The Christmas edition of the UK Scriptwriters Podcast is here. It was recorded live in Southampton Airport recently as we waited for a delayed flight on our way to attend a European script meeting - international screenwriters of mystery that we are - but our flight was eventually cancelled.
In the podcast, we round up some screenwriting news (BFI Film Forever Fund, Red Planet Prize winner and Kickstarter UK) and our main topics of discussion are about time management (c8mins in), and storyteller Vs auteur (c18mins in), plus reviews of Frankenweenie, Beasts of the Southern Wild and A Royal Affair (c24mins in). Click below to listen, or subscribe via iTunes or the main website.
Following on the Christmas theme, here's Tim's annual Christmas film (his way of sending everyone a Christmas card), this time about 5 Reasons Why Scriptwriters Hate Christmas. I'm sure some of you will relate to what Tim says here, and look out for a cameo from me for the fifth reason, my own personal pet-hate about Christmas (and being a screenwriter in general).
And Christmas wouldn't be Christmas if I didn't share this hilariously embarrassing clip of me reviewing The Muppet Christmas Carol for an Irish TV show in the early 90s. Ah, to be young and innocent again.
HAPPY CHRISTMAS everyone and here's to a happy and productive 2013.
Sabtu, 22 Desember 2012
Selasa, 11 Desember 2012
The Insider's Guide to Writing For Television
If you're a budding TV writer, or have a budding TV writer in your life, then this new book by Julian Friedmann and Christopher Walker would make a perfect stocking filler this Christmas.
The Insider's Guide to Writing For Television is a practical and comprehensive breakdown of what it takes to write for the small screen in the UK. The book covers three main areas: Breaking In, Making a Living and The Art & Craft of Writing For TV Audiences.
Each area gets around five chapters each, with a little bit extra going on the Art & Craft section. Breaking In covers subjects like the necessity of 'Calling Card Scripts' and 'Submission Strategies'. The all-important Making A Living part talks about 'Options', 'Commissions' and 'Working With An Agent', amongst other useful info. The Art & Craft section covers what audiences watch, what they want, and ways to engage them, as well as highlighting some nuts and bolts issues of format, genre and script presentation.
It's all delivered in a straight, easy-to-read, no-nonsense style, and highlighted with some examples and anecdotes from professional TV writers. It's an enjoyable and practical book, handy for the novice-to-intermediate writer. Here's the link for Amazon purchase.
There's also a companion book (well, I've called it a companion book) called How They Made It: Inspirational Stories On How Others Succeeded in Their Dream Job And How You Can Too. This is not confined to screenwriters. Instead, there's a wide mix of people and professions, from architect (Ruth Reed) to film critic (Mark Kermode) and screenwriter (Paul Abbott), and more. If that kind of anecdote floats your boat, then it's available on Amazon here.
Each area gets around five chapters each, with a little bit extra going on the Art & Craft section. Breaking In covers subjects like the necessity of 'Calling Card Scripts' and 'Submission Strategies'. The all-important Making A Living part talks about 'Options', 'Commissions' and 'Working With An Agent', amongst other useful info. The Art & Craft section covers what audiences watch, what they want, and ways to engage them, as well as highlighting some nuts and bolts issues of format, genre and script presentation.
It's all delivered in a straight, easy-to-read, no-nonsense style, and highlighted with some examples and anecdotes from professional TV writers. It's an enjoyable and practical book, handy for the novice-to-intermediate writer. Here's the link for Amazon purchase.
There's also a companion book (well, I've called it a companion book) called How They Made It: Inspirational Stories On How Others Succeeded in Their Dream Job And How You Can Too. This is not confined to screenwriters. Instead, there's a wide mix of people and professions, from architect (Ruth Reed) to film critic (Mark Kermode) and screenwriter (Paul Abbott), and more. If that kind of anecdote floats your boat, then it's available on Amazon here.
Jumat, 30 November 2012
BFI Film Forever fund
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The Watershed is a great venue for a film workshop, with several screens and function rooms, and a bar with very decent food. For BFI's Meet The Teams, there were several workshops running concurrently. I chose the Film Fund talk and Media Desk.
Chris Collins and Lizzie Francke hosted the Film Fund talk. I jotted down notes as quickly as I could so if something piques your curiosity it’s best to follow it up with the BFI directly.
Basically the BFI have £18m funding for British film, which breaks down into £14m for production and £4m for development. This is going to rise next year to £21.6m, and again in increments over the next four years up to about £24m.
This year there were 20-25 production awards out of that £14m, going to a mixture of established talent and new talent, and across genres from crowd-pleasing screen-one fare to documentaries.
They don’t fully fund films but will put in between 10-20% of the budget up to a maximum of £1m – though special circumstances might see them go higher. Very low budget films they can put in up to 50% of the budget – though I didn’t catch where the demarcation line was for low-budget. There’s also some funding – out of the £18m I think – ringfenced for international co-productions, though that seems to be only with high-profile directors.
Areas they are looking to support especially are family, comedy and animation films – they are searching for stronger material in order to compete with Hollywood. With animation the opportunities to move from short-form to feature length are very few, so the BFI are looking to give people a chance to do so.
There’s also a “Visual” scheme, which will be launched in the next few weeks, where up to 15 companies will receive awards in order to develop a project; £200k per year (for two years) for ten companies, and £50k per year (for two years) for five companies. This is to give them momentum and autonomy on a project that has potential to come to fruition – but these are effectively loans to be repaid, albeit on relaxed and far-from-extortionate terms. There is a criteria for the Visual award, so don’t bother applying unless you’ve already made a feature film.
Finally, £4m is earmarked for supporting distribution in the UK (ie not internationally).
The crux of the talk though was the proposal – to be a reality next April – to create an “integrated UK talent network”, where filmmakers can put their work online and have discussion/debate, etc. A little like YouTube, only content will be both moderated and curated, so hilarious cats will be checked at the door.
There will be three “land-based” centres as part of the initiative – locations as yet unconfirmed – but the application process will be a centralised, online one. Physically meeting with film-makers is impossible due to the very high demand and the strictures of remaining objective and impartial.
The scheme will be managed in conjunction with Creative England and launches 1st April 2013. The executive producers from each of the centres will have autonomy over the projects they take on – it could be a feature or a pilot, for example, and documentary was cited again as something they are keen on developing.
The BFI’s funding is an investment, so when projects are completed and distributed there will be a recoupment. However they share this return with the producer of the project – up to 37.5% of it will go into what they call a “locked box” which the producer can access; with the caveat that it’s used for further filmmaking activity.
Development funding is also returned – on the first day of principle photography – but again, that money goes into the “locked box”. I wasn’t the only one unsure about the terminology here, but it does seem that the box is only locked to keep out the riff-raff and it’s accessible to the film-makers (the producers, anyway).
So overall, a very positive talk. They were keen to stress that the online film community has been given a lot of thought and is being meticulously planned, so hopefully this will create a central focus for a community that, at the moment, has a slightly disparate bunch of options rather than a definitive go-to place to get work seen online.
MEDIA funding is intrinsically linked to the EU and awards come from Brussels.
MEDIA funding is notoriously tricky, but MediaDesk (who you are not obliged to apply through to get money from Brussels) is a resource, there to help you through the funding process, with as little or as much input as you want.
Most of the funding is targeted at distribution – specifically around Europe.
There are several funding schemes out of the pot, including training (of producers), producer support, distribution and exhibition, promotion, and new technologies.
The application process changes every year so if applying make 100% sure you have the current literature. Get yourself registered with MediaDesk for email updates.
Funding projects is assigned to three areas with a minimum duration: Fiction (50 mins) Creative Documentary (25 mins) and Animation (24 mins). These can all be a one-off or a series proposal.
€10k - €60k can be assigned to single projects (€80k for animation) and companies may submit one application each.
Who can apply:
Companies must be European.
They must be independent of broadcaster ownership.
They must have been registered as a Film and Production company for at least 12 months.
They must have a track record* of producing one of the above (fiction/doc/animation) in the length specified, though it doesn’t need to ‘match’ the genre they’re applying for.
