I like your manifesto, put it to the test-o

Okay, so what happened is this: I became a father for the second time last Summer, the day job continued to become more and more consuming, and the continuing Global Economic Situation reduced the opportunities across the board for new screenwriters.

I was busy, therefore, and lucky too. But not in screenwriting. I thought it would be nice for a while to use my spare time to relax and be a normal person with a family and a, you know, respectable and profitable career. So, I stopped writing. I pretty much stopped tweeting too, and I let this blog die. I just let the old thing gather dust, no-one to notice it. I let it become a strange little thing in a corner of the internet. And over the months, the world moved on.

I had no ongoing writing projects, paid or unpaid. I had nothing sitting in anyone's in-tray to waste hope on. I was in the middle of a spec script, but someone else's too similar piece was just then announced for Summer 2010 broadcast on BBC4 so I stopped (which is possibly the nicest of the two ultimate ends for my spec scripts).

I did not hustle, I did not network. I read books on my commute, I played with my kids. I didn't relax. Instead of writing in my spare time, I was 'not writing'. Deliberately, consciously. Something still ate away at my mind. Ideas for stories nagged at me, and I had to resist them. Word of opportunities still managed to reach me, some of them (thank you Big Finish) too good to resist entering something.

It's often said that if you give up, you were never meant to be writer. There's something nice and Darwinian about that, but I think it's bollocks. The truth is writers can't give up in the same way junkies can't give up. Whether they're any good or not, or - completely unconnected - whether they have any success or not, is immaterial. We're all addicted.

So what finally changed my mind, and got me fully back on the skag? Well, for a socialist and old Labour party member such as me, a Tory government (or even half of one) is a hell of a spur. I thought - I've got to keep going, because there's things worth saying, things that need to be said. And, so inspired, I was just about to start on my comedy horror spec (it has subtext, okay, so don't judge!) when what hits my inbox but a political screenwriting opportunity. It's almost made to be.

The blog will henceforth be used to chart my attempts to restart. How easy is it to get back into the game? Is it harder than starting out? Don't think anyone's talked about that before - it should be interesting to see how it turns out. So, that's my manifesto...

... i.e. don't be surprised if it turns out I don't do any of it exactly.

Little Things

A few opportunities for short bits have come to my attention over the last few days:

Two competitions (each with entry fees) came courtesy of Lucy, one of which she is reading for: Prequel to Cannes and Vibe TV.

For the sketch-writers out there, Recorded For Training Purposes Series 4 is accepting unsolicited contributions. The full details are on the BBC Writers' Room website here. And thanks to Christine and Robin for drawing my attention to that one.

Finally, there's a Lighthouse competition for 30-second videos for an exhibition, 30 seconds of Fortune. I'm working on something for this one for two reasons: first, I haven't shot anything for quite a while and so I can warm up my film-making muscles before starting on a (slightly longer) short of my own that I aim to make next year. Second, I like the challenge of doing a narrative in 30 seconds (though entries don't have to be narrative).

If you enter any of them, good luck to you.

Isn't it about time for another blog post, Stuart?

I should say so. Well, all the things on the 'Stuff to Do' pile mentioned in the last post are still there. I'm still researching the BBC Continuing Dramas despite not being in the running any more, but I'm concentrating now mainly on Doctors and building up a portfolio of episode ideas to develop into two page outlines, rather than going straight into writing a spec episode.

But mostly, all those things are taking a back seat to my writing a 30-minute pilot script for a CBBC series. It was something of a surprise to see the scheme advertised, as I don't remember the Beeb ever running something like this before; but, it's an obvious fit when you consider how many great writers started out in children's TV (including some of my personal TV writer faves: Russell T Davies, Steven Moffat, Matthew Graham, etc, etc.).

