Deep breath. Aaaaand relax. It's over. Back to reality. Well, not quite. Take a few more days off why don't you? After all, it's practically New Year. Live it large, have that extra chocolate, drink that naughty cocktail, enjoy the moment. Then, you can get back into the swing of things with a newfound sense of purpose and dedication once the early dew of 2007 begins to emerge.
Still, you're no doubt going on-line, checking emails and surfing the blogs so here's something from the story vault archives (last Christmas) about the most important aspect of screenwriting: characters. See you in the New Year.
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“Writing screenplays is hard” is an assertion easy to grasp but this neat summary of the task doesn’t quite describe just how hard and difficult it is to get from page one to fade out.
There are so many aspects of screenwriting craft to consider and get right: concept, tone, pace, structure, visual narrative (cinematic), plot, dialogue, setting, theme. These areas can be studied, taught and learned but there’s one key aspect that is much more difficult to define and dissect.
Characters. The people that populate your story will be the main reason why the audience will want to stick around and be swept away by your concept, tone, pace, structure…
This applies to TV and film. Favourite dramas, sitcoms, movies of the week, whatever, all have a great foundation at their heart to make their ideas and story lines work. Great characters. Friends, Frasier, NYPD Blue, The West Wing, Sopranos, ER, Queer as Folk, Cracker, Shameless, State of Play, The Office…
The tone, energy and humour of the show/film will largely come from the characters’ characterisation and behaviour. If a script is chugging along with two-dimensional characters who are contrived into a situation and provided with dialogue that isn’t credible, emotive or amusing, then the script is reading flat and uninspiring.
Kimberly Simi, writer of Casanova (the film version, not Russell T’s delightful romp), has this to say: “I think it's always a struggle to make sure your characters are engaging and have some basis in humanity so that people care about them. [But] at the same time, you need a plot that's interesting. You can't just have interesting characters, you have to have a plot that supports your characters. So I think the struggle is creating a plot that is worthy of your characters and characters that are worthy of your plot."
And therein lies the rub. So much advice from books and gurus will tell you how to mould the perfect plot with the pinpoint three-act structure but like moths to a scalding light, new screenwriters focus on the craft and forget about the care needed to make the characters work.
The week before Christmas, I went to Dublin to attend a meeting with Parallel Films who are developing one of my scripts. Previously, I took their (valuable) notes and went away to write a new draft. I was pleased and confident that I had strengthened the characters and structure, and made the script a much more appealing and rounded story.
They hated it. They thought it had taken a step backwards (from the first draft), and worse, that it felt like it had been written by a different writer. They were very disappointed. All because of one glaring inconsistency (for them): the characters. They felt my rewrite lost sense of who the characters were and what they wanted.
It was the worse reaction to one of my scripts, ever. And I got paid! I sat there, in the producer’s house, gobsmacked. The writing was good, no question (towards the end of the meeting, we discussed the possibility of me writing for a TV series they’re making) but the new scenes and structure had altered some of the characterisation of the key characters, and they were too disconcerted to appreciate all my finely honed craft.
I disagreed with them. I felt the script, and characters, were stronger but it wasn’t a case of “I’m right, you’re wrong”, it was a fascinating and compelling exercise to listen to their response and learn why they felt that way.
If this had happened a couple of years ago, I would have probably bawled my eyes out and thrown a silent tantrum but instead of feeling sensitive and insecure, I was calm and even about their reaction as opposed to what I had intended in the script (more people have read the script and opinion is divided: some love the new draft but Parallel dislike it and they’re the ones who’re paying).
Focus on the characters. Get them right. Clarify their motivation and characterisation, and keep them consistent whilst developing their emotional journey throughout the story. It's best not to confuse or mislead the reader/audience with ambiguous character behaviour. Try not to contrive a plot or situation to fit the characters, it's better to dramatise the characters’ needs and conflict so that it becomes the body of the drama.
And don’t forget the pace, tone, structure, dialogue, subtext, visual narrative, plot, setting, theme…
Writing screenplays is hard? Damn straight.
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Rabu, 27 Desember 2006
Jumat, 22 Desember 2006
Blog Awards 2006
Tom Green over at the Writers’ Guild blog has announced his highlights and recommendations for 2006, which was pretty neat, so in a similar vein, here are my awards of the year:
Writers of the Year - Purvis & Wade for giving us the best Bond ever but it’s universally agreed now that the film is 20 minutes too long towards the end.
Best UK Breakthrough - A close call between Ed Blum for Scenes of a Sexual Nature and James Moran for writing Severance but the winner is Paul Williams, writer/director of London to Brighton.
Blogger of the Year - Vicious Imagery by David Bishop. He’s like the UK version of Denis McGrath’s Dead Things on Sticks. David's hard work and dedication is also an inspiration.
Best Event - Cannes, because it was my first time (endless thanks again to Tim & Suki for making it so worthwhile).
Best Screenwriting Event - Screenwriters’ Festival in Cheltenham. Despite the sulks and moans about the New Writers’ Day, the remaining fixtures were excellent. On the down side, it was steep to attend (I could only afford a day), and you could have flown to LA for the Screenwriting Expo for pretty much the same cost.
Also, charging for the podcasts is outrageous when you can get better podcasts on the internet for free (hello Creative Screenwriting and Sam & Jim). But the UK scene definitely needs something like this, and the festival looks to become a regular fixture on the screenwriting calendar.
Best Event I Didn’t Attend - FrightFest. Scheduling clashes abound meant I missed the premiere of Severance and other top films.
Highlight of the Year - Writing an episode for The Amazing Adrenalini Brothers for CiTV. The show recently won a Bafta for Best Children’s Animation.
Disappointing Moment of the Year - Finally hearing from EastEnders only to be told ‘sorry, maybe next year’.
Best Rejection - One of my scripts was taken to Robert Zemeckis by a contact I made in Cannes but "Bob" eventually decided that it wasn't for him. The rejection sends a flutter of excitement through my body as it's like meeting your maker (I didn't actually meet him) only to be told you need another go on Earth before you get the gig.
In my fantasy version of events, "Bob" read the script (not one of his readers, no sir) and "Steve" Spielberg dropped by for a coffee: "Hey Bob, watcha reading?" "Oh, this great script. It's not for me, but let me read you this great line from page 35."
Like, it could have happened...
