Us writers are all one big family and we should always look out for each other.
I'm always grateful for the generosity of others and in turn I always try and pass on what I've learnt to those willing to listen, who wish to improve their writing and careers. I don't profess to know it all, or to have the right answer every time. I just give advice from my past experience, the things I've learnt by making mistakes. It's all I can do.
The last couple of weeks has been a shining example of this. I've been out for drinks with two pairs of new writers. They've bought me drinks and then picked my brains on writing and my career so far. They found it helpful and informative and I got drunk for free; fair swap I think.
Over the last fortnight I've also been advised, encouraged and complimented by professionals who have worked in the TV industry for many years. I emailed one to ask advice and he replied within twenty minutes with words of encouragement, excellent advice and a hearty 'Good Luck". He didn't have to do that, but he was gracious enough to spare me the time out of his busy day to answer my question. Then another writer I've been communicating with read one of my screenplays, complemented me on it, offered her help anytime I might need it and suggested we meet me for a cuppa the next time I'm in London.
There would have been a time a few years ago where I might have been amazed at this, but I've learnt since then that there are a lot of lovely people out there and if you're polite, don't bombard them with your work or questions, they are more than happy to give their advice and encouragement. It gives me a lovely warm feeling of togetherness when this happens, especially as writing is mostly a solitary experience.
That's why I reply to all of my emails, answer any questions I'm asked and give what time I have spare to those seeking advice. It's the least I can do to return the favour of all the advice and time given by those who are more advanced in their career than I am.
Wednesday, June 26, 2013
Wednesday, June 19, 2013
INSPIRATIONAL LINKS
Ask The Writer published an online interview with me last week, where they asked in depth questions about my journey as a writer. Two writers have already emailed me and thanked me personally for the interview, calling it insightful and inspirational... well I do like to help out. You can read my interview here.
I've always been very grateful for the advice others have given me in the past, so it feels natural to me to give advice to new writers, to help them avoid the pitfalls - of which there are many - I fell in to along my journey. That's what I love about the writer community, it's all one big love in where we go and share our wealth of knowledge. And I love helping others.
So do you have anything to share with your fellow writers, any hints, tips, or experiences? If so add a link to them in the comments below and let's all influence others to be better writers. Looking forward to reading your links.
I've always been very grateful for the advice others have given me in the past, so it feels natural to me to give advice to new writers, to help them avoid the pitfalls - of which there are many - I fell in to along my journey. That's what I love about the writer community, it's all one big love in where we go and share our wealth of knowledge. And I love helping others.
So do you have anything to share with your fellow writers, any hints, tips, or experiences? If so add a link to them in the comments below and let's all influence others to be better writers. Looking forward to reading your links.
Wednesday, June 05, 2013
SUBTEXT
Writing subtext in dialogue should come automatically to writers, but I still see a lot of on the nose dialogue in the scripts I'm sent to read. So how can you prevent obvious dialogue creeping in and make sure your screenplay is layered with rich subtext?
The way I do it may not work for everyone but at least it will give you an idea of how easy it is to weave subtext in. For me it's like building blocks, you start at the bottom and build up. When I write a first draft I always write the dialogue in plain English so I know exactly what is happening in any particular scene. I don't try and hide what is being thought by the characters, I just write it plain and on the nose.
When I sit down and do another pass on the first draft I will look at the dialogue in every scene and decide how I'm going to get rid of the obvious dialogue and replace it with subtext.
This is why subtext is important. It's not what the characters say, it's what they don't say and what they imply. The first example is too obvious while the second shows how reluctant George is to mention Sam and equally how much Ruth is determined not to talk about him. Ruth's reaction illustrates just how she feels about Sam without stating the obvious.
So if you're stuck on how to write subtext then just write it plain English to start with, then go back and try to hint at what you want to say, without actually saying it in an obvious way. Your screenplays will be richer for it.
The way I do it may not work for everyone but at least it will give you an idea of how easy it is to weave subtext in. For me it's like building blocks, you start at the bottom and build up. When I write a first draft I always write the dialogue in plain English so I know exactly what is happening in any particular scene. I don't try and hide what is being thought by the characters, I just write it plain and on the nose.
GEORGE
I was just wondering how are you and Sam getting along, have you patched up your differences yet?
RUTH
No, I hate him... in fact I wish he was dead.
When I sit down and do another pass on the first draft I will look at the dialogue in every scene and decide how I'm going to get rid of the obvious dialogue and replace it with subtext.
GEORGE
(careful)
I saw Sam the other day.
RUTH
(abrupt)
I fancy a tea. Want one?
This is why subtext is important. It's not what the characters say, it's what they don't say and what they imply. The first example is too obvious while the second shows how reluctant George is to mention Sam and equally how much Ruth is determined not to talk about him. Ruth's reaction illustrates just how she feels about Sam without stating the obvious.
So if you're stuck on how to write subtext then just write it plain English to start with, then go back and try to hint at what you want to say, without actually saying it in an obvious way. Your screenplays will be richer for it.
Wednesday, May 22, 2013
HOLIDAY
Right I'm off on a well deserved holiday and I won't be back until the 5th June.
I need one I can tell you. I was getting a bit fatigued with all this writing and no break, so I'm looking forward to just relaxing (can you do that with two kids in tow?), reading and emptying my mind of the clutter it's accumulated over the last two and a half years. It's been a roller coaster ride and it's only now that I realise I haven't stopped once in all that time. I am so looking forward to my time away :-)
So I'll leave you with one thought - At the beginning of this week I went out for a drink with two local film makers and while I was eagerly supping the fruits of their generosity they asked me if it was worth going to the London Screenwriters' Festival. I nearly choked on my pint.
Five hundred delegates, producers, directors, writers, great speakers, fantastic opportunities to network, pitching to industry professionals who CAN get your work made, great conversation and of course the script labs. That's just a small taste, as I'm sure I've missed loads out. It's an awesome three days and well worth the money. WHY WOULD YOU NOT WANT TO GO????
Book your ticket and I'll see you there in October.
I need one I can tell you. I was getting a bit fatigued with all this writing and no break, so I'm looking forward to just relaxing (can you do that with two kids in tow?), reading and emptying my mind of the clutter it's accumulated over the last two and a half years. It's been a roller coaster ride and it's only now that I realise I haven't stopped once in all that time. I am so looking forward to my time away :-)
So I'll leave you with one thought - At the beginning of this week I went out for a drink with two local film makers and while I was eagerly supping the fruits of their generosity they asked me if it was worth going to the London Screenwriters' Festival. I nearly choked on my pint.
Five hundred delegates, producers, directors, writers, great speakers, fantastic opportunities to network, pitching to industry professionals who CAN get your work made, great conversation and of course the script labs. That's just a small taste, as I'm sure I've missed loads out. It's an awesome three days and well worth the money. WHY WOULD YOU NOT WANT TO GO????
Book your ticket and I'll see you there in October.
Wednesday, May 15, 2013
FORTY KEY SCENES - REVISITED
When I finished the rough draft of my current feature I posted a picture on Facebook and Twitter of my index cards all crossed off. Some of you asked what they were and what I used them for, and even though I've talked about this subject before, I really think it's worth mentioning again. It basically works like this.
Go buy a pack of index card, doesn't really matter what colour, unless of course you want to use a different colour for a different act. Count out 40 of them and start writing short paragraphs of each scene you would like in your script, one to each card. You probably won't have 40 scenes in your head yet so plenty of those cards will be blank. Not to worry you're about to fill those in next.
The index cards should be split like this: 10 for the 1st act, 20 for the 2nd and 10 for the 3rd. Card 5 should be the inciting incident, card 10 the end of the first act, card 20 the midpoint, card 30 the end of act 2 and card 40 the end of your screenplay.
