Last Friday the 8th July my bleak drama Faith was announced as the winner of the Prequel to Cannes Feature Screenwriting Competition 2011, a great achievement of which I'm very proud. It got me thinking about competitions and how I've approached them in the past and I've come to a conclusion that maybe I didn't treat them with the respect I should have done.
Competition deadlines are dangerous to writers as there's a temptation to rush off any old rubbish just so you can meet that deadline and enter - you've got to be in it to win it after all...right???? In reality you're not doing yourself any favors by rushing your work just to enter for the sake of entering. I know this to be true, as I've been guilty of this on many occasions. Starting a script a week before the final deadline isn't the best preparation in the world. Rushing that script means you haven't put as much effort into as you could have and the quality of what you've written isn't going to be great. It's no surprise then that a good percentage of scripts (more than half the total entered) fall at the first hurdle simply because not enough thought went into them. By doing this you're just wasting your entry fee; you might as well spend it down the pub.
Another danger for writers is thinking of script competitions as the be all and end all, entering everything in sight and hoping you get lucky. It almost becomes an addiction and yes, I've been there too. Again you're not doing yourself any favors, weakening your chances by not focusing your efforts.
It's better to choose four or five screenwriting competitions per year and concentrate on entering those with scripts you've been working on for a while. Better still think a year ahead and then you have a glorious 365 days to work on anything you might wish to enter in the future. Planning ahead, deciding which competitions you're going to enter, what script you're going to enter with, and making sure that script is ready and polished to its best increases your chances significantly. It's worth bearing in mind that my screenplay Faith took three years to write from conception to finished draft, most of which was spent rewriting it over and over again until it sparkled. That's why it has also made the last 25% of entries in another screenwriting competition.
Does winning a competition lead to numerous offers of work and agents begging at your door? I doubt it, but it does elevate your exposure to those in a position to help you forward your career and gives you the opportunity to show what you can do.
Competitions aren't an easy way into the industry and nothing will ever replace good old fashioned hard work as a way of getting you noticed.
Monday, July 11, 2011
Wednesday, July 06, 2011
Luther - Quality Drama
The last episode in series two of Neil Cross's excellent psychological drama Luther aired last night on BBC1 and yet again proved what a talented writer Neil is.It's a brilliantly written drama with fascinating characters and awesome dialogue, with a central character so screwed up by the death of his wife he is one step away from becoming the people he hunts. It is simply 'must watch' TV. But why only four episodes this season?
I think the final episode suffered a little because of the shortened series and in places felt a little hurried. New characters were introduced to tie up subplots, even though those subplots felt they should have run for longer. Perhaps there were six episodes planned and those subplots were meant to play out over the full series, but were rejigged to accommodate the four episodes?
I also felt the series was missing something with the loss of Alice. She was John Luther's intellectual equal and the only person who truly understood him. Without her it always felt Luther was going to sort things out eventually and that his foes, although initially threatening, were simply no match for him or his intellect. Alice provided that flicker of doubt as to whether Luther would be able to beat her - was he cleaver, cunning, dangerous enough to match Alice and eventually defeat her? For Alice to simply walk away when the series had only just begun felt wrong and not in character, especially as she was jealous of Luther's emotional attachment to his wife in the first series. Why did she not feel the need to compete for Luther affections with Jenny Jones, someone Luther cares for, but who would have been so far out of her depth against Alice? I really hope in the third series (surely there has to be one) Alice is reintroduced, or at least there should be an new character equal to her to truly challenge Luther.
Don't get me wrong the second series of Luther was still awesome TV drama and thoroughly worth the watch. The writing is some of the best I've seen this year, and despite its slightly hurried feel the final episode still entertained. A job well done by Neil Cross.
Monday, July 04, 2011
London Screenwriters Festival 2011
A rumour has been making the rounds on Twitter in the last couple of days claiming this year's festival might not got ahead. I am pleased to read this is untrue, as the above screen capture shows the festival is most definitely going ahead as planned in October.See you all there.
Monday, June 20, 2011
A Helping Hand
I get a lot of emails asking for help and I answer them all, as I do with all my emails. If someone has taken the time to write to me it's only right I take the time to write back...even if I'm busy. If I can't help them myself I'll point them in the direction of someone who might be able to.
Most of these requests for help I get come from media students; I was one once, so I'm only too happy to do what I can for them. A good example of this is when I was contacted by a tutor from Bangor who asked if I had any old scripts the students could film for their course. I was very happy to help them out, sending them two very old scripts. They had fun making them and I got a buzz seeing scripts I thought long dead get made. A win/win situation for all concerned. But there's always someone who has to go and spoil it for others.