Reasons to be Cheerful - Awaiting to hear about potential TV commissions and other projects, and healthy interest in my writing in general.
Best Part about Blogging - Meeting new friends and colleagues, knowing that they’re sharing the same highs and lows, whether or not you’re trying to break in, or just trying to get on.
Writers of the Year - Purvis & Wade for giving us the best Bond ever but it’s universally agreed now that the film is 20 minutes too long towards the end.
Best UK Breakthrough - A close call between Ed Blum for Scenes of a Sexual Nature and James Moran for writing Severance but the winner is Paul Williams, writer/director of London to Brighton.
Blogger of the Year - Vicious Imagery by David Bishop. He’s like the UK version of Denis McGrath’s Dead Things on Sticks. David's hard work and dedication is also an inspiration.
Best Event - Cannes, because it was my first time (endless thanks again to Tim & Suki for making it so worthwhile).
Best Screenwriting Event - Screenwriters’ Festival in Cheltenham. Despite the sulks and moans about the New Writers’ Day, the remaining fixtures were excellent. On the down side, it was steep to attend (I could only afford a day), and you could have flown to LA for the Screenwriting Expo for pretty much the same cost.
Also, charging for the podcasts is outrageous when you can get better podcasts on the internet for free (hello Creative Screenwriting and Sam & Jim). But the UK scene definitely needs something like this, and the festival looks to become a regular fixture on the screenwriting calendar.
Best Event I Didn’t Attend - FrightFest. Scheduling clashes abound meant I missed the premiere of Severance and other top films.
Highlight of the Year - Writing an episode for The Amazing Adrenalini Brothers for CiTV. The show recently won a Bafta for Best Children’s Animation.
Disappointing Moment of the Year - Finally hearing from EastEnders only to be told ‘sorry, maybe next year’.
Best Rejection - One of my scripts was taken to Robert Zemeckis by a contact I made in Cannes but "Bob" eventually decided that it wasn't for him. The rejection sends a flutter of excitement through my body as it's like meeting your maker (I didn't actually meet him) only to be told you need another go on Earth before you get the gig.
In my fantasy version of events, "Bob" read the script (not one of his readers, no sir) and "Steve" Spielberg dropped by for a coffee: "Hey Bob, watcha reading?" "Oh, this great script. It's not for me, but let me read you this great line from page 35."
Like, it could have happened...
Reasons to be Cheerful - Awaiting to hear about potential TV commissions and other projects, and healthy interest in my writing in general.
Best Part about Blogging - Meeting new friends and colleagues, knowing that they’re sharing the same highs and lows, whether or not you’re trying to break in, or just trying to get on.
Rabu, 20 Desember 2006
Note to Producer
Back in September, I spoke about the ‘note to reader’ where a script reader’s attention on the script at hand would suddenly be distracted by a line directly aimed at him: “keep an open mind reader, this is unconventional but it works”. This has the opposite effect on readers. Instead of them focusing on your script with an open mind, they’re thinking ‘what a load of presumptuous rubbish’ as they go through page after page.
Writers aren’t the only offenders. No, sir. Producers have a lazy knack of stamping their enthusiastic opinion on their intro letter to the script before you’ve even had a chance to pick it up. This is understandable. The producer has to believe in the project, and wants to pitch it well, and to be fair, the note only appears on the cover letter, not on the script itself.
However, the passionate assertions need to be chosen wisely. Far too often the producer’s opinion of the script will read like false quotes on a movie poster: “One of the most exciting and original scripts I’ve ever read”. “An amazing story, powerful and emotional”. “This has Oscar written all over it.” “We have approached a number of high profile actors for the lead role”. So, just like writers and producers who shouldn’t slip in a discreet ‘note to reader’, here’s a small bit of advice for you: don’t be outlandish in your opinion of the script.
In my script reading spree this month, I read two scripts that, according to the (separate) producers, were the most exciting and original scripts ever written. In reality, one script was well-written but only got a ‘consider’ for the writer (who turned out to be a graduate of some Disney programme, possibly the Nicholl). The other one made me laugh so much (unfortunately, it wasn’t a comedy), it still makes me titter when I think about it now because of its ridiculous premise and story line (written by a D-list actor).
The bottom line is this: any exaggerated comments from a producer’s covering letter is going to affect the reader’s approach to the script. A sense of dread and concern will seize the brain at the tentative start of page one. And when the script turns out NOT to be the most original and exciting story ever written, it only reflects badly on the producer trying to pitch the project.
Of course, script readers aren’t meant to receive the covering letters but it makes no difference really. They’d still think the script was rubbish but if they’re told it’s brilliant beforehand, then they’re just going to think it’s god-damn-awful. And receiving the full pitching package (letter, treatment, script, visuals) is becoming more of a regular occurrence.
I have noticed that the exuberant claims of brilliance usually come from new or recent producers. They may be making the first step from the world of shorts to features, or have a well-received low-budget flick to their name, or think they have a ‘good relationship’ with the exec they’re approaching, so they slip into casual but excited mode.
More experienced producers will not make such outlandish declarations about their script. They’ll simply say: “here’s the script, Actor X has just signed on, see what you think”. Or might go as far to say: “here’s something I think you’ll like”, which is a generic cliché really, so isn’t strictly necessary.
This advice applies to writers who are approaching producers/execs themselves. In your covering letter, you may be tempted to state what you believe the script is like, and why it’s so great (I have done this myself), but it’s not a good tactic. Give them your intro paragraph (‘we recently emailed/talked on the phone etc’), then give them the logline of your script, don’t say anything else except maybe ‘I look forward to hearing from you in due course’.
So writers and producers, no more misleading or misguided comments about your script, to anyone, anymore. Let the script do all the talking.
Writers aren’t the only offenders. No, sir. Producers have a lazy knack of stamping their enthusiastic opinion on their intro letter to the script before you’ve even had a chance to pick it up. This is understandable. The producer has to believe in the project, and wants to pitch it well, and to be fair, the note only appears on the cover letter, not on the script itself.
However, the passionate assertions need to be chosen wisely. Far too often the producer’s opinion of the script will read like false quotes on a movie poster: “One of the most exciting and original scripts I’ve ever read”. “An amazing story, powerful and emotional”. “This has Oscar written all over it.” “We have approached a number of high profile actors for the lead role”. So, just like writers and producers who shouldn’t slip in a discreet ‘note to reader’, here’s a small bit of advice for you: don’t be outlandish in your opinion of the script.