Now you fill the rest of those cards in and pin them up on a wall somewhere, a nice big wall so you can spread the cards out. Don't worry if you change some of your ideas as you go along, that's why you bought lots of cards, because your plot will change as you discover gaping holes in it and areas that need more work. It really helps to visualise your plot and where its faults lie. When the 40 are full, get writing that screenplay.
Cross off each card as you go and if you get a little stuck move on to another card and come back later to the one that was giving you trouble. When they're all crossed off that's your first draft complete.
Of course these are not hard and fast rules of how you should plot, but this is how I do it. Things change fast as I write and I often find scenes will change, new scenes will be added and some will be removed altogether. The index cards are only a guideline to help me focus on my characters. Of course you could go a little over board and write each characters appearance on those cards in a different colour, so it all looks very pretty, but that's up to you.
Happy writing!
Go buy a pack of index card, doesn't really matter what colour, unless of course you want to use a different colour for a different act. Count out 40 of them and start writing short paragraphs of each scene you would like in your script, one to each card. You probably won't have 40 scenes in your head yet so plenty of those cards will be blank. Not to worry you're about to fill those in next.
The index cards should be split like this: 10 for the 1st act, 20 for the 2nd and 10 for the 3rd. Card 5 should be the inciting incident, card 10 the end of the first act, card 20 the midpoint, card 30 the end of act 2 and card 40 the end of your screenplay.
Now you fill the rest of those cards in and pin them up on a wall somewhere, a nice big wall so you can spread the cards out. Don't worry if you change some of your ideas as you go along, that's why you bought lots of cards, because your plot will change as you discover gaping holes in it and areas that need more work. It really helps to visualise your plot and where its faults lie. When the 40 are full, get writing that screenplay.
Cross off each card as you go and if you get a little stuck move on to another card and come back later to the one that was giving you trouble. When they're all crossed off that's your first draft complete.
Of course these are not hard and fast rules of how you should plot, but this is how I do it. Things change fast as I write and I often find scenes will change, new scenes will be added and some will be removed altogether. The index cards are only a guideline to help me focus on my characters. Of course you could go a little over board and write each characters appearance on those cards in a different colour, so it all looks very pretty, but that's up to you.
Happy writing!
Wednesday, May 08, 2013
LIFE
Sometimes life is stranger than fiction and can often provide a writer with a rich source of crazy shit to write about.
Take the news story of the three kidnapped woman in Ohio who finally escaped their captor this week, after one was held captive for ten years. Relocate the story to inner city London and you have a very intense, low budget, psychological horror. Brilliant!
Then what about the singer who hired a cop to kill his wife? Could that work as a low budget UK film?Or what about the story of three people dead after a ship crashes into a port? Could something more sinister be at play that caused the crash? Aliens perhaps? OK, maybe that one's a bit silly, but I think you get my drift.
There was a news story a few weeks ago, I'm not going to tell you which one, that grabbed my imagination by the dangly bits and gave a sharp tug. Now I can't get the idea out of my head even though I'm supposed to be working on other things. And it's constantly growing and developing into a living breathing thing. It's alive I tell you....ALIVVVVVVEEEEEE!!!
So watch the news. Read newspapers. Search the web. Your next script idea is out there waiting for you.
Take the news story of the three kidnapped woman in Ohio who finally escaped their captor this week, after one was held captive for ten years. Relocate the story to inner city London and you have a very intense, low budget, psychological horror. Brilliant!
Then what about the singer who hired a cop to kill his wife? Could that work as a low budget UK film?Or what about the story of three people dead after a ship crashes into a port? Could something more sinister be at play that caused the crash? Aliens perhaps? OK, maybe that one's a bit silly, but I think you get my drift.
There was a news story a few weeks ago, I'm not going to tell you which one, that grabbed my imagination by the dangly bits and gave a sharp tug. Now I can't get the idea out of my head even though I'm supposed to be working on other things. And it's constantly growing and developing into a living breathing thing. It's alive I tell you....ALIVVVVVVEEEEEE!!!
So watch the news. Read newspapers. Search the web. Your next script idea is out there waiting for you.
Wednesday, April 24, 2013
BOOKING TIME FOR YOURSELF
I was catching up on Danny & Tim's internationally renowned UK Scriptwriters' Podcast (LINK), while I was walking the dog the other day, and they were talking about making time for yourself.
Tim mentioned he had booked some time off in February, writing it in his diary as he would any other appointment or deadline, to focus on his own work. He did this because he found when he was busy with commissioned projects he had little or no time to work on his own spec screenplays and by setting aside time for himself he was able to do just that.
I was chatting to Daniel Martin Eckhart at LSWF last October and he was also talking about taking a year out from his commissioned work to focus on his own ideas. He had been working non stop for years on other people's projects since he was handed his first commission and felt it was time to concentrate on his own specs.
I have the same problem. Back in December 2011 I planned to write a second draft of my comedy heist feature A FIST FULL OF EUROS, then in January 2012 I landed my first commissioned feature screenplay. I've been working steadily ever since and I still haven't found time to get back to the script. And I probably won't do for some while yet, as after I've finished my latest commission I'll immediately start a new one.
It's the same kind of problem I had when I worked full-time and struggled to find the time to write. But I made myself find the time, made myself sit down and write, even when I didn't feel like it.
It's great being busy but I do miss working on my own stuff when I'm working for other people. So I've decided to book myself in my diary for some me time, one day a week until A FIST FULL OF EUROS is done. But which day to choose?
Tim mentioned he had booked some time off in February, writing it in his diary as he would any other appointment or deadline, to focus on his own work. He did this because he found when he was busy with commissioned projects he had little or no time to work on his own spec screenplays and by setting aside time for himself he was able to do just that.
I was chatting to Daniel Martin Eckhart at LSWF last October and he was also talking about taking a year out from his commissioned work to focus on his own ideas. He had been working non stop for years on other people's projects since he was handed his first commission and felt it was time to concentrate on his own specs.
I have the same problem. Back in December 2011 I planned to write a second draft of my comedy heist feature A FIST FULL OF EUROS, then in January 2012 I landed my first commissioned feature screenplay. I've been working steadily ever since and I still haven't found time to get back to the script. And I probably won't do for some while yet, as after I've finished my latest commission I'll immediately start a new one.
It's the same kind of problem I had when I worked full-time and struggled to find the time to write. But I made myself find the time, made myself sit down and write, even when I didn't feel like it.
It's great being busy but I do miss working on my own stuff when I'm working for other people. So I've decided to book myself in my diary for some me time, one day a week until A FIST FULL OF EUROS is done. But which day to choose?
Wednesday, April 17, 2013
REWRITTEN
The producer and director of my first commissioned feature have moved on from my polished draft and rewritten it themselves. I have to admit I wasn't entirely sure how I felt about this at first.
It was a very tough first commissioned feature to write as the producer and director were very precise about what they wanted, even to the point of spending four hours on Skype with me going through the final draft of the script line by line. It was incredibly difficult to put my own mark on the script and at times I became frustrated, especially when I didn't agree with what they were asking of me. I worked very hard on the script to give them what they wanted while also making sure it was the best it could be. Now they have informed me they have moved on from my draft.
I haven't seen the new draft so obviously I'm a little nervous because I know some of their suggestions for changes wouldn't have worked. It's hard to accept that things are now out of my control as my name will still be on the credits. I keep thinking, 'What if the changes they made don't work? What if they've made the screenplay worse? What if the screenplay is now utter rubbish and everyone is going to think I can't write?' Of course that's just my writers' paranoia popping out to say hello and I really shouldn't be listening to it.