The turn-around time was also shorter than usual for schemes advertised on the Writers' Room website: only about a month between it being advertised and the deadline to get (postal only) entries in. No time to think too much about whether to do it, or how to do it, or what exactly to do. Good. Last year, I hadn't written any TV scripts at all; before starting this latest venture, I had never written anything for a children's audience. Best not to have time to think too much about the challenge.

It's invigorating, like any creative restriction. And at the end of this I'll have another type of script for my portfolio. So everyone's a winner. But, it's hard too - how on Earth to be sure your work will appeal to the target audience, if you don't have an 8-12 year old handy to ask. For now I'm writing it for me and my inner child. Time will tell if my inner child and I know anything about anything.

I can't make it to the Q&A event next Monday, but there may still be places available. And there's a good FAQ available here. Good luck if you're entering.

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!

Three figures high and rising...

Just spotted that the 'Song Meme (sort of)' post was my one-hundredth blog entry. Hurrah! I have reached treble figures, and it only took just over a year and a half of blog life. That's an average of about five posts a month, more than one a week. I always thought my "he never posts" reputation was unjustified. Still, my new year's resolution will definitely be to post more and get that average up; I did say that last year too, though.

(Slightly amusing story: the other night, when I went to the writers' drinkies, photographed and documented so well by Sir Jason here, I met a fellow writer-and-blogger for the first time. She complimented me on my blog, adding that she thought it was wonderful that I was always writing so often about all the interesting things I was doing. A few eyebrows were raised around the table at this, including my own. But I took my praise - one never knows, after all, when it might come again. Turns out, I had been mistaken for David Bishop. To be fair, I was sat down, so the pointiness of my shoes, or otherwise, was not apparent. Then she placed me, and reassured me that my blog was good also. "...But you hardly ever post," she finally added. Oh well.)

Anyway, had a small confidence boost on Friday, when I got another 'Invite Next' from the BBC Writers' Room after sending them a feature script as an example of my work. I'm going to write and muse, and muse and write, about what to send them next, over my Christmas break.

Bits and Bobs

Yesterday: I completed the first 10 pages of the pilot script and one page outline for 'Life Support' according to deadline. The writers' group will now provide feedback on each others work: one person facilitates, by randomly selecting which scripts go to whom. So, I will have one or two sets of feedback to do this week, and will get one or two sets of feedback on my own work in return. I'm looking forward to trying this approach - it might not be as comprehensive as Power of Three, but it is probably more applicable at times where everyone in the scribosphere is maxed out working to the same competition deadline.

Today: Had a meeting with Colin Stevens of Green Steven Films, where we signed the option contract for my screenplay 'Santa Baby'. Lovely! Great discussions were had about possible additions, which I'm going to brainstorm over the next two weeks. This is a short live-action project that has got good responses from everyone who's seen it, and Colin and I think it has great potential to be a seasonal TV offering. Here's hopin'. And do watch this space - I'm looking forward to keeping the blog updated about this one.

Tomorrow: I'm sending off another script to the BBC Writers' Room, which I'm printing tonight. I'm trying to get three or four pieces to them per year, depending on quality and suitability of what I have to submit. This should hopefully keep my name in the frame without constituting a bombardment. 

That's all for the mo'. Hope everyone is having a productive time right now. Hey - when did it get to be September?

Can't think of a witty title about Red Planets to go here...

I have finally finished and sent off my entry to the Red Planet competition. Thank you to everybody that reviewed it for my Power of Three: you were all incredibly helpful. Cheers! Keep everything crossed for me (and yourself, because I assume almost everyone reading this will have submitted, or will be submitting, something too).

No time to rest: I'm - still - putting the finishing touches to my radio play 'Lollipops and Samaritans', and have another draft of a short film to do at the weekend. Then there's the small matter of researching and writing a period feature by the end of October. Phew!

