Marathon as Metaphor

In 1999, I ran the Dublin marathon, partly because I wanted to do something to mark the millennium year but mainly because I knew I had to teach myself some discipline if I was serious about a writing career. At that time, I was happily working at Channel 4, and everything was fine. I knew I wanted to write but every time I sat down at the computer, I had the 'white paper syndrome': stare at nothing, write nothing, procrastinate, repeat. Not good enough. "A writing career is a marathon, not a sprint", people were often telling me. So I decided to take that phrase quite literally, and train myself to run the marathon. If I could find the time for the punishing running schedule, then, correspondingly, surely I could use that approach and determination to make myself actually write something?

So, I took a Novice Marathon Training Schedule off the internet, and decided to stick to that. Starting off slow, running about three times a week, then building up to six times a week, the distance increasing each time. My C4 job was fairly cushy, so I had the time to go to the gym at lunch times and my social life was pretty much the same even though I was fitting in various runs in the evenings and weekends. All of this told me that there was no excuse for not writing. You simply just had to do it. Anyway, the training lasted four months, and then I ran the marathon. I did it in 3 and a half hours, which surprised me (I was expecting more 4-4 and a half) but let me tell ya, I was more proud about the sole training than the marathon itself (which was great too, obviously).

After that, I took the plunge. I gave up the day job and went freelance, full-time, tentatively setting myself up as a writer. First, I worked on a couple of TV shows (Black Books, Ali G), then I swamped myself with scripts, reading as much as I could (and luckily, getting paid to do so), which helped me improve my overall standard of writing. So, I was reading and writing all the time, but not yet getting paid to write. But I was going to stick with it, no matter what, and now, nine years later, after many ups and downs, it's starting to feel like it's all been justified.

I know, I know. Running the marathon was a feat of writing procrastination in itself, and a bit corny, but I needed something to motivate me into getting into the right mindset, and it laid down all the determination and focus I needed if I was going to succeed.

Nine years after the marathon, I've been mainly holed up in my room, reading and writing. I sustained a back injury working on one of the TV shows, and it's caused me a lot of grief since then, which meant running was no longer an enjoyable passtime. Still, two back operations and lots of treatment later, I'm beginning to feel human again, and it was with great pleasure that I ran the Bournemouth Bay Run yesterday. It was only 5K (about 3 miles), a huge stretch away from a marathon, but just as significant for me (and phew, was I glad it wasn't longer). I was hoping to break the half hour mark, and I clocked my running time at 27 mins 02 secs (bit of a sprint finish!). Check out the photos below for some before and after action.

The run was all in aid of the British Heart Foundation so thanks to EVERYONE who sponsored me. If anybody feels like throwing a couple more quid my way, then there's still time to do so at the fundraising page.



Chilling on the beach, just prior to race.



Start of the race. I think that's me, a bit blurry already, on the right hand side of the picture (2nd from right of the white post).



Saddo Stacko.

Techniques

One of the more valuable things you learn as a script reader is that as soon as you read a good number of scripts, you begin to realize that everything the books and gurus say are pretty much true, despite their often maligned reputation and alleged follow-the-rule formulas. You begin to understand that all the talk about three-act structures, protagonists and antagonists, raising the stakes, character arcs and theme (etc) are all valid techniques to keep in mind when assessing a script’s merits and failings.

Techniques. Not rules or formulas or join-the-dot storytelling. It’s natural to get defensive, sensitive or weary when a reader or editor starts to talk to you in prescriptive storytelling terms but if you don’t have good answers for their seemingly annoying points or questions, then they probably have something useful to say. What’s important is to try to understand all the terms and so-called rules, and use them to your own advantage when crafting your story. That way, when your exec starts using phrases like ‘the negation of the negation’ and ‘mid-point reversal’, you’ll understand where they’re coming from and be able to turn the conversation into what you intended for the story rather than fighting to urge to punch the execs lights in.