I was contacted at the beginning of the month and literally begged by a MA student in London for a short script, as he needed something by the 10 June at the latest, as he had to film four short films as part of his course and was quickly running out of time. I explained to him I was very busy with several paid projects and consequently was only taking on paid work, but I offered to squeeze him into my busy schedule for a small fee. He was still eager for my help and happily agreed to pay.
I kept the student up-to-date with how I was getting on, sending him copies of the script as it progressed, and at all points he said he was very happy with what I was producing for him. When I presented him with the finished first draft ready for him to come back to me with any notes he told me he really liked it. I then didn't hear from him and the 10th June came and went. I sent him two chase emails and finally got a short, abrasive email back from him on the 15th saying he wasn't sure about my script and would get in contact if, and when, he had any notes for me. The alarm bells started ringing in my head.
I wrote back to him asking what was wrong and why he had changed his mind about the script? I got a very rude reply stating he wasn't going to pay me and that he considered the matter closed. So I Googled his name only to find out he'd put a ton of adverts online over the last couple of months asking for scripts, two even posted after his deadline of the 10th June, none of which stated he needed them urgently. It was then quite obvious to me I had been conned and this student was getting writers to write him scripts, making each one think they were the only one working for him, claiming he needed them urgently so that he had several scripts from which to choose from when he was ready to film his MA project.
Now it's not the money I'm concerned about, the money isn't important at all, what gets me is this student got me to write him a script using lies and deceit, knowing I was busy and couldn't really spare the time, and then when the project was done he simply wanted to cut all ties. I suspect, although this is only supposition, he intends to claim credit for the screenplay himself. He'll find it an impossible task now though, as I hunted down his course tutor and told him categorically that this MA student wasn't allowed to use my work in any form and I even sent the tutor a copy of the script to use as reference. I also asked him if he could have a talk with the student about professionalism...he was only too happy to do so.
The moral of this story is be honest and don't deceive those you are working with. It takes years to build up a good reputation and only moments to lose it. This business is built on reputation and word of mouth, and if the word about you is bad then you'll find it hard, or even impossible, to get work.
If anyone out there thinks they've replied to this student's ad, or is working for him now, then please email me and I'll answer whatever questions you have in private.
The unfortunate down side of this is I will now probably say 'NO' to the next student who writes to me asking for help. This doesn't mean I'll stop helping people who ask for it, I'll just be more cautious when people approach me, at least for a while.
Most of these requests for help I get come from media students; I was one once, so I'm only too happy to do what I can for them. A good example of this is when I was contacted by a tutor from Bangor who asked if I had any old scripts the students could film for their course. I was very happy to help them out, sending them two very old scripts. They had fun making them and I got a buzz seeing scripts I thought long dead get made. A win/win situation for all concerned. But there's always someone who has to go and spoil it for others.
I was contacted at the beginning of the month and literally begged by a MA student in London for a short script, as he needed something by the 10 June at the latest, as he had to film four short films as part of his course and was quickly running out of time. I explained to him I was very busy with several paid projects and consequently was only taking on paid work, but I offered to squeeze him into my busy schedule for a small fee. He was still eager for my help and happily agreed to pay.
I kept the student up-to-date with how I was getting on, sending him copies of the script as it progressed, and at all points he said he was very happy with what I was producing for him. When I presented him with the finished first draft ready for him to come back to me with any notes he told me he really liked it. I then didn't hear from him and the 10th June came and went. I sent him two chase emails and finally got a short, abrasive email back from him on the 15th saying he wasn't sure about my script and would get in contact if, and when, he had any notes for me. The alarm bells started ringing in my head.
I wrote back to him asking what was wrong and why he had changed his mind about the script? I got a very rude reply stating he wasn't going to pay me and that he considered the matter closed. So I Googled his name only to find out he'd put a ton of adverts online over the last couple of months asking for scripts, two even posted after his deadline of the 10th June, none of which stated he needed them urgently. It was then quite obvious to me I had been conned and this student was getting writers to write him scripts, making each one think they were the only one working for him, claiming he needed them urgently so that he had several scripts from which to choose from when he was ready to film his MA project.
Now it's not the money I'm concerned about, the money isn't important at all, what gets me is this student got me to write him a script using lies and deceit, knowing I was busy and couldn't really spare the time, and then when the project was done he simply wanted to cut all ties. I suspect, although this is only supposition, he intends to claim credit for the screenplay himself. He'll find it an impossible task now though, as I hunted down his course tutor and told him categorically that this MA student wasn't allowed to use my work in any form and I even sent the tutor a copy of the script to use as reference. I also asked him if he could have a talk with the student about professionalism...he was only too happy to do so.
The moral of this story is be honest and don't deceive those you are working with. It takes years to build up a good reputation and only moments to lose it. This business is built on reputation and word of mouth, and if the word about you is bad then you'll find it hard, or even impossible, to get work.
