A Year in the Life

Here's the 25 words or less review of the year:

Started off quite stressfully but gradually improved; earned more for writing than script editing, a good turnaround, and feeling positive about the year ahead.


Here's the slightly longer version, if anyone's interested:

2006 was shite for all sorts of reasons. 2007 couldn't get worse, could it? Not if I had anything to do with it. The early months of the New Year were quite stressful as I chased a couple of projects down dark dead ends, causing some bruises of resentment and ill-feeling with the producers who had led me there.

The first positive turnaround came with the pilot of Sofia's Diary, the new interactive teen drama, for Sony and Bebo. This opportunity was thanks to a contact I met in Cannes, so the trip to the south of France was certainly useful.

Then, through the blog, I had an idea for a new screenwriting competition and I took it to a few people in the industry. Basically the pitch was that there should be a script comp where it's not just about the prize but it's what happens afterwards. In short, help the winner with their career. Some nibbled with curiosity and an official proposal was written up and sent out. One particular writer/producer leaped on it immediately, Tony Jordan, and came up with an amazingly generous prize: 5k cash, a commission on one of his shows and agent representation if you didn't already have it. Wowzer! The competition became the Red Planet Prize, which we launched at the Screenwriters' Festival in the summer (the finalists will be announced in January). Surprisingly, setting up the competition happened very easily and quickly, but I'm secretly proud of its inaugural success.

More work came with Sofia's Diary, which nabbed an on-line commission (in a similar guise to Bebo's Kate Modern). Interactive wave of the future, Jack. Get with it. I also wrote an animated corporate short film: why not, the cash was good. I script edited a few things, more notably Kings, the Irish language feature which was released to some acclaim, also a sci-fi flick and a radio play. And then, just before Christmas, a commission for a new kids' series came completely out of the blue, and so am working on that as I type.

So, all in all, a good year mixed with the usual stresses of work uncertainty and rejections, some more disappointing than others (came very close to a Hollywood movie deal but after the biggest pitch of my life, it didn't come to pass).

Overall lessons learned from the year: just when you think you can't push yourself any further, you have to work harder. Keep writing, keep learning, don't stop; don't be good, be great.

2008 is going to be bigger and better. Bring it on.

Comedy Specs

In preparation for my Raindance talk a couple of weeks ago, I asked a few development execs what they were looking for in comedy scripts (feature films). This led to an interesting discussion about the current market, and what makes a comedy feature tick. A couple of the execs gave up their time to chat over a coffee - and one even invited me to a company meeting on the subject! - so I was certainly glad I asked.

So, what did they say?

Well first, the good news. Film companies are desperate for comedy scripts. They can’t get enough of them. There are a couple of reasons for this. Comedy films are good for box office (always popular with audiences), and they are relatively inexpensive to make. Comedy does have healthy subgenres like romantic comedy, comedy crime, comedy action etc but when one of these films work, they’re mainly remembered for their comedic element.

Leading the way in the current market is the Judd Apatow school of comedy (Knocked Up, Superbad etc) where there’s usually a strong concept combined with a level of reality and identifiable characters. These are typically male-driven comedies and combine broad comedy with other subgenres like slapstick, etc. They show a sensitive side whilst also pushing the boundaries of taste and decency, which creates a natural comic milieu.

A good comedy will work with a clear concept (inviting hook) and real scenarios that develop from this situation. The goofball and silly comedies of Will Ferrell and Sacha Baron-Cohen also work really well but these are reliant on the performance of the star/actor. Indie comedies can also prove popular and worthwhile. These are usually black comedies, or films that take an alternative/offbeat approach but will usually have a ‘good heart’ or an inviting hook to make them appealing and engaging.

In the UK, a criticism about some comedy scripts is that the characters aren’t real. The stories aren’t about anything. They don’t have a strong concept - no theme - and they have nothing to say. Also, there are too many scripts trying to riff off the success of Richard Curtis. As a result, there is a surfeit of wedding comedies (enough already with the best man/bridesmaid stuff!). The scripts are too familiar and derivative, and offer no surprises.

If you’re thinking of packaging a UK comedy for a budget over £10m, then there’s only a handful of actors that can fit the bill: Simon Pegg, Ricky Gervais, Sacha Baron Cohen, Steve Coogan and possibly even Lucas/Walliams. On the lower budget scale, you could look to make a comedy film for £2million (like the recent ‘The Magicans’ with Mithcell & Webb).

So, how does a spec writer get a break?

If you’re serious about getting your comedy script made, you need to get it in the right hands. So, targeting film companies that actually make and distribute films in this country is a good idea. Film companies like Working Title, Ealing Studios, Tiger Aspect, Big Talk etc. Having an agent obviously helps to get your script accepted and read but often this isn’t enough to make the impression that the companies are looking for. The industry reacts to stars and box office, and tries to anticipate what will work and what will sell. If you’re just John from Croydon with a reasonably amusing comedy script in the spec pile, it’s not going to do much. However, if you’ve already established a good track record in radio or TV, as a stand-up or with writing elsewhere, and perhaps have won a creditable award, this will give the project more bite and appeal.

The best advice is to get involved with the comedy fraternity in whatever way possible. Don’t be a spec writer sitting at home and working in the bank. Work in TV, or write sketches, or do radio; build your profile, network, get known and write a good script. Use your contacts. Talk to the people you know. Show some initiative. Go to the Edinburgh Festival. Talk to comedians after their shows, tell them about your project or that you’re interested in writing a film for them - attach their name, get their endorsement, get ahead.

Alternatively, make your film yourself. Comedy can be achieved on a low-budget. Don’t have the funds? Then make a trailer, or a sketch. A funny short film. Put it on You Tube, enter film festivals, see what happens. Generate some ‘heat’ and interest.

OK, so what key qualities does a comedy film need if it's going to work?

Well, breaking it down, it starts with -

Strength of Concept/Originality
Not necessarily high concept but a premise that clearly indicates that it has strong comic value. Something that when you’re told the idea, you go ‘that’s funny’. Some concepts may be okay but once you know who’s involved, you can go ‘ok, right, I get it’.

Characters
The right characters are possibly the most essential element of a winning comedy film. Make them multi-dimensional. Interesting. Real. Or a reality within the context of the story. That’s where the majority of the humour comes from; once we understand who the characters are and what’s happening, we’ll find what they’re doing to be amusing, whilst in an everday situation or a different context, it mightn’t mean anything.

Structure
Comedy has a very demanding structure. In general, it’s about the funny storytelling experience, not just individual gags or banter. And it’s not just three-act structure, or five-act, or 22 steps, or whatever kind of structure you subscribe to. Think about your set pieces - your laugh out loud moments. The bits in the story that increase the hero’s jeopardy (one exec used Mrs Doubtfire as an example - where Robin Williams has to appear as himself AND the Scottish nanny while the social worker comes to visit) or the moments that give you the big laughs (like the waxing scene in 40 Year Old Virgin, or the drunk drive home, amongst others). A lot of spec scripts don’t focus on these kind of moments. They just go by on a fairly linear level, employing some witty banter if they can, and that’s about it.

A good comedy will have a variety of humour, and not just be dialogue-based (otherwise it feels like a sitcom). So think of the visual, verbal and sophisticated (not to mention puerile) humour that could be generated from the concept, characters and story.

Taste & Decency/Talking Points
Think of your trailer moments, and stuff that might get talked about. Comedy needs to grab your attention, and this will invariably come from the strength of the concept. However, in relation to set pieces (structure) and premise, you can push the boundaries of taste and decency whilst ensuring that’s it’s relative to the story. This can get the script talked about or want to be read (a teenager shagging an American pie anybody?)

Tone
Another strong consideration, as execs like a tone that’s consistent from start to finish. Knowing what kind of comedy you’re writing, who you’re characters are and what you have in store from them. Having a variety of comedy (visual, verbal, physical) doesn’t mean that the comedy style should be erratic or unfocused, or doesn’t stick to what the heart of the film is about.