So, absorbing the essential techniques into your visual vocabulary (by reading scripts, books, and watching films) will enable you to write well-crafted stories that tick all the boxes of what readers, editors and execs require to see. No matter what your opinion on rules and prescriptive terms, there’s no escaping that certain techniques and phrases really exist, and generally do apply to a story, whether you like it or not. Inciting incident, dramatic moments/reversals (widely known as act breaks), character arc, escalating conflict, mid-points, antagonist, tone, and so on. How you deal with these terms or techniques is down to you but why waste the energy to be defensive or over-sensitive when someone else points them out when reading your script?

The late, great Anthony Minghella said that there were no act breaks in a screenplay, just natural developments involving your characters and their emotions. It doesn’t matter how you dress it up, or how you perceive certain rules & regulations (Minghella knew a thing or two about structure, that’s for sure), you just simply have to trust your storytelling instinct to write the best script possible. But don’t dismiss basic techniques and familiar approaches. It’s always useful to try and understand and embrace all of the techniques available, that way you continue to improve and develop your craft.

The Times/Chicken House Award

Last month, me and Sam Morrison were shortlisted for The Times/Chicken House Children's Fiction Award. We were informed that our children's book, Aliens FC, was down to the last five manuscripts out of 2,000 entries. To say we were flabbergasted and excited would have been an understatement. We had to wait a whole month before the winner's announcement party, which finally took place in the Savile Club in London last Tuesday.

Before the announcement, Sam and I didn't expect to win. We felt that Aliens FC had the youngest age group in mind as opposed to the tween and young adult books that made up the list. So, I headed off to London on Tuesday morning, just genuinely excited to go along to the party, meet a few nice people and have a day out. Of course, while never expecting to win, your mind allows itself to imagine, just for a second, that we could win, and the heart beats that little bit quicker.

Once we arrived in the posh room of the Savile Club and met the staff/selection panel of the prize, their eyes lit up at the mention of Aliens FC, and they enthusiastically told us how much they loved it. Then the brain kicks in once more, telling you: "you could win today", and the stomach starts to churn with excitement. You can't help it. People are being nice and friendly, telling you how much they like your book.

We got to chat to the other shortlisted writers (all women, Sam and I are the only blokes, and the only writing team), and we were enjoying the vibe. Then, the announcement. Barry Cunningham, head honcho of Chicken House, presented the judges, which included Malorie Blackman, children's author, and Amanda Craig from The Times. Each judge got to make a brief presentation of each book, and why it was so good (which was a nice touch) and then deep breaths all round as the ultimate winner was finally announced.

Not us.

As expected! Instead, it was Emily Diamand for her book, Reavers. Huge congratulations to Emily, who I didn't get to chat to, but she seemed terribly nice and modest. We felt a strange relief that the winner had finally been announced, and me and Sam talked to a few more people before heading off to get our bearings and catch up with each other (haven't seen the rascal since his baby was born a few months ago).

Long time readers of the blog might remember that we developed Aliens FC as a screenplay first. It got optioned twice and got lots of favourable interest, even getting shortlisted for South West Screen's Development Competition. So, a different medium this time, another shortlist and another near miss, but we're still very confident and passionate about the story, which everyone agrees is great fun, so we're gonna stick with it and get it made/published, by hook or by crook... Aliens FC tells the story of two kids who get mistaken for famous footballers (because of their replica shirts) by a couple of bumbling aliens who whisk them across the galaxy to help save their alient team from relegation, and an adventure of a lifetime.

Extracts of all the shortlisted entries for The Times/Chicken House award can be read here, while our extract from Aliens FC can be read here. There will be a full report (with pictures!) in The Times Books Section this Saturday, so feel free to nab a copy to get a full rundown.

That's it, excitement over! Now I've got to crack on with the second draft of the book (Sam doing most of the hard work on the first draft, much kudos).

Sofia's Diary

Here's the official jibber jabber on Sofia's Diary - the new interactive soap that I've been working on - in case any of you krazy kats want to check it out. I wrote weeks 1 & 2, and weeks 7 & 8. New webisodes, daily 5.30pm.