If anyone out there thinks they've replied to this student's ad, or is working for him now, then please email me and I'll answer whatever questions you have in private.
The unfortunate down side of this is I will now probably say 'NO' to the next student who writes to me asking for help. This doesn't mean I'll stop helping people who ask for it, I'll just be more cautious when people approach me, at least for a while.
Monday, June 13, 2011
Forty Key Scenes - Revisted
The most common problem I see in scripts from new writers is lack of structure. I've been there too many a time myself, but I now get praised by producers for my structure, as many of the scripts they receive aren't. I discovered a little trick that helped solve that problem years ago.
When I start plotting a new script I always use the forty key scenes rule to help me, or a variation thereof if I'm writing a TV pilot episode. I don't know where I first picked up this idea, or which book I read it in, but it's been an invaluable tool over the years and really helps to focus the story telling. How do these forty key scenes work? It's really easy, let me show you.
Take forty blank index cards and stick them to a wall, or pin them to a cork board, in four rows of ten. Your first row is your fist act with the last card being your act one turning point. The next ten are the first half of act two up to the midway point. The next ten are the second half of act two with the last card being the turning point into act three. Your final ten cards are act three.
Use these cards to write down a brief outline of each scene, paying close attention to the important places as the first and second act turning points and the midpoint. You'll see if your plot has a problem, or doesn't have legs, as there will be blank spaces. It's your job to solve those plot holes and fill those blank cards. You don't have to follow this idea ridgedly, this is only a guide to help you think about your plot and work through any problems it has. You can make it as flexible or as ridged as you want. Whatever works for you.
I've adapted the forty key scenes rule a little bit since I first used it years ago and I've now incorperated a very good idea I came across in Blake Snyder's - Save The Cat! At the bottom of the cards he adds a +/-, or a -/+, used to indicate the emotional change in the scene. Take the scene from Star Wars where Ben Kenobi is teaching Luke how to use the Force while on the Millennium Falcon. Luke starts off disbelieving when he can't see to deflect the training orbs bolts, a - in this case, but when he finally 'sees' the training orb even with his eyes covered this changes to a +.
The other idea he talks about is adding >< at the bottom of the index cards to represent conflict. Drama comes from conflict so if your scene doesn't have any it's going to fall flat. Find the conflict in the scene and write it down here.
The advantage of writing your scenes down on cards is that you can move them around at will. A scene might not work in the place you intended it to go, but it might work elsewhere. It's just a simple matter of moving that card to its new place.
Only when your forty key scenes are completed can you then start to write your script confident you've worked through all of your story's problems. The forty cards will provide you with a blue print for your finished script, and trust me your script will be much better for all that preparation.
Give it a try.
When I start plotting a new script I always use the forty key scenes rule to help me, or a variation thereof if I'm writing a TV pilot episode. I don't know where I first picked up this idea, or which book I read it in, but it's been an invaluable tool over the years and really helps to focus the story telling. How do these forty key scenes work? It's really easy, let me show you.
Take forty blank index cards and stick them to a wall, or pin them to a cork board, in four rows of ten. Your first row is your fist act with the last card being your act one turning point. The next ten are the first half of act two up to the midway point. The next ten are the second half of act two with the last card being the turning point into act three. Your final ten cards are act three.
Use these cards to write down a brief outline of each scene, paying close attention to the important places as the first and second act turning points and the midpoint. You'll see if your plot has a problem, or doesn't have legs, as there will be blank spaces. It's your job to solve those plot holes and fill those blank cards. You don't have to follow this idea ridgedly, this is only a guide to help you think about your plot and work through any problems it has. You can make it as flexible or as ridged as you want. Whatever works for you.
I've adapted the forty key scenes rule a little bit since I first used it years ago and I've now incorperated a very good idea I came across in Blake Snyder's - Save The Cat! At the bottom of the cards he adds a +/-, or a -/+, used to indicate the emotional change in the scene. Take the scene from Star Wars where Ben Kenobi is teaching Luke how to use the Force while on the Millennium Falcon. Luke starts off disbelieving when he can't see to deflect the training orbs bolts, a - in this case, but when he finally 'sees' the training orb even with his eyes covered this changes to a +.
The other idea he talks about is adding >< at the bottom of the index cards to represent conflict. Drama comes from conflict so if your scene doesn't have any it's going to fall flat. Find the conflict in the scene and write it down here.
The advantage of writing your scenes down on cards is that you can move them around at will. A scene might not work in the place you intended it to go, but it might work elsewhere. It's just a simple matter of moving that card to its new place.
Only when your forty key scenes are completed can you then start to write your script confident you've worked through all of your story's problems. The forty cards will provide you with a blue print for your finished script, and trust me your script will be much better for all that preparation.
Give it a try.
Tuesday, May 31, 2011
Monday, May 30, 2011
Deadlines
I have deadlines. I like deadlines.