In my script reading spree this month, I read two scripts that, according to the (separate) producers, were the most exciting and original scripts ever written. In reality, one script was well-written but only got a ‘consider’ for the writer (who turned out to be a graduate of some Disney programme, possibly the Nicholl). The other one made me laugh so much (unfortunately, it wasn’t a comedy), it still makes me titter when I think about it now because of its ridiculous premise and story line (written by a D-list actor).
The bottom line is this: any exaggerated comments from a producer’s covering letter is going to affect the reader’s approach to the script. A sense of dread and concern will seize the brain at the tentative start of page one. And when the script turns out NOT to be the most original and exciting story ever written, it only reflects badly on the producer trying to pitch the project.
Of course, script readers aren’t meant to receive the covering letters but it makes no difference really. They’d still think the script was rubbish but if they’re told it’s brilliant beforehand, then they’re just going to think it’s god-damn-awful. And receiving the full pitching package (letter, treatment, script, visuals) is becoming more of a regular occurrence.
I have noticed that the exuberant claims of brilliance usually come from new or recent producers. They may be making the first step from the world of shorts to features, or have a well-received low-budget flick to their name, or think they have a ‘good relationship’ with the exec they’re approaching, so they slip into casual but excited mode.
More experienced producers will not make such outlandish declarations about their script. They’ll simply say: “here’s the script, Actor X has just signed on, see what you think”. Or might go as far to say: “here’s something I think you’ll like”, which is a generic cliché really, so isn’t strictly necessary.
This advice applies to writers who are approaching producers/execs themselves. In your covering letter, you may be tempted to state what you believe the script is like, and why it’s so great (I have done this myself), but it’s not a good tactic. Give them your intro paragraph (‘we recently emailed/talked on the phone etc’), then give them the logline of your script, don’t say anything else except maybe ‘I look forward to hearing from you in due course’.
So writers and producers, no more misleading or misguided comments about your script, to anyone, anymore. Let the script do all the talking.
Senin, 18 Desember 2006
Screenwriting Essentials
I once overheard an Irish guy say that the essentials in life were “sugar and tay” (sugar and tea), which makes me chuckle every time I think of it, and I can no longer say ‘sugar and tea’ without reverting to the strong Irish accent/stereotype. The reason I’m telling you this is because James Newton, friend of the blog, got in touch to ask about “screenwriting essentials”.
First, “do you use any database software to track your scripts / contacts / letters / follow ups etc? Personally, I haven't been able to find anything out there that does this so I've ended up customising Microsoft Access. I'm just looking to see if there are any killer features I should/could incorporate into mine.”
Next, screenwriting essentials themselves: “we all know that you really only need a pen and paper but as you progress you find that these are never enough. If you are thinking about carving out a career in scriptwriting what would you deem to be the essentials that you couldn't live without?”
In response to the first query: I don’t know, or know of, a database software to track your scripts. It sounds good but I find my memory serves me well, as does the ‘Sent Items’ folder in Outlook, and my various files on Microsoft Word. And agents usually have a file of where everything’s been or has been sent out, so need need to worry there.
Unfortunately, I’m still stuck in the 20th century when it comes to the latest software and computer technology so while using Microsoft Access sounds inviting, maybe someone else could provide the right kind of pointers in the comments section below.
Now, onto the main event. Sharing your ‘Screenwriting Essentials’. This is a good idea. Here’s a list of James’s:
1. Final Draft.
2. Broadband Internet - for research and watching films online.
3. A never ending supply of Black and Red books for meetings etc.
4. A whiteboard for listing current projects and stages of development. A constant visual reminder away from the PC.
5. A spare printer toner at all times.
6. Subscriptions to Screen International, Sight and Sound, & industry blogs.
7. Visual Thesaurus.
8. A large pile of index cards and a board to stick them on.
9. A USB memory stick to backup scripts.
10. My new contacts database.
11. Time, procrastination and caffeine.
That’s a great list, and offers interesting practical suggestions for any screenwriter’s routine. I didn’t know of Visual Thesaurus before, and I always curse myself for not having that spare printer toner to hand when I need it.
My list is more basic:
1. A computer with broadband access, and a printer (backing up files a MUST).
2. Screenwriting books that you actually value for their inspiration and insight.
3. Ditto with your favourite screenwriting magazines.
4. Screenplays, printed out, to read for inspiration, entertainment or procrastination.
5. Final Draft
Er, that’s it. Everything else is dealt with as they crop up or whatever’s needed at the time. I don’t think Final Draft is necessary an “essential” but it has become extremely useful for the convenience it affords in immediately formatting scripts. The tools and features are good but I don’t really use them. While I would rather not do without my Final Draft, it’s not indispensable, and you can simply use the right font and margins in MS Word instead (and for a lot cheaper too!).
I have a corkboard to outline story, and a smaller whiteboard to remind me what projects are on the go, but again, I don’t consider it as an ‘essential’ as I vary the process from script to script. My office seems to be in a continuous state of disarray and momentum, so I don’t feel the need to be overly tidy or anal in my organisational habits.
But it’s good to get people’s takes on what screenwriting essentials are needed to either establish a good routine, or to get ahead with your career. Feel free to share your list, it’d be great to get a peek at what everyone does or does not do…
First, “do you use any database software to track your scripts / contacts / letters / follow ups etc? Personally, I haven't been able to find anything out there that does this so I've ended up customising Microsoft Access. I'm just looking to see if there are any killer features I should/could incorporate into mine.”
Next, screenwriting essentials themselves: “we all know that you really only need a pen and paper but as you progress you find that these are never enough. If you are thinking about carving out a career in scriptwriting what would you deem to be the essentials that you couldn't live without?”
In response to the first query: I don’t know, or know of, a database software to track your scripts. It sounds good but I find my memory serves me well, as does the ‘Sent Items’ folder in Outlook, and my various files on Microsoft Word. And agents usually have a file of where everything’s been or has been sent out, so need need to worry there.
Unfortunately, I’m still stuck in the 20th century when it comes to the latest software and computer technology so while using Microsoft Access sounds inviting, maybe someone else could provide the right kind of pointers in the comments section below.