Applications are judged on a set criteria:
Quality of development strategy 10%
Consistency of development budget 10%
Quality of financing strategy 10%
Quality of distribution strategy 10%
Quality of project 40%
Potential of creative team 10%
Potential for production 10%
Potential for international market 10%
- and though it only equates 10% of how you’ll be judged, the last category is key, so it’s worth focusing on that and making it particularly strong.
In every event applicants need to show a track record, and competition is pretty tight – of 1173 UK applicants in the last round of funding, 29 got funding.
MediaDesk’s role is to facilitate. They’re not in charge of funding but are there to help you jump through the right hoops. They can help with form-filling, but aren’t really there to judge the ‘quality’ of the project itself.
Finally if you do go for Media Funding you must be patient. It’s normally about 4 months for applications to be turned around.
I must stress that this is a very brief overview of what Agnieszka went through, and I may have missed (or even misinterpreted) some vital piece of information. What was clear was that if you have a project that can meet the criteria, MediaDesk are there to help you find your way through the reams of paperwork and make sense of what’s being asked of you.
*
Having waded through all that, I hope something was pertinent, and helpful to you. If you’re feeling grateful for my taking time out of my working day to eat chocolate brownies and ask pertinent questions (in the Film Fund talk, at least) please consider bunging me a quid for a film I’m trying to make. We’ve managed to hit our modest target on Kickstarter, but as you’re all no doubt aware, every penny helps.
Thanks
Sam Morrison
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Thanks for such a comprehensive review, Sam! Here's a photo of Sam, after just stealing a baby, no, sorry *checks earpiece like a newsreader*, it's one of his own kids.
Kamis, 22 November 2012
Loadstar: Black & White music vid
Remember the music video I blogged about last week? Well, here's the end product. Lovely slow-mo, catchy tune, a sexy woman in a bath, a hunky man in leather, moody car shots, urban rapping, what more do you want? Directed by Suki Singh & Andy Marsh. Produced by Sandstorm.
Rabu, 21 November 2012
European Podcast Award 2012
The good folk over at the EPA have generously given the UK Scriptwriters podcast another nomination. Last year, we came second in the UK, and 5th overall!
To vote, click on this link and do the business. It takes 4 clicks and no email registration is required. Voting closes mid-January 2013 so you may see me do various shout-outs on Facebook and Twitter, and probably another mention here on the blog, if you can bear it.
If you've never heard the podcast before, then every edition is available in the embedded player, below. Subscribe via the main site, or iTunes link below. Thanking-yow!
To vote, click on this link and do the business. It takes 4 clicks and no email registration is required. Voting closes mid-January 2013 so you may see me do various shout-outs on Facebook and Twitter, and probably another mention here on the blog, if you can bear it.
If you've never heard the podcast before, then every edition is available in the embedded player, below. Subscribe via the main site, or iTunes link below. Thanking-yow!
Kamis, 15 November 2012
Helping Out
One of the top tips from the '50 Screenwriting Survival Tips' (that I hosted at the recent London Screenwriters' Festival) was: Do Favours/Help Others Out.
It can't be stressed how important this is. It's always nice to be nice, and in a screenwriting or industry context, there are many benefits to doing someone a nice turn. As Joey in Friends has taught us, there's no such thing as a truly unselfish act. At the very least, doing someone a favour will generate good karma from when the time comes when you need a favour from someone in return. Everyone wins!
Anyways, last week I helped out on a music video with my filmmaking heroes Suki Singh (his debut feature Emulsion out soon) and Andy Marsh (who directed Keane's latest music vid, which Tim helped out on, and Andy helped me out on Liquid Lunch as cameraman).
I got a text from Suki at the last minute. Did I want to work on the music vid, no pay, long hours, early start. TEMPTING, RIGHT? But I love Suki. He's a great guy, and a fantastic filmmaker, and I knew I could learn heaps from him, especially as he was shooting fancy slow-mo action. I WAS IN!
**VIDEO SHOOT BLOGGAGE**
The video was for Loadstar, a bass music duo, and their new single Black & White feat Benny Banks, a catchy hip hop dance tune. Suki and Andy had come up with a loop narrative for the video, about a guy trying to save his suicidal girlfriend, with a lot of the key dramatic action in super intense slow-motion.
We shot the interior (a luxurious bathroom with copper bath) at Athelhampton House in Dorset, a gorgeous location, ideal for any number of productions. Me, Suki, Andy and actress Harmione Halpin travelled from Bournemouth, and met Tom and Peter from Sandstorm Films, who were producing and filming the shindig. The most important person on set, though, was m̶e̶ John Hadfield from Greendoor Films, who was in control of the Phantom Flex HD slow-motion camera. It was fascinating watching John's set-up and learning about the camera (at 2,500fps in HD, the Flex will record for approximately 4 seconds. 10 seconds at 1000fps, 20 seconds at 500fps: we shot at 1000fps and 1500 fps), and it produced some genuinely stunning footage. Here's a photo of John's set-up: a monitor feed from the camera hooked into his computer for recording, which is then transferred on to Peter's laptop (Andy Marsh in background).
The good thing about a small cast and crew for a shoot like this is that you can stay close to the action, and learn lots. Plus, it's always nice to meet and chat with new and interesting people, like Tom, Peter, John, Hermione and the lead actor Chris MacDonald. I was in charge of tea/coffee/snacks, general lugging around, some lighting/camera assists, and making sure the bath water stayed at the right temperature for Hermione. This became a problem when the bath's hot water tap ran out but Athelhampton's staff were very helpful in fixing the problem, and provided me with buckets of boiling hot water from the bar, phew!
We filmed slow-mo for the whole day, and wrapped at around 5pm. Then, it was straight back to Bournemouth, shove a sandwich down the gob, and prep to shoot Benny Banks do his rap to camera in the urban landscape of Bomo. I was in charge of playback, nice.
Once that was done, we got local car-rig/stunt maestro, Aidy Ward, to rig Suki's nice Porsche with a Canon 5D to get some cool shots of Chris at the wheel, Driver/Ryan Gosling style. We also grabbed some shots of Chris and the car on the Red camera.
Once that was done, around midnight, it was a wrap and we were all ready to go home. A long but enjoyable day, working with some very cool people, and I can't wait to see the finished product. UPDATE: have just seen a rough cut, it does indeed look AWESOME. You can watch the finished version on YouTube here.
**VIDEO SHOOT BLOGGAGE ENDS**
Where was I? Ah yes, help someone out. Do someone a favour. Work on a short film or music vid for free. Read someone's script and give them feedback. Share stuff. Do whatever you can. It's a great way to build contacts and strike up positive working relationships, as well as benefiting from return favours somewhere down the line.
It can't be stressed how important this is. It's always nice to be nice, and in a screenwriting or industry context, there are many benefits to doing someone a nice turn. As Joey in Friends has taught us, there's no such thing as a truly unselfish act. At the very least, doing someone a favour will generate good karma from when the time comes when you need a favour from someone in return. Everyone wins!
I got a text from Suki at the last minute. Did I want to work on the music vid, no pay, long hours, early start. TEMPTING, RIGHT? But I love Suki. He's a great guy, and a fantastic filmmaker, and I knew I could learn heaps from him, especially as he was shooting fancy slow-mo action. I WAS IN!
**VIDEO SHOOT BLOGGAGE**
The video was for Loadstar, a bass music duo, and their new single Black & White feat Benny Banks, a catchy hip hop dance tune. Suki and Andy had come up with a loop narrative for the video, about a guy trying to save his suicidal girlfriend, with a lot of the key dramatic action in super intense slow-motion.
**VIDEO SHOOT BLOGGAGE ENDS**
Where was I? Ah yes, help someone out. Do someone a favour. Work on a short film or music vid for free. Read someone's script and give them feedback. Share stuff. Do whatever you can. It's a great way to build contacts and strike up positive working relationships, as well as benefiting from return favours somewhere down the line.