"Sofia's Diary is Bebo's brand new online drama that will follow 17-year-old Sofia Taylor as she adjusts to a new life living with her dad, step mum and baby step-brother after being sent to London by her mum after accidentally blowing up the school chemistry lab! Sofia is feisty and witty with a fast, smart answer for (almost) every situation she gets herself into at school, at work and beyond – things are never dull!

Each week day Sofia and her friends will update their video diaries with 2-3 minute installments at Sofia's Bebo webpage as well as their own Bebo profiles, with the audience following the story and engaging directly with each character for a truly interactive online experience. Like KateModern, Sofia's Diary will blur the line between fiction and reality by combining real events and fiction. In a unique twist, each week fans will literally decide which way Sofia should turn regarding an important decision in her life, with their vote determining the outcome.

Based on an international format owned by Sony Pictures Television International, Sofia’s Diary is being produced by Irish producers Campbell Ryan Film Productions for Bebo and shot on location across London. The cross-media series will be funded through advertising, with a range of sponsors set to integrate their products seamlessly into the series. Beginning on Bebo, Sofia’s Diary is set to become a multiplatform brand, stretching across print, radio, podcasts and more.

Conceived by Nuno Bernardo, Sofia’s Diary was originally launched in Portugal in 2003 as an experimental web and mobile service. The original programme now has 200,000 visitors per month online, over 19,000 mobile subscribers and has run four series on Portuguese state broadcaster, RTP2. The series has since been adapted for audiences in the United States, Germany, Brazil, Chile, Turkey, Vietnam and now the UK."

Work, Links, Update

Ever fancied yourself as a magazine journo, y'know, getting a review in Empire or Total Film, or writing for Heat or Dr Who mag, summink like that? Well, over in his latest post, Monsieur Jason Arnopp* tells you how. All sound advice from the freelance journalist who's written for Every Magazine and Publication Known to Man.

I tried to get a gig on Empire when I first arrived in the UK, and had positive correspondence/phone calls with the editor and various sub-editors. They told me that they like to hire reviewers who have done something else for them on their mag - for example, interviewed a star or written an article, and work up a relationship so that they trust them to review the films. They liked my sample reviews and allowed me to pitch a few articles but ultimately, they didn't bite... Still, I was encouraged by their receptive reaction to my initial correspondence. Like Jason points out, a brief and to-the-point e-mail/letter, casually asking if they are looking for new writers (possibly followed up by a polite phone call) can go a long way.

In other news, Tim Clague has been busy with his new online venture, Mr Vista. Entirely self-funded through the advertising on his blog, Tim has taken a beautifully simple and comic idea, and plonked it on the net for everyone to enjoy. It's playing over at Daily Motion and is now even on iTunes. Way to go, Timmy boy.

And in a similar on-line fashion, a new interactive drama starts on Bebo called Sofia's Diary, for which, um, I have written the "webisodes" (web episodes, see what they did there?) for the first couple of weeks, and then more later in the run. It's been very exciting to be part of the team, so fingers crossed it goes down well! I think it has a preview launch tomorrow, Friday, and it starts proper on Monday 17th (St Patrick's Day, sláinte).

Oh, and my refurbished Macbook arrived in the post, two weeks ahead of schedule. Here it is, having just been turned on:-



I love it! I have even discovered I can do a podcast through the GarageBand software (steady now...) Thanks to everyone for their suggestions, links and advice. Special mention to James, Robert and Phillip for going above and beyond the call of duty. I certainly felt the love of the Mac community in my slight hesitancy and confusion over whether to buy or not. I'm still using a PC for my main 'desk work' but y'never know, I might fully convert to Mac if all continues to go well...

Thanks, too, to everyone who has sponsored me for the Bournemouth Bay Run (taking place Sunday 30th March). If you fancied throwing a few more quid my way on behalf of the British Heart Foundation, then follow the instructions on my fundraising page. Anything at all, £2-£5 (or more!) is very much appreciated. I'm off for a swim. Essential cross-training, y'know.