Now, onto the main event. Sharing your ‘Screenwriting Essentials’. This is a good idea. Here’s a list of James’s:
1. Final Draft.
2. Broadband Internet - for research and watching films online.
3. A never ending supply of Black and Red books for meetings etc.
4. A whiteboard for listing current projects and stages of development. A constant visual reminder away from the PC.
5. A spare printer toner at all times.
6. Subscriptions to Screen International, Sight and Sound, & industry blogs.
7. Visual Thesaurus.
8. A large pile of index cards and a board to stick them on.
9. A USB memory stick to backup scripts.
10. My new contacts database.
11. Time, procrastination and caffeine.
That’s a great list, and offers interesting practical suggestions for any screenwriter’s routine. I didn’t know of Visual Thesaurus before, and I always curse myself for not having that spare printer toner to hand when I need it.
My list is more basic:
1. A computer with broadband access, and a printer (backing up files a MUST).
2. Screenwriting books that you actually value for their inspiration and insight.
3. Ditto with your favourite screenwriting magazines.
4. Screenplays, printed out, to read for inspiration, entertainment or procrastination.
5. Final Draft
Er, that’s it. Everything else is dealt with as they crop up or whatever’s needed at the time. I don’t think Final Draft is necessary an “essential” but it has become extremely useful for the convenience it affords in immediately formatting scripts. The tools and features are good but I don’t really use them. While I would rather not do without my Final Draft, it’s not indispensable, and you can simply use the right font and margins in MS Word instead (and for a lot cheaper too!).
I have a corkboard to outline story, and a smaller whiteboard to remind me what projects are on the go, but again, I don’t consider it as an ‘essential’ as I vary the process from script to script. My office seems to be in a continuous state of disarray and momentum, so I don’t feel the need to be overly tidy or anal in my organisational habits.
But it’s good to get people’s takes on what screenwriting essentials are needed to either establish a good routine, or to get ahead with your career. Feel free to share your list, it’d be great to get a peek at what everyone does or does not do…
Kamis, 14 Desember 2006
Gangs of New Yorke
You’ve probably seen this already but the Tony Doyle Bursary is open again for submissions. I was the last person to win this two years ago (hurrah!) and it’s a really great prize. Not only do you get 2,000 beans for your wallet (cash, not real beans, I bought a laptop and an iPod), you get to spend the weekend with the BBC Northern Ireland development team as well as a few specially invited guests.
What’s doubly great about the weekend is that it’s spent in an exclusive artists’ retreat in the middle of nowhere, ahem, the middle of Ireland. There’s no television or telephone or any other kind of distraction, just peace and quiet in a picturesque setting. So, it becomes an intensive workshop where the BBC NI staff and guests take you through the ins and outs of good TV writing.
Those attending at my weekend were Patrick Spence, head of BBC NI drama. He spoke with genuine passion and surprising honesty about himself and the business. I liked him a lot. Deirdre Alexander, script editor, who coordinated the bursary that year. She was great; she now works for BBC NI comedy. Sarah Stack, another script editor, no relation, but obviously with us sharing the same name, we got on like a house on fire. Amanda Verlaque, script editor, also fantastic; she's moved on to Scottish soap, River City. Tania Nash, radio producer, fab, now producing EastEnders. TV writer Ashley Pharoah, lovely man. John Yorke, who was still at Channel 4 at the time; brilliant. Sally Doyle, wife of the late Tony Doyle; a classy lady. Three other writers made the group - Ruth McCracken, Martin O’Brien and Colm McManus - and we shared long nights drinking wine at the dinner table. (I haven’t forgotten anyone, have I?)
Patrick Spence did a marvellous deconstruction of NYPD Blue. Ashley Pharoah took us through the structural delights of Deliverance. And possibly best of all, John Yorke gave us a masterclass in creating and writing successful TV drama series.
He did an interesting exercise with us. He got us to list all our favourite drama series on one side of a flipchart, and on the other side, all our least favourite or unsuccessful drama series. That was fun. Then, he got us to list the positive qualities of the successful series and the negative aspects of the stinkers. Now it got interesting. We all gave our reasons: good idea, original voice, interesting characters, good actors etc, as opposed to the ‘bad’ series: crap idea, committee-led, cardboard characters, and so on.
However, John told us that we were missing one vital ingredient for a successful returning series to work. ‘Returning series’ are much sought after by the Beeb and ITV as the shows can run and run forever (“okay, that's episode 6, but what happens in episode 56? ep 106?" etc), while “serials” tell a finite story over a six-ten part run or whatever (State of Play, State Within, Our Friends in the North etc). So what’s the vital ingredient that’s going to make a returning series tick? We tried to guess but we didn’t come up with the answer, so John put us out of our misery:
GANGS.
All successful returning series have a 'gang' element to drive the series and keep it focused. Y'know, a group of friends, or detectives, or a family, or whatever. And here's the good thing about it: the gang can be changed (when actors leave the show after a while for example) and replaced by new members who fill the required role in the gang, etc. Neat, eh? And blindingly obvious too, so we were kicking ourselves for not thinking of it sooner.
So, if you’re sitting down to come up with the next hit drama series, then think about your ‘gang’. It may seem annoying and prescriptive to think in this way but it’s not, it makes perfect sense, and can be illuminating in the process of figuring out if your idea is a series or serial (or neither) in the first place.
What’s doubly great about the weekend is that it’s spent in an exclusive artists’ retreat in the middle of nowhere, ahem, the middle of Ireland. There’s no television or telephone or any other kind of distraction, just peace and quiet in a picturesque setting. So, it becomes an intensive workshop where the BBC NI staff and guests take you through the ins and outs of good TV writing.
Those attending at my weekend were Patrick Spence, head of BBC NI drama. He spoke with genuine passion and surprising honesty about himself and the business. I liked him a lot. Deirdre Alexander, script editor, who coordinated the bursary that year. She was great; she now works for BBC NI comedy. Sarah Stack, another script editor, no relation, but obviously with us sharing the same name, we got on like a house on fire. Amanda Verlaque, script editor, also fantastic; she's moved on to Scottish soap, River City. Tania Nash, radio producer, fab, now producing EastEnders. TV writer Ashley Pharoah, lovely man. John Yorke, who was still at Channel 4 at the time; brilliant. Sally Doyle, wife of the late Tony Doyle; a classy lady. Three other writers made the group - Ruth McCracken, Martin O’Brien and Colm McManus - and we shared long nights drinking wine at the dinner table. (I haven’t forgotten anyone, have I?)