Selasa, 06 November 2012
President Obama Wins Second Term...And That's Good For the Charlottesville Area Housing Market
You know the old saying: anything is possible. But many things aren't probable. Mitt Romney has an 8% chance of victory. So we're going with Mr. Obama as winner and heading off to imbibe at some victory parties, and a couple of wakes, right now as the polls close at 7pm.
The good news: Mr. Obama's victory is just fine for the C'ville/Albemarle area housing market. The disastrous national
The good news: Mr. Obama's victory is just fine for the C'ville/Albemarle area housing market. The disastrous national
Senin, 05 November 2012
UK Scriptwriters Podcast: London Screenwriters' Festival
Here's the latest UK Scriptwriters podcast, recorded live at this year's London Screenwriters' Festival. We managed to nab the following fab folk for a fun scriptchat:
Darrin Grimwood (writer of Steve Guttenberg film Cornered) tells us of his festival experience. (from 1:54 into the podcast)
Nish Panchal, from Curtis Brown agency, tells us what he likes in a pitch/what he likes from a writer. (from 9:00)
Jonathan Newman, writer/director, shares what it's like as a pitcher and a pitchee, and more. (16:00)
Pilar Alessandra, from screenwriting podcast On the Page, sits down with us for a bit of rival banter. (34:00)
Linda Aronson, writer/script consultant, tells us about non-linear and ensemble stories. (40:00)
Tim thinks it's our best podcast yet. He may be right. Hear for yourself! It's a big longer than normal, about 50mins, but you can listen below or click here for main website & subscription options (iTunes link below, too).
Darrin Grimwood (writer of Steve Guttenberg film Cornered) tells us of his festival experience. (from 1:54 into the podcast)
Nish Panchal, from Curtis Brown agency, tells us what he likes in a pitch/what he likes from a writer. (from 9:00)
Jonathan Newman, writer/director, shares what it's like as a pitcher and a pitchee, and more. (16:00)
Pilar Alessandra, from screenwriting podcast On the Page, sits down with us for a bit of rival banter. (34:00)
Linda Aronson, writer/script consultant, tells us about non-linear and ensemble stories. (40:00)
Tim thinks it's our best podcast yet. He may be right. Hear for yourself! It's a big longer than normal, about 50mins, but you can listen below or click here for main website & subscription options (iTunes link below, too).
Kamis, 01 November 2012
London Screenwriters' Festival 2012
Last Friday, I hosted three sessions. The first one was with Tim on 'Moving From Writing to Directing'. We've done this talk together before, at the Southern Script Fest, and in the presentation, we break down top 10 tips for writers who want to direct.
Saturday and Sunday, I'm essentially off-duty, so I hang out and attend the sessions. Luke Ryan, from Disruption Entertainment in LA, shared his experience with 'How To Get Hollywood to Pay Attention (And Money)'. I also went to see Chris Jones and Jonathan Newman chat about 'Manifesting Success', which was very interesting (and revealing, from certain members of the audience!). The highlight of the day for me was 'Writing Comics for Fun and Profit' with the inimitable Tony Lee, a practical and insightful breakdown of what it takes to write a comic, and why it might appeal to some screenwriters. I've not eaten since breakfast so it's time for a swift curry (with Tim and Rudolf, fast becoming a tradition) before hitting the campus bar again, and then on to the Wetherspoons by Baker Street tube (which is a very impressive pub, by the way, no lie) with a good selection of delegates, friends old and new.
I wanted to stick around in the afternoon for the Mad Men session, and listen to Industrial Scripts talk tactics, but I chose to get an early train home so I could ease out the exhaustion rather than be utterly polaxed on the Monday! Bloody hell, I must be getting old, especially as I'm suffering from a tedious head cold since I came back; my preemptive departure not working!
Still, another terrific year for the London Screenwriters' Festival. Long may it continue. Well done to Chris Jones and his team!
Jumat, 26 Oktober 2012
In 2012, the Charlottesville Area Real Estate Market has been trying to form a bottom in pricing, and the number of transactions is up. There are many positives, alongside some negatives and ongoing challenges for bubble-era buyers. Here's a look at the complicated "bottom" process. And for troubled homeowners, here's a reminder. Our next post will appear in early November, and cover
Selasa, 23 Oktober 2012
Overlapping Dialogue
How do you write characters who speak over each other, or talk at the same time? Here are three ways:-
- indicate it in the scene description
- combine everything into one dialogue caption
- on Final Draft, there's a 'Dual Dialogue' option, which will give you this
All three are perfectly fine in my book because they don't confuse the flow of the script. For American scripts, where a Hollywood reader might unmercifully pounce on any formatting glitch, then it's probably best to stick to the dual dialogue option.
- indicate it in the scene description
- combine everything into one dialogue caption
- on Final Draft, there's a 'Dual Dialogue' option, which will give you this
All three are perfectly fine in my book because they don't confuse the flow of the script. For American scripts, where a Hollywood reader might unmercifully pounce on any formatting glitch, then it's probably best to stick to the dual dialogue option.
Kamis, 18 Oktober 2012
Apostrophe Catastrophe
A brief follow-up on the recent typos, spelling mistakes, grammar post.
Where to put a possessive apostrophe? In the world of text messages and abbreviations courtesy of sending email 'via my mobile device', it may not seem to matter anymore. For mobile communication or truncated messages on Twitter, maybe, but in screenplay form, it matters a great deal. Why? Because your you're a writer, and if you want to be taken seriously, then you've got to get the basics right.
A quick hit:
It's = It is
Its = A possessive pronoun, e.g. 'The cat licked its paw.'
This gets so commonly misused that it's practically becoming acceptable to use It's instead of Its. A neat way to avoid the trap is to remind yourself that It's is always two words. When in doubt, say the two words in full, e.g. "The alien protected it's eggs." The alien protected it is eggs? I don't think so.
They're = They are
Their = Possessive pronoun
Your = Possessive pronoun
You're = You are
These are the most common offenders in the scripts that I read. It's disconcerting. You may think I'm being pedantic but when you read a script with no typos or grammar discrepancies, it makes a huge difference, and the writer or writing stands out with more distinction.
A quick hit:
It's = It is
Its = A possessive pronoun, e.g. 'The cat licked its paw.'
This gets so commonly misused that it's practically becoming acceptable to use It's instead of Its. A neat way to avoid the trap is to remind yourself that It's is always two words. When in doubt, say the two words in full, e.g. "The alien protected it's eggs." The alien protected it is eggs? I don't think so.
They're = They are
Their = Possessive pronoun
Your = Possessive pronoun
You're = You are
These are the most common offenders in the scripts that I read. It's disconcerting. You may think I'm being pedantic but when you read a script with no typos or grammar discrepancies, it makes a huge difference, and the writer or writing stands out with more distinction.
Senin, 08 Oktober 2012
Red Planet Prize 2011/2012, Winner!
Jonathan Neil has been announced as the winner of this year's competition, with his script, Darby and Joan, a 1950s tale of spies in very British suburbia. The script beat more than 2000 other entrants to win the coveted prize and the opportunity to be mentored by both Red Planet and Kudos.
On announcing the winner, Tony Jordan said: "This script was a real page turner, great characters inhabiting a unique world and, as you finished it, you wanted to know what happened next. I read a lot of scripts and you'd be amazed how rare that is."
Neil commented: “I am delighted to have won the Red Planet Prize and to have this unrivalled and privileged opportunity to continue developing my script, and gain some great insight and experience into the industry.”
More details on Red Planet's website.
As ever, I'm very proud to be part of this writing scheme as I know what it's like to be a new writer, and also know what it's like trying to maintain your career even when you get a break. It's great that Red Planet and Kudos are so supportive of new writers through the competition, as they're two of the best companies in the biz.
Details of the 2013 Red Planet Prize will be announced at the end of the year.
Selasa, 02 Oktober 2012
UK Scriptwriters Podcast: Writers Vs Writers
In the latest UK Scriptwriters Podcast, Tim and I chat with Great American Pitch Fest organisers Signe Olynk & Bob Schultz about 'the industry around the industry', the sometimes thorny issue of writers charging other writers for writing services. I'm certainly no stranger to this method of income, and it's a necessity at times, but I like to think I only offer what's relevant to my level of experience, such as my script reading services, and/or the occasional script courses that I host.