* He's not really French.

Script Developing

One thing I’ve noticed recently about ‘script development’ is the huge difference in reading a screenplay completely cold, i.e. with no prior knowledge to its development, and one that you’ve been working on with a writer or script editor. The ‘completely cold’ assessments are usually done by readers or execs, and their opinion on the work is usually of a damning nature. However, when you’re more familiar and close to a project, everyone (from producer, writer, script editor and other staff) can see the value of the story and how it’s favourably taking shape. Obviously, they have a less critical eye over the script because they’re already attached to it, emotionally and financially, and certainly there’s no amazing insight in saying that a script reads differently ‘cold’ versus ‘knowing its development’.

But it goes deeper than that. There’s an element of ego and ignorance involved. A kind of moral superiority over the work, as if everyone should have known better, or should have identified the script’s obvious flaws much, much sooner. The ‘cold’ read never acknowledges or thinks about the writer’s choices, the ones he took, or was forced to take. You read the script and think: “ppfhht, nothing special, I could do MUCH better than that”. And there’s the key. “I could do MUCH better than that”. You might, but you probably won’t. This is not to say you don’t possess the talent, it’s just that you may go through a similar experience of development and choices (forced by a producer/script editor, or not) and you end up with a script that’s indistinguishable in terms of content & delivery as the one you’ve previously dismissed. Worse, you think it’s head and shoulders above that script - because YOU know how much work has gone into it, and how difficult it all was - but then someone reads your script ‘cold’, and is suitably not impressed.

Basically, I think what I’m getting at is that my days as a script reader are pretty much over. At least, the times when I would read ten scripts a week and give breezy judgement on them, and deem the writers unworthy of further attention. I remembered that I had read the script for The Accidental Husband a few years back so I revisited my report to see what I had said. I was balanced about its overall content but also quite smug and superior that the script didn't have much going for it. And all I could think when re-reading the coverage was: gee, that might appear balanced but it's actually a touch arrogant and completely subjective.

I’ve been script editing a couple of projects lately (a feature and a new TV series) and have been talking to the writers about their inspiration, their process and generally trying to help them with their scripts. And it’s been a real treat. I love writers, and love experiencing both sides of the coin as a script editor and writer. When working with other writers, I enjoy listening to them explain their passion, excitement, ideas and craft. It gives you a whole new appreciation for them and their work. But when you read a script ‘cold’, you don’t have that benefit. That’s fair enough, there’s nothing you can do about that ‘cold read’. However, professional script developers should be able to recognise some sort of craft and merit in the script, and not be so judgemental. Screenwriting is such a difficult and subjective medium, so whatever you think might be ‘rubbish’ could actually make a mint at the box office. Your opinion could be right, it doesn’t matter. What’s more important is understanding the script - its background, its development and where it can go from there. Keep the ‘cold reads’ for private reading, and keep an open mind for everything else.

Is it Just Me?

So, anyway, I went into Bournemouth yesterday to finally buy a Macbook, something I've been promising myself (and needed) for a while but had been holding off because of cost and doubts over PC cross-over. I was still feeling slight unease about the transition, mainly because of the hefty price (£699) and moving files over from PC (I know this is easy and everything, but have heard of some weird format conversions).

Nevertheless, after much gazing and gnashing at the figures in my bank account, I pretty much convinced myself to buy the Mac, and I let the guy in the shop do his spiel in order to wipe away any niggling doubts. All was going fine (yes Macbook Pro would be better, especially for Final Cut Pro, but whoa nelly, let's not go there yet, £13000 & the rest!). Wireless set-up, check, shouldn't be a problem. Burn CDs, watch DVDs, fine.