Patrick Spence did a marvellous deconstruction of NYPD Blue. Ashley Pharoah took us through the structural delights of Deliverance. And possibly best of all, John Yorke gave us a masterclass in creating and writing successful TV drama series.
He did an interesting exercise with us. He got us to list all our favourite drama series on one side of a flipchart, and on the other side, all our least favourite or unsuccessful drama series. That was fun. Then, he got us to list the positive qualities of the successful series and the negative aspects of the stinkers. Now it got interesting. We all gave our reasons: good idea, original voice, interesting characters, good actors etc, as opposed to the ‘bad’ series: crap idea, committee-led, cardboard characters, and so on.
However, John told us that we were missing one vital ingredient for a successful returning series to work. ‘Returning series’ are much sought after by the Beeb and ITV as the shows can run and run forever (“okay, that's episode 6, but what happens in episode 56? ep 106?" etc), while “serials” tell a finite story over a six-ten part run or whatever (State of Play, State Within, Our Friends in the North etc). So what’s the vital ingredient that’s going to make a returning series tick? We tried to guess but we didn’t come up with the answer, so John put us out of our misery:
GANGS.
All successful returning series have a 'gang' element to drive the series and keep it focused. Y'know, a group of friends, or detectives, or a family, or whatever. And here's the good thing about it: the gang can be changed (when actors leave the show after a while for example) and replaced by new members who fill the required role in the gang, etc. Neat, eh? And blindingly obvious too, so we were kicking ourselves for not thinking of it sooner.
So, if you’re sitting down to come up with the next hit drama series, then think about your ‘gang’. It may seem annoying and prescriptive to think in this way but it’s not, it makes perfect sense, and can be illuminating in the process of figuring out if your idea is a series or serial (or neither) in the first place.
Senin, 11 Desember 2006
Script Reading Commandments
1. Thou Shalt Read The Script in Its Entirety
When you’re reading a poor script, your mind will naturally wander and your attention will stray so try to stay focused as you don’t want to miss any important plot detail that will impede your ability to write up a good synopsis later.
2. Pitch it, Baby
Writing a good logline will tell you, and the exec, whether the script is actually a film or not. Trying to sum up the script you’ve just read in one or two sentences can sometimes take longer than any other part of the report, but it’s worth it.
A broad sweep of the premise and the story is more suitable than a basic description of the concept. The following (flexible) template works particularly well in getting all you need to get across: “It’s about A CHARACTER who WANTS SOMETHING/HAS A GOAL but CONFLICT and WHAT HE DOES TO OVERCOME CONFLICT.”
3. Thou Shalt Write a Good Synopsis
Your synopsis may contain more narrative flair than the script itself but hey, you’re a writer too, so be respectful to the plot (no matter how poor) and don't describe the script ‘beat by beat’. Avoid long sentences. This will be hugely appreciated by the execs, as they’re always looking for concise, clear and well-written reports, especially the synopses. It makes their job so much easier. You might make the story sound good but you can always rip it to pieces later in the ‘comments’ section.
4. Be Harsh, but Fair; Be Cruel, but Kind
Scathing criticism has become a trademark style for readers everywhere but it’s important to stay objective and not just trash a script because you feel like it. If something is terrible, you have to give sound reasoning as to why it’s so bad, and offer valid critical comment on the style and detail of the script.
Even the most turgid of screenplays will have some merit, somewhere, so offer a few positive comments, if you can, as it will help the exec be kinder in his rejection letter. Also, the recommendations break down into “Pass”, “Consider” or “Recommend”. There is no “Pass/Consider”. This drives execs nuts. Make up your mind, be decisive.
5. It’s Not About ‘You’
There is no ‘I’ in ‘Reader’ so avoid phrases like: “I don’t think this works” or “I laughed out loud” because the coverage shouldn’t bring attention to the reader, it should be wholly focused on the script. Your comments represent what you think so there’s no need for any first person narrative. Some comments like, “in this reader’s opinion”, are okay because it helps to qualify the balance of critique being offered. Also, don’t try to be too funny, jokey, glib or dismissive. This doesn’t help anyone.
6. Thou Shalt Not Covet the Writer’s Luck
Most script readers are aspiring scriptwriters. They will burn with jealousy and rage when they read an inferior script to their own work that’s been optioned or about to be made. Get over it. You don’t have an agent. Or if you do, then why aren’t your scripts being covered by other readers around town? Or ask yourself why that particular script is getting made, despite being shite?
7. All Scripts are the Same, but Some are more Samey than Others
A lot of scripts follow the generalised style of screenwriting and so-called rules of the game. This can make them feel very ordinary and mediocre, despite one or two promising ideas or glimpses of talent from the writer. However, the never-ending pile of samey scripts will diminish your optimism about ever reading a good script again. Try to remain patient and positive. Good scripts, and good writers, are out there. They’re just hard to see in the crowd.
8. All Reports are the Same, but Don’t get Sucked into Routine
The dearth of samey scripts will have you regurgitating typical phrases and observations from report to report. You’ll develop stock-phrases and neat expressions that will lie conveniently at hand, and/or will make you look witty. You’re a writer so shake it up a bit, develop a good style, but remember ‘Commandment No. 5’.
9. Thou Shalt Not Complain
Like a pre-Jedi Luke Skywalker whingeing about buying a power converter, a novice reader will moan about the amount of scripts he has to read, and the pitiful price he’s getting for the privilege. Hey, no-one asked you to be a reader, you asked them, remember? You’re in a lucky position really, so just get on with it.
10. Never Miss a Deadline
If you accept a particularly heavy workload, then make sure you can get the reports done in time. If you accept a ‘fast turnaround’ script (overnight report), ask the exec what time, at the latest, does he need the coverage by. It’s quite common to be called up at the last minute and asked to read a 600 page book or a script in an overnight stint. You won’t want to say ‘No’ because you want to appear reliable and flexible, but if you can’t fit it in, then say so.
11. Don’t Wear Yourself Out
Everything about the movie business is turned up to eleven, and that means that your reading workload will sometimes get the better of you as the scripts pile up in your in-box. Reading two-four scripts per week should be more than manageable, especially if you have a proper full or part-time job.
