to
learn how professional writers manage the balance between family and career
whilst working in such a highly competitive industry.

During the coffee breaks and a light lunch you will get the chance to
network with the other attendees. This is an great opportunity to make
contacts and gain info.

Attendees at our previous classes will know already that this will be an
extremely busy but fun day, packed with the most up to date and highly
practical information.

if you want to build a career as a professional screenwriter it is essential
that you understand the road ahead and have a strategy for reaching your
goal. That's what this class will give you.

“We all do the writing courses. We’ve been taught about Structure, Tone,
Theme, etc etc etc, and now we can write wonderful screenplays, but it’s just
a piece of paper. Adrian tells us how to go about getting it from that
piece of paper and onto a screen.” James Brannigan Glasgow

BOOK NOW!

Sat 9th June
St Columba's By The Castle Church Hall, Johnston Terrace Edinburgh
10.00 am - 4.30pm
COST £55 (inc VAT and light lunch)
CONTACT: info@meadkerr.com or 0131 554 4539

To see testimonials from previous class participants go to
http://www.meadkerr.com

The Insider's Guide For Writing TV

Saturday 17th March 2007. With three hours sleep (I worked Friday night) I found myself on a train to Waterloo at 6.30am. I was looking forward to it, meeting up with my blogger chums, and listening to what Adrian Mead had to say. I was so eager I arrived an hour early. Damn, I could have had an extra half hour or so in bed.

And there they were, the motley crew of bloggers; Lucy, Lianne, Good Dog, Pillock and Potdoll (hope I haven't missed anyone). Lucy and Lianne I remember from university, and it was good to finally put a face to the other names. I'm not surprised that Potdoll and Lucy get on so well, they're both as mad as March hares and lovely with it. Their enthusiasm for everything was infectious.

I was tired and worried that I would start nodding off during the seminar, and I didn't want to drink coffee because it's not pretty when I'm on coffee. I didn't need to worry about snoring in the seminar because it was so riveting I didn't feel sleepy once.

Adrian was very open, friendly and more than willing to answer people's questions even during the breaks. He even came to the pub afterwards, something that surprised me. Other industry professionals at festivals can't wait to get out of there, so it was refreshing to see that Adrian was happy to help us in any way he could. His enthusiasm during the day washed over us and no one felt embarrassed to ask questions or network during the breaks. My only regret is that I was too tired to take best advantage of this and I'm sure some people thought I was a mentalist when I zoned out and was staring into space while they were talking to me. I was paying attention, or at least trying my hardest to do so.

So what did Adrian have to say? A lot as it turns out and all of it useful, as my seven pages of notes can testify. Here's what Adrian covered.

- Researching the industry is important if you're going to be a part of it.
- Play nice. Be generous with your information. Be polite, helpful and above all open to other people's suggestion even if you don't always agree with them. Maybe you can come up with another way? Being negative is only going to bring you negativity.
- Why do you want to write? Looking at your motivations to take on the world of writing.
- Your voice. Plot or character? Current topics and how interesting is your particular slant on it?
- Your spec script (which will probably never get made but will get you work) should be what you want to write and shouldn't be constrained by budget concerns.
- Lose your fear of having your work stolen. It doesn't happen. Putting the copyright symbol all over your script screams of amateurism.
- Feedback, follow up contacts and meetings. People like it when you thank them for their time.
- The biggest reason for rejection is your script not being ready for sending out. The Power of Three: send you script to three people, get their comments and rewrite. Do this again twice more with three different people each time. Hopefully your script should be ready after this.
- Regional schemes. Get on them, they're there to help you. Don't be worried if you don't live in that region, find a producer who does live in that region and submit it through them.
- Writing discipline. Have some. A writer writes or they die.
- How to get an agent.
- How to handle meetings.
- The one page pitch; an important document so get it right.
- Raising your profile. You are a writer, not a new writer.
- The importance of ringing people to find out who you should send your work to. Don't be shy.
- Selling yourself. Enter competitions, regional schemes, find a sponsor within the industry and blog.
- Are you doing enough? Constantly check that you are doing enough to get yourself noticed. Don't slack off.
- How not to get fired. The main reasons writers get fired from shows.
- Rejection; how to handle it.

There you go, lots to think about but all good advice. I really enjoyed the seminar and would heartily recommend you attend the next one; I know I will be.

And if anyone out there in blogland wants someone to help them with the power of three I am officially making myself available to read your work. Feel free to contact me.

Mead You There

I'm off on my travels this weekend, down to London Town for Adrian Mead's The Insider's Guide For Writing TV.