Lead or Ensemble?
Try to think of a good lead role for an actor to play. A role that's ripe for a popular comic actor; that people will want to see. Look at the recent success of 'Run Fat Boy Boy'. On paper, the script is amusing and endearing, while the appeal of Simon Pegg, and possibly David Schwimmer directing, made the teen audience come back for more (making a staggering £10m at the UK box office). The target audience for comedy films is 15-25. If your comedy is an ensemble piece, it makes it even harder to cast and to market, and these types of comedies can struggle at the box office.


Phew, got all that? A lot to consider then, just like writing any script, but of course, the most important element of a comedy is the most obvious: it’s got to be funny. Simple, eh?

Unique Words

UPDATE AT THE END

A certain Mr Stack in Los Angeles (no relation but am always pleased to see the name - it even crops up in number 6 of the latest 'Black List' ), reports that "w00t" has been deemed 2007's word of the year. He then points out a real humdinger - "sardoodledom".

I've got one for you.

Doorooby.

To be used when you're working on a script/rewrite/outline etc but not with any definite goal or direction.

For example: "I'll just do a doorooby on that, see where it takes me". Or, "I'm stuck on page 5. Let me have a doorooby and I'll get back to you..."

I currently annoy my co-writer Sam by saying it to him. I don't expect it will catch on...

Anybody got their own unique words that they like to use but wouldn't make sense to anyone else?

** UPDATE **
Charlie Brooker (who surely deserves his own TV channel, not just his essential Screenwipe programme on BBC4) has a good one with 'contesticock': the self-aware contestants on any TV game show, who are cock-heads that deserve to die.

Q&A: Justin Trefgarne

Two years ago, Justin was a development executive at Working Title Films; for most of us, a job to envy. You may remember he did a Q&A for the blog (in fact, it was the very first of the Q&A series!) and gave us an insight into the development process of the UK's biggest and most successful production company.

Then, he made the big and brave decision to go freelance as a writer/director. Quite a bold move indeed, because, as we all know, living the life of a freelancer is no easy task, no matter who you know or what your last project was. So, how's Justin been getting on? What has he been up to? I fired another Q&A at him to find out...

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It’s been two years since you went freelance (hasn’t it?!). What have you been up to, and how are you doing…?

I’ve been writing mainly and I’ve also made a couple of shorts.

Can we watch your shorts on-line or are you aiming for the festival circuit, or are you simply hoping to increase your experience, make more shorts, and eventually make your debut feature?

I made a Sci-Fi short called LIFE:XP which has been extremely well received but I never saw it as a festival film, a view that was endorsed by the fact that we got turned down by Edinburgh. We tried a couple of others too, but they also told us to piss off, so I’m going to hang fire for a while. I’ve heard that the US festivals are more receptive to this kind of film so maybe we’ll try a couple of those. But the purpose of doing them is above all to make a decent film with the resources available.

However intuitive you might be, you’ve got to practice and I really relish the challenge of making a story work in 10-15minutes. There’s a pressure to make a masterpiece every time, which is fine, but of course the reality is you need to learn, so for me the shorts are above all about actually doing it rather than just talking about it, which is where I came from with a background in development. And then yes, the feature will be the next step.

How has your experience in development affected your approach to writing and directing?

While I was at Working Title I was privileged enough to work with, or see working, some really classy people. In my view that’s worth as much as a year at film school not least because they are doing it for real ie they are making films with the pressures of real money behind them and an expectation that the movie will perform in theatres. It’s something that can’t be simulated – I’m not sure how healthy it is to function without a sense of the business side of film-making, even if you are a writer or a director.

Anyway, that’s my own view and Working Title was the engine room of decision-making and commercial awareness that I needed to experience personally. I’ve had a rather sheltered life and I needed to see first hand the way these people worked. It was a steep learning curve, and what is happening now is I am putting that experience together with my more instinctive, creative self that’s always been there and forging ahead with my own projects. There’s also no doubt I learned a hell of a lot at WT about myself and about scripts. But development as a way of life, it just wasn’t for me ultimately. There’s a danger that it can become an end in itself, as if there is this perfect thing called the screenplay that can somehow exist in isolation to production.

I remember showing up on set for LIFE:XP, it was like a religious moment when I just had this overwhelming sense of yes charge through me. And then I realised – development is about one thing if it’s about anything, and that’s production. But because it’s so hard to achieve that you become risk averse, after all there’s nothing threatening about an unmade script. I think you can almost kid yourself into thinking that you’ve made the film when you’ve developed a script ad nauseam. But you haven’t, it’s only a third of the process, only a third of the journey.

What’s a typical working day now that you’re freelance?

Well, I get up at 6.30am, get my five year old son off to school and return at about 8.45 for a cup of coffee with my wife. Then, if I don’t have any meetings I go into my office, which happens to be an old garden shed I insulated and rigged up power and internet to. It’s a truly awesome little space. I can’t quite describe how special it is to me. My garden overlooks a little river called the Wandle that flows into the Thames, so it’s quiet and I get a lot done. The daytime isn’t really for writing though as I also freelance as a script editor on a few projects and I am a visiting lecturer on a screenwriting MA at Westminster University, so I have quite a workload from those things too. There’s the inevitable phone calls too – I’m finishing a short, I’m developing a script with some writer friends and I’m chasing up on my own script which has just gone out, so all that needs attending to. In the afternoon I stop around 5-ish to help get the children to bed, something I am very protective of, and then after supper I’ll go back into the shed and write for a few hours. I’m trying to follow Stephen King’s example of writing every day whatever the circumstances; it’s not easy to achieve.

Writing is one of those things that looks very odd from the outside. Loads of walking about, going into shops and browsing, watching odd bits of DVDs and then chunks of intense, furious, exhausting typing. What people who don’t write don’t quite get is it’s all writing – the actual typing is only a piece of the pie. I’ve learned though that if I don’t manage any writing in a day I can be quite unpleasant to live with. You become quite gnomic and self-centred if you’re not careful. That’s where my bike comes in. The single greatest aid to a writing career. I’ve solved nearly all of my story problems on my bike, there’s something about pedalling that unlocks the imagination. So the other thing I try to do every day is cycle somewhere. I’m addicted, and it’s by far the best way to get around in London. Then it’s bed – depending on children etc between 11 and midnight, unless I’m chasing a deadline and then it’s probably going to spill into the small hours. I love working at night. It’s just my best time.

What’s the biggest difference you’ve noticed between working for a production company and being a freelancer (e.g people less willing to return your calls!)

When you’re an employee people pay you monthly on roughly the same day. When you’re self-employed, they throw your invoices into a big furnace and gleefully watch them burn.

What was the last film you paid to see at the cinema?

30 Days Of Night, which I was very excited about and turned out to be awful.

Would you like to work in TV, commercials or music videos?

Yes, yes and yes.

What’s your favourite part of the job - what makes it all worthwhile?

I love all of it. The struggle is to stay sane while you’re not doing it. I was nervous about writing as it is so solitary but I love that too. Maybe, though, just maybe the experience that nudges ahead of all others is shooting itself. Some people find it boring apparently which I don’t understand at all. The film set is the closest thing to heaven on this earth.

Who’s your favourite director?

Impossible to select one. I tend to have crazes on people. I’m just coming out of a Dario Argento obsession and going back to early Spielberg, which is unadulterated genius.

What’s next?

There’s a few things hovering, but my absolute priority is to make a film next year. I love this life but the only way is forward, whatever it takes.

And finally… what film that would you like to remake, and what would you do to give it a modern update?

I’d like to do Rio Bravo, but in a really violent, authentic way. To dig deep into the world and extract as much detail as possible to make it feel real. The West is like science fiction these days it’s so alien to us, and that’s very exciting as you can go into the world and build it from scratch, creating something that people won’t have seen before. Then I’d make the bad guys very scary, like the Terminator or something, endow them with a sense of the unstoppable. All building towards this massive, biblical showdown between the sheriff and the outlaws.