The fact is there are always going to be changes to a screenplay, even during production, and as a writer I have to trust the vision of the producer and director. It doesn't matter what I think. It's their film. What matters is the producer and director get what they want. My doubts and fears don't come into it.
So I've decided I shouldn't fear being rewritten as it's just part of a process. I did my job. I did it well. A new draft is not a bad reflection on me. I've given them a great base from which to move forward and I'm looking forward to seeing the finished film.
It was a very tough first commissioned feature to write as the producer and director were very precise about what they wanted, even to the point of spending four hours on Skype with me going through the final draft of the script line by line. It was incredibly difficult to put my own mark on the script and at times I became frustrated, especially when I didn't agree with what they were asking of me. I worked very hard on the script to give them what they wanted while also making sure it was the best it could be. Now they have informed me they have moved on from my draft.
I haven't seen the new draft so obviously I'm a little nervous because I know some of their suggestions for changes wouldn't have worked. It's hard to accept that things are now out of my control as my name will still be on the credits. I keep thinking, 'What if the changes they made don't work? What if they've made the screenplay worse? What if the screenplay is now utter rubbish and everyone is going to think I can't write?' Of course that's just my writers' paranoia popping out to say hello and I really shouldn't be listening to it.
The fact is there are always going to be changes to a screenplay, even during production, and as a writer I have to trust the vision of the producer and director. It doesn't matter what I think. It's their film. What matters is the producer and director get what they want. My doubts and fears don't come into it.
So I've decided I shouldn't fear being rewritten as it's just part of a process. I did my job. I did it well. A new draft is not a bad reflection on me. I've given them a great base from which to move forward and I'm looking forward to seeing the finished film.
Friday, March 22, 2013
JOHN YORKE - INTO THE WOODS
On April 4th 2013 the legendary John Yorke will launch his book INTO THE WOODS, a detailed study of the five act structure.
To celebrate this epic event I have been lucky enough to grab a place for one very lucky reader of my blog, for his online course starting in September 2013. Yep you read that right, a place on his sixteen week online course starting September 2013. And yes it is as great an opportunity as it sounds. You can't afford to miss an opportunity like this!
So as of today until the 4th April I will be holding a logline competition for the best TV series logline posted here in the comments section (and only in the comments section, not on Twiter or anywhere else) by your good selves. I will then choose one worthy winner who will be offered to opportunity of a place on the course. How utterly wicked is that? Find out further details about the course HERE.
So start posting those loglines and keep an eye out on the 4th April to see if you've won. Here's an example logline from one of my TV ideas to aid you in thinking up one of your own:
Good luck everyone, I'm looking forward to reading your loglines.
*EMERGENCY UPDATE*
The prize has changed. No longer will the winner be given a place on John Yorke's 16 week online course. Instead you will spend a day face to face with the man himself. Yes...I did just say face to face with the man himself. I know, I just came in my pants too.
Whoever the winner is, is one lucky so and so and had better make sure they make the most of the opportunity, because even I don't get the chance to meet the great man himself. So get those loglines in QUICK!!!!!
To celebrate this epic event I have been lucky enough to grab a place for one very lucky reader of my blog, for his online course starting in September 2013. Yep you read that right, a place on his sixteen week online course starting September 2013. And yes it is as great an opportunity as it sounds. You can't afford to miss an opportunity like this!
So as of today until the 4th April I will be holding a logline competition for the best TV series logline posted here in the comments section (and only in the comments section, not on Twiter or anywhere else) by your good selves. I will then choose one worthy winner who will be offered to opportunity of a place on the course. How utterly wicked is that? Find out further details about the course HERE.
So start posting those loglines and keep an eye out on the 4th April to see if you've won. Here's an example logline from one of my TV ideas to aid you in thinking up one of your own:
"A career criminal is discovered by police lying injured next to the bloody corpse of a woman. To prove his innocence he is forced to escape and wade through Manchester’s criminal underbelly to find the person responsible."
INTO THE WOODS: A FIVE ACT JOURNEY INTO STORY is an invaluable guide to writing by John Yorke, the Managing Director of Company Pictures and founder of the BBC Writer's Academy. Yorke takes us on a journey into the heart of storytelling, revealing that there truly is a unifying shape to narrative forms - one that echoes the great fairytale journey into the woods and, like any great art, comes from within.
'Even for a convinced sceptic, John Yorke¹s book, with its massive field of reference from Aristotle to Glee, and from Shakespeare to Spooks, is a highly persuasive and hugely enjoyable read. It would be hard to beat for information and wisdom about how and why stories are told.'
Dominic Dromgoole
Artistic Director, The Globe Theatre
Good luck everyone, I'm looking forward to reading your loglines.
*EMERGENCY UPDATE*
The prize has changed. No longer will the winner be given a place on John Yorke's 16 week online course. Instead you will spend a day face to face with the man himself. Yes...I did just say face to face with the man himself. I know, I just came in my pants too.
Whoever the winner is, is one lucky so and so and had better make sure they make the most of the opportunity, because even I don't get the chance to meet the great man himself. So get those loglines in QUICK!!!!!
Wednesday, March 20, 2013
BIG TALK
So this evening at 6.30pm I will be talking to a gathering of Bournemouth University scriptwriting students (I think they are collectively known as a 'Piss Up'). I will be divulging all the knowledge I have accumulated over the years on how to carve out a successful writing career. That should take all of five minutes then....at least I'll be home early.
When I was asked to give a talk at the university I jumped at the chance. So many people have given me advice over the years, whether they knew it or not, it's good to be able to pass on that knowledge to a new generation of emerging writers. I only wish there had been more people willing to give up their time and their advice when I was on the scriptwriting degree in 1998-2001.
The scriptwriting degree was great but fell short I think because it only taught me about the writing side of a career. Hardly anything at all was mentioned about how to go about getting work and networking. Indeed it took me four years after leaving university to realise I actually knew nothing about the business and another six years to learn all I could while networking like crazy. And I still don't know a lot.
Since I escaped university with my degree, giant leaps have been made on the internet, with things like Skype, Blogger, LinkedIn, Facebook and Twitter, aiding writers to put themselves out there and connect with other like minded individuals. Technology has leapt forward too with phones that can now do all the above where ever the writer might be. No longer is a writer tied to their desk. I never had any of that when I started out....or 'Back In The Day' as I call it.
That's why I'm glad the opportunity arose to give this talk. Emerging writers have it so much better these days with people like myself, Danny Stack, Tim Clague and Lucy Hay giving up our time to pass on our knowledge. You don't know how lucky you are.
Christ, I sound like my dad!
When I was asked to give a talk at the university I jumped at the chance. So many people have given me advice over the years, whether they knew it or not, it's good to be able to pass on that knowledge to a new generation of emerging writers. I only wish there had been more people willing to give up their time and their advice when I was on the scriptwriting degree in 1998-2001.
The scriptwriting degree was great but fell short I think because it only taught me about the writing side of a career. Hardly anything at all was mentioned about how to go about getting work and networking. Indeed it took me four years after leaving university to realise I actually knew nothing about the business and another six years to learn all I could while networking like crazy. And I still don't know a lot.
Since I escaped university with my degree, giant leaps have been made on the internet, with things like Skype, Blogger, LinkedIn, Facebook and Twitter, aiding writers to put themselves out there and connect with other like minded individuals. Technology has leapt forward too with phones that can now do all the above where ever the writer might be. No longer is a writer tied to their desk. I never had any of that when I started out....or 'Back In The Day' as I call it.
That's why I'm glad the opportunity arose to give this talk. Emerging writers have it so much better these days with people like myself, Danny Stack, Tim Clague and Lucy Hay giving up our time to pass on our knowledge. You don't know how lucky you are.