Then, the final hesitancy. The price tag. Quite a hefty chunk of change for me. So I asked what he could throw in for me (some sort of extra incentive) to which he practically laughed in my face. Said that was the price (I wasn't asking for a discount), and that he makes more money on the extras than he does on the computers themselves. This was all fair enough but it was his smug attitude that ruined the potential sale. I was immediately demoralised and disconcerted, and left the shop. If he had tried to reassure or empathise with me about handing over a large wedge of cash, I might have hung around. He wasn't even an official Apple store. When I went to one of those a couple of months ago, I was completely overwhelmed (& intimidated) by the staff, and the way the price tags for everything (from ipods to iphone to the computers) were just shrugged aside as if they were no problem.

Now, maybe it's a sign of my age. This is what things cost, Danny, get over them. And I am willing to stump up and buy the sodding Mac but I need to be coaxed and reassured along the way. I just get a bit overwhelmed sometimes by the consumer culture, and I seem to be about two steps behind the current spending trends, and how people can be so casual about buying stuff that can cost a lot of wonga. Oscar Wilde was on to something when he said that we know the price of everything but the value of nothing. Interestingly, he was actually describing a cynic. Is that what we are, cynical consumers? Gee, I really am getting old.

Workshoppy Goodness

First up, my own workshop weekend, hurrah, at the lovely Lighthouse Arts Centre in Poole (officially my new favourite venue: cinema, theatre, cafe, concert hall - very impressive). The weekend course - How to Get Ahead in Screenwriting - is taking place on the 5th and 6th of April. Tickets cost £185 (concessions for Writers' Guild members, £175, proof required), including lunch/refreshments. As far as I know, you also get a free screenwriting/film book on registration (not sure what exactly, Rosie's sorting it out) and there's also Bar Talk - a social networking drinkie - on the Saturday night for attendees to meet with other filmmakers, screenwriters and film personnel from across the region.

Anyhoo, the key aim of the course is to give a two-day workshop full of invaluable, practical support and recommendations on how to move your freelance career nearer to the goal of becoming a full time screenwriter. More a 'How to Cope' and 'What to Expect' rather than a 'How to Write' or 'Follow the Rules'. Still, we'll be looking at some craft issues: practice pitching, prepare attention grabbing log lines, treatments and synopses, etc. And BAFTA nominated writer/director Tim Clague is doing two guest slots over the weekend so you don't have to listen to me witter on for six hours straight.

If you'd like to attend, then phone/contact Lighthouse box office, or contact Rosie Jones for full details (rosie @ creativethoughtsproductions.co.uk).

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Also happening in Poole (centre of the universe, y'know) is the Prequel to Cannes event, which had a terrific launch last year and looks set to be another great evening of networking, mentoring and, um, booze (again, all thanks to Rosie).

Thursday, 27th March, 2008 6pm - 10pm. Here's the blurb:

"Prequel to Cannes is a networking event for the professional film community. Founder and screenwriter, Rosie Jones of Creative Thoughts Productions Limited, created PTC with the specific aim of providing information on how to attend international film markets, as well as providing a forum for filmmakers to meet and discuss film projects and therefore create a united film community from within the heart of the Wessex Region. This year, we have six agencies providing opportunities for filmmakers and film artists to discuss their projects or business needs in a private, twenty minute, one-to-one pre-booked consultation slots, as well as a number of local bodies who will be available to discuss or advise on how their agency may be able to assist film artists.

The main purpose of the evening is for filmmakers and film personnel to mingle and network and discuss current and future projects… It is a really enjoyable, entertaining and informative evening providing opportunity for collaboration as well as networking and if last year is anything to go by there is no reason why that shouldn’t be the case again…"

Included in the ticket Price:

When pre-paying the ticket through Lighthouse, the choice of up to three, one-to-one consultations with any of the formal agencies (subject to availability). Complimentary drink on arrival and refreshments throughout the evening. Golden Giveaways – film related publications. Platinum Giveaway – One lucky ticket holder will win the use of the gallery to showcase their film in the Autumn of 2008. Film Showcase – a selection of filmmakers’ work. IT Suite – use of one of the six MAC’s to promote your work through the use of the DVD’s, the internet or your website.