And I think I’d want to kill the sheriff, because sacrifice is the only real way to complete a character like that these days. And once I’d done that, I’d remake Wuthering Heights. It’s by far the greatest novel of Romanticism. In my experience love is much more of a Heathcliff-Cathy thing than it is Lizzie-Darcy. But I’d want to do it as brutally as it’s presented in the book. In a way it’s the first real horror novel, paving the way for everyone that was to follow. It’s just the most amazing story and the payoff is devastating – this man, who has been destroyed by the love of his life, comes back to wreak revenge on her family – but then at the end you realise that all he has ever wanted is to be with her again, and so he gets his wish but in the most dreadful, terrifying way. It’s just incredible, infused with dread and suffering and this epic, devastating love. Is it modern? I don’t know the answer to that, but I do know that film makers like Joe Wright are showing that period films are as valid as contemporary.

In Wuthering Heights you’ve again got this kind of science fiction world of stranded people in this vicious landscape. It’s completely contained and everything – even the weather – is at the mercy of the story. I think being relevant is one of the more irrelevant things to worry about when you’re making films. It only matters if it affects you personally – you just have to take a chance. It’s all risk in the end. Look at all those Iraq war movies that are tanking at the box office – nothing is more relevant than them, but no one’s interested. We’re after something that transcends our existence, not something that merely documents it. A story like Wuthering Heights has already survived two hundred years of fashion, and I’ve got a feeling it will survive another two hundred. Imagine making a film that even got close to that…

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Thanks Justin! Great stuff.

Screenwriter Peter Straughan

Just a quickie for the weekend: something you might be interested in if you're free on Monday night and live in London, Brighton or the South East.

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Talent Focus: Peter Straughan at Brighton's Lighthouse

"Recently named by Variety as one of 10 screenwriters to watch (the only Brit in the pack), Peter Straughan’s star is rapidly rising, with offers flooding in from Hollywood. Currently in the pipeline is a project with George Clooney - OUR BRAND IS CRISIS - an adaptation of a documentary about U.S. campaigning tactics for a Bolivian election.

Regarded as a bold, inventive and versatile writer, Peter has worked across many mediums including radio, theatre, television, novels, short stories and most recently, film. With two screenplays produced so far, SIXTY SIX and MRS RATCLIFFE’S REVOLUTION, his adaptation of Toby Young’s memoir, HOW TO LOSE FRIENDS AND ALIENATE PEOPLE is set for release in 2008.

With his reputation as a screenwriter fast racking up an impressive number of collaborations with some of film’s biggest names, Variety recently described Straughan as “just about the most in-demand Brit scribe out there.”

Hear Peter in conversation with Dan MacRae (Optimum Releasing), discussing his career to date, plans for the future, and the trials and tribulations of being one of the UK’s most sought after screenwriters.

We will also be screening an exclusive teaser trailer of HOW TO LOSE FRIENDS AND ALIENATE PEOPLE.

To book tickets, please call 01273 647197 or for enquiries please email: info @ lighthouse.org.uk

Monday 10th December
7.00pm: Doors and Bar
7.30pm: Event Start
Venue: Lighthouse, 28 Kensington Street, Brighton BN1 4AJ
Entry: £5/£4 concs"

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And if anyone does go, be sure to blog or tell us about it.

Story Vault: Script Reading Commandments

Bit flat out between now and the New Year, what with Red Planet (next announcement will be after Christmas) and doing current work while trying to generate the right momentum and opportunities for the start of 2008.

So, a post from the vault: a list of 'script reading commandments'. Useful stuff to bear in mind if you're a working reader, an interesting peek into the reader's world for everyone else. See you at the Raindance course on Saturday, if you're going.

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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.

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Writing John Malkovich

Have you seen this? It's an on-line writing project created by esteemed actor John Malkovich (officially called The Vaio Online Script Project).

He wants to write a script with you, us and everyone. He's written the first page of a screenplay, and he'd like you, us, everyone to follow suit. Write the next page. And then someone else writes the next. And so on. Sounds like an interesting project and ideal for bloggers to procrastinate with, I mean, make a meaningful contribution.

Have a peek at a couple of videos of Mr Malkovich talking about the whole shebang, HERE, and HERE (I'm not sure where he's going with the Cat in the Hat thing, but it's still quite nice). The comp launched on the 16th November so it's all still new and exciting. Fancy a go? Check out the full and proper details below.

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Make a movie with Malkovich

The Vaio Online Script Project is a unique opportunity to collaborate with one of today’s true renaissance men.

Through his many creative endeavours but particularly through acting and directing for both screen and stage John Malkovich is someone who genuinely recognises and encourages talent.

And now you have the chance to work with him. The idea and process is very simple. John has written the first scene to a movie. What happens in the next scene is up to you and the web community. Scenes can be uploaded to the site and after each month one successful scene will be chosen by John.

Anyone can contribute at any point throughout the project. You might have a killer idea for the end of the movie and wait for the last scene. The process will be repeated monthly until John is happy that we have a very special script.

The project starts on November 16th who knows how it will end……

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Writing for Comedy

There's a Raindance weekend course on Writing for Comedy coming up on the 8th/9th December, hosted by comedy TV writer Dave Cohen. He's invited me along on the Saturday afternoon to talk about what film companies are looking for in a comedy script. If you're interested in the course, check out the details HERE, and/or have a look at a Q&A with Dave, HERE.

In non-work related news: I have been mourning the recent passing of my iPod. Born in 2004 for a princely sum of £350 (as a treat from my script competition winnings), died in 2007 of a hard drive failure. I'm told it had a remarkable life: two separate Apple stores saying what good condition it was in (er, hello, it's broken!).

They excitedly referred to my iPod as 'old school', as if they were privileged to be holding a long-lost relic of technology. £350 for only 3 years' life. Not good. The price and range of iPods are better nowadays but it's still quite costly (to me anyway), and I'm a bit reluctant to 'upgrade'. I checked out the iTouch and the iPhone but they're not for me. Maybe I'll go with the 8GB Nano or one of the Classics, I haven't made my mind up, but if anyone's got any recommendations about Sony or whatever, just shout (but can I still use my iTunes?).

US Writers' Strike: International Day of Solidarity

Won't be able to make it into town for the UK Writers' Guild demo, so here's a quick pic of me showing my support. Have a good one.




UPDATE: Check out the photos of those who did show up, here. Nice!

Save Kids' TV Petition

** UPDATE BELOW **

You may have seen this on the blog last month:

"There is a now an on-line petition which will help thrust the Save Kids' TV campaign into the Government’s consciousness (through the 10 Downing Street website). A couple of clicks could make all the difference. Sign up here. The Save Kids’ TV website has more on the petition and its aims."

They've got about 3,000 signatures, which is great, but they need at least 8,000 if they're going to make any kind of impression. If you've already clicked and signed, then lovely-jubbly, but if not, stick your name down, it's all good. SIGN HERE. And then spread the word: blog, web, text, i-pigeon, whatever takes your fancy.

** UPDATE: To check out the Save Kids' TV blog, where a new animated character called KC tries to find a commission, click here.

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You can also sign a petition to support the WGA strike, here.

Stop Start

By and large, people take exception to being told what they can or cannot do when it comes to their own scripts. They mistrust the advice of the so-called gurus and bristle at the thought of a screenplay being guided by conventional techniques or academic terminology. Fair enough; perfectly understandable. People want to stick to their own sense of style and instincts. Great, bring it on, show us what you got. And so the spec pile grows. (un)Surprisingly, similar techniques and story elements emerge, which brings the reader to the conclusion that aspiring writers are failing to impress because of an over-reliance on cliché or unimaginative storytelling.

When a reader picks up a script, he is already starving for something original and interesting to happen in the story. Something, anything, that will tell him he’s in safe hands; that this story is going to be good, and he can sit back and enjoy the ride. This does not necessarily mean that scripts have to start with a bang, or a fast-paced sequence. If a script adopts a slow-burn approach, then it’s the writer’s responsibility to draw the reader into the world, and make him absorbed with the discerning tone, pace and drama.

Inevitably, a lot of stories share a lot of similarities with their style and approach, especially at the beginning of a script. Here’s a round up of the most common story elements that appear in the spec pile (a version first seen here, and about 'the first ten pages', here).

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Format
First, a word about format. Would you believe that people are still falling at this most basic hurdle? I’m not a “Format Nazi”: if a script isn’t in the right format but is telling a good story, I’m happy. But. If a script has a dodgy format (odd font, strange alignment, even varying font colour sometimes), it becomes easier to ‘pass’ because it’s not quite up to professional scratch. Screenplay software can be pricey, but fear not, you can get it for free on the ‘net. Microsoft has a basic template, and Celtx is free screenwriting software which I’ve heard good things about. But really, there should be no excuse anymore for poor formatting.