This is the first course I've been on since I completed my BA (Hons) degree in Scriptwriting and I have to say I'm really looking forward to it. If the one day course is as good as the handouts Adrian has supplied me then it's going to be fantastic. I will of course provide you all with a full and frank review when I return.

Faith: I've actually started writing and it's really coming together. Usually when I write something I spend months working through the plot and characters before I even type one word of the script. It's a slow process so I've decided to use this opportunity to experiment a little.

Normally my time on a script would be split like this: 80% prep, 5% writing and 15% on rewrites. When I was at university there were people who would start writing in a matter of days with the flimsiest of plots, and let the script develop itself. I could never do that.

With all the other work I've had to do I reckon I've spent at most three weeks working on the plot of Faith. So I decided it was time to start writing. Now I have, new ideas, characters and plot lines are suggesting themselves as I write. I still find this a very strange way of writing, but as I need to speed up my work I am giving it a shot. It appears to be working so far. If by the end of the first draft I find the plot is full of holes then I may never try this again.

Mapping

Most writers dive head first into their writing with little or no forethought. I'm no exception.

I realised yesterday that it's been nearly a year since I've written something new; nearly a whole year with out a single new idea being put down on paper. That's bad and more importantly dangerous. Why? Because production companies don't want to see the same script several times but in different guises. They've rejected it already, so unless it's a drastic overhaul the likelihood is that it'll be rejected again. If you're not continually producing new work as a writer you'll go stale and have nothing new to offer production companies.

So what have I been doing in the last year? Rewrites, that's what. Rewrites are important but at the moment that is all I seem to be doing, and I'm bored of them. I want to write new stuff.

So I've come up with a plan which is as follows.

Mondays: Work on new stuff, be it outlining, characterization, or writing the first draft.

Tuesdays: The first rewrite day, going over my old scripts and polishing them until they gleam.

Wednesdays: Work on new stuff again.

Thursdays: Rewrite day part two.

Fridays: Post day. Send out polished scripts to production companies and work on my first novel.

I implemented the above timetable for the first time this week and it helped a great deal. Instead of waking up in the morning and spending an hour or two deciding what to work on that day, I already know, which means I can just get on with it. Timetabling your work helps to organise your working week. Give it a try

Nearly There

So I've finished my rewrite of Cross The Rubicon and I find myself with more time to spend on the structure of Faith.

One of the plot points I wanted to introduce meant a great deal of research was needed before I was able to continue. I hate research at the best of times but when one of your characters has brain damage research is needed to make it believable. So now it's done I can continue with the structure.

I'm almost there, only a month behind schedule, but nearly complete which means I can get on with the writing.

Will the first draft be done by the end of March? I hope so.

Networking

Proof of the importance of networking became apparent to me today while at lunch with Danny T and Tim Clague. Tim mentioned a competition he was thinking of entering, but was hesitant to do so because he really didn't have an fully formed idea to go with.

"What length script are you looking for," I asked. "Thirty minutes." And there it began, a simple lunch meeting turned in to a possible chance to get something made.

Never let an opportunity pass.

Multi-tasking

Faith is not going well, and the reason being is that I'm moving house. I hate moving! Or am I using moving as an excuse for being lazy? No I'm not being lazy, after all I've been working on the rewrite for Cross The Rubicon over the last month. I'm just not good at multi-tasking, something I'm going to have to work on.

I still haven't got the structure of Faith 100% sorted out yet. I think it's pretty obvious I'm not going to meet my deadline of the end of February. So 31st of March is the new deadline.

This is the fun of writing a script in public view, you get to see warts and all.

And I'm still sober.

One Too Many

"OK, just one more then." - Anon.

This post has nothing to do with writing; it's a personal post, and serious, and therefore not an easy one to write.

"You're an alcoholic, Dominic!"

I have a comeback prepared for such occasions. "I'm not an alcoholic, I'm a drunk. Alcoholics know they have a problem." I thought it funny, but it isn't, because ironically my comeback is true.

Don't get me wrong I don't get up every morning and brush my teeth with two litres of vodka. I'm not a full blown alcoholic, I just have a problem with alcohol. Alcohol related problems come in many shapes and forms, mine is that even though I don't drink everyday, when I do drink I don't have a stop button. I'm only 12 stone and slim (ish), but yet I have an unnatural tolerance for alcohol. Where as most people are drunk on six pints I can drink twelve or more.

I may go a week or two without drinking but when I do go out I drink until I either run out of money (very rare) or I'm so drunk I want to go home to bed. I can't go into a pub and just have a quiet couple.