As a jobbing freelancer, reading four or more scripts should be okay but if it becomes a regular fix, it might wear you out with the time and demand that the reading requires. Try to accommodate it as you see fit but remember that familiarity breeds contempt, and the quality of your coverage will suffer as you become more cynical and dismissive of every script you read.
When you’re reading a poor script, your mind will naturally wander and your attention will stray so try to stay focused as you don’t want to miss any important plot detail that will impede your ability to write up a good synopsis later.
2. Pitch it, Baby
Writing a good logline will tell you, and the exec, whether the script is actually a film or not. Trying to sum up the script you’ve just read in one or two sentences can sometimes take longer than any other part of the report, but it’s worth it.
A broad sweep of the premise and the story is more suitable than a basic description of the concept. The following (flexible) template works particularly well in getting all you need to get across: “It’s about A CHARACTER who WANTS SOMETHING/HAS A GOAL but CONFLICT and WHAT HE DOES TO OVERCOME CONFLICT.”
3. Thou Shalt Write a Good Synopsis
Your synopsis may contain more narrative flair than the script itself but hey, you’re a writer too, so be respectful to the plot (no matter how poor) and don't describe the script ‘beat by beat’. Avoid long sentences. This will be hugely appreciated by the execs, as they’re always looking for concise, clear and well-written reports, especially the synopses. It makes their job so much easier. You might make the story sound good but you can always rip it to pieces later in the ‘comments’ section.
4. Be Harsh, but Fair; Be Cruel, but Kind
Scathing criticism has become a trademark style for readers everywhere but it’s important to stay objective and not just trash a script because you feel like it. If something is terrible, you have to give sound reasoning as to why it’s so bad, and offer valid critical comment on the style and detail of the script.
Even the most turgid of screenplays will have some merit, somewhere, so offer a few positive comments, if you can, as it will help the exec be kinder in his rejection letter. Also, the recommendations break down into “Pass”, “Consider” or “Recommend”. There is no “Pass/Consider”. This drives execs nuts. Make up your mind, be decisive.
5. It’s Not About ‘You’
There is no ‘I’ in ‘Reader’ so avoid phrases like: “I don’t think this works” or “I laughed out loud” because the coverage shouldn’t bring attention to the reader, it should be wholly focused on the script. Your comments represent what you think so there’s no need for any first person narrative. Some comments like, “in this reader’s opinion”, are okay because it helps to qualify the balance of critique being offered. Also, don’t try to be too funny, jokey, glib or dismissive. This doesn’t help anyone.
6. Thou Shalt Not Covet the Writer’s Luck
Most script readers are aspiring scriptwriters. They will burn with jealousy and rage when they read an inferior script to their own work that’s been optioned or about to be made. Get over it. You don’t have an agent. Or if you do, then why aren’t your scripts being covered by other readers around town? Or ask yourself why that particular script is getting made, despite being shite?
7. All Scripts are the Same, but Some are more Samey than Others
A lot of scripts follow the generalised style of screenwriting and so-called rules of the game. This can make them feel very ordinary and mediocre, despite one or two promising ideas or glimpses of talent from the writer. However, the never-ending pile of samey scripts will diminish your optimism about ever reading a good script again. Try to remain patient and positive. Good scripts, and good writers, are out there. They’re just hard to see in the crowd.
8. All Reports are the Same, but Don’t get Sucked into Routine
The dearth of samey scripts will have you regurgitating typical phrases and observations from report to report. You’ll develop stock-phrases and neat expressions that will lie conveniently at hand, and/or will make you look witty. You’re a writer so shake it up a bit, develop a good style, but remember ‘Commandment No. 5’.
9. Thou Shalt Not Complain
Like a pre-Jedi Luke Skywalker whingeing about buying a power converter, a novice reader will moan about the amount of scripts he has to read, and the pitiful price he’s getting for the privilege. Hey, no-one asked you to be a reader, you asked them, remember? You’re in a lucky position really, so just get on with it.
10. Never Miss a Deadline
If you accept a particularly heavy workload, then make sure you can get the reports done in time. If you accept a ‘fast turnaround’ script (overnight report), ask the exec what time, at the latest, does he need the coverage by. It’s quite common to be called up at the last minute and asked to read a 600 page book or a script in an overnight stint. You won’t want to say ‘No’ because you want to appear reliable and flexible, but if you can’t fit it in, then say so.
11. Don’t Wear Yourself Out
Everything about the movie business is turned up to eleven, and that means that your reading workload will sometimes get the better of you as the scripts pile up in your in-box. Reading two-four scripts per week should be more than manageable, especially if you have a proper full or part-time job.
As a jobbing freelancer, reading four or more scripts should be okay but if it becomes a regular fix, it might wear you out with the time and demand that the reading requires. Try to accommodate it as you see fit but remember that familiarity breeds contempt, and the quality of your coverage will suffer as you become more cynical and dismissive of every script you read.
Rabu, 06 Desember 2006
Story Vault: How to be a Reader
Of course, you could always check out a post from the past while I'm busy doing script reports. As the blog readership steadily grows (recently passed 100,000 hits, thanks for reading!), a lot of you will have missed some of my musings and rumblings in what I'm calling my 'story vault' area.
And so, here's one from last October: how to be a script reader. Even though it's linked at the side, it's still the most commonly asked question I receive in emails, bribes and shady brown envelopes. So here it is again:
"The role of a script reader is a thankless and anonymous task but every production company will tell you that they are vital to the submission pile and to some extent, the development process. Producers and development executives simply don’t have the time to read every script that comes in the door and they rely squarely on the reader’s report and recommendation.
All the readers I know or have met are usually involved in the industry in another similar respect, such as script editor or writer, so they have a full and frank appreciation of what a screenplay should epitomise. These are the readers who are consistently regarded and relied upon because the other readers who come and go are invariably interns or people looking to get to the next stage of their career or wannabe writers who want to read just a couple of scripts and then go on their way.
To be a reputable script reader, it takes more than attending a course about ‘how to read a script’ and a bit more dedication than reading for a few weeks just to get the hang of it and make a few contacts. Readers new to the process have complained to me that it takes up too much time and it pays too little (roughly about four hours’ work @ £40 a script). And others moan that they’ve read too much that week but the scripts still keep on coming.
Well, it does take up time and it does pay whack but the execs have a never ending spec pile that needs to get covered, so the work has to be done regardless of who does it. They don’t care as long as the script gets read but they’ll always lean on the more reliable readers if someone’s going to let them down.
