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.

Academy Deadline

Hurry, hurry... if you're going to enter, the deadline for the BBC Writers' Academy is fast approaching. Ceri Meyrick was just on twitter confiming that there were 12 hours left; so, that looks like midnight tonight to me.

I finally decided to go for it, and completed and submitted my application yesterday. My research will ramp up from today. It's going to be a busy few weeks coming up.

If you've entered too: best of luck with it, and - obviously - I hope to see you at the interview stage!

The Continuing Drama

As the world and her husband will already know - the BBC Writers' Academy 2009 is open for submissions. It's a great opportunity, and the eight places per year are hotly contested; but, it's only open to those who have previously been paid for their work (full details of entry requirements, as well as much other useful info, is available via the BBC Writers' Room blog).

The way it works as I understand it (and these things could well be liable to change, so don't take my word for it) is thus: to enter, one needs to provide evidence of a professional commission, a sample screenplay as an example of one's work, and a completed application form (which includes a few '500 words or less questions' to answer just like any other big corporation's application forms). A long-list of applicants is invited to a second round of workshop-style interviews, then a shortlist is invited back for a more traditional interview, before the final eight are chosen.

No one outside the Academy knows quite which criteria are used to judge. No doubt it's important to perform well on an application form and in an interview. But, like any other big corporation's application process, there may well be people more 'in the frame' than others because of their progress in writing (for any medium) to date. All those submissions have got to be set against one's track record. So: 'write well and get noticed' would seem to be the best advice. Which is useful, as it's the same advice required to get any other screenwriting gig, not just the Academy.

I've been doing my best to write well and get noticed, as ever, but I'm not exactly holding my breath this year. My work is good enough, but I don't feel I've proved myself sufficiently in 'der industry' yet. Having got peer feedback on my TV drama pilot script 'Life Support' recently, I'm now reworking it for possible use as a sample script for the Academy. But I'm still undecided about whether to enter or not, even now with the deadline fast approaching (May 5th is the final date for submissions).

I'm lucky/unlucky enough to have a day job that pays well; all things being okay, there will be a new member of the Perry family arriving just before the Academy starts in September; and, there's a worldwide recession. It may not be the best time to be taking up a trainee position which then leads to work by commission (and that's what it is: a job, a fantastic job, but a job nonetheless and it should be considered as such). Yes, I am suffering the usual permie person's anxiety/wish fulfillment fantasy about going freelance. I probably wouldn't get it, but I don't want to get it and then have to turn it down.

Now, most people are probably wondering why I'm worrying about this stuff now. And they are probably thinking 'Nothing ventured...' and 'It doesn't cost anything to enter'. But this is not true, alas. It costs you time. To be prepared for the Academy, a person needs to be watching all those shows. Now, that's 375 minutes per week as as starter, and it's not passive viewing, it's study: working out the format, the structure, the character arcs, what's happening, what's not happening, and why. Getting hold of scripts and series bibles would also be useful, if you can.

On top of that, there's anything else you might be wanting to watch on TV that helps put the Continuing Drama shows into context (it's probably good to have a wide and current experience of other BBC drama productions, and continuing dramas on other channels minimum). Then, there's reading the trades to keep up with industry goings-on, and doing your own writing to hone your talents and get towards that magic 10,000 hours. Then there's the day job, if you have one, and the family commitments you might have. And – you know – eating and sleep, and all those other things that fill up the day. It is a killing schedule. I know – I've done it twice now in 2007 and 2008, and neither time did I feel I'd done it justice.

So, it's not exactly free to enter. But all that research will undoubtedly make you a better writer, so it's never wasted. But maybe there are better ways to use this knowledge, rather than going for the Academy. The training is of a very high standard, and you're paid to do it. But there are many other routes that other people have taken to get their work on TV. Of course, they're still open to you if you apply and don't get in. And there's no guarantee the academy will run indefinitely. This could be the last one, for all I know. As you can tell, I've gone back and forth about this one. I remain undecided for now.

For different takes on this subject, check out some of the screenwriters on my blog roll, who have gone through the selection process to different stages, and have written about it: Paul Campbell, Danny Stack, Michelle Lipton, Piers Beckley to name but four.

And - good luck!

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!!!

Stuff to Do

Okay: I'm going to dizzy everyone now by doing two blog posts in a week, when it's lately taken me a month to get up to that count...

As you'll know, I've been working on the latest draft of my feature for Full On Films (probably, after Cannes, I will be able to talk about the content of the script a bit more, maybe even release the title - I'll have to check with the wonderful and redoutable producer-director of the project, Mark Jay). There's lots of support for the development, and lots of interest from potential partners in the production. And both Mark and I are very happy with the shape of draft 2. There's now a bit of down-time before Mark and I meet with a script executive appointed by Screen South and resume revisions. I've got lots of things planned for this time:

1) Book a ticket to the Screenwriters' Festival in Cheltenham - Hooray! Did this last night. I'll be one of the Travelodge posse for a second year running.

2) Apply to the Lighthouse/Skillset 'Guiding Lights' scheme. Boo! The initial commitment for this requires one to be in London on July 1st and 2nd. Unfortunately, those are the first two days of the Screenwriters' Festival (See point 1 above). It's frustrating that two big events and opportunities for writers are clashing, and if it weren't so close to the deadline (which is this coming Tuesday) I'd write an email to them pointing this out. As it is, it's too late. Good luck to anyone who's going for it. I will have to wait and hope that they run it again next year.

3) Apply to the BBC Writers' Academy. Oh Yes!

4) Review a contract. A very talented director with a production company wants to option one of my screenplays. Very excited. Keep everything crossed for me - I'll post more when there's more to post.

4) Resume work on the half hour screenplay that I'm working on with Lou Birks.

5) Resume some pieces of spec work - I've got a radio play that needs one more draft to polish, a short film that is still just a pile of notes and thoughts and needs to be flung hard at a piece of paper to see what sticks. Plus, a feature script I've used - quite sucessfully - as a calling-card, should really be made one of these days. I got some feedback reports on it last year, which I should use to do another draft.

6) Read people's blogs, post comments, send some emails: let people know I'm still alive.

That's quite a lot to be going on with, and I still have to post about last week's Q&A with Matthew Graham and Ashley Pharaoh, and do a little '1 year on' bit to celebrate reaching my first blog birthday. I better start work then...

Preparation for next year's Writers' Academy starts now...

... that I've received an e-mail telling me I didn't get through this year. Best of luck to Piers and Paul, who are into the next stage of selection - I hope you both go all the way to the final eight.

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…