There's nothing quite like the overwhelming feeling of panic to help your breakfast make a sudden, unexpected return mid morning. The terror floods over you, slapping you in the face, poking you in the eyes and tweaking your nipples two hours before you have to email your script. Then you suddenly realise you're shit, your script's shit and most importantly someone is about to find out you're a hopeless fraud.
Overdosed on coffee you sit in front of the screen your balls sweating (or have you just wet yourself?), your heart pounding (too much coffee or the early signs of a heart attack?), stomach churning (watch out for breakfast) and your mouth dry (drink more coffee). This script is utter bollocks, the worst thing you've ever written, but it has to do because now you've only got an hour.
AN HOUR!!!!!
You type furiously changing as much as you can in the little time you have left. Maybe you can rescue this, make yourself look at least semi-professional? You probably can't! You're gonna fail miserably. You pathetic twunt!
HALF AN HOUR LEFT!!!!!! Oh fiddly funk buckets....where is the time going? Now you're typing furiously, tears flowing freely down your cheeks. There's an excruciating pain in your neck from sitting tensed up, but you can't worry about that now, because you've only got ten minutes.... OH SWEET BABY POTATOES!!!!!
Your howls of desperation have worried the neighbours, who are now enquiring through your letterbox if you're OK and if you need an ambulance, but it doesn't matter now, because there is no time left.
You press send....and wait for the inevitable, the "you really are the worst writer on the planet", response you know is coming. Your career is over, you sad sack of hamster pooh.
The email is here. You can't open it, dare not open it, but you have to....you open it and....no, that can't be right, they actually like it....they really like it....THE FOOLS!!!
And breathe!
By crikey I LOVE deadlines.
There's nothing quite like the overwhelming feeling of panic to help your breakfast make a sudden, unexpected return mid morning. The terror floods over you, slapping you in the face, poking you in the eyes and tweaking your nipples two hours before you have to email your script. Then you suddenly realise you're shit, your script's shit and most importantly someone is about to find out you're a hopeless fraud.
Overdosed on coffee you sit in front of the screen your balls sweating (or have you just wet yourself?), your heart pounding (too much coffee or the early signs of a heart attack?), stomach churning (watch out for breakfast) and your mouth dry (drink more coffee). This script is utter bollocks, the worst thing you've ever written, but it has to do because now you've only got an hour.
AN HOUR!!!!!
You type furiously changing as much as you can in the little time you have left. Maybe you can rescue this, make yourself look at least semi-professional? You probably can't! You're gonna fail miserably. You pathetic twunt!
HALF AN HOUR LEFT!!!!!! Oh fiddly funk buckets....where is the time going? Now you're typing furiously, tears flowing freely down your cheeks. There's an excruciating pain in your neck from sitting tensed up, but you can't worry about that now, because you've only got ten minutes.... OH SWEET BABY POTATOES!!!!!
Your howls of desperation have worried the neighbours, who are now enquiring through your letterbox if you're OK and if you need an ambulance, but it doesn't matter now, because there is no time left.
You press send....and wait for the inevitable, the "you really are the worst writer on the planet", response you know is coming. Your career is over, you sad sack of hamster pooh.
The email is here. You can't open it, dare not open it, but you have to....you open it and....no, that can't be right, they actually like it....they really like it....THE FOOLS!!!
And breathe!
By crikey I LOVE deadlines.
Monday, May 23, 2011
The Traveller - Set Photos
Hanging around on set.
The very talented Ibrahim Renno.
Yes, they did roll a car down the highway just for my little script.
"Stop shining that light in my eyes, I can't see where I'm driving."
"I can see my house from here."
Tuesday, May 17, 2011
The Traveller Trailer Is Here
The Traveller trailer is here at last and the short film I wrote last year is also an official selection at the Cannes Short Film Corner this year... Excitos!!!Click HERE to see it.
Wednesday, May 11, 2011
Review: Celtx: Open Source Screenwriting Beginner's Guide
Celtx: Open Source Screenwriting Beginner's Guide
I became aware of Celtx last year while working on a short film project I was commissioned for. It looked like a good bit of kit, but I already had an excellent piece of writing software and didn't require another one, nor did I have the time to learn how to use a new program. Then I became aware of Celtx: Open Source Screenwriting Beginner's Guide so I thought I'd give it a go.The eBook was extremely helpful and I was able to learn as I went along. It's an easy read well laid out and it's very easy to find exactly what you're looking for. The book covers everything from your computer requirements, loading the software, the basics through to advanced use. The more I read of the book the more I discovered I could do with Celtx (even aspects of the software as a writer I will never use, but which will be extremely valuable to those looking for a complete production package). The book was so good I even recommended it to the person who first told me about Celtx and even he discovered things he never knew he could do before.