Getting Out of Bed/Starting Their Day
A lot of scripts open with the protagonist getting out of bed and going about his daily routine. Okay, we get it. This is his normal routine before the story’s going to kick in and really upset his life. But it’s quite a dull, boring and unimaginative way to start the story. Surely there’s got to be a more interesting and original approach?

A Funeral
There's nothing like the uniting emotion of grief for characters to get together and kickstart a story, right? Not really. Or someone returning home for a relative’s funeral, and facing up to their past/misplaced relationships etc. Snooze.

Inheriting Something From a Will
This often comes after the opening funeral sequence but sometimes it occurs right at the beginning. A popular choice is for the protagonist to inherit something he doesn’t want from a relative he never knew he had, and spend the rest of the story facing up to both.

Arriving At An Airport
A quick glance at the lead character in the plane, touchdown, baggage claim, and then usually proceeds to a funeral or a will reading.

Voice-Over
Scripts in the spec pile love this one. There is absolutely nothing wrong with voice-over in TV or film. It’s an enjoyable and useful technique, when it’s done right. When it’s done wrong, it’s painful and unimpressive. Voice-over like: “That’s me, Peter, and next to me is my best friend John. We’ve been mates forever”. Ideally, the voice-over should juxtapose or neatly support what’s going on, not be a easy reference for poor exposition.

Flashback Narrative
Another fave of the spec pile. Like voice-over, flashbacks can be incredibly useful and entertaining. It’s all to do with a writer’s specific grasp of craft and technique, and to heighten the drama and interest of the narrative. Flashbacks arriving at the very beginning of a script is a tough trick to pull off. It’s likely that not enough interest or attachment has been made to the character or premise, and so the flashback can feel indulgent and unnecessary. It usually represents what the writer is interested in or wants to get across, rather than what the reader is hoping for or expecting to see.

Voice-Over Flashback Narrative
“I bet you’re wondering how I ended up in this position. Well, it wasn’t always like this…” and cue into a flashback narrative. I think “The Woman In Red” with Gene Wilder (in 1984) did this kind of thing, and it was funny, but if voice-over and flashbacks weren’t tough enough to do by themselves, together they’re especially tricky and demanding. And when badly used, which is more often the case, it can feel like lazy and convenient storytelling.

Dream Sequence
They’re a bit like flashbacks in that they’re trying to establish some sort of intrigue or exposition but as an opener, it doesn’t do much to arouse appropriate interest, especially when the character screams himself awake, and then goes about his normal routine (or attends a funeral/reading of a will/begins a voice-over, flashback etc).

Chase Sequence
Quite possibly a dream. In crime thrillers, it can be the murder that the story and investigation is based on, and that sometimes works as a neat prologue. However, a chase sequence right at the beginning can feel rather plain - someone’s getting chased, big deal. A writer needs to more original and interesting about the chase, or the way it’s described, if it’s going to properly engage a reader’s interest.

Multiple Character Introduction
Sometimes, six or more characters will appear in one scene or sequence. They’ll all get namechecked and have dialogue but the reader will easily get lost as to who’s who and what’s going on. The characters may well become more defined as the story progresses but at the beginning, it should be clear and inviting as to who people are and what their role might be. Give a little bit of juice or drama so that the reader can make the right connections without having to flick back pages or re-check who said what.

Bad Language
Common vernacular is riddled with bad language, and not even the most liberal sprinkling of foul words is going to offend a reader. But it may put them off the credibility and authenticity of your characters. Let’s take a domestic drama, and the opening scene is Mum and Dad at the kitchen table. All of a sudden, they’re calling each other ‘c u next Tuesdays’ over the corn flakes. This can feel unsuitable and disconcerting, whereas a gangster using such terms would be expected. It’s all about context. On Radio 4 recently, Stephen Fry was asked to define the word “countryside” to which he replied: “The murder of Piers Morgan”.

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You could argue that a lot of professional scripts and produced work use a lot of these techniques. It’s true, you seem them all the time, and indeed, a few of the second round shortlist for Red Planet had some of these very same elements. But they probably used them with an added bit of style, humour or originality. In the spec pile, a lot of scripts are doing exactly the same thing as you, so it’s always good to be different. A reader wants something more; a bit of spark and ingenuity to help ease them into the style and flow of the story that’s ahead. So, go on. Think outside the box. Shake it up a little. Have fun. Don’t be boring.

RPP: Overview

Writers put up with a lot of rejection. And with rejection come a host of bothersome platitudes or conflicting positives: “The writing is good but it’s not for us.” “We really liked your script but we’re going to pass.” “We have something similar in development”. Equally, the typical announcement from screenplay competitions usually chimes in with: “the standard of entries was extremely high and it was very difficult to choose a shortlist/winner”.

These remarks, and the latter in particular, are widely regarded as sugar-coated euphemisms that are really saying: “your scripts sucked and you suck, too, loser.” At least, that’s what they feel like. However, in the wake of the Red Planet second round shortlist, this is not the case at all. A large proportion of the 2000 + entries were of an impressive standard which made it difficult to whittle it down into a viable shortlist (just how many got through? guess a maximum and minimum number, split the difference, and you’re probably around the right ball park).

On average, the entries displayed a solid sense of style, presentation and format. People aren’t stupid. They’re doing (or have completed) their MAs in screenwriting. Attended the seminars. Read the books and blogged themselves to death. The result: better writing all round. And because the competition was open to just about everyone who could spell their name, regardless of age or experience, the submissions varied from the ‘poor’, the ‘polished’ and the ‘professional’. I don’t mean professional writers here; entries with a little more edge and interest.

The ‘poor’ submissions usually wrestled with the old chestnuts of dodgy format or erratic/confusing storytelling. The ‘polished’ shone through with the right kind of style and presentation while the ‘professional’ displayed a more discerning touch of storytelling skill that stood apart from the rest. Then there’s that grey area of subjectivity between all of the above, but particularly the polished and professional entries, which made it so difficult to choose which scripts went through, and which ones had to be put aside.

Some may argue that you can’t accurately judge a script, or a writer, from the first ten pages of a script but, in truth, you can tell a lot about the writer’s talent, and the script’s potential, much earlier than that, probably from the first two pages alone. And then there’s that ‘samey’ quality that a lot of scripts share. Not a very original premise, confusing set-ups, poor dialogue, badly used techniques like voice-over and flashback, or the trickiest of them all, voice-over flashback. Sometimes, you’d read the first ten pages, thinking it was a drama, and then the synopsis would tell you it’s a supernatural comedy, but you saw no signs of anything supernatural or comic in the first ten pages. The style, presentation and format might have been dandy but the tone, characters or world of the story just weren’t coming through.

So, a lot of the entries walked a fine line between the ‘slightly dodgy’, the ‘perfectly acceptable’ and the ‘now that’s interesting, let’s see more of that’. A good number of the ‘perfectly acceptable’ entries would no doubt have made the shortlist if the competition was just about the kudos of winning but the contest is much more than that. It’s about securing a guaranteed TV commission and helping the career of a writer who’s already got the goods with his/her professional style and approach (note: not a whiny internet geek, or people being rude about the contest’s organisers. We had lots of them, thanks very much, and some who had actually entered: way to make a good impression).

A few people have contacted me to bemoan the lack of bloggers that didn’t get through. Come on. Although the prize was partially inspired by the good folk who share their writing wares online, having a blog was by no means a guaranteed passage into the second round. Nevertheless, as far I’m aware, three people from the scribosphere made the second round, which is a fairly good representation, so well done them. Certainly, the standard of scripts from the blogging community was mainly in the ‘polished’ section of submissions, which is a heartening sight. Just because a script was rejected doesn’t necessarily mean it’s a bad script, or that the writer can’t write, or that the story doesn’t have merit. We had to take a hard line on what got through; much tougher, I suspect, than most competitions.