I used to wear my drinking exploits like a badge of honor and I now know this was wrong. Drinking non stop for fifteen hours is not clever. Drinking until you lose count of how many you've had is not impressive; nor are blackouts, two day hangovers, making your wife cry, vomiting until there's nothing left, and realising you've pissed away £150 worth of booze in one night.

So after Saturday night out doing the usual I have finally come to the conclusion that I need to quit.....forever!

Never again will I grace the bar surfaces of Stavanger, Norway, half naked and entertaining the locals with my silly beer poems. Never again will I wake up in a hedge and wonder how I got there. Never again will I spend the day after trying to find my wallet only to discover it in the freezer compartment of the fridge. Never again will I spend another night on the sofa. Nor will I receive several days of silent treatment from the wife. It's over, once and for all. The End. Full Stop!

So as a final farewell to my days of being a drunken twat here is one of my beer poems.

I love beer,
Beer is great,
If he were a bloke,
He'd be my best mate.

Adieu.

Cop This

What a book. I bought this yesterday because it looked interesting and I didn't put it down until I'd finished, and believe me that's a rare thing.

The book is an active beat officer's daily musings of the job he signed on to do and the job he actually does. It's funny, insightful and gives the reader the real inside story of modern day policing. It illustrates just how unprotected the average citizen is from crime.

He also has a daily blog which I always read with interest; have a look see at http://coppersblog.blogspot.com/

Just imagine if they made a TV police drama based on this book? Less The Bill, more The Thin Blue Line.

I'm seriously thinking about leaving the country.

Research

We have to do it sometime, but should we let it get in the way of a good story?

As an unsold writer research uses up a lot of my writing time, time I think should be better spent getting the script into a good as state as possible. Obviously if you're writing a script about real life then some form of research needs to be done.

Let's say one of my characters is a firefighter, how much research should I do? Just enough to make it convincing, that's what I say. I know, that's a very ambiguous statement; how much is enough and how much is too much? Let me put it this way, if I was researching firefighters I would find out how many people were on a fire truck, what their specific jobs were, rankings, and times of shifts. I don't need to go into great detail, like what pressure the water is when it comes out of the hose, as I really only need enough information to cover the basics. For example, I don't need to know about pensions and death cover unless I specifically need this in the script, otherwise the research is unnecessary.

What I should be doing is thinking about the kind of emotions a firefighter might go through and if I can use them in the script. Getting the character right is more important than what diameter hose he's using on what fire. As long as I know a firefighter will use a hose, and the rough tactics he'll employ, to put out a fire I don't really need to dig any deeper.

However, when the script is sold you can afford to do more research on firefighters for the many rewrites you'll be asked to do. Research in this instance is fine and expected, and the more that is done the better the script. Otherwise, if you do a lot of research for your first draft you are using valuable time that should be used for writing. It's the writing that's important and not how much research has been done.

New Model Of Structure

The report cards are being filled slowly, but a different structure to the initial one I envisioned has presented itself.

This is a good thing, playing with the conventional and opening up new possibilities of telling the story is why I use these cards, they offer a flexibility of change that a beat sheet does not. Now I'm looking at a non-linear telling of the story and to be honest it's an improvement and gives the story a greater impact.

I am however, struggling with a subplot. As the story is about prostitution and wanting a better life I am aware that to make this script different I have to steer clear of cliches of the genre. I want the overall feel of the script to be bleak and dark, but the subplot I want to put in does lift the tone slightly. A character offers a regular act of kindness to Faith, but I can't quite decide if he volunteers this regular act (illustrating there is hope out there amongst Faith's bleak surroundings) or if Faith pays him with free sexual favours. The latter would be in keeping with the tone (nothing in this life is free, you have to work at what you want). A bit more thought on that before I make my final decision, I think.

Challenge Dom-The Start

I've decided which script I'm going to write. It was between two, a robbery comedy with a difference or Faith, a dark drama about prostitution and escaping the streets of London. I have said previously that I wasn't going to write Faith just yet as I wanted to write something a bit lighter, but on reflection I feel that I should be writing what I want to write and not what I think the industry might be looking for at the moment, so Faith wins.


Now, to keep you all informed of how I'm getting on I will be making regular posts. To help you identify them quickly each post about the challenge will have a picture of me in the corner, scary I know but this way you will know it's a post about the challenge rather than a random post about nothing in particular.

Right, nose to the grindstone. As Faith is an idea that has been floating around for several years now most of the plot and characters are worked out, so I feel confident starting to lay out my key scenes.

