The 'Stuff To Do' pile

My extensive research for the Writers' Academy is underway. This will mean watching and analysing all the shows, and I also plan to follow up my successful spec script exercise writing a modern Doctor Who episode, with a similar exercise for the show Doctors. Plus the day job, and some other writing bits and bobs (see below). And, you know, eating and sleep. So, posts might become a bit sporadic around here for a bit; because of this, I am doing a catch-all update of what I've got on the go, which will hopefully serve until I can next give the blog some TLC.

'Santa Baby', the Christmas TV project I'm working on with Colin Stevens of Deep End Films, is at the treatment stage; Colin is preparing some notes right now, after which there will no doubt be a new draft.

'Life Support' has just been reworked (it was the example script I sent with my Academy application). There were still a couple of flashback sequences sticking to the previous draft like barnacles, but I've scraped them off, and now it's pretty much the straight narrative I set out to write initially (though it took me a very circular route to get there).

Following the lead of the mighty Stack, I am seriously considering a self-produced short film. I have a short screenplay called 'The Last Intake' that, once it's had a polish, needs to be made and seen. This will definitely be something for the Autumn, but I shall be considering the logistics and doing that polish sooner than that. I'll also be thoroughly digesting the recent filming diaries of both Danny and Dan Turner to get some tips.

Plus, as most of the stuff I've been working on lately has been straight drama, I'm doing the first draft of a genre feature script, working title 'The Late Shift': no fuss, no over-thinking, just adding to it whenever I get a spare moment on a commuter train: getting it written rather than getting it right. And having fun. I outlined it a long time ago, and have been looking for a chance to get it drafted ever since. I've so far done 5 pages, and reading them back is definitely making me laugh. Shame about that, really, as it's a horror script. (I'm pulling your leg, it's actually a comedy horror and is supposed to make you laugh. Tee hee.)

Finally, if I get a moment between all that lot, this competition that Laura has posted about is very tempting too.

Two year retrospective

It's my birthday today, and I'm now closer to 40 than I am to 30, so forgive me if you find me in contemplative mood. I'm currently in the middle of a course; it's nothing to do with screenwriting, it's for the day job. But it's being held in a training centre in Holborn that I attended another course at, almost exactly two years ago. And it was at that course where I took a call telling me my script had been picked for the Film Council's digital shorts programme.

I don't want to blow the event out of all proportion - before that I'd had lots of encouragement from industry professionals, had done lots of courses, written reams and reams, and made many, many no-budget short films. But that phone call meant proper recognition. And budget. So, I mark that day as a starting point of sorts.

Two years later, and I'm reflecting on what I've achieved in that time. I haven't stopped working - up to and including today, I've always had some contracted screenwriting on the go, as well as a healthy amount of spec work, which is good. Conversely, I haven't stopped working at the day job either - the screenwriting I've done has not paid well enough up front for me to reduce my hours toiling in the big smoke. But that's the UK film industry, and I knew what it was like before I started.

It comes down to a question of why one has chosen to write in the first place. I do it, and I don't think I'm a special case, because I'm arrogant enough to think I have something unique to say that might entertain people. I don't do it for the chance of money. Although that would be nice, because something else has happened in those two years - I've rather wonderfully got a family and a mortgage and commitments. And these commitments do impact on the screenwriting, there's no way they could not.

So, I have decided for now to concentrate on developing broadcast opportunities, which will mean trying radio plays and getting a script on Doctors for starters. I have one ongoing short film commitment, which the director and I hope will turn out to be a TV project of sorts too (very exciting - watch this space!). 

As I want to stay based in the UK, it makes sense to concentrate my efforts on an area which has the best chance of providing an eventual income for my family. And the day job allows me to not be in any particular hurry too, as TV's obviously a very competitive arena to break into. I won't be saying goodbye to film forever, and I will obviously revise this policy quick-smart if Steven Spielberg turns up at my door with a shedload of cash to replace Steven Moffat on the next Tin Tin movie. But barring that possibility, it's Au Revoir Cinema for a bit.

One Year On

Just over a year ago, I went to a Writers' Guild event about blogging, and became a convert. Of the crop of blogs that rose up after that event, I'm only aware of Helen Smith's and mine that have survived - but please feel free to post a comment if you were there, and are still posting, I'd love to hear from you. Helen has written a lovely post about her blog birthday, and also a perceptive article for the Guild, which she links to from that page.