Signe and Bob are over in the UK to promote their pitch fest in the upcoming London Screenwriters Festival, as well as their low-budget indie horror Below Zero, starring Edward Furlong and Michael Berryman. It was a fun and interesting discussion, check it out below, or subscribe to the podcast via the usual methods.
Email us with any feedback or suggestions.
Or post feedback/promote your work on our Facebook page.
Or you can find us on Twitter.
Signe and Bob are over in the UK to promote their pitch fest in the upcoming London Screenwriters Festival, as well as their low-budget indie horror Below Zero, starring Edward Furlong and Michael Berryman. It was a fun and interesting discussion, check it out below, or subscribe to the podcast via the usual methods.
Email us with any feedback or suggestions.
Or post feedback/promote your work on our Facebook page.
Or you can find us on Twitter.
Rabu, 26 September 2012
Typos, Spelling Mistakes, Grammar
It goees without saying that evrything you write do be free from typos, spelling mistakes and grammar poor use.*
When a reader gets a script from the spec pile, they usually don’t have a clue who the writer is, or where the writer comes from. The script is going to be representative of everything the reader’s going to assume about the writer’s personality, talents and abilities.
To this end, some common mistakes and typos appear to suggest the screenwriter is not quite up to the task of writing a good script. Some of these blemishes are not immediately suggestive of a hack wannabe but are usually indicative of someone with a poor regard for the basic use of the English language.
In a fit of writing momentum, even the best writers may type you’re when they mean your, but that’s why proof reading a script is important. Ideally, don't proof read your own script. Get someone else to do it. Somebody you trust and can rely on, whether it be a professional proof reader or a friend. Script readers usually make equally good proof readers, so they're probably the best point of contact.
A total of one or two typos in a script may not be too disconcerting. However, when a script has a spelling mistake in its opening sentence, and then continues to pepper the description and dialogue with typos and dodgy use of grammar, then, well, it's really distracting. Nine times out of ten, the story on offer is just as erratic, and the script becomes an easy PASS for the reader.
Getting the basics right can go a long way in ensuring a positive response to your script. Why not take the time to make sure that your script is wearing its Sunday best, and then no-one can complain about the way it looks, the way it reads, or the way it's formatted.
*typos, spelling mistakes & grammmar in that sentence deliberately poor!
To this end, some common mistakes and typos appear to suggest the screenwriter is not quite up to the task of writing a good script. Some of these blemishes are not immediately suggestive of a hack wannabe but are usually indicative of someone with a poor regard for the basic use of the English language.
In a fit of writing momentum, even the best writers may type you’re when they mean your, but that’s why proof reading a script is important. Ideally, don't proof read your own script. Get someone else to do it. Somebody you trust and can rely on, whether it be a professional proof reader or a friend. Script readers usually make equally good proof readers, so they're probably the best point of contact.
Getting the basics right can go a long way in ensuring a positive response to your script. Why not take the time to make sure that your script is wearing its Sunday best, and then no-one can complain about the way it looks, the way it reads, or the way it's formatted.
*typos, spelling mistakes & grammmar in that sentence deliberately poor!
Rabu, 19 September 2012
Screenwriting Bullet #14: Step Outline
AKA: SCENE-BY-SCENE DOCUMENT
A step outline (or scene-by-scene, or a beat sheet) is a document that describes what happens in each scene prior to writing the script. This is generally so that script editors and producers can see (and approve) what the story will look and feel like before the script has been written. They are most common (and often obligatory) in TV, and occur less frequently in film development.
There is no set format for a step outline, although it's fairly standard to number and list the scenes as follows (dialogue is sometimes added as a guide or flavour):
1. INT. DANNY'S OFFICE. DAY
Danny writes a blog post about what a step outline is. He takes a sip of coffee, and wonders about what he might have for lunch. His phone rings. Outside, an alien ship lands. Danny doesn't notice as he answers the phone. It's his agent.
2. INT. AGENT'S OFFICE. DAY
Danny's agent has some good news. He's been offered to reboot the Harry Potter franchise. She's sending over the contract immediately.
3. INT. DANNY'S OFFICE. DAY
Danny plays it cool with the agent but when he hangs up, he whoops and dances for joy. Outside his window, a creepy alien gazes at him with sinister intent. Danny freezes in shock when he sees the alien. The alien smiles. Danny gulps. The alien brings up a gun, and vaporises Danny to a pile of dust.
A step outline (or scene-by-scene, or a beat sheet) is a document that describes what happens in each scene prior to writing the script. This is generally so that script editors and producers can see (and approve) what the story will look and feel like before the script has been written. They are most common (and often obligatory) in TV, and occur less frequently in film development.
There is no set format for a step outline, although it's fairly standard to number and list the scenes as follows (dialogue is sometimes added as a guide or flavour):
1. INT. DANNY'S OFFICE. DAY
Danny writes a blog post about what a step outline is. He takes a sip of coffee, and wonders about what he might have for lunch. His phone rings. Outside, an alien ship lands. Danny doesn't notice as he answers the phone. It's his agent.
2. INT. AGENT'S OFFICE. DAY
Danny's agent has some good news. He's been offered to reboot the Harry Potter franchise. She's sending over the contract immediately.
3. INT. DANNY'S OFFICE. DAY
Danny plays it cool with the agent but when he hangs up, he whoops and dances for joy. Outside his window, a creepy alien gazes at him with sinister intent. Danny freezes in shock when he sees the alien. The alien smiles. Danny gulps. The alien brings up a gun, and vaporises Danny to a pile of dust.
Jumat, 14 September 2012
Plot, Narrative, Story
I once attended a script workshop and asked the tutor what the difference was between plot, narrative and story? He said they were all the same. This didn't make sense to me.
For me, plot & narrative are very similar in that they help build scenes and/or events to tell the story. But where I like to distinguish between plot and story is that plot is something that can be interchangeable for the wider needs of the story. For example, a car chase is plot, and could be changed to a foot chase or a helicopter chase but still serve what needs to happen in the story (the bad guy catching the good guy or whatever). Or, a guy having a big meltdown at work could be a nice plot moment but if a different scene in its place wouldn't suffice, then the meltdown at work is a vital part of the story.
The opening sequence in Raiders of the Lost Ark is brilliant plot but it could have been done in a number of different ways just as long as it established the bravery of Indiana Jones, and flagging up what kind of adventure lies in store for the audience. The narrative builds from the opening sequence in the jungle to Indiana lecturing at college, and then getting involved with the quest to find the ark. The plot and narrative elements start to efficiently build the story: what Indiana has to do.
Story is generally more concerned with the protagonist's compelling problem, opportunity or goal. When you pitch a film to your friends, or tell them about a film you just saw, you're essentially telling them the broad story; the vital parts of what the protagonist wants to achieve, and why, and what's in their way, and how it ends. Any specific detail is usually to do with plot and the narrative, which could be nice to highlight, but the story remains resolute in terms of the basic structure and purpose of what happens.
Over on Facebook, Jeremiah Quinn raised the issue of plot vs narrative vs story, as he was told recently that "plot is not story". And it's true, in a way. Plot helps to tell the story. It is not the story itself. But let's not give plot a bad rap. It will determine how suitably the audience is engaged in what's going on, and the narrative (from the Latin verb 'to tell') is the sequence of events from the plot that makes up the overall story.
All clear now? My work here is done...
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If you're going to London Screenwriters Festival in October, get £22 off your ticket with discount code SCRIPTWRITINGUK
For me, plot & narrative are very similar in that they help build scenes and/or events to tell the story. But where I like to distinguish between plot and story is that plot is something that can be interchangeable for the wider needs of the story. For example, a car chase is plot, and could be changed to a foot chase or a helicopter chase but still serve what needs to happen in the story (the bad guy catching the good guy or whatever). Or, a guy having a big meltdown at work could be a nice plot moment but if a different scene in its place wouldn't suffice, then the meltdown at work is a vital part of the story.