Christ, I sound like my dad!
Wednesday, March 13, 2013
YOU NEVER KNOW
A few weeks ago a friend phoned me up and asked me to read a short novel he had bought the rights to, with the aim of me writing the screenplay later in the year.
I was told it was an erotic gay novel about a 14-year-old boy and his first love and I knew it wasn't something that really appealed to me. Don't get me wrong, I'm not homophobic, far from it in fact, it's just not a subject matter I have an interest in writing. I've never even attempted a rom-com for goodness sake. Anyone who is familiar with my writing knows I like to write dark character based drama, the dark side of human nature and what we do to others because of our own selfish needs and desires. A romantic story of love and friendship couldn't be further from my comfort zone. But as I'm as good as my word I read the novel so I could at least give my friend my thoughts on it.
The book surprised me! In fact it knocked me for six. So when I'd read about halfway I phoned my friend up and told him I was writing the screenplay. That was all it took, just half the novel, to get me hooked.
What appealed to me was the growth of the relationship and how both boys learnt from each other and grew into men. It wasn't pornographic, it wasn't overly erotic, it was just a wonderful love story of two friends. It reminded me a lot of growing up in the Leicestershire countryside, staying out all day during the summer, exploring, adventuring and climbing trees, days that my parents didn't have to worry about where I was, or what I was up to. Those were the days of true freedom modern children, in our overprotective society, will never know. And reading that novel took me back to a time I long thought I had lost.
I finished the novel yesterday and I still know I've made the right choice to write the screenplay. You might be offered something that isn't your cup of tea at some point in your career. Don't turn it down. Explore the story and see if there is something in it that surprises you, something that grabs your attention and resonates with you so strongly you have no choice but to follow it through. You just never know.
If you are wondering what the book was that grabbed my imagination so, then you should hunt it down and read it. The book is called Cowboys Can Fly by Ken Smith.
I was told it was an erotic gay novel about a 14-year-old boy and his first love and I knew it wasn't something that really appealed to me. Don't get me wrong, I'm not homophobic, far from it in fact, it's just not a subject matter I have an interest in writing. I've never even attempted a rom-com for goodness sake. Anyone who is familiar with my writing knows I like to write dark character based drama, the dark side of human nature and what we do to others because of our own selfish needs and desires. A romantic story of love and friendship couldn't be further from my comfort zone. But as I'm as good as my word I read the novel so I could at least give my friend my thoughts on it.
The book surprised me! In fact it knocked me for six. So when I'd read about halfway I phoned my friend up and told him I was writing the screenplay. That was all it took, just half the novel, to get me hooked.
What appealed to me was the growth of the relationship and how both boys learnt from each other and grew into men. It wasn't pornographic, it wasn't overly erotic, it was just a wonderful love story of two friends. It reminded me a lot of growing up in the Leicestershire countryside, staying out all day during the summer, exploring, adventuring and climbing trees, days that my parents didn't have to worry about where I was, or what I was up to. Those were the days of true freedom modern children, in our overprotective society, will never know. And reading that novel took me back to a time I long thought I had lost.
I finished the novel yesterday and I still know I've made the right choice to write the screenplay. You might be offered something that isn't your cup of tea at some point in your career. Don't turn it down. Explore the story and see if there is something in it that surprises you, something that grabs your attention and resonates with you so strongly you have no choice but to follow it through. You just never know.
If you are wondering what the book was that grabbed my imagination so, then you should hunt it down and read it. The book is called Cowboys Can Fly by Ken Smith.
Wednesday, February 27, 2013
RANDOM THOUGHTS
Don't aspire...BE!
Never say you don't have time...MAKE TIME!
Write everyday.
Do or do not, there is no try.
Phone somebody and ask them what they're working on.
Don't forget to order printer ink BEFORE you run out.
And the same with printer paper.
Wear clean underwear everyday, your mum will be proud.
Read lots.
Watch lots.
Write lots.
Create lots.
Brush your teeth morning and night.
Work hard on your characters or they will be rubbish.
Always be kind to your children and tell them you love them everyday. There are thousands of children all over the world who never hear those words.
Be proactive.
Don't procrastinate.
Always cut the blue wire.
Share knowledge.
Help where you can.
Give generously to charity.
Do something that scares you every so often.
Get out of the house once a day.
Exercise.
Don't forget to shower.
Write lists.
Tick those items off your lists.
Sleep well.
Proof read everything.
Rewrite.
Go make yourself a cup of tea and enjoy the rest of your Wednesday. It is what you make of it.
Never say you don't have time...MAKE TIME!
Write everyday.
Do or do not, there is no try.
Phone somebody and ask them what they're working on.
Don't forget to order printer ink BEFORE you run out.
And the same with printer paper.
Wear clean underwear everyday, your mum will be proud.
Read lots.
Watch lots.
Write lots.
Create lots.
Brush your teeth morning and night.
Work hard on your characters or they will be rubbish.
Always be kind to your children and tell them you love them everyday. There are thousands of children all over the world who never hear those words.
Be proactive.
Don't procrastinate.
Always cut the blue wire.
Share knowledge.
Help where you can.
Give generously to charity.
Do something that scares you every so often.
Get out of the house once a day.
Exercise.
Don't forget to shower.
Write lists.
Tick those items off your lists.
Sleep well.
Proof read everything.
Rewrite.
Go make yourself a cup of tea and enjoy the rest of your Wednesday. It is what you make of it.
Wednesday, February 20, 2013
LISTEN UP
One of the first lessons I learnt when I started out as a screenwriter was to take constructive criticism from feedback notes, to analyse what others had to say about my work, identify the weak areas of my screenplay and correct them. I've known people who can't do that and have to argue against every criticism, or give long explanations for something that isn't clearly evident in their screenplay.
Criticism doesn't hurt! In fact criticism is a must for writers who want to improve. The first draft of anything is always shit. The second draft too. And the third. But by the fourth the screenplay might actually start to resemble something half reasonable. My optioned screenplay FAITH has had at least twenty full, start to finish rewrites, and that's not including the little tweaks to dialogue or action. So here's my advice for taking criticism in feedback notes well.
Criticism doesn't hurt! In fact criticism is a must for writers who want to improve. The first draft of anything is always shit. The second draft too. And the third. But by the fourth the screenplay might actually start to resemble something half reasonable. My optioned screenplay FAITH has had at least twenty full, start to finish rewrites, and that's not including the little tweaks to dialogue or action. So here's my advice for taking criticism in feedback notes well.
- If the criticism hurts and makes you angry, put the notes down and walk away for a few days. When you come back to them you'll find the criticism wasn't actually that bad and some of the notes were actually quite insightful.
- Always get notes form more than one source so you can compare and identify where the common issues crop up. It's these issues you definitely need to work on and can't afford to ignore. The other suggested changes are for you to decide on. Some you'll implement and some you won't.
- Read the feedback notes again and again and ask yourself why the reader has highlighted those particular issues. They may have noticed something you missed.
- Don't be afraid to throw away your script and start again.
- Rewrite, rewrite, rewrite, rewrite, rewrite...
- Your final draft will barley resemble your first. The story and characters will change and it will almost be like they are two entirely different screenplays.
- Always thank the people who have given you feedback, even if you think they are idiots.
Criticism isn't personal and is something you're going to have to get used to if you want to improve and have a long and successful career.
Wednesday, February 13, 2013
IDEAS
I discard 90% of the ideas I come up with almost immediately, mainly because they're not fully formed, or simply because they're too loony to put on paper. But I never waste an idea. OK, I know that's an oxymoron so let me explain.