I agree with Helen: the best part of blogging is that it has allowed me to meet so many other writers. Not many producers, but a lot of writers; though, one producer who had got my name from Screen South, but had dismissed me as not mature enough for her project because she thought that 'new screenwriter' equated to 'fourteen years old', did give me an interview after seeing a picture on this blog of grizzled old me, with my baby son. I still didn't get the gig, though.

I'm only aware of that one direct job opportunity, but the indirect benefits are massive: the confidence boost of turning up to do some networking knowing there will be a friendly face or two in the crowd, should not be underestimated. The advanced warning of schemes, comps and events; the useful information of the craft expounded by other bloggers; the crystallising of thoughts on my own approach by posting about my own writing; the availability of a willing group of peer reviewers; all these are wonderful things. Praise be to the Blog! And happy birthday to this one.

It seems a good time to revisit the goals I set myself in April last year, and see how I've got on. Here goes:

1. Get into the imdb. Nope - still not there, but now that the sound issues with 'Lent' are dealt with, and hoping it gets some decent distribution, I should be able to get my name in there soon.

2. Get another of my short film scripts produced. A couple of possibilities are still ongoing.

3. Get an agent. Haven't even tried, to be honest. I'm hoping by building up a portfolio of scripts, and getting more commissioned and produced work, that I'll be in a stronger position to approach some agents later on.

4. Get an afternoon play commissioned for Radio 4.No commissions, but some good scripts written in the last year, and some possible leads with producers.

5. Apply to the BBC Writer’s Academy.Applied. Didn't get in. Applying again this year.

6. Write an episode of Doctors. Nope, though I am writing more one-off thirty minute dramas, to learn, and to use as examples of my work.

So, lots of work still to do. If only I'd added 'Get commissioned to write a feature script', I could have ticked one off. I shall add one to the list:

7. Get more commissions to write feature scripts.

And I'll report back on progress in another year's time*


* I will be posting in between then and now too, of course: I know that should be obvious, but my posting rate recently may have caused some to doubt it!!!

Paul Ashton Q & A

Over the next couple of days I’m going to complete the write-ups of all the recent screenwriting events I’ve been to, including the Writers’ Guild ‘Meet the Agents’ event, where I got to meet many lovely bloggers. Yay! But first, I thought I’d post on this as it’s probably the most useful to my reader(s) - Paul Ashton, development manager of the BBC Writers’ Room, had a brief slot for questions and answers at the Screen South Information day last month. Here’s a summary:

Paul first talked briefly about BBC Films, as it was a film agency gig. The bottom line is that BBC Films do not accept unsolicited scripts. If you don’t have an agent, or if you haven’t a producer or production company (with a track record) attached, then send your script to the Writers’ Room in the first instance. If you do have these attachments, still don’t send the script to BBC Films, but contact them to arrange a meeting. [NB: Since Paul made this statement, there has been a shake up in BBC Films instigated, so the situation may change.]

Moving on, Paul urged new writers not to overlook radio as a medium for new writers. In his opinion it is closer to film than, say, TV. Radio has lots of slots for one-off dramas, and so writers don’t need to fit in with an existing format, and can realise an original vision. Strands like the Friday, and Saturday Plays, and the Wire on Radio 3 are home to some more challenging and extreme pieces.

For radio there are two other routes aside from sending material to the Writers' Room: an in-house producer, or an independent producer or production company. When I asked Paul later about sending material through these routes, he repeated the standard BBC policy of not sending material to in-house producers, as they will only redirect it to the Writers’ room. But many other sources have told me that an introductory letter to a BBC producer doesn’t hurt at all, and having a producer champion your work will obviously mean it stands a greater chance of a commission that sending a script in cold. As for independent producers, Paul said it was fine to try that route. But he added that independent radio producers only have a certain amount of slots that they can bid to fill, so you may find that they are less receptive to new writers.

Paul was asked an audience question about what percentage of submissions are successful. About 20% of all submissions to the Writers’ Room are given a full read, and the remainder are rejected based on the first ten pages (they call this ‘sifting’). Of those, it is hard to say how many go on to be made, as it differs depending on what is being applied for. Radio wins out again here, though: 25% of Radio 4's afternoon plays must come from a first or second-time writer.