This is how I do this. First I buy a pack of record cards (6" by 4" nice large £1.99 stationary heaven from WH Smiths) to write down scenes on. What I usually do is take 40 cards, 10 for act one, 20 for act two, and 10 for act three, and write a brief description of as many keys scenes as possible on these cards (in pencil, as pen is hard to rub out and change). Then I lay them out on the floor (or pin them up) and see if the structure is working. Remember these are only the key scenes so I don't have to use the full 40 cards, and obviously there are going to be more than forty scenes in the script. I use these cards just to make sure of structure and as a guide for when I finally get down to the writing. Other people write beat sheets, I use record cards. I find them easier because I can swap them about to see if scenes will work better in a different order.

Better get on with it.

Challenge Dom

Stuff the usual New Year's Resolutions, this year I'm setting myself goals which I shall attempt to achieve in full view of the blogging community. I will set myself a goal and keep you all updated on my progress in regular bulletins. It should provide a smidgen of mild amusement for you all in blogging land at the very least.

The first challenge is to write a feature script by the end of February. Yep, that's 90-120 pages of actual writing, something I didn't do a lot of over the last six months, in roughly eight weeks or less. Not an impossible task as I have written a 112 page script in six weeks before. However, the difference here is that I will also be doing rewrites on all of my back catalogue over the next six months, polishing and buffing them to perfection.

I'm taking the rest of this week to decide which of my many film script ideas I will be taking on for this challenge. When I know which one I will give you a few more details.

Watch this space.

Christmas Shorts Part 2

Nobody entered, so obviously there can be no winner. Looks like the turkey and Christmas pub won out on the day.

Unwanted Xmas Present

Tis the season of goodwill to all men..... so how come some c$@t left me this instead of his insurance details like he should have????

Bar humbug!!!!!!!!!!!!!!!!

Christmas Shorts

I was looking for something to write about as my last post before I trundle off up to my parents to stuff myself with turkey, chocolate and beer. Several ideas popped into my head but none were interesting enough. I read back through a few of my old posts to see if they would trigger a genius idea, and low and behold a terrific idea hit me slap bang in the middle of my mush: A 10 minute Christmas themed short film script competition.

Now it's all just a bit of fun so it's up to you how serious you take this, but all you have to do is write a ten page short film script with a Christmas theme and email it to me at scriptwriter(at)thescriptwriter.co.uk. I'll read them and pick a winner by the end of January 2007 and the winning script will then be posted on my website for the remainder of 2007.

WOO HOO!

Entries to be in by 31st December 2006.

It will be good to see how many dedicated writers there are out there willing to give up a little of their Christmas to write a short.

Good luck and Merry Christmas everyone.

Blogged Out

Some days I just can't be arsed.

I'm Outta Here...

...Only for a while as I'm off to Stavanger, Norway to visit my very good friend Arne Reidar Mortensen.

If you want to view my drunken exploits click the link, as I will be visiting the bar this webcam is outside on Monday from 7.30pm GMT onwards.

I will be back next Wednesday. See you then.

Gangsters Galore

I wrote Sins Of The Father five years ago. Production companies loved it, but no one would take it on as most people felt that the genre had been played out in the British cinema, what with Lock Stock and Two Smoking Barrels, and Snatch. It didn't matter that my script had a dark emotional core, a teenager reunited with the father he hadn't seen for eight years struggling to accept the world his father inhabited, it was still a gangster flick and therefore old news. One production company even went as far as saying, "gangster films just aren't being made anymore."

In those five years the following have been made: Dead Man's Shoes, I'll Sleep When I'm Dead, Layer Cake and now Dead Man's Cards, to name a few. And yet I still can't get anyone to commit to making Sins Of The Father. I've even sent it to directors/producers on Shooting People who are looking to make a low budget feature film. Again the same answer, nobody will take it on as the genre is played out.

But is it? If first time directors are still making films like Dead Man's Cards then isn't the gangster flick still alive, and more importantly being used as a springboard to launch careers?

I guess I just need to find someone with BALLS to go and make this "well written" script with "great potential." Easier said than done.

Competition

Why are there so few scriptwriting competitions in the UK?

America is the mother land of screenwriting competitions and rarely a week goes by when I don't receive an email asking me if I want to submit to one. Besides the BSSC the only other notable UK competition has been the Oscar Moore Screenwriting Prize, but since this year's controversy when they decided not to announce a winner the competition has disappeared. Will it return? It doesn't look like it. So now the only option for UK scriptwriters is to enter American competitions, which I think is very sad indeed.

