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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Jumat, 30 November 2007
Rabu, 28 November 2007
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?).
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?).
Selasa, 27 November 2007
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!
UPDATE: Check out the photos of those who did show up, here. Nice!
Jumat, 16 November 2007
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.
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.
---
You can also sign a petition to support the WGA strike, here.
Rabu, 14 November 2007
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.
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).
---
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”.
---
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.
Minggu, 11 November 2007
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.
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.
Jumat, 09 November 2007
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.
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.
Selasa, 06 November 2007
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.
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...
---
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.
Senin, 05 November 2007
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...
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...
Jumat, 02 November 2007
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.
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.
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