Another audience member asked what material the Writers’ Room will consider, particularly in regard to short scripts? They will read them, but only as an example of the writer’s work; and they would need to see more material than just one short script: a minimum of 30 pages/minutes as a guide. There are no shorts being shown on the BBC currently, but this could change depending of the tastes of the commissioning heads.

Are spec scripts for existing TV shows accepted? No. Paul wants to see something original from a new writer. But if you want to write for Doctors, say, send in an original piece that’s roughly similar in tone – don’t send in a wacky sci-fi plot, for instance. The BBC Writers’ Academy will mean that it is a little more difficult for untested writers, who aren't in the academy, to get scripts on continuing drama shows, but the Writers’ room will always support writers that they think are producing good enough material.

Do one-off dramas by new writers get shown on TV? No, this doesn’t happen. But there are ways and means that a new writer’s vision can get to the screen. Recently, two different writers’ scripts that started off as original pieces were adapted for the last Silent Witness series. Other new writers have got to write for shows such as Inspector Lynley or Daziel and Pascoe. The only BBC show that Paul feels is invitation only for writers is – you guessed it – Doctor Who.

Finally, Paul was asked if he could define good writing, and what he is looking for in a script. Here’s his thoughts:

• Knowing the medium (Tv, film, radio) and knowing the genre
• A good hook in the first 10 minutes
• Bold and vivid characters that you want to spend time with
• A lot of story packed into every minute, so that your script isn’t slow
• Original thoughts: don’t just serve up what you think the market wants
• Good dialogue
• A story that starts in the right place
• Focussed storytelling

Paul was full of useful information, and stayed long after the lunch break had started answering personal questions from eager writers. If you have the chance, I would recommend attending an event where he speaks.

Yes, I did use a metaphor concerning my tackle on a table.

I was given this idea by Paul Campbell’s instructive Scriptuality blog. He did this as a set of New Year’s resolutions, but since starting my blog, and watching uncrushed diaries blossom, it has felt like the beginning of something. So, I’m going to list my aims for the following year. Here goes:

1. Get into the imdb. I know it’s a bit sad, but I won’t believe I actually exist until my name is in there. I suppose this will happen somehow when my short film ‘Lent’ gets distributed more widely. But do I have to e-mail them myself? Or is someone else supposed to do it? I’ll be Stuart Perry [II] if I get in, as that guy from The Poseidon Adventure beat me to my name by a few decades.

2. Get another of my short film scripts produced. I’m working on various different possibilities, and it's looking good. I'll keep my fingers crossed and say no more, to avoid jinxing it!

3. Get an agent. I’m going to the WGGB’s ‘Meet the Agents’ event, and writing to a few. I’m not holding my breath on getting anywhere before the ’25 words or fewer’ UKFC scheme closes, though. If any interested agents are reading this – it could happen – please e-mail me (details are in my profile).

4. Get an afternoon play commissioned for Radio 4.One script is with the BBC Writers’ room, and I’m working on another to try to interest a producer. Perhaps I should have started with the producer route; has anyone had any positive responses going directly to the Writers’ Room? I imagine it’s a teetering slush pile. If any interested radio producers are reading this – it could happen – please e-mail me (details are, as I say, in my profile).

5. Apply to the BBC Writer’s Academy.That’s what I should be doing right now: writing this blog is my displacement activity. Hence the name.

6. Write an episode of Doctor Who. That’s an ambition I’ve had since I was ten. I should have tried submitting something then, it would have been easier. Actually, a friend did get my CV screenplay to Russell T Davies, but I’d imagine he’s been too busy to read it. I’m hoping by the time he is able to I will have successfully completed 1 to 5, and so will have a track record good enough to stand a chance of getting a commission. Although, to be honest, it might be better, if we’re talking about aims for the next year, to change that to

6. Write an episode of Doctors. And I’m not just being sensible: I love Doctors, and would give my right arm to write for it. I can’t believe Greg’s gone!

There you go: I’ve put my metaphorical tackle on the table for fate to whack it with a mallet, if I fail to achieve any of these. Better get back to that Academy application…