Whatever the decisions and outcome, the contest has been an exciting and worthwhile venture, and all signs indicate that it’s going to be an annual fixture on the screenwriting calendar. That’s got to be a good thing. I've got a few new observations about some of the regular stuff that crops up at the beginning of scripts so I need to update the top 10 clichés (link from August 2005), so I’ll address that in my next post.

Red Planet Prize: Notified

Right, as far as I know, all of the writers have been notified for the second round of the Red Planet Prize, so if you haven't received an email, then alas, you didn't get through.

Sorry about the agonising wait but it was equally agonising for us to pick a shortlist, as a lot of the scripts were of a very high standard. I'll do a post soon about some general observations from the submission pile, so stay tuned.

Red Planet Notification

Have you seen the news? Slight delay, but we're contacting the finalists over the next few days. It'll all be done by Friday, I reckon, so keep an eye on your inbox.

There seems little point about me blogging about anything else until then. However, to help the lighten the load, I'll squeeze in this meme. You've probably seen this a squillion times already but here's my version...

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Lame But Proud, 5 Things:

1.
One of my all time favourite songs is ‘Annie’s Song’ by John Denver.

2.
When I was 9, I came third in an ‘Erin Soup’ writing competition. The subject was ‘knitting’. I got an ‘Erin Soup’ t-shirt.

3.
I wrote to Trevor Eve when I was 12 (when he still had his Shoestring 'tache), and asked for a signed photograph, to which he kindly obliged. I had a meeting with his production company recently: ah, the circle of life… Didn’t meet him though.

4.
Fresh 'off the boat' (I flew, really) from Ireland in 1994, I got a temp job at Channel 4 and for my first day, I wore a suit, for which I’m still teased about, like, 13 years later…

5.
I did a Secretarial Course when I was 17 and learned to type, which is still one of the most useful things I’ve ever done.

US Writers' Strike

Most of you will no doubt be aware of the writers' strike in Hollywood at the moment. It's about getting fair residuals when work is used (or sold) for internet and new media purposes. Basically, it's the AMPTP (Alliance of Motion Picture and Television Producers) versus the WGA (Writers' Guild of America).

If you'd like to see what they have to say about themselves, click here for the AMPTP, and click here for the WGA's website, or here for their specially created 'strike blog'.

If you're thinking that this doesn't affect you, the humble UK writer, well it does, because we'll inevitably feel the benefit or repercussions of what the WGA are fighting for. And if you're thinking that this is the ideal chance to break the Hollywood market while the rest are on strike, it's not, because while you may enjoy a quick payday or an exciting opportunity, the WGA will ensure you'll never eat lunch in town again.

The UK Writers' Guild is fully supportive of the WGA; click here for their official statement, or keep up-to-date with their blog, here. A good opportunity also to remind you to join the UK Writers' Guild if you are not already a member. Times are a changin'. Get with the program. Strength in numbers. And other such slogans that will help us in the long run.

Watch the video that explains it all...

20 Qs

Here's a neat little questionnaire, courtesy of Lianne that she cribbed from Arvon, that is perfect for bloggers to procrastinate over, so here's mine.

1. Do you outline?
Sometimes, not always. It certainly helps, and some projects need it more than others while occasionally I like to see where everything will take me but it's a given for all TV stuff.

2. Do you write straight through a script, or do you sometimes tackle the scenes out of order?
Start to finish, that's how I roll.

3. Do you prefer writing with a pen or using a computer?
I use pen for scribbling notes, then transcribe them to the computer (so I have them on file), and then use the computer for the real writing. Or sometimes type notes directly on to computer. Whatevs.

4. Do you prefer writing in first person or third?
Danny sat back to think about his answer, then typed: ‘third’.

5. Do you listen to music while you write?
Very rarely. It kind of blanks out so I don’t bother but I’ll put something on during a break or two.

6. How do you come up with the perfect names for your characters?
The name has to fit the character, either in a pseudo-meaningful way (“her name is the Irish for dream, yeah?”) or just sound right, or cool, or different. But I don’t kill myself over it.

7. When you’re writing, do you ever imagine your script as a book/short story?
Not really. I have just finished a book version of one of my scripts but didn’t think of it as a book while I was writing the script, if that makes any sense at all. Probably not.

8. Have you ever had a character insist on doing something you really didn’t want him/her to do?
Hmm. This is an odd one as I’ve certainly had characters do things I didn’t *expect* them to do, but I’m writing the god damn thing, so it’s obviously what I want, in a storytelling or subconscious level. But yeah, I suppose so.

9. Do you know how a script is going to end when you start it?
90% of the time.

10. Where do you write?
At home or on the train to London.

11. What do you do when you get writer’s block?
Haven’t had ‘writer’s block’, thankfully, but ‘procrastinate big time’, oh yeah, guilty your honour. I’ll read or listen to music, watch TV or blog/surf the net. The usual.

12. What size increments do you write in?
I’ve never set a minimum or maximum so I honestly don’t know but when I’m buzzing, I can get 10-15 pages done that won’t embarrass me afterwards. When pushed to deadline, anything’s possible.

13. How many different drafts did you write for your last project?
About four or five revisions, I wouldn’t call them drafts.

14. Have you ever changed a character’s name midway through a draft?
Yes. Why, what have you heard?

15. Do you let anyone read your script while you’re working on it, or do you wait until you’ve completed a draft before letting someone else see it?
I don’t think anyone would show pages or scenes to someone before the script was done; that way insanity lies, I tell you. Unless time was against you and it was the producer/script editor, or someone working closely on the project. Or if it's a writers' group where you actively share stuff like that. No, basically.

16. What do you do to celebrate when you've finished a draft?
Start thinking about the next one. I save celebrations for commissions and exciting news like that.

17. One project at a time, or multiple projects at once?
Multiple projects, as in: my own spec scripts and any actual commissions that might be on the go.

18. Do your scripts grow or shrink in revision?
Bit of both.

19. Do you have any writing or critique partners?
I’ve got two or three people for ‘first draft review’, and these and a few others for the more polished version, while I regularly write with Sam Morrison, and have co-written other stuff with a few other peeps here and there.

20. Do you prefer drafting or revising?
Happy to do either.

Red Planet 2nd Round

From Red Planet's website:

"Thanks for your patience, but we've now decided on the finalists for the Red Planet Prize. The quality of entrants has been amazing and it's been incredibly hard to decide on those to make it through. Those that haven't made it, take heart. With two thousand entrants we had to be extremely exacting - so do please try again next year!

Over the next week, the finalists will receive requests for their full scripts. We can't, unfortunately, individually reply to everyone else, but do keep writing and thank you."

Script Call

You may have seen this on Shooting People, Talent Circle, and the like, but they're still open to submissions, and they've got a bit of cash to offer, which is better than none. Actually, it's quite a decent offer, all things considered. And I know the guys involved, and they're top blokes, oh yes.

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Many Hands Productions Thriller Scriptcall

Further to our success in the corporate sector, Many Hands Productions Ltd is now seeking to acquire screenplays for feature film production.

Many Hands Productions is looking for material that...

• Is a member of the Thriller genre only (no horror or gangster material please)...
• Features a UK backdrop...
• Is innovative, and very “pitch-able” – able to hook an audience on the strength of its premise alone...
• Can be shot on a micro-budget...

You must include a 1 PAGE TREATMENT, broken down into the following categories, along with your SCRIPT (in Final Draft or PDF):

• Project title.
• Writer’s name, address, daytime telephone number and email.
• Logline delivered in the industry-standard format (ie. THE FUGITIVE – “After he's wrongly convicted of murdering his wife, a high-powered surgeon escapes custody and hunts down the real killer, a one-armed man”).
• Genre (and sub-genre, if applicable).
• Full narrative synopsis including ending.

The following will harm your application:

• Poor spelling, grammar, and punctuation.
• Poor layout and failure to follow the above remit.

Many Hands Productions is able to offer a fee of £1000 MINIMUM (contracts will be negotiated on a case-by-case basis) for scripts accepted onto our slate.

Due to the anticipated volume of applications Many Hands Productions will be unable to inform unsuccessful applicants individually. Applicants are not limited to submitting one project, however.

If you do not hear from us, please assume your application has been unsuccessful on this occasion.