Although I only used the book to learn how to use screenwriting side of the software it does also teach you a lot more about exactly what Celtx is capable of on the production side of things and anyone who has Celtx, or is thinking of getting it, should really get the book as it will definitely help them make the most of the software.
Here are some of the features you can expect from the book.
- An illustrative guide to writing and formatting professional scripts and screenplays in the only way acceptable to Hollywood producers and agents
- Work with all the powerful tools of Celtx to come up with brilliant scripts for films, documentaries, stage plays, even comic book scripts
- Master other pre-production planning features including storyboarding, scheduling, and casting
- Maximize the power of Celtx with helpful tips about both the software and how to sell your completed work
- Part of Packt's beginner's guide series – practical, simple, and illustrative
- eBook available as PDF and ePub downloads
Monday, May 02, 2011
Pets In A Pickle
Some of you may know I have been working on a TV drama series adaptation of a novel. Well today I can reveal that the novel in question, Pets In A Pickle written by the talented Malcolm D. Welshman, is due for release on the 3rd of May and can be bought online at Amazon.co.uk.For the launch of the novel Malcolm has been interviewed by the Daily Mail and the interview and extracts from his book are due to be printed in the Saturday edition of the Daily Mail one weekend this month (not sure exactly which Saturday).
The book is a fantastic and humour laden read so if you have any spare pennies please feel free to go and buy yourself a copy.
Monday, April 25, 2011
Writers' Block: Reality Or Myth?
Ian plonks himself down in front of his computer, fires it up, loads his latest screenplay. The cursor blinks accusingly at him, taunting him, making him acutely aware the rest of the page remains blank.We've all experienced it at one point or other, that horrible pause when things just aren't working and the desperate need to write something, anything becomes all consuming. But can this really be called writers' block, does such a thing really exist, or are there ways to beat it into submission and regain your creativity?
Ian stares at the screen, his fingers hover over the keyboard in anticipation. He pleads for the words to form on the page, but it remains as blank as Ian's mind. He can almost hear the cursor laughing at him.
Some people argue if it isn't happening you should walk away and do something else, and come back to your work later. Make a cup of tea, take the dog for a walk, anything that will distract you from the fact your brain isn't in gear yet and it's going to take a little more time and maybe several mugs of coffee before it is. Some days it just doesn't happen, there's no point in pushing yourself and ending up hating the project you're working on. Right?
Wrong! I think it's just lazy, an excuse to procrastinate. You're a writer, so write. Get angry with that block. Show it who's boss.
There's always something you can write even if the scene you want to won't come out of your stubborn, locked brain. Thinking about the cursor and blank page just makes matters worse. Getting up and walking away will only make you feel guilty for not writing and angry with yourself and more importantly with the empty page. Thinking like that just escalates things. It doesn't have to be like that, really it doesn't.
If you get stuck on what to write it usually means you haven't done enough preparation on your script and your brain is telling you the only way it knows how, by shutting down and demanding you go and play Xbox for a hour. Don't listen to it and go back and work on those characters and plot, and the next time you sit down to write your masterpiece you won't have the same trouble.
Even if you're stuck at one particular point in your script it doesn't mean that you can't skip to the middle, or the end and write those instead. Even if you have a particular scene in mind, but it doesn't come until much later in the script it doesn't mean you can't write it now. Don't think for a moment you have to write your script in linear order, because that is just foolish and is why you're blocked in the first place. There are numerous other ways to get the creative juices flowing. Here are a few of my favorites.
Get drunk, write whatever comes into your head and rewrite it tomorrow. If it's rubbish, which it probably will be, it doesn't matter because you'll be rewriting it tomorrow anyway. At least you'll have words down on the page and crap words are better than none at all.
Put some background music on really loud (I listen to my Oasis albums on loop) to distract that naughty part of your brain that's holding the creative side of your mind captive. Any type of music will do just as long as it's something you can have on in the background that you won't pay much attention to.
Pick too characters, stick them in an imaginary elevator and start an argument. Write four sides of A4 like this. Not only is this great for working on your characters, but also jump starts your writing. Alternatively you can come up with your own ways to get your creative juices back on track so you don't have to steal mine.
So does writers' block really exist? Yes it does, but only if you let it. Now go and write.
Tuesday, April 12, 2011
Rejection Revisited
I've spoken about rejection and how to handle it before, but it's something well worth going over again as it's all too easy to forget that sometimes rejection does hurt.
It's important to build up a thick skin against rejection, but even if you do there will always be that one rejection too many that gets to you. We're all human and we all desire to be loved and liked; writers even more so I think. The important thing as a writer is not to let others see you're hurting and not to rant publicly about it. That is a big mistake, a big fat no no in media circles, and a sure fire way to get yourself a bad name. It's worth remembering that if someone Google's your name they might come across your moan and think you're hard to work with and avoid you. No one likes a moaner, not even other moaners.