Progress Report (and ‘Power of Three’ Call Out)

It’s August already. Phew! I’m still keeping busy and have lots of projects on the go, which is great for my morale but doesn’t do much for the frequency of postings to this blog – I apologise for any breaks in transmission you may be experiencing. Still, there are already many (almost too many) lovely things out there to read and view: Robin Kelly has been posting on a method for developing a screenplay to enter into the Red Planet prize that I recommended highly. And head Shooter-scribe Andy Conway’s podcast with Tony Jordan is a must listen.

Besides enjoying those, here is what I’ve been up to:

Shorts. I’m in development on two 10-minute shorts with two wonderful directors, ‘Santa Baby’, a comedy, and a drama, ‘Second Date’. More details as things progress.

Radio. I’m currently finishing the latest draft of a 45-minute radio play, ‘Lollipops and Samaritans’. This will be sent in to the BBC Writers’ Room as my “Invite Next” script.

Features. Through August I will be redrafting ‘Sold Out’, the film screenplay that was short-listed in the Euroscript competition this year. The producer that I met through the Cheltenham Festival ScriptMarket wants to see the next draft, and Screen South may well be prepared to provide some development funding for it. This is encouraging, and makes up for some less good news on the feature front - the separate, paid feature gig that I had a chance of getting seems to be on hold at the moment. I still have hopes that it’ll happen one day, though.

TV. I’ve submitted something for the TAPS Nations and Regions showcase for Soap Writing. Has anyone else taken part in this scheme in the past, or applied to it this year? Fingers crossed for you, if you have.

Red Planet. I’ve completed a first draft of a 30-min TV screenplay called ‘Normal’ which is a possible entry for Tony Jordan’s screenwriting competition. I’m looking for kindly bloggers who are able to give me some Power of Three feedback on this script: if anyone is interested, please e-mail me (the address is in my profile). I will, of course, be prepared to return the favour. Cheers m’ dears.

That all seems much more impressive written down. I thought I was being lazy over the last few weeks: for a start, I took a couple of days out to read the Harry Potter book when it came out, to avoid seeing any spoilers posted on-line by insensitive souls. Great read. Can you believe that she killed off [censored]?

Three Events

Two nice, one nasty.


Screen South are having an Information Day in Hastings on the 1st August. They will be talking about the Digital Shorts scheme for 2008, and screening some of the shorts from last year - I don't know whether 'Lent' will be one of those shown yet, but I hope so. I can't make it, sadly, but I urge any southern-based filmmakers to get there if they can. Note to Londoners and Northerners: the Digital Shorts schemes normally run at around the same time in all the regions, so keep an eye out as you should hear something soon. In fact, South West screen have already held a roadshow introducing their scheme, which Lucy Vee has written up here.


The WGGB are having a broadcasting event on 9th September, where Paul Ashton and Kate Rowland from the BBC Writers' Room will be interviewed. I'm going along to this one, as I missed out on Kate's appearance at Cheltenham.


And the final event is the death of my PVR due to fatal hard-drive crash. One day it was a portal to a world of entertainment, the next it became an expensive matt-black paperweight that flashes 'Er09' at me. No more freeview channels, no more hard drive to store episodes of telly for 'research' purposes. No time-shifting. Garrgh! If I want to watch a programme, I have to sit down when it's on, on analogue, which - let's face it- is practically impossible.

It's out of warranty, so I'll have to save up now for a new one. And that means next to no TV. For weeks. I'm choosing to see this as an experiment. I certainly have more time for writing. But I also have this yawning emptiness inside - is that normal?

Slight Return

Apologies for the break in transmission; unfortunately, this is not because I’ve been on holiday like some other folks out there in Blogland (chance would be a fine thing!) but because I’ve been tremendously busy. Which is nice. Things what I have been doing:

Having meetings. I have been lucky enough to have three meetings in the last week. Two were for short film projects that now seem to be a definite go. The third meeting was for a feature, and I’m keeping everything crossed. I’m too superstitious to add anything more at the moment.

Preparing for the Screenwriter’s Festival. I’m going for the second half. I’ve entered a script into the market, and I’ve submitted a pitch (if it makes the final ten, I can go for the first two days as well – if the Day Job lets me have the time off).