Please email your screenplays and 1-page treatments to manyhandsproductions @ googlemail.com and specify “SCRIPTCALL APPLICATION” in capitals in the subject line of your email. Your application will be judged solely on the strength of the material attached, so no text is necessary in the email itself.

Strictly no phonecalls or messages please.

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NaScriptWriMo

It's NaNoWriMo from the 1st of November which means you have to write a novel in a month. Masochists, the lot of you. However, for the scribosphere, surely a NaScriptWriMo is more apt. It would seem to be less challenging and demanding than writing 50,000 words of novel, and you'd have another script under your belt.

There's even books to help you - How to Write a Movie in 21 Days (not even a month!). Phill did one recently in five days - as did I last year over a long weekend, and I'm still recovering. So it can be done. Go on, go on, go on, go on, go on, go on. Or like, don't. No biggie.

Stuff

Well, you probably know this already but here's the latest on the RPP:

"We are still working our way through the thousands of entries, but still hope to inform those who have made it through by the end of the month. Thanks for your patience and keep your eye on the website for further updates."

Nearly there!

In other comp-related news, I didn't make the semis of the BSSC but had been in with a shout up until then. I wasn't going to get excited or optimistic until the semis (too many rounds!) but my hopes were quickly dashed with the latest announcement.

One of Sam and mine scripts did make the final shortlist of South West Screen's Development Competition so bah, boo, I mean, congratulations to Patrick Evans with his winning entry, White Elephants. We still get feedback off "Bill", which is sweet, so I'm looking forward to that.

There's a new link service called 'Cliq' which looks pretty cool (similar to Technorati's My Favourites), so you may want to check it out. Thanks to Stewart McKie for the heads up.

That is all. Run along.

Save Kids' TV

While Jamie's School Dinners was a brilliant campaign by the cheeky chef to raise nutritional awareness all around the country, the knock-on effect meant that 'junk food' was no longer allowed to be advertised during children's telly.

Consequently, budgets for children's TV were slashed, and CiTV took a major hit, turning to rely on imports rather than home-grown commissions. And so, producers and writers have been denied work, and, according to Philip Pullman (patron of Save Kids' TV): "we should be able to trust the television channels to create and broadcast excellent programmes for our children, programmes which reflect the lives of modern British children in the society they know, as well as exploring the imaginative, the funny and the fascinating."

There is a now an on-line petition which will help thrust the Save Kids' TV campaign into the Government’s consciousness (on the 10 Downing Street website). With Ofcom’s consultation on the future of children’s broadcasting under way until the 20th December, now is the time for everyone to sign up in support. A couple of clicks could make all the difference. Sign up here. The Save Kids’ TV website has more on the petition and its aims.

Story Vault: Analysis Awareness

It's been a blur since 1st September, not just 'cos of the RPP but because of sudden writing deadlines and script editing gigs. It's all coming together nicely and the RPP is getting nearer the second round shortlist as I type. It's still fairly hectic so here's a post from this time last year, about using self-analysis on your scripts. See you soon!

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After a few years of script reading, and an equal amount of effort trying to write scripts of your own, you begin to see things with a bit more clarity and focus than before. The skill of being a script reader starts to compliment the craft of being a screenwriter. It’s all about being aware of the specific reasons why you’re reacting, or not responding, to the characters and story in a script.

Most people will read a script or watch a film and give generic reasons why they did, or did not, like the material. Some of these will touch on the specifics of the story: “that scene was funny”, or “I really liked his character”, but, when pushed, will not be able to adequately describe or explain WHY they really liked the character, or why they thought it was funny.

To make yourself a better reader, and writer, you’ve got to be able to identify the key moments in a script where you’re beginning to form your opinion of the story. The next time you find yourself saying “I don’t like this” or “I don’t like that character”, ask yourself why, and more importantly, where. It could be the key to improving your rewrite, or shaping the film in the edit suite.

People make subliminal judgements on characters and their behaviour from the very first moment they meet them. One misplaced look or line of dialogue could throw them off, and if the plot proceeds in an awkward manner, or the characters behave inconsistently, you’ve lost the audience for good. To amend this outlook, it’s important to retrace the plotting steps to the moment where the characters are first introduced. What do they say, what do they do, and what kind of dramatic or motivational need is established for them at that point?

Does it set up a false expectation for the audience about who the character is, and what the story is about? You may not have noticed. What’s entirely clear for us as writers about our characters and their motives may be ill-defined and unfocused for a reader because of the impartial information and exposition they're gleaning from the words on the page.

Characters are usually the focus and centrepiece of whether or not a reader/audience will engage with your story but there are other essential components to consider too. Tone, concept, structure are all tangible emotional elements despite their academic connotations. If the audience is laughing one minute but thrown by a serious and grim development in the next scene, they may not feel comfortable or satisfied with your choice of direction. Has the concept been effectively dramatised and put into place? Are the audience still struggling to figure out what the film is about?

After thirty pages of a script, we can usually tell if we like the script and/or the characters. If we don’t, it’s beneficial to ask ‘why’: what scene or moment made me think this way about that character? And what was it in the scenes that followed that either confirmed my view or confused me even more? Get down and dirty with the storytelling techniques of the writer. It’s “analysis awareness”; realising what a scene’s purpose is, or what the dialogue is really conveying, and analysing its dramatic and emotional value.

As a reader, this helps to give valuable and constructive feedback in the report. The more specific you can be, the easier it is for the exec, and for the writer who may receive the coverage. As a writer, it’s preferable to be aware of the specific techniques that help us elevate our stories and characters into wonderful and unexpected areas. However, the infinite complexities of story and the subjective nature of opinion will always challenge and divide us, making the pursuit of excellence a never-ending endeavour. It's a bitch, basically.

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Which Agent?

Most companies ask for submission via agents and I'm not sure where to start re: knowing who's legit / decent. Could you recommend an agent?? I'm desperate to make it!!

Your best bet would be to go through the Artists' and Writers' Yearbook 2007/08 (or buy last year's copy on eBay) where there's a full list of agencies, and who to contact. Approach those you think are the best fit for you (they may have clients that you like/admire for example) and take it from there. Most agencies have websites so you can check out their details on a more detailed and informed level.

The big agencies are companies like Curtis Brown, PFD, The Agency, Independent Talent Group (formerly ICM), while there are many reputable agencies like Linda Seifert, Sayle Screen, Micheline Steinberg etc.

If you're desperate to make it, then start getting in the know. Read 'Broadcast' magazine or 'Screen International'. Or both. Start attending seminars/workshops. Write down the production companies/producers/writers/directors of your favourite shows. Write to them. Try to meet them. Anything. Get ahead. A lot of what you do will come down to your writing ability but that doesn't mean that if you write a great script, your career will begin. There's a lot of luck and networking involved as well as total commitment and focus from yourself to making your career happen. It's difficult, and at times soul destroying, but it's not impossible.

Join the Guild

Are you a member of the UK Writers' Guild?

Yes? Great.

No? Why not?

If you're a professional writer or an aspiring scribe who's committed to a screenwriting career, then you should be a member.

It will come as no surprise to you that writers get treated badly in the business. We're essential to the process but often the bottom of the rung in terms of respect and basic courtesy.

Some common grievances: we don't get paid on time, or we don't get paid at all, and producers use their power over eager writers to get us to work for free. Contracts try to push us out of our basic rights over our material. We do more work than what was agreed or expected. We are constantly overlooked and undervalued.

Admittedly, the UK Writers' Guild doesn't have the same clout or reputation as its US counterpart but that doesn't mean there's no point in joining. The Guild has a committed and passionate team that are dedicated to building a better future for the UK writer. And it can only get stronger with more members. As they say themselves: "The more writers who join us, the stronger we become in our efforts to negotiate better minimum terms agreements, secure better deals as technology develops, and confront difficult and inefficient management."

There are lots of benefits of being a member right now. Check out their website for full details or browse through their blog.

Right now, they're running an incentive to join the Guild where Full and Candidate members win a free gift for every new writer they can persuade to sign up. And, in addition, that writer will also receive a free gift (£20 gift tokens for a variety of outlets).