Contact details like above, Lighthouse Arts Centre or Rosie Jones direct.

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Up in Scotland, Adrian Mead is doing another course, all about adapting stories for the big screen. Over two days of lectures, case studies and interviews, Adrian will demystify the ART AND BUSINESS OF ADAPTATION. This unique class will answer all your questions and show you how to access an endless source of rich and exciting material.

Visit Mead Kerr's website for full details and testimonials. It's on Sat & Sun 15th & 16th March, in Edinburgh. £120 incl VAT and lunch. So it's coming up fairly quickly but I think there's a few tickets left, and I believe Lucy's going along so there will be at least one blogger-friendly face to look out for. To book, email info @ meadkerr.com

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And would you Adam and Eve it, there's even MORE exciting workshops (in Bournemouth/Poole, natch) and stuff to tell you about. Local production company White Lantern Film is delighted to present a series of workshops with industry professionals and practitioners to widen the opportunity of learning about film related topics.

‘Acting to Camera’
Are you currently a professional or amateur actor and looking to expand your skills into acting on screen? Or, do you think you have what it takes to become an extra in films? If so this one-day interactive and intensive workshop, run by international actress Sasha Paul, is for you. It is anticipated that participants will have some acting experience.

Saturday, 12th April 2008.
9.30AM - 5.30PM
Bar Talk – Networking opportunity in Lighthouse Bar
Tickets: £85
Concessions for members of Equity £80 (proof required)

‘The Basics of Screenwriting’
A one day workshop with Danny Stack (hello!), which will set writing enthusiasts on the road to creating their first script. This course looks at character and story structure along with how to layout a script and the use of script devices. To get the most benefit from the workshop, it is recommended that participants should have a strong interest in film or television.

Saturday, 19th April 2008.
9.30AM– 5.30PM
Guest Speaker: Tim Clague
Bar Talk – Networking opportunity in Lighthouse Bar
Tickets: £85
Concessions for members of The Writers’ Guild of GB £80 (proof required)

‘How to make an Award Winning Documentary’
This intensive one day Workshop is designed to equip the confident filmmaker or writer, with the skills to find stories in the simplest of places and turn them into a documentary that will touch the heart of the audience. Suitable for auteurs, camera operators, filmmakers or screenwriters and anyone looking to break into Documentary Filmmaking.

With the legendary Documentary Filmmaker Eric Harwood (The Boy whose Skin Fell Off).
Saturday, 10th May, 2008
9.30AM – 5.30 PM
Bar Talk – An opportunity to network in Lighthouse Bar
Tickets: £85
Concessions for members of the Writers’ Guild of GB or other film related guilds. £80 (Proof Required)

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Phew, got all that?! Move along now.

TV Drama Forum

Broadcast are holding a TV Drama Forum at the end of March, "bringing together a wealth of talent and expertise to inform and inspire". It certainly looks like a great line-up (and networking nirvana) as the leading UK TV writers, producers and execs are all going to pitch in with their pearly pearls.

Here's the catch. It's a whopping £449 + VAT to attend. Total: £527.58. Yikes-erama. True, it's like having all the relevant movers & shakers in one room for just one day but that registration fee is going to be a struggle for any jobbing freelancer who would love to attend (i.e me & you).

Not sure Skillset would cover this one (it's not really a training course, more a forum/conference thingy, but would certainly be useful for any freelancer to attend). Anyway, if you want the full skinny, check out the TV Drama Forum website.

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On a completely different note. I'll be shuffling my feet in the 5k Bournemouth Bay Run at the end of March, y'know, to actually get out of the house once in a while and do something resembling excercise. It's all in aid of the British Heart Foundation, a good cause, so if you'd like to sponsor me a few pennies or a couple of quid (literally, just whatever; a couple of people have been far too generous already), then click on my fundraising page and follow the easy peasy lemon squeasy instructions. I thang-ew.