'We're always looking out for new talent,' is something we hear quite often from the UK film and television industry so shouldn't there be more opportunities for us writers. There are other competitions now and again, but most are specific (i.e. only people from a remote valley in deepest darkest Wales can enter, and only if they own more than three sheep) and very rarely are these competitions annual.

I've even toyed with the idea of starting my own annual screenwriting competition, but I realised I would come up against two rather large obstacles; (1) what would I be able to offer the winner as a prize? (2) do I really want to plough through a mountain of scripts on my own? That idea is a no go then.

I guess all we can do as UK scriptwriters is to continue to enter American competitions and hope the UK situation gets better.

If anyone knows of any UK competitions, however small and exclusive, could you add a comment about it here and hopefully we can create a small list of hope.

The Name's Carver, Dom Carver.

I am soooooooo excited. I'm off to see Casino Royal this weekend and I can't jolly well wait. I can't remember the last time I've been this excited about seeing a film at the cinema (I think it might have been Batman Begins).

Like my brother I've always been a big fan of Bond, but I've liked the darker Bonds better. My favourite Bond film is On Her Majesty's Secret Service with George Lazenby. I know a lot of people hated him as an actor, but I love the film because it was more about the character than the actor that was playing him. That's why I like Timothy Dalton too.

With Dalton they tried to make the character darker, but studio interference meant they couldn't steer too far from the original formula. This was a shame because it basically put an end to the tougher, more true to the books, Bond that I love.

Bond had to move with the times even if the hardcore fans didn't want this. He also had to be based in reality, especially after that fiasco with the invisible car in the last movie. So goodbye cheap one liners, campness, unrealistic villains and impossible gadgets, and hello to a darker, grittier, more realistic Bond.

Cashing In

You shed blood sweat and tears writing a damn good script. It sells. It gets filmed. The film is released. You humbly acknowledge the praise heaped on you. You enjoy your new found celebrity. Things die down a bit as you eagerly await the DVD release and then what happens??? Some ungrateful swine tries to make money off your fame....well sort of.

Check out the link.

Will James be bidding for this bit of movie history? We shall have to wait and see.

Update 10/11/2006: It didn't sell so it has been relisted and someone has bid. A bargain at 99p.

Bouncing Back

Rejection is an unavoidable part of being a writer. I know that more than most after being constantly rejected for five years. I have an A4 folder full of No-Thank-Yous. What's most annoying is when people actually like your work but still reject you. I'm at that stage. The work is good but it's not landing on the desk of the right person at the right time. It's very frustrating.

If you want to sell your work you have to send it out and that means that people are going to reject you. Reading other blogs tells me it doesn't get any better when you're an established writer. Rejection is a way of life. Time spent sulking about what might have been is time lost putting yourself in a position to be accepted. Read it. Take on board what you need to. Accept it. Forget about it. It's the only way to go.

So how did I bounce back from the disappointment of last week?

Easy, I got back in the game as quick as I could. I sent a script off to Production Company C when they requested to read it, after reading the treatment. It's not a script I'm particularly happy with, but I've sent it out anyway because the more work I have out there the more chance I have of something being picked up. I can't afford to be afraid of sending stuff out, convinced it will be rejected even before it's been read. Just because I'm not happy with it doesn't mean someone else won't be.

I have also sent the same script to a reader for some page by page notes. It's always good to brush up on your skills now and then. It stops you going rusty and keeps you at the top of your game. Even top athletes need to go back to the basics sometimes.

Write it. Rewrite it. Rewrite it again. Proof it. Send it out. It's the only way to go.

Losing The Will To Live

First Micheline Steinberg.

Then PFD.

Then Marchmont. Not once, but twice.

And last, but not least, Carnival Films.

Oh for a bottle of single malt.

"The rejection gods have it in for you today, my friend. " - Danny Stack.

Do you think????

Update: My dad phoned me earlier to let me know the vet had to put the cat down. It's a cruel, cruel world.

Further Update: A production company I sent three treatments to have requested a script. Ah, I knew there was some good news out there some where.

Keep Fit; Keep Writing

So you're a writer. You sit hunched over your keyboard in front of your computer for hours on end working on that one screenplay which will bring you the fame, fortune and recognition you deserve. Food fuels the brain cells and you have to eat after all. No time to make a proper meal, got to get words on the page, so snacks are going to have to do (I'm munching on a can of Pringles as I write this). Only, when you've finished your masterpiece and you're ready to post it out you find your legs don't work and you're too fat to move anyway. You've been so busy stuffing your face and working on your script that you've forgotten that exercise is important, not only for the body, but for the mind and soul as well.

The other week I noticed I was putting on a little weight and that I was getting out of breath just walking up the stairs. I decided to do something about it. I joined a Kung Fu class.