Over on Facebook, Jeremiah Quinn raised the issue of plot vs narrative vs story, as he was told recently that "plot is not story". And it's true, in a way. Plot helps to tell the story. It is not the story itself. But let's not give plot a bad rap. It will determine how suitably the audience is engaged in what's going on, and the narrative (from the Latin verb 'to tell') is the sequence of events from the plot that makes up the overall story.
All clear now? My work here is done...
----------------------------------------------------------------------------------------
If you're going to London Screenwriters Festival in October, get £22 off your ticket with discount code SCRIPTWRITINGUK
Senin, 03 September 2012
Kevin Lehane, Grabbers interview
I recently did a podcast with Kevin Lehane for Industrial Scripts 'Insider Interviews' series, which you can listen for free HERE (email sign-up required).
(photo from MyPDFscripts interview with Kevin)
Kevin's the writer of new Irish/UK monster movie, Grabbers, so I talked to him about how he was in the unique position of writing a spec script, getting it sold, and getting it made, all within 3 years. Here's a clip where he breaks down what happens.
(LINK to listen to the clip. Click HERE for full interview.)
Grabbers has a killer pitch, which helped to snag initial industry interest: when an island off the coast of Ireland is invaded by bloodsucking aliens, the heroes discover that staying drunk and keeping their blood-alcohol level high is the only way to survive...
Check out the full interview, which is essentially two guys from Cork gassing on about the UK industry, like the bosses they are!
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Don't forget, if you're going to London Screenwriters Festival in October, get £22 off your ticket with discount code SCRIPTWRITINGUK
Kevin's the writer of new Irish/UK monster movie, Grabbers, so I talked to him about how he was in the unique position of writing a spec script, getting it sold, and getting it made, all within 3 years. Here's a clip where he breaks down what happens.
(LINK to listen to the clip. Click HERE for full interview.)
Grabbers has a killer pitch, which helped to snag initial industry interest: when an island off the coast of Ireland is invaded by bloodsucking aliens, the heroes discover that staying drunk and keeping their blood-alcohol level high is the only way to survive...
----------------------------------------------------------------------------------------
Don't forget, if you're going to London Screenwriters Festival in October, get £22 off your ticket with discount code SCRIPTWRITINGUK
Rabu, 29 Agustus 2012
London Screenwriters Festival 2012
It's back! Biggerer and betterer than ever! Yes, ever since Chris Jones and his team took over the reins from the Cheltenham Screenwriters Festival in 2010, the London Screenwriters Festival has become an unmissable fixture in the screenwriting calendar.
It's held during the last weekend in October (that's 26th, 27th and 28th this year) at the lovely Regent's College in Regent's Park, London. As ever, they've got a great set of talks and speakers lined-up, such as Mike Leigh, Simon Beaufoy, Noel Clarke, James Moran, Gub Neal, to name just a few high-profile hitters. Check out the full list here (*cough* I'll be there, too!).
October might seem like a way off yet but now's the time to start thinking about going to the festival. Tickets sell out pretty quickly. It's not cheap to attend but you do get a lot of bang for your screenwriting buck over the jam-packed weekend. To help ease the load, you can get £22 off the ticket price by using *discount code SCRIPTWRITINGUK.
So, have a look at the website, check out the speakers and what's on, decide whether you want to be there, and use the discount code to get £22 off. Hopefully see you there!
*I get a commission every time this code is used, which helps to pay for my travel/hotel expenses while I'm at the festival.
October might seem like a way off yet but now's the time to start thinking about going to the festival. Tickets sell out pretty quickly. It's not cheap to attend but you do get a lot of bang for your screenwriting buck over the jam-packed weekend. To help ease the load, you can get £22 off the ticket price by using *discount code SCRIPTWRITINGUK.
So, have a look at the website, check out the speakers and what's on, decide whether you want to be there, and use the discount code to get £22 off. Hopefully see you there!
*I get a commission every time this code is used, which helps to pay for my travel/hotel expenses while I'm at the festival.
Senin, 20 Agustus 2012
Tax Expenses for Screenwriters
Expenses for Screenwriters:
Consumables/materials
Rechargeable expenses
Agent’s commission
Sub-contracts/assistants
Secretarial
Office/studio overheads (even rehearsal room hire)
Repairs/renewals of equipment
Computer costs
Scripts/books/trade journals (incl subscriptions)
Telephone (75%)
Mobile phone
Internet services
Printing/postage/stationery
Insurance
Motor expenses (75%)
Hire purchase interest on car (75%)
Travelling/accommodation
Advertising/photographs
Accountancy
Bad debts (is there a “good debt?”)
Bank interest/charges
CDs/DVDs/tapes (50% or more)
Theatre/film/exhibition tickets
Television licence/rental (50%)
VCR rental (um, VCR? What are we, in the 20th century?!)
Coaching/courses
Gratuities
Here's a link to another tax-related post:
In the Money (what to do when you start the screenwriting freelance life)
Kamis, 16 Agustus 2012
"Carpe Diem" Trumps "Caveat Emptor" As "Bottom" and "Recovery" Chatter Increase in the Charlottesville Real Estate Market Mid 2012
2011 was a painful year for the Charlottesville Albemarle housing market. Forget it. And forget the pain of 2010 and the ancient history of '09 and '08. Forget "New Normal." 2012 offers a different, unanticipated scenario: and those who want to buy and sell real estate are recognizing the paradigm-shifted, bifurcated, even fragmented nature of the RE market. Buyers, many who have waited for
Senin, 13 Agustus 2012
7th Blogoversary!
As of yesterday (12th August), this blog is seven years old! Is that old in blog years? Should I put it down now, like an ageing dog? Twitter has somewhat overtaken blogging in terms of sharing information but in truth, I feel much more at home with the blog than I do on the 140chars micro-site. It might be uncool to admit that you still enjoy blogging but it works for me, and I hope, for you too, in terms of visiting this site.
(pic: script reading duties in 2005)
It's been a rum old time of late. The last couple of years have whizzed by in a blur of excitement (Origin), rejection (lots), disappointment (near-misses) and delight (unexpected turns). I'm certainly a different writer, and person, than when I started the blog in 2005, and it's interesting to note how everything changes but stays the same.
(pic: me making my writing/directing debut with Origin)
My only rule about keeping the blog alive is to make it relevant to my level of experience: my own thoughts and insights on script reading, and to share any breakthroughs in my writing (and now, directing) career. Everything here and in the archive is, essentially, notes to myself; the information I would have liked when I first started, and any helping nudge I could give to the industry along the way (like the Red Planet Prize and the UK Scriptwriters podcast). I hope you've enjoyed some of the ride, and will continue to stick around as I see where everything goes from here.
(pic: me and Tony Jordan launching the Red Planet Prize in 2007)
In a slightly combined blogging celebration, here's an extra-long anniversary edition of the recent UK Scriptwriters podcast, where me and Tim get interviewed by MA student Melissa Hermanny. The 80min discussion rounds up all of the topics we've covered in the two years we've been doing the podcast. Have at it!
It's been a rum old time of late. The last couple of years have whizzed by in a blur of excitement (Origin), rejection (lots), disappointment (near-misses) and delight (unexpected turns). I'm certainly a different writer, and person, than when I started the blog in 2005, and it's interesting to note how everything changes but stays the same.
My only rule about keeping the blog alive is to make it relevant to my level of experience: my own thoughts and insights on script reading, and to share any breakthroughs in my writing (and now, directing) career. Everything here and in the archive is, essentially, notes to myself; the information I would have liked when I first started, and any helping nudge I could give to the industry along the way (like the Red Planet Prize and the UK Scriptwriters podcast). I hope you've enjoyed some of the ride, and will continue to stick around as I see where everything goes from here.
In a slightly combined blogging celebration, here's an extra-long anniversary edition of the recent UK Scriptwriters podcast, where me and Tim get interviewed by MA student Melissa Hermanny. The 80min discussion rounds up all of the topics we've covered in the two years we've been doing the podcast. Have at it!
Rabu, 08 Agustus 2012
Story Vault: What A Writer Doesn't Write
Ah, the summer down-time. A month where the entire media seemingly hightails it to Edinburgh or goes on holiday with the kids (or this year, totally consumed by the Olympics).