The Guild says: "if you have any queries about this, or you'd like us to send you some recruitment material and/or the application forms via post, please contact Naomi MacDonald at naomi @ writersguild.org.uk or on 020 7833 0777. Deadline for receipt of applications: 31 December 2007."

So, spread the word, encourage someone to join. This is my shout out to YOU, so if you're not a member, then check out all the details and sign up. You know it makes sense. And tell them I sent you, and let's stack up on those tokens!

More Kings News

IFTA, The Irish Film and Television Academy has announced that ‘Kings’ starring Colm Meaney, Donal O’Kelly and Brendan Conroy has been officially selected by an independent IFTA jury for submission to the 80th Academy Award(S)®, for the ‘Best Foreign Language Film’ category. This is the first time that an Irish language film is being submitted from Ireland for this category.

For a full story, go to Screenplay Europe:

"Kings" was produced by Newgrange Pictures and goes on release in Ireland on September 21.

We Have a Winner!

By 'We', I mean the 'scribosphere', nothing to do with Red Planet.

Why not mosey on over to David Bishop's joint and congratulate him for winning the short film category in this year's PAGE International Screenwriting Awards with his script Danny's Toys. Well deserved, I'd say, a fantastic achievement.

Miscellaneous Media

Press releases have been recently dispatched announcing my involvement with a new web/tv project called Sofia's Diary; you may have seen it in various media publications. The press release states that "Danny is adapting Sofia's Diary for the UK, and he won a Bafta last year for his series The Amazing Adrenalini Brothers!" Some news sources have published the Adrenalinis as a BBC series, and mispelled the show's title. Sofia's Diary itself is written and created by Nuno Bernardo, and the format has already been successfully adapted in several countries. It's great to be part of the team that is developing it for the UK. But the mention of me and the Adrenalinis' Bafta is inaccurate.

The Amazing Adrenalini Brothers! is a CiTV show and I was part of the writing team, not the creator or main writer. The credit for winning the Bafta should go to the creators/writers Nick Ostler, Mark Huckerby, Dan Chambers, not to mention the producers, Pesky, and other key staff. So, just in case some of you are media types who've stumbled across the blog because of the misleading press release, the Adrenalinis is not "my" show, I was just lucky enough to be part of it...

On a slightly different note, the trailer for Kings is up on YouTube. It's the Irish language film I helped script edit last year, written and directed by Tom Collins. Check it out!

Red Planet Meltdown

*** IMPORTANT UPDATE ***

From Red Planet's website:

As some of you are no doubt aware, the weight of submissions over the weekend created some technical difficulties for us. If you received a bounce back ('mail box full' or similar notice), please resubmit your entry to:

resubmission @ redplanetpictures.co.uk

This mailbox will be open for the next ten days, but won't be accepting any new entries. On the positive side, it's great that so many people have entered.
Tony Jordan comments: 'Thanks to all who have entered for your interest and enthusiasm. We've had around two thousand entries to the competition, which is daunting but shows how much talent there is out there. We'll be working through the entries this month and those that make the next stage should be notified in October.'

So, use that email. Those of you who sent stuff to my hotmail address needn't resubmit. I'll make sure everything gets read. Sweet.

*** Below is the previous post ***

Okay. Everybody take a breath. Relax.

Due to the amount of last minute entries, the Red Planet mailbox had a few problems. Some of you received a failure message, but the entries are coming in, and we're doing everything we can to make sure all entries are received. I believe part of the failure message says this: "No action is required on your part. Delivery attempts will continue for some time, and this warning may be repeated at intervals if the message remains undelivered. Eventually the mail delivery software will give up, and when that happens, the message will be returned to you."

To be on the safe side, if you're worried, you can forward your entry to my Hotmail address: dstack30 @ hotmail . com

Don't ask me any questions in these emails, I won't be responding. Just forward your entry, making sure it has the relevant attachments, AND PROOF THAT YOU DID SEND IT IN ON TIME, NO LATE ENTRIES PLEASE, they will be ignored. Those who've emailed already, thank you, no need to re-check or follow up. If there are any problems, I'll let you know. I've got 5GB of storage on Hotmail so I don't think it should be a problem.

The email failure seemed to occur for people on the last Friday/Saturday, so while there may be a good few of you with a failure message, there shouldn't be THAT many either. I'm actually on holiday this week but seem to be doing more working than taking time off. People sniping about the set-up or sending me moany messages is not helping.

But we'll sort it out, one way or the other.

Lovely.

Red Planet Deadline

You've been checking the countdown, haven't you? Staring at it, watching it tick, half-amused but semi-hypnotised by the relentless draw.

Just over two days to go at the time of writing. Not very long at all. So, if you have a submission ready to go but haven't sent it in yet, DON'T FORGET! Because you'll blink, and you'll get distracted, and you'll miss the deadline. Someone's reading this right now, after the deadline has passed, and thinking: "D'oh!" Well, it's one fewer entry to worry about...

To all of those who have entered - GOOD LUCK!

Kings

Just thought I'd squeeze this in.

In the Screenwriters' Festival's brochure, they had a section dedicated to the bios of all the guest speakers, including yours truly because I was there as part of the Red Planet Prize. However, in another section, I was surprised to see an extra snippet about myself: "Danny Stack, script editor of Kings". I was like: eh, what? Who? How?

Last year, as I was watching my bet on England to win the World Cup go down the plughole, I was contacted by director Tom Collins who was looking for someone to edit his adaptation of Kings, an Irish play by Jimmy Murphy. I helped Tom with a few drafts, he paid me, and that was that. Or so I thought. What I didn't know was that he was in the final stages of pre-production and that he was about to start shooting.

I wasn't expecting to get a script editor credit but, a year later, there it was in the brochure of the Screenwriters' Festival (and it's on IMDB, too), so I was wondering how this had happened, not that I was complaining. And then I got an email from the director last week, telling me he put in a script editor credit for me, which was nice of him.

Kings stars Colm Meaney (great Irish actor, rumoured to be Gene Hunt in the American version of Life on Mars) and it's about six young men who leave Ireland in the mid 1970s in the hope of making their fortunes in England. Thirty years later, only one makes it home - but in a coffin. The five remaining friends reunite at his wake and face up to the reality of their alienation as long term emigrants who no longer have any real place to call home.

It's an emotionally charged character-driven piece and the Screen Directors Guild of Ireland, in association with the Directors Guild of America, have chosen it as the winner of their Directors Finders Series 2007.

As the winner of the Directors Finders Series, the film will be showcased in the Director's Guild of America Theatre in LA on 28th September 2007 to an audience of American distributors, with a view to securing a US distribution deal for the film.

So, huge congratulations to Tom, and best of luck for the film's ongoing success - very exciting!

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UPDATE: Also, my regular co-writer Sam Morrison has his latest animation short, Rocket Science, up on the BBC Film Network. So, click on over, watch the flick (and give it a vote if you're a member). Lovely.

Re-Direct

This blog started around this time two years ago, and the intention was to share screenwriting news, opportunities, insights into the spec pile (through my work as a reader) and bits and pieces on how my own writing career was shaping up. Basically, I wanted to focus on what I thought other bloggers and websites weren't talking about, and offer a fresh and honest view of what it's really like trying to get ahead.

Nowadays, there's a wealth of scriboblogs who cover all of the above, and do it with great style, insight and entertainment. A while ago, I stopped sharing any opportunities that cropped up because Lianne and a few others started to do it far more efficiently. I subscribe to a lot of screenwriting blogs, and we share the same information and insight, which is great, but also makes me think: geez, how much advice on the same subject do we have to go over and over and over, and people still don't get it? And I begin to wonder if I should re-shape and re-direct this blog into something else. Keep on topic with screenwriting, obviously (hey, I don't have a life), but try to jazz it up a little so that it's a bit more interesting and original.

As writing gigs pick up with more regularity, my script reading status is practically down to zero, so maybe I should ditch that angle on the blog, and leave that to others to cover (whilst still touching base on certain subjects as I go). Lucy, Robin, Jason, James, Piers and a good handful of other bloggers have been doing great stuff recently, so there's no need to double up on the same info. (Robin's recent series on how to approach the Red Planet Prize is brilliant; you should really check it out if you plan to enter the comp, although not long to go now!). Another cool blog has hit the screens, this time from me good chum Philip Palmer and his Debatable Spaces. He's got a good post about why he loves Buffy so much so check it out if you're interested.