All ideas are valuable even if they can't be used straight away. It's very rare for an idea to pop into my head fully formed, when they do it's an awe inspiring moment. Mostly those ideas are just bits and pieces, a line of dialogue, a character, a funny situation, a visual, but every single one of them is valuable and should always be written down.
Occasionally I go through these ideas and if I'm lucky they will connect with others and grow into something special. My optioned thriller feature FAITH started out life as just an idea for one character. From there it grew. Other ideas, old and new, attached themselves and the project morphed into something real and substantial. I can't remember where all of the ideas came from, in fact I can only remember the original one, but the point is all those little forgotten ideas came together to make something special.
That's why you should never waste an idea. Make sure you always write it down, no matter how small it might be, or how insignificant. I always have a notebook and pen within reach and any idea, no matter how small or silly gets written down. I never know when one might spark further inspiration. I have created more ideas than I will ever get around to using, but if I need a little inspiration I am able to go back through my notes and look for that one nugget that will spark my imagination. I even have one character I created years ago, whom I love and adore, yet I still haven't used him. I'm waiting for the right situation to place him in. I haven't found it yet but it doesn't mean I won't someday in the future. I don't want to waste him as he's special. Of course he may never actually get used, but I hope he will one day.
Where do ideas come from? Anywhere! It's that simple. They can come from newspaper articles, an overheard conversation, a situation I find myself in, something that has happened to people I know, the odd characters I meet along the way through my rather odd little life, but mostly my ideas spring from that half sleep state, that edge of consciousness that lets my brain tell me stories just before I drop off into proper REM sleep. It's difficult to remember them all and I've always wondered if I've dreamt an Oscar winning screenplay and forgotten it.
How do you get your ideas and where is the strangest place you've come up with one?
All ideas are valuable even if they can't be used straight away. It's very rare for an idea to pop into my head fully formed, when they do it's an awe inspiring moment. Mostly those ideas are just bits and pieces, a line of dialogue, a character, a funny situation, a visual, but every single one of them is valuable and should always be written down.
Occasionally I go through these ideas and if I'm lucky they will connect with others and grow into something special. My optioned thriller feature FAITH started out life as just an idea for one character. From there it grew. Other ideas, old and new, attached themselves and the project morphed into something real and substantial. I can't remember where all of the ideas came from, in fact I can only remember the original one, but the point is all those little forgotten ideas came together to make something special.
That's why you should never waste an idea. Make sure you always write it down, no matter how small it might be, or how insignificant. I always have a notebook and pen within reach and any idea, no matter how small or silly gets written down. I never know when one might spark further inspiration. I have created more ideas than I will ever get around to using, but if I need a little inspiration I am able to go back through my notes and look for that one nugget that will spark my imagination. I even have one character I created years ago, whom I love and adore, yet I still haven't used him. I'm waiting for the right situation to place him in. I haven't found it yet but it doesn't mean I won't someday in the future. I don't want to waste him as he's special. Of course he may never actually get used, but I hope he will one day.
Where do ideas come from? Anywhere! It's that simple. They can come from newspaper articles, an overheard conversation, a situation I find myself in, something that has happened to people I know, the odd characters I meet along the way through my rather odd little life, but mostly my ideas spring from that half sleep state, that edge of consciousness that lets my brain tell me stories just before I drop off into proper REM sleep. It's difficult to remember them all and I've always wondered if I've dreamt an Oscar winning screenplay and forgotten it.
How do you get your ideas and where is the strangest place you've come up with one?
Wednesday, January 30, 2013
REWRITES REVISITED
Yesterday, Claire Yeowart answered one of my Tweets when I posted I was working on two rewrites at the same time.
Happy reading and writing.
@ClaireYeowart One feature rewrite. Major overhaul type. Never done such a massive rewrite in one sitting so finding it difficult!So I thought it was time to link back to a couple of old posts about rewriting to help those who are struggling to get it done. Here's the FIRST, a little comedy blog about how rewrites are so hard, and here's the SECOND, a more serious blog about how to split the workload down so it doesn't overwhelm you.
Happy reading and writing.
Wednesday, January 23, 2013
YOU ARE WHAT YOU WATCH
I find watching TV and films regularly is a must if you're a writer, even stuff you don't like. You have to know what works and what doesn't, and more importantly why it works or doesn't.
Somebody told me not long ago (sorry, can't remember who, but thank you anyway) that British TV producers hate it when writers reel off a list of their favorite programmes, only for all, or the majority of them to be from the US. It makes a lot of sense really, if you think about it.
When you're sat pitching your TV detective drama idea to a British producer and you're asked what other TV programmes in that genre you like, it's going to look odd if you reply with CSI, Hawaii Five-O and Murder She Wrote. It shows a total lack of interest in, and disrespect for, British TV. The producer is going to wonder why on earth you want to write for British TV when you obviously love US TV so much. It's like saying 'I love all these programmes and want to make something similar, because there's nothing of note on British TV.' You've probably just insulted someone who's made several critically acclaimed and successful detective TV dramas. It wouldn't be a great surprise then if you failed to get a commission. So the motto here is, 'If you want to write for British TV, then watch British TV.'
If you are working on a project in a specific genre then it's a great idea to watch as many films and TV programs in the same genre. It'll give you the chance to see how other writers have used their skills to a better or worse effect, how the shows or films are structured, the type of characters they are populated with and how the set pieces play out. This will help you in two ways; to become familiar with the genre and to avoid cliché and common pitfalls.
It's also worth mentioning that refreshing your skills by reading screenwriting books or articles is not a bad idea too, even for established writers. You never know when you will be reminded of something you have forgotten long ago, that will help you become a better writer.
Now go and watch as much British TV and features as you can over the next week and see how much you can learn from them.
See you next week.
Somebody told me not long ago (sorry, can't remember who, but thank you anyway) that British TV producers hate it when writers reel off a list of their favorite programmes, only for all, or the majority of them to be from the US. It makes a lot of sense really, if you think about it.
When you're sat pitching your TV detective drama idea to a British producer and you're asked what other TV programmes in that genre you like, it's going to look odd if you reply with CSI, Hawaii Five-O and Murder She Wrote. It shows a total lack of interest in, and disrespect for, British TV. The producer is going to wonder why on earth you want to write for British TV when you obviously love US TV so much. It's like saying 'I love all these programmes and want to make something similar, because there's nothing of note on British TV.' You've probably just insulted someone who's made several critically acclaimed and successful detective TV dramas. It wouldn't be a great surprise then if you failed to get a commission. So the motto here is, 'If you want to write for British TV, then watch British TV.'
If you are working on a project in a specific genre then it's a great idea to watch as many films and TV programs in the same genre. It'll give you the chance to see how other writers have used their skills to a better or worse effect, how the shows or films are structured, the type of characters they are populated with and how the set pieces play out. This will help you in two ways; to become familiar with the genre and to avoid cliché and common pitfalls.
It's also worth mentioning that refreshing your skills by reading screenwriting books or articles is not a bad idea too, even for established writers. You never know when you will be reminded of something you have forgotten long ago, that will help you become a better writer.
Now go and watch as much British TV and features as you can over the next week and see how much you can learn from them.
See you next week.
Wednesday, January 16, 2013
FREE vs PAID
@Mockwriter: "How much 'free' work should you complete, if any, before requiring/demanding payment for a project? When building a relationship with a producer you send material, they have ideas, you suggest/write ideas, but how much of back-and-forth before you have to say 'contract/remuneration?', without souring the relationship?"
An excellent question and a difficult one to answer. This depends on many different factors such as where you are with your writing career, who the producer/director is, how much money they have, the film's budget and what they're asking you to do. In an ideal world you should be paid for all the work you do, but sometimes you have to make compromises.