Go and Google your own name right now and see what comes up. If any moaning, or anything negative comes up then remove the offending article, blog or Tweet. I did this the other week and found two very early, very negative blog posts which I later removed. Here's a few other important things you might want to consider.
Rejection isn't personal. No one ever died from rejection. Rejection doesn't mean your work is rubbish, it just means they didn't like it/or it wasn't right for them at the time. Someone else might like it and snap your hand off.
Remember, be positive at all times online and keep any negative thoughts behind closed doors. Your career will thank you for it.
It's important to build up a thick skin against rejection, but even if you do there will always be that one rejection too many that gets to you. We're all human and we all desire to be loved and liked; writers even more so I think. The important thing as a writer is not to let others see you're hurting and not to rant publicly about it. That is a big mistake, a big fat no no in media circles, and a sure fire way to get yourself a bad name. It's worth remembering that if someone Google's your name they might come across your moan and think you're hard to work with and avoid you. No one likes a moaner, not even other moaners.
Go and Google your own name right now and see what comes up. If any moaning, or anything negative comes up then remove the offending article, blog or Tweet. I did this the other week and found two very early, very negative blog posts which I later removed. Here's a few other important things you might want to consider.
Rejection isn't personal. No one ever died from rejection. Rejection doesn't mean your work is rubbish, it just means they didn't like it/or it wasn't right for them at the time. Someone else might like it and snap your hand off.
Remember, be positive at all times online and keep any negative thoughts behind closed doors. Your career will thank you for it.
Thursday, April 07, 2011
What No Blog???
Today will mostly be my birthday.
In celebration of that fact I have taken it easy this week after many weeks of working like an absolute loon. To treat myself today I will be lying out in the sun and drinking bucket loads of beer. Huzzah!!!
Normal service will resume once my hangover has gone...that will probably be Monday 11th.
Bye for now.
In celebration of that fact I have taken it easy this week after many weeks of working like an absolute loon. To treat myself today I will be lying out in the sun and drinking bucket loads of beer. Huzzah!!!
Normal service will resume once my hangover has gone...that will probably be Monday 11th.
Bye for now.
Monday, March 28, 2011
If Your Name's Not On The List...
'Unsolicited scripts are not welcome.'
Surely the person who made that decision should be stripped naked, rubbed down with sandpaper, smeared in lemon juice and beaten to death with their own underpants just for daring to slam a door in the face of your awesome talent? How very dare they, how very dare they indeed!
OK STOP! *slaps you in the face with a week old halibut*
Unsolicited scripts are not welcome for several reasons; it may be you've sent your script to a small production company and therefore they don't have the staff to read unsolicited work, they may have decided it's easier to let agents do their work for them rather than hire readers because they want to save their money for chocolate digestives instead of the plain ones with their tea, or maybe they just prefer to spend their time on Facebook, Twitter or Googling their own name every five minutes to see if they've moved up the listing. Whatever the case there is still a way of getting them to read your work without resorting to kidnap and nipple clamps.
If they have an email address send them a short, very polite email telling them you are aware of their submissions policy, that you don't have an agent, but you were wondering if they would kindly read a one page outline of your project. Most recipients will ignore you, some may even laugh in your face, some might take out restraining orders and some will reiterate their submission policy *just* to make it clear to someone as stupid as you. But there may just be one producer who emails you back and says, 'oh go on then'. Think of it from their point of view, they would rather read a one page outline than miss out on the script of the century.
If you don't try then why bother writing your script in the first place?
If you don't ask, you don't get.
Surely the person who made that decision should be stripped naked, rubbed down with sandpaper, smeared in lemon juice and beaten to death with their own underpants just for daring to slam a door in the face of your awesome talent? How very dare they, how very dare they indeed!
OK STOP! *slaps you in the face with a week old halibut*
Unsolicited scripts are not welcome for several reasons; it may be you've sent your script to a small production company and therefore they don't have the staff to read unsolicited work, they may have decided it's easier to let agents do their work for them rather than hire readers because they want to save their money for chocolate digestives instead of the plain ones with their tea, or maybe they just prefer to spend their time on Facebook, Twitter or Googling their own name every five minutes to see if they've moved up the listing. Whatever the case there is still a way of getting them to read your work without resorting to kidnap and nipple clamps.
If they have an email address send them a short, very polite email telling them you are aware of their submissions policy, that you don't have an agent, but you were wondering if they would kindly read a one page outline of your project. Most recipients will ignore you, some may even laugh in your face, some might take out restraining orders and some will reiterate their submission policy *just* to make it clear to someone as stupid as you. But there may just be one producer who emails you back and says, 'oh go on then'. Think of it from their point of view, they would rather read a one page outline than miss out on the script of the century.