I’ve received a few emails lately about how to become a script reader in this country. Fun Joel and Scott the Reader have written excellent posts about how to become a reader (check the links) and even though they are writing with an American slant, what they say is pretty much how it pans out here in the UK.
Still, it seems worth repeating, so I thought I’d reiterate here but make it more interesting by explaining how I did it:-
I had done a lot of sitcom and sketch reports in my job at the Channel 4 comedy dept but when I left, I asked an assistant at Film4 if I could read a couple of feature scripts so I could assemble ‘sample coverage’. I then wrote to a number of production companies around town asking if I could read for them. I didn’t hear back from a lot of them, and I got rejections from most. Now while I was lucky to have the Film4 contact from my Channel 4 job, no-one else in the film industry had a clue who I was, so what I was doing was no different if I was straight off the ferry from Ireland.
One of Tiger Aspect Pictures’ readers left to do some other job and my letter (actually it was an email) managed to land just at the right time. They were fresh from their Billy Elliot success and were receiving a lot of submissions. I met the Head of Development and she gave me a regular supply of 4-6 scripts to read a week, and the occasional book. They produced Billy Elliot with Working Title 2 and said they’d recommend me to them as ‘there was always a lack of good readers’.
After a while, I couldn’t afford to live on Tiger Aspect’s scripts alone so I contacted WT2 myself and again, the luck of the Irish, one of their readers had taken a job on Ali G’s film so they needed someone else. Me!
I then went for a development assistant job at Miramax which I didn’t get but I cheekily suggested that I script read for them instead and they said ‘yes’. Working Title then recommended me to Pathé Pictures and I read for their acquisition and development departments - the acquisition stuff giving me a chance to read the classier style of script, or at least, the ones that were actually getting made.
All of this meant that I was (am) at home a lot of the time, reading scripts and scribbling reports (not to mention writing my own scripts). Because of my passion and obsession with everything to do with screenwriting, this work came fairly easily to me. Sure, it was frustrating and lonely at times but all the while I knew it was worth it for the sake of my own writing and to maintain a continual source of active contact with the industry, however minimal.
It is this type of dedication and commitment that execs and producers are after with their readers. They want people who know how to read a script and more importantly, they like readers who can articulate a synopsis with insightful comments to match. They don’t want glib, dismissive, cynical or superficial reports that bring more attention to the reader rather than the script they’re covering. It’s all about the script, and is the writer worth a mention. The reader remains thankless, anonymous and on to the next script.*
I was extremely lucky to get the Film4 samples done but if you don’t have this kind of access to the industry, it can still be done with the right approach and - cliché police, pull over - being at the right time at the right place. My best advice to someone who wants to be a reader and has no prior experience is to approach agents and/or production companies, and offer to read their scripts free for two weeks. This will give you enough time to gather a range of sample script reports. After that, the production companies may pay you to continue reading for them (agents won't) and if they don't, you'll be able to approach other pro co's with your sample reports in hand.
But if you’re thinking it’ll be a cool gig for a week or month or two, then you’re better off trawling through Drew’s Script-o-Rama for the research you’re after. As a regular reader, you’ll find yourself unwittingly sucked into the routine of dropping off scripts/picking them up. It’ll seem never ending, it’ll sometimes feel not worth it, but for those dedicated to the craft of screenwriting, there’ll be no other option than to continue to read the good, the bad and the ugly. Authors read books, musicians read music, scriptwriters and script editors should read scripts, wherever they can find them.
*Occasionally, the production company may take you to lunch or have drinks with you & the other readers to thank you for all your hard work, so it’s not all bad, and of course, they are pleasant and courteous whenever you drop in. Working Title are the only ones who actually give us poor sods Christmas presents - shame on the rest of you!
And so, here's one from last October: how to be a script reader. Even though it's linked at the side, it's still the most commonly asked question I receive in emails, bribes and shady brown envelopes. So here it is again:
"The role of a script reader is a thankless and anonymous task but every production company will tell you that they are vital to the submission pile and to some extent, the development process. Producers and development executives simply don’t have the time to read every script that comes in the door and they rely squarely on the reader’s report and recommendation.
All the readers I know or have met are usually involved in the industry in another similar respect, such as script editor or writer, so they have a full and frank appreciation of what a screenplay should epitomise. These are the readers who are consistently regarded and relied upon because the other readers who come and go are invariably interns or people looking to get to the next stage of their career or wannabe writers who want to read just a couple of scripts and then go on their way.
To be a reputable script reader, it takes more than attending a course about ‘how to read a script’ and a bit more dedication than reading for a few weeks just to get the hang of it and make a few contacts. Readers new to the process have complained to me that it takes up too much time and it pays too little (roughly about four hours’ work @ £40 a script). And others moan that they’ve read too much that week but the scripts still keep on coming.
Well, it does take up time and it does pay whack but the execs have a never ending spec pile that needs to get covered, so the work has to be done regardless of who does it. They don’t care as long as the script gets read but they’ll always lean on the more reliable readers if someone’s going to let them down.
I’ve received a few emails lately about how to become a script reader in this country. Fun Joel and Scott the Reader have written excellent posts about how to become a reader (check the links) and even though they are writing with an American slant, what they say is pretty much how it pans out here in the UK.
Still, it seems worth repeating, so I thought I’d reiterate here but make it more interesting by explaining how I did it:-
I had done a lot of sitcom and sketch reports in my job at the Channel 4 comedy dept but when I left, I asked an assistant at Film4 if I could read a couple of feature scripts so I could assemble ‘sample coverage’. I then wrote to a number of production companies around town asking if I could read for them. I didn’t hear back from a lot of them, and I got rejections from most. Now while I was lucky to have the Film4 contact from my Channel 4 job, no-one else in the film industry had a clue who I was, so what I was doing was no different if I was straight off the ferry from Ireland.
One of Tiger Aspect Pictures’ readers left to do some other job and my letter (actually it was an email) managed to land just at the right time. They were fresh from their Billy Elliot success and were receiving a lot of submissions. I met the Head of Development and she gave me a regular supply of 4-6 scripts to read a week, and the occasional book. They produced Billy Elliot with Working Title 2 and said they’d recommend me to them as ‘there was always a lack of good readers’.