I know I'll never be a Bruce Lee, but I felt it was an interesting way to get fit, something I would look forward to going to every week. I've only been doing it for two weeks but I'm already reaping the benefits. When I'm writing I get up from my computer every half an hour and practice a few moves or do a few push ups. Not only am I more flexible, but I'm also more alert and I feel fitter for it.

So this is a little reminder to all my fellow writers to remember that exercise is important. You don't have to join a class, go to the gym, or even run around your neighbourhood, sweat pouring off you, your face beetroot read and gasping for your next breath. As long as you get up every half hour and have a little walk around, get the blood pumping, you'll start to feel the benefit. And also remember a healthy body leads to a healthy mind.

Phonealisious

My world is changing. My comfort zone has gone. Let me explain.

Last weekend I started going to Kung Fu lessons. I want to get fitter and decided this would be a fun way. Going to a gym is so boring; I feel like a hamster going around on its wheel when I go on one of those treadmills, and there's always someone fitter than me when I go (when I mean fitter I mean someone whose pecks don't bounce and wobble like a plate of jelly when they run) making me feel inadequate. So I decided Kung Fu was the better choice, and at last I'll be able to kick ass when needed.

After Kung Fu Susie dragged me off horse riding for the first and last time in my life. What crap it is. It's like riding a very high bike with a mind of it's own. I hated it and I've told Susie in no uncertain terms that I will never go near a horse again. You have to stand in the stirrups to let them pee, and God do they pee....for hours, gallons and gallons of the stuff, and you just have to stand there until they finish. And no matter how much you tug on the reins they still go in the direction they want, not the one you do. Stupid creatures!

The highlite of the weekend was my new phone (above). I love getting a new phone having to spend several days setting it up. I've just loaded several CD's on it so I can listen to my music while walking down the road. It's fab and does loads. I don't think Susie was too impressed though as she complained I spent more time with the phone than I did her. She doesn't understand....it's NEW. It's soooooooo shiny. I love my phone.

On the writing front I've started two new series bibles for TV drama series ideas I had last week. No problems or obstacles I've come across yet. I've also had two agents request scripts from me after initial email enquiries. Hopefully the agent situation will be sorted soon.

So a lot has changed in the last week; new experiences, new avenues to explore and new toys to play with. New things are good they add fuel to the writers creativity. So lose that comfort zone and challenge yourself. Welcome new experiences as you never know when you might need to write about them.

Theta Waves Hello

Mark G talked about Theta Waves on a recent blog and how ideas spring forth when you least expect them to; the prime reason why all writers should carry a pen and note pad with them all times. You don't want to lose that once in a life-time idea after all.

So anyway, for the past few weeks I've been looking for a good television drama series idea with out any luck. No matter how much thought I gave to the subject not a single workable idea would come to me.

I was driving to work last night, a journey of about twenty minutes, and as usual I was daydreaming behind the wheel (one of these days I am going to have a crash). Not only did one idea for a television drama series pop into my head, but two managed to worm themselves free from the creative part of my brain.

Now I'm lucky in one regard and that is I don't need a pen and paper to write ideas down to remember them. All I have to do is think about them for a little while and they kind of get stuck in my head for ages.

So these two ideas were rolling around in my head working themselves out and evolving all through my car journey. When I got to work I had two fully formed, very workable ideas, ready to go. I am starting on the series bibles today.

It's a joy when ideas come to you like that. I bloody love new ideas. Woo-Hoo!!!!!!

Be My Valentine

At last, after almost five years of writing my feature script Mr. Valentine is now complete. After a proof read the first ten pages will be posted on my website and then will begin the process of posting out copies. Until those first ten pages are published here's a teaser:

'The grass is greener on the other side. At least dreamer Barnaby Valentine believes this until his wish is granted and all women suddenly find him irresistible. It isn't long before Barnaby realizes even the greenest grass hides weeds and the odd obsessed zombie teenage girl camping out.'

Other News:

Some of you may be aware of a project called Buddha Of Birmingham and certain regretful events that happened relating to it. Below is a post published on my website in an attempt to clear the matter up:

'As most of you will know I was working on a project called Buddha Of Birmingham with Belinda Evangelista. Sadly I have to announce that Belinda and I have dissolved our writing partnership.

What will happen to Buddha Of Birmingham? I don't know to be truthful, as our parting wasn't as smooth as either of us would have liked it to be. Bad words were spoken and professionalism lacked on both sides, something I deeply regret. So all that's left for me to do is contact Belinda and try and work out an amicable solution that will keep the project afloat.