If you don't try then why bother writing your script in the first place?
If you don't ask, you don't get.
Monday, March 21, 2011
Outcasts & Being Human Series Finales
Outcasts: I really liked the final episode. It set up some interesting cliffhangers for the second series - if they had been given the go ahead for one - and the dialogue was much improved. The only thing I really didn't like was the fact that Julius Berger's villainy was watered down when we learnt he was working for someone else. He would have been a much stronger/evil/power hungry character if he had been working on his own. Yes, we know that the people he was in collusion with were far more manipulative and dangerous than Julius had been, but I personally would have preferred to see him more in control and not someone else's lap dog. Not a bad episode though.
Being Human: My God, what great drama! This is what good TV is all about. While we were teased by the 'Wolf Shaped Bullet' and who it might be, it really could have only ever been George. Any other choice and it wouldn't have made any sense, or had such poetic justice, it had to be George just as Mitchell had to be the one to kill Herrick. But what hit me the most besides the awesome acting from Russell Tovey, Aidan Turner, Lenora Crichlow, Sinead Keenan and Jason Watkins, was the even more awesome dialogue..."I'm only doing this because I love you." That is how great dialogue should be written; that is how great drama should be written. Being Human blew away everything else that was on TV that night. If all TV drama was that good I'd never get my arse off the sofa.
Being Human: My God, what great drama! This is what good TV is all about. While we were teased by the 'Wolf Shaped Bullet' and who it might be, it really could have only ever been George. Any other choice and it wouldn't have made any sense, or had such poetic justice, it had to be George just as Mitchell had to be the one to kill Herrick. But what hit me the most besides the awesome acting from Russell Tovey, Aidan Turner, Lenora Crichlow, Sinead Keenan and Jason Watkins, was the even more awesome dialogue..."I'm only doing this because I love you." That is how great dialogue should be written; that is how great drama should be written. Being Human blew away everything else that was on TV that night. If all TV drama was that good I'd never get my arse off the sofa.
Monday, March 14, 2011
Monday, February 28, 2011
Outcasts
I like it. I know it has its faults, but I genuinely like it...so there :-P
What are those faults? Here are the two major faults as I see them: dialogue and characterisation.
The dialogue in the first episode was clunky, on the nose, often repeated in the very next scene, over expositional and used far too much to keep the story moving along. I know they had a lot of back story to get through to set the scene, but it was just so obvious in the dialogue and ruined what could have been a very good first episode. You can see the actors struggling to say the words sometimes, even in later episodes where it hasn't been such an issue. But is this the fault of the writer, or is someone else to blame? I can't see that the writers are to blame too much for this as the poor dialogue happens in almost every episode, each written by a different writer, therefore I can only assume someone else is having a bad influence on what goes into each script.
Characterisation is also very weak, characters doing odd stuff simply to justify the plot rather than their own existence. When Julius Berger came on the scene it was obvious from the moment we first saw him he was not to be trusted, yet on several occasions during the series so far people are actually being nice towards him rather than suspicious. He even got placed on the council with no opposition at all. Indeed in one episode Stella tells Julius she's going to keep an eye on him because she doesn't trust him and the very next episode she's all excited, singing his praises because he's got her daughter talking to her. Where did her suspicion, her distrust of the man go? I also thought they could have done a lot more with Mitchell Hoban, showing his slow decent into the madness that eventually took him. I don't want to be told he was a good man, I want to see it and his journey to his eventual suicide.
I think the faults emphasise just how much the series focuses on the telling of the story at the expense of characters and dialogue. The plot is everything! It shouldn't be. For me good stories are told through good dialogue and characters.
What I do like about the show is it's boldness. It dares to challenge, bring us a new, interesting world, which grows even more intriguing week by week. Episode five has been my favorite episode so far and even though I looked, and believe me I looked hard, I couldn't find a single fault with it.
So what now for the show? Will the BBC green light another series, or will sci-fi on the BBC be dead for the foreseeable future?
What are those faults? Here are the two major faults as I see them: dialogue and characterisation.
The dialogue in the first episode was clunky, on the nose, often repeated in the very next scene, over expositional and used far too much to keep the story moving along. I know they had a lot of back story to get through to set the scene, but it was just so obvious in the dialogue and ruined what could have been a very good first episode. You can see the actors struggling to say the words sometimes, even in later episodes where it hasn't been such an issue. But is this the fault of the writer, or is someone else to blame? I can't see that the writers are to blame too much for this as the poor dialogue happens in almost every episode, each written by a different writer, therefore I can only assume someone else is having a bad influence on what goes into each script.