Getting the best rejection I’ve ever had. The BBC Writers’ Room got back to me about my radio play. It got two reads, and I was given some very positive feedback. They don’t want to develop that idea, but they want to follow my progress and have solicited my next script, as and when I can send it in. As far as I can tell, this is as far as I can go through the system without being put in touch with a producer. So, I’m happy, and raring to go on my next spec radio play.

Watching last Saturday’s Doctor Who every (thirty-something, male) writer seems to be blogging about it, and with good reason. It was a very good show in a long recent run of quality episodes. And it had the return of a character from the series past that made my inner-fanboy do cartwheels. If none of this means anything to you, then you’re probably a grown-up. How does that feel?

Preparing for the Script Factory Storylining course this week. It’s tomorrow and Thursday, and Sir Jason of Arnopp will also be there. It involves breaking down the story beats for the first 8 episodes of “Harkness Hall”, a fictional soap opera developed by the tutor Yvonne Grace. I have received the series outline document, and am currently getting to know the central characters, and working out ways to melt them.

Things what I haven’t been doing:
Writing the – hilariously delayed – third part of my Digital Shorts diaries. But it will come. I predict another week of quiet, and then I’ll be blogging every day again. TTFN.

Screenwriting and Scones

Event: Screen South Information Day

Date: Monday 14th May 2007

Venue: Friends Meeting House, Brighton. A church hall, basically, but a nice one with free refreshments including home-made scones. This is a first - I have never before been to a screenwriting or filmmaking event where anyone has provided home-made scones. God bless the Quakers.

The Set Up: Screen South periodically hold these events across the region. The morning session involved brief talks / Q&A sessions from various speakers (see below). Lunch - not provided, alas! - was at 12:30pm, and the afternoon was taken up with individuals’ one-to-ones with a Screen South representative. Upon registering, one could book this interview, the first step towards applying for funding. Registration started at 9:30am. I got there at 9:35am, and I almost missed out on a slot, they’d filled up so quickly. So, first piece of advice is to get there early.

The speakers

Screen South: Jo Nolan, Miranda Robinson, and Vanessa Cook each spoke about the agency, its aims, its production and development department, the funding awards available, and how to apply. I’m not going to repeat a lot of this information, as it’s available from their website. But a few points of interest:

1. Database: if you are working in film in the region, and you haven't already done it, get your details in the database on the Screen South website. If you’re looking for local crew, this is the place to look.
2. Digital Shorts: the scheme will be running again in September / October. There will a roadshow when the scheme is launched, which will visit Brighton and other places.
3. RIFE (Regional Investment Fund for England) awards: funding that’s available throughout the year. Small awards (up to £500) run to monthly deadlines; large awards (up to £5000 for an individual, £10000 for an organisation) run quarterly. Application forms and guidelines are available from the website, and the application process will involve an interview or interviews with different panels, depending on the amount sought.
4. Production funding: there is no production funding available through Screen South (except for specific strands like Digital Shorts). But the situation is being looked into, and this may change.
5. Training funding: Screen South would expect an applicant to have approached Skillset first before applying for training costs from the RIFE awards. Skillset can cover up to 80% of training costs (see below).
6. Distribution funding: Applications can be made for funding to take completed shorts to festivals.

The most interesting section for me was a discussion about the typical path for a writer to apply for feature film development:

Stage 1 - Apply for £40 from the Small Awards fund to get script coverage from a reader that Screen South would arrange. This will be a 2-3 page report, and will take approximately two weeks. If you have already got coverage of this kind, you can submit this to Screen South, and – if it is to the required standard - you may be able to skip this stage.

Stage 2 - the coverage will be the basis of a redraft of the screenplay, which would be expected in no less than six weeks. This draft can then be submitted for an in-depth Script factory report (£80, again applied for from the RIFE small awards). This will be a 5-6 page report, and will take approximately six weeks.