Firstly never demand, always ask politely, and firmly if you have to.
The most important thing I would say is never do any work without some kind of agreement in place, at the very least for a credit, and preferably with a deferred payment and an agreed percentage of the producer's profits. If it's down on paper, and has been signed and agreed by both parties, then the details can't be argued. Any producer/director on the level shouldn't have a problem with this, it's how they work and they're used to it. Don't be afraid to ask. Equally, if they say no don't be afraid to walk away because it's your only writing opportunity to date.
Why should you have an agreement in place? I've been caught out two or three times by student filmmakers, who have promised a credit and payment for short films, only for them to vanish when the finished script was forwarded on to them. I had to contact one particular student director's tutor to stop him using a short film script of mine for his coursework after he failed to pay the agreed fee. Unfortunately for him he failed his final year assignment because of it. Make sure an agreement is in place and signed BEFORE the writing begins. Never hand over any work you don't have an agreement for. You are only asking for trouble if you do.
Low budget films are where I would expect a writer to do some work for free. When a project begins the producer/director will initially be spending their own money, so there might not be much, if any at all, for the writer. Costs have to be kept to a minimum if the project is to make it to production. This is where the deferred payment agreement comes into its own. It allows the project to move forward until funding is found (this is usually when the writer gets paid), so it can eventually go into production. What you don't want to happen as a writer is to demand money, get a token amount begrudgingly from the producer/director and then find the project fizzles out because the producer/director has run out of money and can't afford to take it forward any further. The aim here is to get the project made and to get paid.
With mid to high budget features and well known, established production companies you can expect to be paid upfront and on delivery for your work. The bigger companies/producers/directors will have money behind them and will be able to pay you as you work. However, if you are a new writer with little or no track record they may ask for a first draft of your idea before an agreement and payment is forthcoming, simply because your work isn't yet proven. Why would they spend thousands of pounds out on an idea only to find you can't actually write?
Should you ask for payment when a producer/director options your low budget screenplay? Again it depends on whether the producer/director has any money or not. I've seen writers without a single writing credit give advice on Facebook and Twitter insisting a writer should always be paid upfront, even for an option, and should never accept a £1 option from anyone. And they wonder why they don't get commissioned. As a writer you have to build your profile and low budget features and short films are the way to do this. It is perfectly acceptable for a new or unproven writer to accept a £1 option on their screenplay and then do any requested rewrites for free. What should it matter if you have an agreement in place where you know you'll get paid when the project gets funding? Isn't that yours and the producer/director's ultimate aim, to get the project made? If the project fails to get funding no one will be paid anyway and if the project derails because of your unrealistic demands you will get a name for yourself for all the wrong reasons.
Having said that if the producer/director can, and is willing to, pay you a small amount upfront, or on delivery for your work, with the rest on deferred payment, without putting the project at risk, then this would be the idea option. It'll help you with your bills while you're writing, or rewriting the screenplay. Remember, if you don't ask, you don't get.
I heard a perfect example of how tight money is with low budget film making a couple of years ago, from a well known producer with several successful low budget British feature films under his belt. On this occasion he was paying a writer he had worked with before upfront from the project's initial meagre, budgeted funds, only for the writer to fail to meet the final script deadline by a couple of weeks, sinking the project entirely as the money ran out. Money is very tight everywhere, especially at the moment, so as a writer you have to make a choice about whether you are going to insist on payment up front for a low budget feature, or a deferred payment.
Every project is a gamble and you have to make your own mind up on which of those you think will have the better chance of eventually being produced and are worth working on, initially for free, to get that deferred payment you have agreed.
Wednesday, January 09, 2013
STAGNANT SCENES
One of the biggest traps writers fall into, new writers especially, is writing scenes with just two people sitting, or standing, and talking their way through large chunks of exposition. In other words stagnant scenes. They are not visually appealing, slow and heavy to watch, and in most cases very boring. So how do you make scenes like these more visually interesting?
Here's a scene from an earlier draft of a TV detective drama pilot of mine.
EXT. CANAL - NIGHT
Dan and Gary stand by the canal and check out a warehouse on the opposite bank.
GARY
Malcolm Price is a serious villain. It’s rumoured he was in on the Brink's-Mat robbery. He wasn’t even fingered by the police because the others were too scared to give him up. The police have been trying to put him away for years without success. How well do you know this Mick?
DAN
Pretty well. We grew up together.
GARY
Malcolm Price has managed to stay out of the law’s reach this long for one reason only. He’s the kind of person to take action, not bother with questions. If he thinks someone is looking too closely into his affairs they tend to disappear. If I start looking for Mick it’s going to draw unwanted attention. However, if an old friend decides to look him up?
DAN
Malcolm Price is less likely to take an interest.
GARY
Or something like that.
DAN
So why are we here?
GARY
About a year ago I was working for a local business man whose partner emptied the business account and did a runner. He let slip he’d had dealings with Malcolm Price and had bought the warehouse in front of us on his instruction. Malcolm Price owns it even if the official paper work says otherwise. It might be nothing but it’s a start. You’re going to keep an eye on it until the morning to see what you can learn.
DAN
And you?
GARY
I’m going home for dinner with my family.
Gary saunters off smiling to himself. A long night awaits Dan.
Not very dynamic, is it? It will certainly be dull to watch. Here's how I made it more visually appealing in a later draft.
EXT. CANAL - NIGHT
Dan and Gary walk along by the canal, check out the rear of a warehouse behind the wall.
GARY
Malcolm Price is a serious villain. It’s rumoured he was in on the Brink's-Mat robbery. We couldn’t finger him for it because others were too scared to give him up. How well do you know this Mick?
DAN
Pretty well. We grew up together.
Gary jumps, clings onto the top of the wall and pulls himself up until he can see over. He has a good look around at the back of the warehouse, then drops to the floor again. They continue walking.
GARY
Malcolm Price has managed to stay out of reach this long for one reason only. He’s the kind of person to take action, not bother with questions... And he covers his tracks well. If I can find out what he’s up to and let the boys at the station know, maybe they can finally lock him up for good. I’m going to need help though. If I start looking closely into his affairs it’s going to draw unwanted attention. However, if an ex-con decides to look up an old friend..?
DAN
Malcolm Price is less likely to take an interest.
GARY
Or something like that.
DAN
So why are we here?
At the other end of the warehouse Gary jumps up at the wall again and peeks over. Seconds later he drops to the floor.
GARY
About a year ago I was working for a local business man whose partner emptied the business account and did a runner. He let slip he’d had dealings with Malcolm Price and had bought the warehouse on his instruction. Malcolm Price owns it, even if the official paper work says otherwise. You’re going to provide that help I mentioned by keeping an eye on the warehouse for the next twenty-four hours, logging the comings and goings.
DAN
And you?
GARY
I’m going home for dinner with my family.
Gary saunters off, smiles to himself. Dan glances up at the warehouse.
So much better, isn't it? With just a couple of extra lines of action the scene instantly becomes less stagnant and more dynamic.
Think how you can make each and every scene more visual, more appealing to the viewer, more dynamic and interesting. Your character doesn't have to do anything big, indeed they can be doing something as simple as trying to find the right channel on the TV, checking the oil level in their car, picking up their dog's poo while out on a walk, just something to ensure two characters aren't just stood there stock still talking for one or two pages.
Here's a scene from an earlier draft of a TV detective drama pilot of mine.
EXT. CANAL - NIGHT
Dan and Gary stand by the canal and check out a warehouse on the opposite bank.