Even with a degree in scriptwriting and five years writing under my belt it came as no surprise that I still don't know it all, even if I sometimes act like I do. I have learnt a valuable lesson: make sure all the details of your partnership are worked out to both parties satisfaction, then get the details down on paper and get it signed by both parties. Make sure this is done before any work on the project begins. This is important no matter how well you know your writing partner.

Hell, no one can accuse this site of not being educational.'

Final Final Draft

The finalists have been announced and are as follows:

Stinson Carter, Los Angeles, CA - ANANIAS
Tom Cosgrove, Dublin, Ireland - THE SEA DEVILS
James Duff, New York, NY - MOROCCO
Rick Fonte, Austin, TX - HER FORTUNE
Ken Klein, Portland, OR - IMPACTS AND REMAINS
Yehudi Mercado, Austin, TX - BUFFALO SPEEDWAY
Bret Ootes, Toronto, ON, Canada - ATOMIC EYE
Jill Parker, London, UK - LOVE IN THE TIME OF BOLERO
Jon Preece, Newport, UK - ELVIS WALKS HOME
Greg Shea, North Andover, MA - HEARTBREAK HILL

There are still two UK writers in with a chance which is good to see. Come on Jill and Jon.

I suspect however, that James and Danny might well be supporting Tom.

Photocopying Blues

Arsing photocopier! I took one of my scripts to work with me last night to run a few copies off on the sly, so I could post them out next week. Only I find that someone hadn't put the toner in properly and the photocopies came out with lines on them and dark smudges.

They weren't too bad because you could still see all the text clearly, but it was obvious they had been through a photocopier because some of the pages were grey. Worried I had wasted two reams of work's photocopy paper I emailed the font of all my knowledge Danny Stack.

'Send them out if you can still read them,' said Danny, 'production companies expect scripts to be photocopied.' So sod it, they're going out, black lines, smudges and all. I don't want to kill any more trees than I have too.

DIY

"What have you been doing all day?" said my wife when she came home the other day.
"Writing," I said. She looked at me blankly.
"What have you been doing?" she said again.
"I've told you, writing, trying to earn a living at it so I can give you that house and those babies you keep begging me for" I replied.
"So you've done nothing then?"

It doesn't matter that I'm at home all day sitting in front of this computer straining my eyes and giving myself headache after headache just so that Susie and I can live a better life, I'm still not helping around the house. The fact that I hold down two jobs isn't an excuse not to do the house work. It came as a big surprise to me.
I tried to argue, to make Susie understand, "I have TWO jobs Susie."
"Do you get paid two wages?" she fired back at me. Damn that woman can find holes in any argument.

So yesterday was spent doing things around the house. I only intended to clean the kitchen; the oven was in a particularly bad way. It took me a couple of hours but the kitchen sparkled and I knew Susie would be pleased. Dirty and sweaty I went for a bath. I noticed the seal around the bath was moldy. After the bath I ripped it off, treated it and put some new sealant down. White sealant looks a lot better than moldy green sealant. I knew Susie would be pleased.

"What have you been doing all day?" said Susie when she got home.
"I've been doing stuff around the flat," I said, proud of my achievements. I showed her what I had done.
"Is that all?" said Susie said, sounding none too impressed with my work.
"Yup," I said.
"Have you done any writing?" she asked.
"Err, no," I replied.
"Why not? You know I want a house and babies and we can't afford either at the moment."
Sorry, dear," I replied.

A writers' work is never done.

Ideas? Oh Dear!

Will everyone stop stealing my ideas....Please?

How many truly original ideas are there in the world? Not many, which makes it even more annoying when someone comes up with an idea that you thought was original a few weeks before. It's happened a lot to me in the last few months and it's driving me potty. Here are some examples.

First of all there was my idea for a three part drama that suddenly turned up in documentary form in the cinemas. I won't go into details on this one because it's still workable..... Just!

Then FX go and announce Brotherhood starring Jason Isaacs, about two brothers, one a crook, one a cop, fighting for control of their neighborhood. I had just such an idea half way through the treatment stage. That one's in the bin then. Bum!

Then came a fantastic idea about a new way to approach writing for TV. Having thought about it for six months, but not being able to put it into action, I was quite miffed when Danny Stack mentioned he and James Moran were going to do something similar. Again I can't mention what it is because their idea is top secret and I don't want James coming around my house with his axe and chopping my fingers off. I need them to type. Besides, I want in on the idea, after all I thought of it first. Not that they will believe me. Thieving gits!