For a freelancer, August is always pretty quiet, so it's a good time to either start a new script or do loads of script reading (I'm doing both, by the way, so hit me up for feedback if you fancy).
To 'celebrate' this down-time, here's a re-splurge of one of my more popular posts, all about the 'subtext of scene description' if you will. Originally posted in February 2006, with 9 comments to add to the discussion.
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WHAT A WRITER DOESN'T WRITE
In screenwriting, it is commonly accepted that subtext is a key component to a story, partly responsible for the audience’s emotional involvement and ultimate dramatic reward. But there is another facet of subtext that is not as commonly discussed or considered, at least not in the subtext sense: narrative description.
The way a writer writes his script and displays his knowledge of craft is all-important in how a reader/exec, and an audience, responds to the material. From the pages that roll by, the reader will (hopefully) get a solid sense of tone, pace, characterisation, emotion, drama and structure that represents the writer’s voice; his/her particular way of telling a screen story.
However, the golden rule of screenwriting (there are no rules or to put it in a Matrix context: “there is no spoon”) is this: less is more. Screenwriters are continually told that they should only describe what happens on the screen, and let the drama and exposition flow from the characters’ behaviour and actions. While this is generally good advice, it is impossible to write a script without indicating some unseen sense of emotion or what a character is thinking.
Some will gasp at the notion of describing what your character is thinking or telling the reader what’s emotionally under the surface but sometimes the writer simply cannot take the risk of the reader not getting it and which could lead to a hasty and misinformed ‘Pass’ on the reader’s coverage. This dismissive tendency is at the root of writers’ never-ending frustration at over-worked interns and the system not recognising their talent.
Reading screenplays isn’t very hard but understanding and appreciating screen language is something that every reader should take a little bit more time to mull over. It’s sometimes too easy to read a script and think: plain, dull and uninvolving, when really the script could be rich with subtext and dramatic content, and worthy of a consideration.
The onus inevitably rests with the writers to make sure their story is as clear and as expressive as possible but with the adage of “less is more” haunting your head at every page, just how do you combine the key emotional and dramatic beats with basic directions such as: “John walks in to the room”?
(a page from one of Robert Thorogood's scripts, writer/creator of Death in Paradise, which was developed through the Red Planet Prize.)
As the writer, there’s so much to consider: how am I going to dramatise this in the best way possible; what are the characters feeling; what should they say etc? And then this thought-process gets distilled to the clear form of screenwriting where, to a layman, it could read plain and unremarkable.
In TV drama, you have a little bit more leeway not to stop and explain what is going on or what a character is thinking (because everyone's more familiar) but for feature spec scripts, it’s crucial that every bit of emotion, story beat and motivation is understood by the cold reader. Less is indeed more but sparse description combined with the direct expression of what the subtext is could be the perfect accompaniment for the reader to ‘get the story’ without them feeling that they’re being hammered over the head every step of the way.
It’s an extremely delicate balance and one writers struggle over every day. Ideally, scripts want that keen sense of story and momentum, with characters and motivation jumping off the page through the dialogue and action. However, “less is more” can sometimes come across as “less is less” and the reader is left none the wiser by your cool sense of style and wicked grasp of craft.
For the writer, it will be clear as day what the character is doing and why, and will think the audience has got it, but sometimes if it’s not directly in the narrative description, then the reader’s just skimmed by it.
So much criticism and responsibility is laid at the writer’s door to make a screenplay as engaging as possible with the fewest amount of words and wonderful visual description but readers/execs need to take some responsibility too, and be aware of “what the writer isn’t writing” or try to consider the choices the writer has made in telling the story in the manner in which it’s coming across.
Maybe in an ideal world, this could happen. Just because they say it’s rubbish and leave you crushed with rejection doesn’t mean that they’re right. As it is, we simply have to keep plugging away and hope that someone with a discerning eye and a solid appreciation of screenwriting will recognise and embrace the work as told.
It’s a topic that can’t easily be summed up in one short post, there’s so much to discuss and debate (different styles of screenwriting, what someone does well another will do atrociously, a wannabe Shane Black for example) but style and tone aside, the important exposition about character, story and emotion is what I’m talking about, the stuff that’s not in the dialogue but in the characters’ visual behaviour and motives…
For a freelancer, August is always pretty quiet, so it's a good time to either start a new script or do loads of script reading (I'm doing both, by the way, so hit me up for feedback if you fancy).
To 'celebrate' this down-time, here's a re-splurge of one of my more popular posts, all about the 'subtext of scene description' if you will. Originally posted in February 2006, with 9 comments to add to the discussion.
---
WHAT A WRITER DOESN'T WRITE
In screenwriting, it is commonly accepted that subtext is a key component to a story, partly responsible for the audience’s emotional involvement and ultimate dramatic reward. But there is another facet of subtext that is not as commonly discussed or considered, at least not in the subtext sense: narrative description.
The way a writer writes his script and displays his knowledge of craft is all-important in how a reader/exec, and an audience, responds to the material. From the pages that roll by, the reader will (hopefully) get a solid sense of tone, pace, characterisation, emotion, drama and structure that represents the writer’s voice; his/her particular way of telling a screen story.
However, the golden rule of screenwriting (there are no rules or to put it in a Matrix context: “there is no spoon”) is this: less is more. Screenwriters are continually told that they should only describe what happens on the screen, and let the drama and exposition flow from the characters’ behaviour and actions. While this is generally good advice, it is impossible to write a script without indicating some unseen sense of emotion or what a character is thinking.
Some will gasp at the notion of describing what your character is thinking or telling the reader what’s emotionally under the surface but sometimes the writer simply cannot take the risk of the reader not getting it and which could lead to a hasty and misinformed ‘Pass’ on the reader’s coverage. This dismissive tendency is at the root of writers’ never-ending frustration at over-worked interns and the system not recognising their talent.
Reading screenplays isn’t very hard but understanding and appreciating screen language is something that every reader should take a little bit more time to mull over. It’s sometimes too easy to read a script and think: plain, dull and uninvolving, when really the script could be rich with subtext and dramatic content, and worthy of a consideration.
The onus inevitably rests with the writers to make sure their story is as clear and as expressive as possible but with the adage of “less is more” haunting your head at every page, just how do you combine the key emotional and dramatic beats with basic directions such as: “John walks in to the room”?
As the writer, there’s so much to consider: how am I going to dramatise this in the best way possible; what are the characters feeling; what should they say etc? And then this thought-process gets distilled to the clear form of screenwriting where, to a layman, it could read plain and unremarkable.
In TV drama, you have a little bit more leeway not to stop and explain what is going on or what a character is thinking (because everyone's more familiar) but for feature spec scripts, it’s crucial that every bit of emotion, story beat and motivation is understood by the cold reader. Less is indeed more but sparse description combined with the direct expression of what the subtext is could be the perfect accompaniment for the reader to ‘get the story’ without them feeling that they’re being hammered over the head every step of the way.
It’s an extremely delicate balance and one writers struggle over every day. Ideally, scripts want that keen sense of story and momentum, with characters and motivation jumping off the page through the dialogue and action. However, “less is more” can sometimes come across as “less is less” and the reader is left none the wiser by your cool sense of style and wicked grasp of craft.
For the writer, it will be clear as day what the character is doing and why, and will think the audience has got it, but sometimes if it’s not directly in the narrative description, then the reader’s just skimmed by it.
So much criticism and responsibility is laid at the writer’s door to make a screenplay as engaging as possible with the fewest amount of words and wonderful visual description but readers/execs need to take some responsibility too, and be aware of “what the writer isn’t writing” or try to consider the choices the writer has made in telling the story in the manner in which it’s coming across.
Maybe in an ideal world, this could happen. Just because they say it’s rubbish and leave you crushed with rejection doesn’t mean that they’re right. As it is, we simply have to keep plugging away and hope that someone with a discerning eye and a solid appreciation of screenwriting will recognise and embrace the work as told.