GARY
Malcolm Price is a serious villain. It’s rumoured he was in on the Brink's-Mat robbery. He wasn’t even fingered by the police because the others were too scared to give him up. The police have been trying to put him away for years without success. How well do you know this Mick?
DAN
Pretty well. We grew up together.
GARY
Malcolm Price has managed to stay out of the law’s reach this long for one reason only. He’s the kind of person to take action, not bother with questions. If he thinks someone is looking too closely into his affairs they tend to disappear. If I start looking for Mick it’s going to draw unwanted attention. However, if an old friend decides to look him up?
DAN
Malcolm Price is less likely to take an interest.
GARY
Or something like that.
DAN
So why are we here?
GARY
About a year ago I was working for a local business man whose partner emptied the business account and did a runner. He let slip he’d had dealings with Malcolm Price and had bought the warehouse in front of us on his instruction. Malcolm Price owns it even if the official paper work says otherwise. It might be nothing but it’s a start. You’re going to keep an eye on it until the morning to see what you can learn.
DAN
And you?
GARY
I’m going home for dinner with my family.
Gary saunters off smiling to himself. A long night awaits Dan.
Not very dynamic, is it? It will certainly be dull to watch. Here's how I made it more visually appealing in a later draft.
EXT. CANAL - NIGHT
Dan and Gary walk along by the canal, check out the rear of a warehouse behind the wall.
GARY
Malcolm Price is a serious villain. It’s rumoured he was in on the Brink's-Mat robbery. We couldn’t finger him for it because others were too scared to give him up. How well do you know this Mick?
DAN
Pretty well. We grew up together.
Gary jumps, clings onto the top of the wall and pulls himself up until he can see over. He has a good look around at the back of the warehouse, then drops to the floor again. They continue walking.
GARY
Malcolm Price has managed to stay out of reach this long for one reason only. He’s the kind of person to take action, not bother with questions... And he covers his tracks well. If I can find out what he’s up to and let the boys at the station know, maybe they can finally lock him up for good. I’m going to need help though. If I start looking closely into his affairs it’s going to draw unwanted attention. However, if an ex-con decides to look up an old friend..?
DAN
Malcolm Price is less likely to take an interest.
GARY
Or something like that.
DAN
So why are we here?
At the other end of the warehouse Gary jumps up at the wall again and peeks over. Seconds later he drops to the floor.
GARY
About a year ago I was working for a local business man whose partner emptied the business account and did a runner. He let slip he’d had dealings with Malcolm Price and had bought the warehouse on his instruction. Malcolm Price owns it, even if the official paper work says otherwise. You’re going to provide that help I mentioned by keeping an eye on the warehouse for the next twenty-four hours, logging the comings and goings.
DAN
And you?
GARY
I’m going home for dinner with my family.
Gary saunters off, smiles to himself. Dan glances up at the warehouse.
So much better, isn't it? With just a couple of extra lines of action the scene instantly becomes less stagnant and more dynamic.
Think how you can make each and every scene more visual, more appealing to the viewer, more dynamic and interesting. Your character doesn't have to do anything big, indeed they can be doing something as simple as trying to find the right channel on the TV, checking the oil level in their car, picking up their dog's poo while out on a walk, just something to ensure two characters aren't just stood there stock still talking for one or two pages.
Tuesday, January 01, 2013
2013 - THE YEAR THAT COULD BE...
Happy New Year everyone and welcome to 2013...and yes, Johnny, it is Wednesday ;-)
It's a new start. We can forget the negative things that happened in 2012 and plough head first into a new year with renewed enthusiasm. 2013 will be what we make of it, so we'll work hard, meet lots of fascinating people and make many opportunities for ourselves. Let's hope it'll be a great year for all of us.
My goals for 2013 are as follows:
Leave your goals for 2013 here in the comments and we'll check at the end of the year and see how many were achieved. Good luck everyone and happy writing :-)
It's a new start. We can forget the negative things that happened in 2012 and plough head first into a new year with renewed enthusiasm. 2013 will be what we make of it, so we'll work hard, meet lots of fascinating people and make many opportunities for ourselves. Let's hope it'll be a great year for all of us.
My goals for 2013 are as follows:
- To write a shadow script for Holby City and be commissioned for at least one episode.
- To write two new spec features.
- To sell one of my TV series.
- To see one of the existing features I wrote in 2012 filmed over the next 12 months.
Leave your goals for 2013 here in the comments and we'll check at the end of the year and see how many were achieved. Good luck everyone and happy writing :-)
Wednesday, December 19, 2012
2012 - THE YEAR THAT WAS
Wow, what a year! I don't think I could have asked for better.
I've always been an advocate of networking and all that hard work and effort I've put in has finally paid off. So here's what's happened to me this year and how it all came about.
THE LOST SOUL - A PSYCHOLOGICAL THRILLER - PARAMITA ENTERTAINMENT LTD
(two examples of networking here)
One day in December 2011 I received a phone call from a friend I had met through several writing events, 'What are you doing, Dom?' he said.
'Nothing much,' I replied, 'just working on a spec feature.'
'Well stop because I have a job for you!'
And that's how it started. My friend had met the French producer/director team who make up Paramita Entertainment Ltd in Cannes a couple of years before and they contacted him to write a screenplay for them, from their original idea. My friend was too busy with other work, but knew it was the kind of story I love to write, and so recommended me for the project. I handed in the final draft at the end of March.
PLAYGROUND - A COMING OF AGE DRAMA - TAPE 13 PRODUCTIONS
(one example of networking here)
Before LSWF 2011 I scoured the delegate list and came across Paul Clarke of Tape 13 Productions who was looking for a writer to bring his feature drama idea to life. I emailed him to arrange a meet at the festival, he told me his idea and I fell in love with it. In January, after much persuasion and campaigning on my behalf, he finally agreed I should be the one to write the screenplay.
Playground was put on hold for several months while we both went off to work on other projects, but we stayed in touch, regularly swapping ideas about plot and characters. Although Paul was working with another production company on another feature drama he still hadn't found a production company to co-produce Playground. LSWF 2012 came around and I asked him if it was OK to pitch Playground to producers while I was there. He gave his permission and it paid off, as we now have solid interest in the idea from a big production company and an agreement is being drawn up so I can start writing in January.
A SCI-FI FEATURE FOR A PRODUCER AND DIRECTOR TEAM
(one example of networking here)
I answered an ad on Talent Circle and sent them a sample of my writing. They loved it. They read more of my work and loved that too. And they really loved my thoughts on their project, so they decided to go ahead with me as the writer. The contract was being sorted when the people funding the feature insisted the producer and director choose another writer with more of a track record in sci-fi. I was very disappointed but I didn't let it get me down. I was immediately offered a short film to write for the director and it was great to hear both the producer and director stating they wanted to work with me in the future. All I can say on that is there are now ideas afoot. Also, it would appear the sci-fi feature might be back on.
THE GIANT UNDER THE SNOW - AN ADAPTATION OF THE CHILDREN'S NOVEL OF THE SAME NAME BY JOHN GORDON - SHOW MANAGEMENT SERVICES
(one example of networking here)
Early in 2012 I attended The Prequel to Cannes event at Lighthouse in Poole. During the event there was a pitching competition and one of the contestants, David, came over really well. I voted for him and thought he should have won, but he eventually came in as runner up. I had a chat to David in the bar afterwards, swapped cards with him and we went our separate ways.
A few months later David contacted me and asked me to write a treatment for the feature project. He was really happy with the result so commissioned me to write the full screenplay - the next draft of which is due to begin in January.