I've come to the conclusion that original ideas are like buses; you wait ages for one to come along and two or three turn up at once. The question is, how quick can you turn your idea around? Don't sit on your idea until someone else thinks of it too, get it down on paper.

PS. This is my 37th post, the same number as the candles on my birthday cake last April. Woo Hoo!

PPS. Danny and James, you haven't really stolen my idea, I was just joking ;-)

Potty?

The Dennis Potter Screenwriting Award.

"Annual award established in 1995 in memory of the late television playwright to 'nurture and encourage the work of new writers of talent and personal vision'. Submissions should be made through a BBC TV drama producer or an independent production company."

Hurrah, another competition for new writers.... that was what I thought until I read the last line.

2006 winner: Russell T. Davies

What the f%&k? Since when is Russell T. Davies a new writer?

Does anyone else think this award is nonsense, or is it just me?

Contest Semi-Finalists

The semi-finalists have been announced and are as follows:

Jason Butler, Dublin, Ireland - TON OF MONEY
Stinson Carter, Los Angeles, CA - ANANIAS
Tom Cosgrove, Dublin, Ireland - THE SEA DEVILS
Steven Davidson, Logan, UT - BADLAND
James Duff, New York, NY - MOROCCO
David Eskin, Vienna, VA - THE WALK
Rick Fonte, Austin, TX - HER FORTUNE
Jen Frankel, Toronto, ONT Canada - MINNIE FINSTER
Jason Ginsburg, Valley Village, CA - THE BATTLE OF NEW ORLEANS
David Haynes, Santa Monica, CA - BAD THINGS PEOPLE DO
Kellen Hertz, New York, NY - MASQUE
Ken Klein, Portland, OR - IMPACTS AND REMAINS
Yehudi Mercado, Austin, TX - BUFFALO SPEEDWAY
Bret Ootes, Toronto, ONT Canada - ATOMIC EYE
Jill Parker, London, UK - LOVE IN THE TIME OF BOLERO
Jon Preece, Newport, UK - ELVIS WALKS HOME
Richard Redlo, Albany, NY - THE OTHER TEAM
Greg Shea, North Andover, MA - HEARTBREAK HILL
Ian Taylor, Lilling York, UK - STREET MAGIC
Nizar Wattad, Los Angeles, CA - AGENCY

Well done to Jill Parker, Jon Preece and Ian Taylor for keeping the British end up. Good luck for the final.

You will have noticed that Sins of The Father wasn't one of the scripts mentioned. Never mind, there is always next year.

Being Professional Part 2

Copyright matters, but only to new writers it seems. New writers go to great lengths to copyright their scripts, using the circled C symbol, their name and the year, and making sure there is one on every page of their script. Even I have been guilty of this until recently. So why, as new writers, are we so paranoid about our working being stolen? The answer is simple; we're being unprofessional.

I can't remember where I read it, or who wrote it, but I once read an article about copyright, in which the author pointed out that the only people to make any money from infringement of copyright were lawyers. Can you think of any case where someone successfully sued for copyright infringement, because I can't?

It makes sense to assume that the large majority of producers, or production companies, would never dream of trying to steal a writer's idea, because if they were found out their reputation would be in tatters, and no one would want to work with them in the future. So why send out scripts covered in the copyright symbol? Copies of Hollywood scripts I've read are surprisingly copyright free. Besides, copyright infringement is near on impossible to prove legally.

I've also learnt that you can't copyright an idea, because let's face it with the millions of writers and film makers out there two people are bound to stumble on the same idea independently. Let's take Robin Hood: Prince of Thieves and Tombstone for instance. Two Hollywood films released at around the same time, both of which had rival productions; Robin Hood and Wyatt Earp. You didn't hear them scream 'Copyright Infringement'.

There are two ways you can protect your ideas as a writer. The first is the most simple; don't tell anyone about, or show them, your idea. The second is to write down your idea in as much detail as possible, that way if someone does copy your idea you have safeguarded your version of it. Once it's written down in detail it becomes your intellectual copyright. You don't need the copyright symbol to tell everyone that.

To safeguard your finished script there are several options. The first is to register it with the Writer's Guild of America for which you have to pay. There are also British companies offering this service, but again you have to pay and to be honest they are only taking advantage of new writers' paranoia. The best and cheapest way to protect your script is to post a hard copy to yourself, and don't open it when it arrives.

Otherwise stop worrying about copyright. Seriously, remove the copyright symbols from every page of your script (leave one on the title page if you're really that paranoid). Producers will only think you're unprofessional if you leave them there when you send out your scripts. They think like this; Copyright symbols on every page = New Writer = Crap Script = Bin.