It’s a topic that can’t easily be summed up in one short post, there’s so much to discuss and debate (different styles of screenwriting, what someone does well another will do atrociously, a wannabe Shane Black for example) but style and tone aside, the important exposition about character, story and emotion is what I’m talking about, the stuff that’s not in the dialogue but in the characters’ visual behaviour and motives…
Senin, 30 Juli 2012
After School Club trailer
** UPDATE ** There's now a Facebook page for the film, so if you want to keep up-to-date with photos, festival news etc, then please head on over and LIKE.
Here's a quick trailer for After School Club, a short film I recently directed. It's written by Nell Denton (the script was a winner at last year's Southern Script Fest) and produced by Dan Pringle at White Lantern Films. It was a lot of fun to shoot, and we're hoping it will have a decent run on the festival circuit, and beyond!
The film stars Sarah Collinge and Tracie Redding as two hard-working mums who escape to the woods and stage a playful stand-off to liven up their domestic lives.
DOP: Elliott Trent
Music: Alex Harwood
Exec Producer: Adam Merrifield
Here's a quick trailer for After School Club, a short film I recently directed. It's written by Nell Denton (the script was a winner at last year's Southern Script Fest) and produced by Dan Pringle at White Lantern Films. It was a lot of fun to shoot, and we're hoping it will have a decent run on the festival circuit, and beyond!
The film stars Sarah Collinge and Tracie Redding as two hard-working mums who escape to the woods and stage a playful stand-off to liven up their domestic lives.
DOP: Elliott Trent
Music: Alex Harwood
Exec Producer: Adam Merrifield
Sabtu, 28 Juli 2012
Cara Memperbaiki "Error Creating EVR Custom Render" Pada MPC
Mohon maaf apabila yang membaca posting ini. Admin Yasir sedang mengalami masalah sehingga dia tidak bisa blogging untuk 4 - 6 bulan kedepan. -Teman Admin-
Media Player Classic (MPC) merupakan salah satu media player yang saya gemari. Karena simpel, kualitas gambar dan suara yang di hasilkan juga bagus. Berhubung MPC uda keluar versi terbarunya, saya mendownload K-Lite
Media Player Classic (MPC) merupakan salah satu media player yang saya gemari. Karena simpel, kualitas gambar dan suara yang di hasilkan juga bagus. Berhubung MPC uda keluar versi terbarunya, saya mendownload K-Lite
Jumat, 27 Juli 2012
The Man Inside
If you find yourself at a loose end this weekend, or not really bothered about the Olympics, then do try to seek out Dan Turner's third feature film, The Man Inside.
It's an urban thriller about a young boxer trying to distance himself from his father's violent past. It stars Bashy (in a brilliant performance), Michelle Ryan, Peter Mullan, and David Harewood.
I was lucky enough to work with Dan on the early drafts of the script (see what he has to say about the development process here). My name pops up in the credits as development script editor, with the one and only Jason Arnopp taking up the baton as the film's script editor. Sweet!
The film has a limited release across the country but Dan's got a full list of the cinemas where it's playing.
It's been getting good reviews, too, most notably from Peter Bradshaw in The Guardian, and Den Of Geek. Niiice.
It's an urban thriller about a young boxer trying to distance himself from his father's violent past. It stars Bashy (in a brilliant performance), Michelle Ryan, Peter Mullan, and David Harewood.
I was lucky enough to work with Dan on the early drafts of the script (see what he has to say about the development process here). My name pops up in the credits as development script editor, with the one and only Jason Arnopp taking up the baton as the film's script editor. Sweet!
The film has a limited release across the country but Dan's got a full list of the cinemas where it's playing.
It's been getting good reviews, too, most notably from Peter Bradshaw in The Guardian, and Den Of Geek. Niiice.
Senin, 23 Juli 2012
UK Scriptwriters Podcast: Marketing a Spec Script
It's the podcast's 2nd anniversary (two years already!), and we recorded a whopping 90 minute special with Melissa Hermanny who interviewed us for her MA. However, we've broken the podcast down into normal 30min chunks, so here's the first part, where we discuss how to market a spec script. Click the embed below to play/listen, or subscribe via iTunes or the host site.
Email us with any feedback or suggestions.
Or post feedback/promote your work on our Facebook page.
Or you can find us on Twitter.
Email us with any feedback or suggestions.
Or post feedback/promote your work on our Facebook page.
Or you can find us on Twitter.
Rabu, 18 Juli 2012
Mid-2012: Would Your Decision to Buy or Sell Real Estate Change If You Believe Prices May Not Recover In Your Lifetime? - Video
If housing's not going to recover any time soon, and is likely to keep struggling, is now a good time to sell? And if interest rates keep hitting new historic lows, is now a good time to buy?
The latest mid-year Charlottesville data indicates that home sales are up in 2012 over 2011: see Nest Realty and the CAAR report. While that's progress, consider the historic numbers for context: 2011
The latest mid-year Charlottesville data indicates that home sales are up in 2012 over 2011: see Nest Realty and the CAAR report. While that's progress, consider the historic numbers for context: 2011
Senin, 16 Juli 2012
Writing for Kids' TV
It’s odd that the genre of kids’ TV is often overlooked by screenwriting events, seminars and the so-called gurus. It’s also rare to meet a writer who aspires to write for kids’ TV.
Why is this the case? Perhaps it’s because kids’ TV is for, well, kids. And maybe there’s a misplaced notion that writing for kids must be simple compared to primetime drama or feature films. Or that there’s not much kudos involved in writing for the genre.
If this is the case, then it’s an erroneous point-of-view. Writing for kids’ TV is challenging, fun, and profitable. It also requires the same amount of screenwriting skill and craft as writing any other drama. In some instances, it’s actually much harder because you’ll often be expected to write a funny script. No post-modern cultural references, intellectual quips or self-reflective wit, just make the script funny through the characters and story. No pressure.
Writing for kids is the purest form of storytelling because it’s free of ego and cynicism. Kids don’t care if you’re Russell T Davies. They only care if Russell T Davies tells them a good story. An idea that grabs. A story with a sense of urgency. Characters who we really care about. A plot with unpredictable twists and turns. Think kids aren’t sophisticated and can’t see a twist from a mile away? Think again.
Kids’ TV breaks down into a number of different categories: Drama, Factual, Animation, Light Entertainment and Pre-School. Pre-school targets 0-4 year olds; colourful worlds and characters specific to positive child development (Teletubbies, e.g.). Drama and Animation for 4-12 year olds are broken down into sub-categories of target age groups: 4-6, 6-9 and 9-12 year olds. 6-9 year olds is the sweet spot for most kids’ TV. Shows targeted for 9-12 year olds will typically be more ambitious and adventure-led, like Sarah Jane Adventures and Leonardo.
How do you get the opportunity to write for kids’ TV? Well, it’s the same process as primetime drama or feature films. You need to have written a spec script, and preferably a spec script in the kids’ TV genre. Formats for kids’ TV tend to be shorter (11 minute episodes, e.g.), so a fifteen page spec script would suffice (especially if it’s backed up with a series bible that expands the characters and world of the story). Then you target the relevant producers and production companies that are making kids’ TV shows.
If your query/approach lands at the right time and place, you may very well find yourself pitching for a commission. Pitching for a commission means that the producers are willing to receive ideas from you as potential episodes of their show. You don’t (typically) get paid for this. The pitches are usually a paragraph long, rarely no more than a page. If the idea is accepted, then you’ll be commissioned to script, with the usual outline and scene-by-scene stages in between. Occasionally, you may be invited to ‘writer workshops’ (and receive a modest attendance fee) where a number of writers will meet to discuss the series (the tone, characters, rules, etc), and after that, you’ll be asked to submit ideas (but just because you've attended the workshop, there's no guarantee of a commission unless the idea is really good).
When I first started, I quickly discovered that I loved writing for kids’ TV but that the work was hard (harder!) than some of my primetime TV/film work. Each kids’ show I’ve worked on has been a specific challenge in terms of its style of humour and storytelling, from the visual gags of The Amazing Adrenalini Brothers, to the teen hang-ups in Sofia’s Diary, the live-action/animation mock-doc combo of Roy, the gross-out antics of Fleabag Monkeyface and the sophisticated adventures of the Octonauts.