FAITH - A SPEC THRILLER FEATURE - JOHNNY KEVORKIAN, STARFRONT PICTURES
(one example of networking here)
Again I applied to an ad on Talent Circle and my award winning script was requested. Johnny read it and loved it. He optioned it in August and the rewriting was completed a couple of weeks ago. I also introduced Johnny to my agent, as he was looking for a new one and he has consequently been signed up as well. Johnny, my agent and myself are all very excited about the finished screenplay. Faith has now been sent off for funding and hopefully filming should begin early next year. Also, now Johnny and I have the same agent it will make working together in the future a lot easier.
AGENT - CHRISTINA PICKWORTH - IMAGINE TALENT
(one example of networking here)
Yes, I have an agent. My dear lady wife had to go to London for a course for work so I decided to tag along and fit in a few meetings. At the end of the day we met up with the ever wonderful Steven Russell for drinks in the Soho Cinema Bar.
I've known Ste for many years from when he was working at Celtic Films and I sent him a feature screenplay he rather liked. Nothing ever happened with that screenplay but we did become firm friends over the years.
So back to the Soho Cinema Bar and after several pints of Guinness Ste told me his friend Christina had started up her own agency after working as freelance for another agency. He gave me her details, I sent her some of my work, she read it, we met up, we hit it off straight away and she was very eager to represent me. I kept her waiting a full twenty-four hours before I excitedly sent her a text that simply read, 'YES'.
WHITE KNIGHT - A TV DETECTIVE DRAMA SERIES - (A TV PRODUCTION COMPANY)
Because I had originally decided to pitch to agents at LSWF 2012 I was thrown when Christina offered to represent me the day before the festival began. Luckily I had come prepared with some of my ideas in one page pitch format so I had something to hand to producers. I pitched my TV drama series idea to one such producer, a well known one with a solid track record in TV drama. I'm glad I did, as a week after the festival he requested to read the script.
OTHER POSSIBLE PROJECTS
I have work being considered by CBeebies, CBBC, Tiger Aspect, Holby City, a TV script editor who will pass on my work to his contacts at the BBC and ITV, and the head of a media company who is keen on hiring me as head writer on one of her projects in January, all of which are thanks to me networking like a demon at LSWF 2012.
So it just goes to show you can get ahead if you work hard and network like crazy. The only thing stopping you being where you want to be, is you!
I have a feeling 2013 is going to be a very busy year :-)
Merry Christmas and a Happy New Year to you all XXX
I've always been an advocate of networking and all that hard work and effort I've put in has finally paid off. So here's what's happened to me this year and how it all came about.
THE LOST SOUL - A PSYCHOLOGICAL THRILLER - PARAMITA ENTERTAINMENT LTD
(two examples of networking here)
One day in December 2011 I received a phone call from a friend I had met through several writing events, 'What are you doing, Dom?' he said.
'Nothing much,' I replied, 'just working on a spec feature.'
'Well stop because I have a job for you!'
And that's how it started. My friend had met the French producer/director team who make up Paramita Entertainment Ltd in Cannes a couple of years before and they contacted him to write a screenplay for them, from their original idea. My friend was too busy with other work, but knew it was the kind of story I love to write, and so recommended me for the project. I handed in the final draft at the end of March.
PLAYGROUND - A COMING OF AGE DRAMA - TAPE 13 PRODUCTIONS
(one example of networking here)
Before LSWF 2011 I scoured the delegate list and came across Paul Clarke of Tape 13 Productions who was looking for a writer to bring his feature drama idea to life. I emailed him to arrange a meet at the festival, he told me his idea and I fell in love with it. In January, after much persuasion and campaigning on my behalf, he finally agreed I should be the one to write the screenplay.
Playground was put on hold for several months while we both went off to work on other projects, but we stayed in touch, regularly swapping ideas about plot and characters. Although Paul was working with another production company on another feature drama he still hadn't found a production company to co-produce Playground. LSWF 2012 came around and I asked him if it was OK to pitch Playground to producers while I was there. He gave his permission and it paid off, as we now have solid interest in the idea from a big production company and an agreement is being drawn up so I can start writing in January.
A SCI-FI FEATURE FOR A PRODUCER AND DIRECTOR TEAM
(one example of networking here)
I answered an ad on Talent Circle and sent them a sample of my writing. They loved it. They read more of my work and loved that too. And they really loved my thoughts on their project, so they decided to go ahead with me as the writer. The contract was being sorted when the people funding the feature insisted the producer and director choose another writer with more of a track record in sci-fi. I was very disappointed but I didn't let it get me down. I was immediately offered a short film to write for the director and it was great to hear both the producer and director stating they wanted to work with me in the future. All I can say on that is there are now ideas afoot. Also, it would appear the sci-fi feature might be back on.
THE GIANT UNDER THE SNOW - AN ADAPTATION OF THE CHILDREN'S NOVEL OF THE SAME NAME BY JOHN GORDON - SHOW MANAGEMENT SERVICES
(one example of networking here)
Early in 2012 I attended The Prequel to Cannes event at Lighthouse in Poole. During the event there was a pitching competition and one of the contestants, David, came over really well. I voted for him and thought he should have won, but he eventually came in as runner up. I had a chat to David in the bar afterwards, swapped cards with him and we went our separate ways.
A few months later David contacted me and asked me to write a treatment for the feature project. He was really happy with the result so commissioned me to write the full screenplay - the next draft of which is due to begin in January.
FAITH - A SPEC THRILLER FEATURE - JOHNNY KEVORKIAN, STARFRONT PICTURES
(one example of networking here)
Again I applied to an ad on Talent Circle and my award winning script was requested. Johnny read it and loved it. He optioned it in August and the rewriting was completed a couple of weeks ago. I also introduced Johnny to my agent, as he was looking for a new one and he has consequently been signed up as well. Johnny, my agent and myself are all very excited about the finished screenplay. Faith has now been sent off for funding and hopefully filming should begin early next year. Also, now Johnny and I have the same agent it will make working together in the future a lot easier.
AGENT - CHRISTINA PICKWORTH - IMAGINE TALENT
(one example of networking here)
Yes, I have an agent. My dear lady wife had to go to London for a course for work so I decided to tag along and fit in a few meetings. At the end of the day we met up with the ever wonderful Steven Russell for drinks in the Soho Cinema Bar.
I've known Ste for many years from when he was working at Celtic Films and I sent him a feature screenplay he rather liked. Nothing ever happened with that screenplay but we did become firm friends over the years.
So back to the Soho Cinema Bar and after several pints of Guinness Ste told me his friend Christina had started up her own agency after working as freelance for another agency. He gave me her details, I sent her some of my work, she read it, we met up, we hit it off straight away and she was very eager to represent me. I kept her waiting a full twenty-four hours before I excitedly sent her a text that simply read, 'YES'.
WHITE KNIGHT - A TV DETECTIVE DRAMA SERIES - (A TV PRODUCTION COMPANY)
Because I had originally decided to pitch to agents at LSWF 2012 I was thrown when Christina offered to represent me the day before the festival began. Luckily I had come prepared with some of my ideas in one page pitch format so I had something to hand to producers. I pitched my TV drama series idea to one such producer, a well known one with a solid track record in TV drama. I'm glad I did, as a week after the festival he requested to read the script.
OTHER POSSIBLE PROJECTS
I have work being considered by CBeebies, CBBC, Tiger Aspect, Holby City, a TV script editor who will pass on my work to his contacts at the BBC and ITV, and the head of a media company who is keen on hiring me as head writer on one of her projects in January, all of which are thanks to me networking like a demon at LSWF 2012.
So it just goes to show you can get ahead if you work hard and network like crazy. The only thing stopping you being where you want to be, is you!
I have a feeling 2013 is going to be a very busy year :-)
Merry Christmas and a Happy New Year to you all XXX
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