Characterisation is also very weak, characters doing odd stuff simply to justify the plot rather than their own existence. When Julius Berger came on the scene it was obvious from the moment we first saw him he was not to be trusted, yet on several occasions during the series so far people are actually being nice towards him rather than suspicious. He even got placed on the council with no opposition at all. Indeed in one episode Stella tells Julius she's going to keep an eye on him because she doesn't trust him and the very next episode she's all excited, singing his praises because he's got her daughter talking to her. Where did her suspicion, her distrust of the man go? I also thought they could have done a lot more with Mitchell Hoban, showing his slow decent into the madness that eventually took him. I don't want to be told he was a good man, I want to see it and his journey to his eventual suicide.
I think the faults emphasise just how much the series focuses on the telling of the story at the expense of characters and dialogue. The plot is everything! It shouldn't be. For me good stories are told through good dialogue and characters.
What I do like about the show is it's boldness. It dares to challenge, bring us a new, interesting world, which grows even more intriguing week by week. Episode five has been my favorite episode so far and even though I looked, and believe me I looked hard, I couldn't find a single fault with it.
So what now for the show? Will the BBC green light another series, or will sci-fi on the BBC be dead for the foreseeable future?
Thursday, February 17, 2011
Outcasts And Tweets
I was very disappointed yesterday to read several tweets from writers slagging off Outcasts after it was moved from a Monday night slot to a Sunday. Come on writers, whatever your feelings towards the program, slagging it off, laughing or making jokes at its falling ratings is just plain rude.
What if it was your series that everyone was slagging off? How would you feel then? You can be sure Outcasts' creator Ben Richards is feeling bad enough without you heaping more misery on him by doing this. Constructive criticism is a good thing and should be encouraged, but there is no place in our industry for slagging off, or just being plain rude about another writer's work. There are too many others out there who have it in for us writers to begin with. Have a bit of respect, a bit of compassion for a fellow writer who dared to try something different.
The series may have its faults (I will blog about this issue in greater detail next week), but it is bold, ambitious and daring, something good TV should be. Please don't forget that without writers like Ben trying new things we would be stuck with the same endless, repetitive, boring stuff forever. Without challenging ourselves, or our writing, there really would be nothing out there for us. As writers you should know that sometimes things work and at other times things don't. You should also know that TV is a collaborative process and many factors bring changes to original scripts.
As writers you should know better.
What if it was your series that everyone was slagging off? How would you feel then? You can be sure Outcasts' creator Ben Richards is feeling bad enough without you heaping more misery on him by doing this. Constructive criticism is a good thing and should be encouraged, but there is no place in our industry for slagging off, or just being plain rude about another writer's work. There are too many others out there who have it in for us writers to begin with. Have a bit of respect, a bit of compassion for a fellow writer who dared to try something different.
The series may have its faults (I will blog about this issue in greater detail next week), but it is bold, ambitious and daring, something good TV should be. Please don't forget that without writers like Ben trying new things we would be stuck with the same endless, repetitive, boring stuff forever. Without challenging ourselves, or our writing, there really would be nothing out there for us. As writers you should know that sometimes things work and at other times things don't. You should also know that TV is a collaborative process and many factors bring changes to original scripts.
As writers you should know better.
Tuesday, February 15, 2011
InkTip
A couple of friends of mine have raved about InkTip in the past and how good it is, but I've never quite been convinced that spending $60 (+$20 for WGA script registration) to post a script on a website is the best way to go. I have now changed my mind, because the one thing InkTip does offer you is the chance to hone your logline and synopsis abilities. How does InkTip do this?
The first point of contact for producers is usually your logline and if it doesn't hook the reader first time producers are unlikely to be interested in your script, more so in the US than in the UK. InkTip very kindly provides a list of producers who have viewed your logline and a list of those that went on to read your synopsis and maybe even your script. What this gives you is an opportunity to try out your loglines and synopsises, fine tuning them to create better, more eye catching hooks for those producers. If you get a lot of logline views but no synopsis views then it's obvious your logline needs work. Make those changes and see how those changes affect the synopsis views. You'll know when you've hit on the correct formula when your synopsis views suddenly jump up.
Besides InkTip is great for giving your scripts exposure and you never know, you might just find a home for it. Go on, give it a try.
The first point of contact for producers is usually your logline and if it doesn't hook the reader first time producers are unlikely to be interested in your script, more so in the US than in the UK. InkTip very kindly provides a list of producers who have viewed your logline and a list of those that went on to read your synopsis and maybe even your script. What this gives you is an opportunity to try out your loglines and synopsises, fine tuning them to create better, more eye catching hooks for those producers. If you get a lot of logline views but no synopsis views then it's obvious your logline needs work. Make those changes and see how those changes affect the synopsis views. You'll know when you've hit on the correct formula when your synopsis views suddenly jump up.
Besides InkTip is great for giving your scripts exposure and you never know, you might just find a home for it. Go on, give it a try.
Subscribe to:
Posts (Atom)