Stage 3 - Another draft, and then the writer can apply for funding for a script editor to work with them to develop the material. After that, the writer will need to get a producer attached to the project to apply for further development funding. Screen South can provide advice on getting a producer, where the film sits in the market, and tips for moving it into pre-production.

Lighthouse: Sarah Flint, CEO. Lighthouse is one of the key regional partners to Screen South. Twenty-one years old this year, they provide professional development support for filmmakers, screenwriters and artists. Some training is available to all, some selectively based on an application. Sarah talked about some very exciting schemes coming soon, so keep an eye on their website. Successful last year was the ‘Guiding lights’ mentoring scheme. They hope to be running this again in 2007.

Lighthouse also hire out equipment, and rooms for meetings, events or screenings. Monthly, they hold their own networking events (a write up of a recent one is here).

Skillset: Rachael Duke, Film Fund Manager. Skillset has a film fund, and a TV freelance fund available, bankrolled by lottery money. The list of accepted training courses is on their website, and is quite extensive.

For training up to £800 in value, Skillset can pay 80%. Applications can be made at any time in the year, but you must have written confirmation that you’ve been accepted onto the course when you apply, and they cannot fund courses retrospectively. It’s worth planning ahead if you’re going to apply, to ensure you have enough time for the application to be processed – on average it takes four weeks per request.

You need to have demonstrable professional experience in the field for which you’re getting training; they can advise you on eligibility if you’re unsure (contact by telephone or e-mail).

BBC Writers’ Room: Paul Ashton’s session was covered in detail here.

One-to-one: Mine was at 3:30pm, which gave me time for a long lunch at The Hop Poles where I planned out the details of what I wanted to discuss. The interview was with Miranda, who I already know from working with her on my Digital Short. She answered my many questions helpfully, and we talked about the feature project. I left feeling very positive about my next steps.

Value for Money? It was free, so a big, fat YES. In fact, if you have a project that qualifies, these people can give you money. And home made scones.

Definitely recommended.

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.

Stop Gap Blog Post

On Friday, I return to the day job after a long break working on my writing. I'm madly busy trying to finish a few things, and the blog is not getting as much of my attention as I'd like. So, only time for a few bullet points:

1. About an aeon ago, I went to a Screen South Information day, and a Raindance open evening. A couple of people expressed interest in seeing a write up of these. I have a pile of notes that I hope to turn into a post before too long. Ditto for the next installment of my Digital Shorts diary. Watch this space.
2. I didn't make the Script Factory 'Wireless and Boundless' scheme but I did at least get a polite (mass) rejection e-mail. 120 people applied for 20 places. Phew! Anyone else apply? Anyone get in?
3. Paul Cornell's episode of Doctor Who on Saturday was possibly the best so far. And what a cliffhanger!
4. The BBC Writer's Room still has my radio play, and it's nearly been four months. Is this a good sign or does it take them that long just to reject scripts? I'm hoping for some feedback at least (fingers crossed).
5. My second spec radio play has been put aside half-finished while I've been revisiting a short. I'm rather pleased with it, so it's off to the British Short Screenplay Competition. Hooray!

Okay, that's all for now. Back to work.

Radio, Radio

Two quickies about radio drama.

As mentioned in the comments of this post, I have been investigating radio drama development executives. They most definitely exist for every region, but they cannot be submitted to directly (except in BBC Radio Scotland - see the writers' room site here ). Radio drama submissions in all other regions should go to the writers' room, or to a producer (BBC or independent).

The best thing to do would be to keep an eye out for any events where these development producers speak, and network there; but, I haven't heard of any such events, and nor can I find a current list of development producers working at the BBC. If I find anything out, I'll be sure to post here.

Secondly, I wondered if people had seen this scheme advertised: Wireless and Boundless. It sounds very interesting to me, and I'll be entering. Deadline is May 24th.

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…