So, perhaps some changes ahead. A new name for the blog? Maybe. Fewer posts? Probably. But I'll still be here. For me, this blog has been a great source of networking and meeting cool new writers, despite one or two weirdos (yeah, you), so I'm not gonna give it up, just take a bit of a sidestep as other blogs lead the way.

The Red Planet Prize and other work is going to keep me busy for a while but I'll stick my head up from my bunker when I get a moment to breathe. Right then. Let's keep the magic flowing...

Story Vault: Step Into Another Dimension

Well, that was weird. Blogger had identified this site as a spam blog, and had blocked me from updating it, so I had to wait until they could verify I was an actual human bean. Yes, bean. And I am. Baked in tomato sauce. What? Anyway, I'm all excited to get my clearance, only, ironies of ironies, I don't have anything to post. Or I'm posting to say I don't have anything to post.

Might be a bit slow and quiet around here for a while. August is typically dusty as many people are on holiday or at the Edinburgh Festival, or both, so it can feel like everyone's ignoring you as you wait for that vital response to your latest script. So, it's a good time to write a new one or explore other ideas. I'll try to chip in with a post or a Q&A to keep the blog flowing but until then, here's a post from August last year, about characters, and how to make them multi-dimensional.

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The quality of the spec pile is improving. Despite contrary belief, aspiring screenwriters aren’t stupid. They’re attending the seminars, reading the books, analysing the films. They’re getting better. Screenplay craft and its application has become common knowledge, even for those with just a passing interest in the medium.

Of course, there is still a lot of stuff out there that ranges from bad to mediocre, and this will continue to give the spec pile a bad name. There are many scripts that vary from good to excellent (although the latter category is subjectively rare) and these screenplays are often on a par with films that are already in production or enjoying current release.

The overall improvement in the spec pile is both reassuring and disappointing. The general advance in quality comes from a good appreciation of craft. Writers know their three-act structure and how to execute it with pinpoint precision. They’re aware of set-ups and pay-offs. A great opening sequence. A good ending. Style, tone, structure. Check. At the very least, scripts are better written than they ever were before. What’s disappointing about this progress is that the characters in the scripts fail to emotionally engage, and this leads to the regular rejection on the script’s coverage.

It seems that new writers have developed a knack for writing serviceable screenplays but they’re not writing interesting characters to fulfil their respective stories. And this, above all else, is what matters in a script. Forget about the long list of disposable films that would offer a sound argument against the statement. They’re nothing to do with you or me. In the spec pile, you’re judged by the quality of your craft but also by how well your story engages the reader on an emotional level. This is achieved through the script’s cast of characters, and how well they are defined and developed.

Characters fulfil a certain role or duty in a story. The protagonist. Chirpy sidekick. Love interest. Villain. Best friend. Boss. Parent. Whatever. A script reader’s seen them all, just as much as a cinema audience. What we’re looking for is something new, fresh and distinctive. We don’t want to see characters behave in the same stereotypical way based on their role in the story. But that’s what happens all the time. The hero is the hero, flawless and brave. The sidekick is comic and supportive, and might even die for his trouble. The love interest’s romance is assured from the outset. The boss is unfair. The parent doesn’t understand. And so it goes…

Superior screenplay craft will ensure an easy read and an appreciative response from a reader but a story with only one or two dimensions of character will leave the reader dissatisfied and unimpressed with the script’s emotional range. Three-dimensional characters are considered favourable but this isn’t entirely true anymore because we can usually predict a character’s behaviour or response from his general characterisation in the story.

What’s desirable now, but more difficult to achieve, is the multi-dimensional character: complex emotional people where their behaviour can’t be easily categorised or predicted. This isn’t meant to encourage erratic or uneven conduct. Quit the opposite. It’s meant to establish a range of conflicting emotions and challenges for the characters to experience. This extra dimension of character is usually borne out of the writer’s particular insight into the situation. It will probably avoid cliché and predictability, and enrich the character’s emotional development with the difficult choice that he/she has to make. ‘Enrich’ doesn’t necessarily mean a positive outcome for the character; it could be a detrimental action that increases the story’s emotional or dramatic appeal.

Due to the particular demand of screenplay craft, getting a multi-dimensional character down on the page is tough. A well-written script with effective emotional characters mightn’t be as obvious or appealing because of what the writer hasn’t written, and what’s left to the subtext. You just have to trust the reader’s instincts and awareness, something that may not be in evidence if it’s an inexperienced intern.

And then there’s what an actor can bring to the part. What really wasn’t on the page is suddenly lifted into a whole new emotional character dimension because of the actor’s particular talents. But for the moment let’s just assume we’re lazing in the spec pile, a million miles away from actors and directors on set. It’s our job to give the characters a chance to breathe and develop; to react and respond to the story on an emotional and practical level.

Whether it’s a genre movie or a more personal piece, the characters have to ring true and be consistent. Think of the best and most lauded genre movies: they all have great characters. And, more importantly, they all have interesting personal stuff going on that had to be dealt with in the course of the film’s plot. Star Wars, Back to the Future, Jaws, Raiders, Shaun of the Dead, Four Weddings and a Funeral, The Full Monty, Billy Elliot.

Well-defined characters. Multi-dimensional. Emotional. Human. Real. That’s the secret to screenwriting success. Craft has a lot to do with it but if the characters don’t engage, excite, inspire or amuse, then they’re probably serving the plot in a two-dimensional fashion rather than driving the narrative with their multi-dimensional needs.

Treat characters with care and respect. Explore other decisions or reactions that they might make: more complex and emotional rather than easy and predictable. It will help to defy a reader’s expectation but also increase the emotional attachment to the story because of the characters’ interesting and unexpected behaviour.

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Check out UNK's Transformational Character Arc post, too.

Raising Your Game

Trying to break into the business can seem like an impossible task. How do you go from wannabe graduate or talented newcomer to someone with a commission or a regular writing gig? It’s difficult because there are so many other equally talented (and a lot more gifted) writers than you out there who are also trying to get their break. Still, the aspiring writer’s frustrations turn, not to focus on himself, but to rail against the system, and to bitch about producers, script editors and the crap that’s on TV or at the cinema.

And then comes that moment. Your first break. Someone gives you a shot. You’ve got a commission. Congratulations! But now what? It’s like someone has suddenly poked you in the chest with a challenge, hoping you’ve got what it takes to supply them with high quality material that’s suitable for production. So you do what every writer does in this position. You panic. Or at least, you begin to doubt you’ve got the goods.

Then, you hand in your first draft, and it gets ripped apart. It’s just like every other script they’ve seen, and even worse than the stuff you were moaning about on TV last night. You’ve piked it, basically, and you’ve fallen short of the required standard. However, all is not lost. You haven’t ruined your chances. You’ve just made a bad first attempt. Now you have to listen to the producer/script editor’s notes and try to turn the script into something that they actually want, or raise the standard to a sufficient level so that it’s actually a top piece of writing.

This is the real challenge. This is what it means to be a professional writer. It’s about raising your game from what you perceived was an acceptable standard to something that will challenge your confidence, talent and ideas. It will separate you from the ‘good and got what it takes’ from the ‘wannabes who’ll never quite make it’. It’s the vital approach and application of your professional practice and your natural storytelling instincts. Being able to separate the shit ideas from the good ones, and getting excited about how to shape the story into something worthwhile and entertaining.

When some new writers get their first break, they can buckle at the weight of expectation and pressure. It’s how you respond to this pressure that will define you as a writer, and help to further your career. You pretty much only get one shot at a first break. So try not to panic. Make it a good one. Discover your humility but harness your storytelling talent, and you’ll learn never to rail against the system again.

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On another note, some time last Friday, the blog reached 200,000 hits! That's really great, so thanks to everyone for reading and contributing to the blog. There may be fewer posts over the coming months due to the script competition and other work demands, but there's a healthy slate of screenwriting blogs to choose from nowadays, so we're all in good company.