After a while, I couldn’t afford to live on Tiger Aspect’s scripts alone so I contacted WT2 myself and again, the luck of the Irish, one of their readers had taken a job on Ali G’s film so they needed someone else. Me!
I then went for a development assistant job at Miramax which I didn’t get but I cheekily suggested that I script read for them instead and they said ‘yes’. Working Title then recommended me to Pathé Pictures and I read for their acquisition and development departments - the acquisition stuff giving me a chance to read the classier style of script, or at least, the ones that were actually getting made.
All of this meant that I was (am) at home a lot of the time, reading scripts and scribbling reports (not to mention writing my own scripts). Because of my passion and obsession with everything to do with screenwriting, this work came fairly easily to me. Sure, it was frustrating and lonely at times but all the while I knew it was worth it for the sake of my own writing and to maintain a continual source of active contact with the industry, however minimal.
It is this type of dedication and commitment that execs and producers are after with their readers. They want people who know how to read a script and more importantly, they like readers who can articulate a synopsis with insightful comments to match. They don’t want glib, dismissive, cynical or superficial reports that bring more attention to the reader rather than the script they’re covering. It’s all about the script, and is the writer worth a mention. The reader remains thankless, anonymous and on to the next script.*
I was extremely lucky to get the Film4 samples done but if you don’t have this kind of access to the industry, it can still be done with the right approach and - cliché police, pull over - being at the right time at the right place. My best advice to someone who wants to be a reader and has no prior experience is to approach agents and/or production companies, and offer to read their scripts free for two weeks. This will give you enough time to gather a range of sample script reports. After that, the production companies may pay you to continue reading for them (agents won't) and if they don't, you'll be able to approach other pro co's with your sample reports in hand.
But if you’re thinking it’ll be a cool gig for a week or month or two, then you’re better off trawling through Drew’s Script-o-Rama for the research you’re after. As a regular reader, you’ll find yourself unwittingly sucked into the routine of dropping off scripts/picking them up. It’ll seem never ending, it’ll sometimes feel not worth it, but for those dedicated to the craft of screenwriting, there’ll be no other option than to continue to read the good, the bad and the ugly. Authors read books, musicians read music, scriptwriters and script editors should read scripts, wherever they can find them.
*Occasionally, the production company may take you to lunch or have drinks with you & the other readers to thank you for all your hard work, so it’s not all bad, and of course, they are pleasant and courteous whenever you drop in. Working Title are the only ones who actually give us poor sods Christmas presents - shame on the rest of you!
Minggu, 03 Desember 2006
Old Times
All of a sudden, it feels like the good old days. Or at least, the early days of my green and keen time of being a reader. When you start out as a reader, you're eager to take on as many scripts as possible in order to build your reputation and demonstrate that you're fully reliable.
Most readers breeze in and out by doing two reports a week, maybe going up to four if they're pushed. Most companies like it this way in order to space out who gets to read what, and to receive a variety of coverage in return. But sometimes, the spec pile just builds and builds, until there's a script traffic jam so large that the only way to create some space is to offload the scripts to whoever wants 'em. And so, the beleaguered reader finds himself with double the workload, partly out of necessity, partly because of his inability to say 'no'.
Last week, what started out as a five-script week quickly turned into an eight script charge. One of them was a 'fast turnaround' where you get the script in the evening, last minute, and they want a report by the next morning. These can be frustrating and demanding but they're also interesting and challenging because you don't have time to question your instincts, and the coverage usually comes out honest and illuminating.
When I lived in London, I could finish off whatever reports needed to be done on Friday morning and then I'd toddle off into town in the afternoon to drop the scripts off, and pick up some more. Now that I live in Poole, I don't have that morning-report luxury anymore (because of the two hour train journey) which means I have to have all reports done the day before my travel and return. This might not sound like much but it feels like you're losing a day of work.
For this week, I have taken on five scripts and two books to read but I only have three days in which to get them done, and I'm in London twice, so it's going to be a bit of a rush and a few late nights. This is okay, I knew this when I agreed to take away the scripts, but it means that I may not be blogging as much this week, or in the next couple of weeks, as I try to bash through as many scripts as possible so that I can buy some Christmas presents.
On the script front, there are still exciting things on-the-go, in the pipeline and waiting in the sidelines but as ever, they have their own unique length of orbit around the reply & respond sun of rejection & commission. Never hold your breath. Always crack on with something else. Tis the Season to Make Money so I'm going to get through as many scripts as humanly possible, and come up for air on the other side.
If a Q&A comes in or a Guest Post pops up, I'll be sure to post. See you soon-ish.
Most readers breeze in and out by doing two reports a week, maybe going up to four if they're pushed. Most companies like it this way in order to space out who gets to read what, and to receive a variety of coverage in return. But sometimes, the spec pile just builds and builds, until there's a script traffic jam so large that the only way to create some space is to offload the scripts to whoever wants 'em. And so, the beleaguered reader finds himself with double the workload, partly out of necessity, partly because of his inability to say 'no'.
Last week, what started out as a five-script week quickly turned into an eight script charge. One of them was a 'fast turnaround' where you get the script in the evening, last minute, and they want a report by the next morning. These can be frustrating and demanding but they're also interesting and challenging because you don't have time to question your instincts, and the coverage usually comes out honest and illuminating.
When I lived in London, I could finish off whatever reports needed to be done on Friday morning and then I'd toddle off into town in the afternoon to drop the scripts off, and pick up some more. Now that I live in Poole, I don't have that morning-report luxury anymore (because of the two hour train journey) which means I have to have all reports done the day before my travel and return. This might not sound like much but it feels like you're losing a day of work.
For this week, I have taken on five scripts and two books to read but I only have three days in which to get them done, and I'm in London twice, so it's going to be a bit of a rush and a few late nights. This is okay, I knew this when I agreed to take away the scripts, but it means that I may not be blogging as much this week, or in the next couple of weeks, as I try to bash through as many scripts as possible so that I can buy some Christmas presents.
On the script front, there are still exciting things on-the-go, in the pipeline and waiting in the sidelines but as ever, they have their own unique length of orbit around the reply & respond sun of rejection & commission. Never hold your breath. Always crack on with something else. Tis the Season to Make Money so I'm going to get through as many scripts as humanly possible, and come up for air on the other side.
If a Q&A comes in or a Guest Post pops up, I'll be sure to post. See you soon-ish.
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