The number one rule about writing for kids’ TV is never be patronizing to your audience. Kids are far smarter than their parents, especially when it comes to story! Another good consideration is that stories should be child-like rather than childish. Child-like means having that sense of fun, curiosity and optimism about the world. Childish antics have their place (as many characters might have a childish outlook) but silly and stupid behaviour just for the sake of it doesn’t do anybody any favours.
Over there on the Twitter, that you have nowadays, I asked some lovely TV folk to share their tips and advice on writing for kids' TV. A lot of it chimed with the above (thanks to Jake Riddell, Hayley McKenzie, Sophie Petzal, Dom Beno, Steve Maggs, Ben Dutton, Rene Pijpers, Lizzie Ennever, Ganesh and Darren Jones) but here's a selection of replies:
Phil Ford, writer of Sarah Jane Adventures and Wizards Vs Aliens (with Russell T Davies) said: “If you think of a story you don’t think you could write for kids, write it! The best kids’ TV challenges its audience, and most of all challenges the writer. Writing good kids’ TV is tough work!”
Debbie Moon, writer of Wolfblood for CBBC: “Remember you’re writing for a broad age range. Kids’ TV often defined as 8-12s but there could be much younger siblings in the room. Kids have specific concerns: family, friendship, loyalty, fitting in. Boyfriend/girlfriend relationships not a big concern. Oh, and you can’t kill human beings. Aliens are OK but no humans (one of the few drawbacks to writing for kids!).”
James Henry (Bob The Builder): “If it’s the pre-school demographic, try not to give any character dialogue that runs for more than two lines. Try to have problems solved with a nice visual/action rather than characters just talking to each other.”
Yvonne Grace (My Dad's a Boring Nerd) : “NEVER underestimate kids’ ability to catch on and interpret complex ideas.”
Mark Huckerby & Nick Ostler, BAFTA-winners, The Amazing Adrenalini Brothers: “Kids' shows eat up stories. 52 eps not unusual. Schedules are brutal. Be head writer's friend by being a problem solver... take notes well, they might seem silly but there's usually a good reason for them, write fast, but don't be sloppy... be prolific with ideas, but be prepared to dig deep for original ones, don't submit first thoughts, they'll be cliches. Don't assume because it’s for kids that the story telling standards should be any lower!”
BAFTA also have a great podcast about what it's like writing for kids HERE (featuring James Lamont from The Amazing World of Gumball, Elly Brewer from Tracy Beaker and producer Maddy Darrall).
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Want me to read your script? Check my consultancy page.
Why is this the case? Perhaps it’s because kids’ TV is for, well, kids. And maybe there’s a misplaced notion that writing for kids must be simple compared to primetime drama or feature films. Or that there’s not much kudos involved in writing for the genre.
If this is the case, then it’s an erroneous point-of-view. Writing for kids’ TV is challenging, fun, and profitable. It also requires the same amount of screenwriting skill and craft as writing any other drama. In some instances, it’s actually much harder because you’ll often be expected to write a funny script. No post-modern cultural references, intellectual quips or self-reflective wit, just make the script funny through the characters and story. No pressure.
Writing for kids is the purest form of storytelling because it’s free of ego and cynicism. Kids don’t care if you’re Russell T Davies. They only care if Russell T Davies tells them a good story. An idea that grabs. A story with a sense of urgency. Characters who we really care about. A plot with unpredictable twists and turns. Think kids aren’t sophisticated and can’t see a twist from a mile away? Think again.
Kids’ TV breaks down into a number of different categories: Drama, Factual, Animation, Light Entertainment and Pre-School. Pre-school targets 0-4 year olds; colourful worlds and characters specific to positive child development (Teletubbies, e.g.). Drama and Animation for 4-12 year olds are broken down into sub-categories of target age groups: 4-6, 6-9 and 9-12 year olds. 6-9 year olds is the sweet spot for most kids’ TV. Shows targeted for 9-12 year olds will typically be more ambitious and adventure-led, like Sarah Jane Adventures and Leonardo.
How do you get the opportunity to write for kids’ TV? Well, it’s the same process as primetime drama or feature films. You need to have written a spec script, and preferably a spec script in the kids’ TV genre. Formats for kids’ TV tend to be shorter (11 minute episodes, e.g.), so a fifteen page spec script would suffice (especially if it’s backed up with a series bible that expands the characters and world of the story). Then you target the relevant producers and production companies that are making kids’ TV shows.
If your query/approach lands at the right time and place, you may very well find yourself pitching for a commission. Pitching for a commission means that the producers are willing to receive ideas from you as potential episodes of their show. You don’t (typically) get paid for this. The pitches are usually a paragraph long, rarely no more than a page. If the idea is accepted, then you’ll be commissioned to script, with the usual outline and scene-by-scene stages in between. Occasionally, you may be invited to ‘writer workshops’ (and receive a modest attendance fee) where a number of writers will meet to discuss the series (the tone, characters, rules, etc), and after that, you’ll be asked to submit ideas (but just because you've attended the workshop, there's no guarantee of a commission unless the idea is really good).
When I first started, I quickly discovered that I loved writing for kids’ TV but that the work was hard (harder!) than some of my primetime TV/film work. Each kids’ show I’ve worked on has been a specific challenge in terms of its style of humour and storytelling, from the visual gags of The Amazing Adrenalini Brothers, to the teen hang-ups in Sofia’s Diary, the live-action/animation mock-doc combo of Roy, the gross-out antics of Fleabag Monkeyface and the sophisticated adventures of the Octonauts.
The number one rule about writing for kids’ TV is never be patronizing to your audience. Kids are far smarter than their parents, especially when it comes to story! Another good consideration is that stories should be child-like rather than childish. Child-like means having that sense of fun, curiosity and optimism about the world. Childish antics have their place (as many characters might have a childish outlook) but silly and stupid behaviour just for the sake of it doesn’t do anybody any favours.
Over there on the Twitter, that you have nowadays, I asked some lovely TV folk to share their tips and advice on writing for kids' TV. A lot of it chimed with the above (thanks to Jake Riddell, Hayley McKenzie, Sophie Petzal, Dom Beno, Steve Maggs, Ben Dutton, Rene Pijpers, Lizzie Ennever, Ganesh and Darren Jones) but here's a selection of replies:
Phil Ford, writer of Sarah Jane Adventures and Wizards Vs Aliens (with Russell T Davies) said: “If you think of a story you don’t think you could write for kids, write it! The best kids’ TV challenges its audience, and most of all challenges the writer. Writing good kids’ TV is tough work!”
Debbie Moon, writer of Wolfblood for CBBC: “Remember you’re writing for a broad age range. Kids’ TV often defined as 8-12s but there could be much younger siblings in the room. Kids have specific concerns: family, friendship, loyalty, fitting in. Boyfriend/girlfriend relationships not a big concern. Oh, and you can’t kill human beings. Aliens are OK but no humans (one of the few drawbacks to writing for kids!).”
James Henry (Bob The Builder): “If it’s the pre-school demographic, try not to give any character dialogue that runs for more than two lines. Try to have problems solved with a nice visual/action rather than characters just talking to each other.”
Yvonne Grace (My Dad's a Boring Nerd) : “NEVER underestimate kids’ ability to catch on and interpret complex ideas.”
Mark Huckerby & Nick Ostler, BAFTA-winners, The Amazing Adrenalini Brothers: “Kids' shows eat up stories. 52 eps not unusual. Schedules are brutal. Be head writer's friend by being a problem solver... take notes well, they might seem silly but there's usually a good reason for them, write fast, but don't be sloppy... be prolific with ideas, but be prepared to dig deep for original ones, don't submit first thoughts, they'll be cliches. Don't assume because it’s for kids that the story telling standards should be any lower!”
BAFTA also have a great podcast about what it's like writing for kids HERE (featuring James Lamont from The Amazing World of Gumball, Elly Brewer from Tracy Beaker and producer Maddy Darrall).
---
Want me to read your script? Check my consultancy page.
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