Forthcoming Event: William Akers

A head's up about a screenwriting event at the Met Film School on 2nd July. William Akers is doing a workshop on 'Fatal Errors New (and experienced!) Writers Make!' See here for details. Looks like it could be a very good evening.

Danny Stack has a competition to win a ticket at his blog; but I think the closing date that Danny's advertising (at the time of writing) should read 23rd June rather than July. Good luck if you're entering.

William's website is yourscreenplaysucks.com, and his blog is yourscreenplaysucks.wordpress.com.

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 '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.

Music is my music is my music is my life

I have been tagged by Piers to list seven songs that I'm into right now. Easy peasy: iTunes is my friend - I shall pluck a few of my top 25 recently played list. That way, I can't even cheat to make you think I've got better taste than I really have.

To link this with screenwriting in some way, as that is the main focus of this blog, a few words about music and screenwriting. On this subject, here's usually two main FAQ / FAQs (does the initialism stand for Frequently Asked Questions or Question singular? Answers on a postcard). The first is: should one listen to background music when one is writing? I say: Yes and No. I do like to have tunes on sometimes, particularly when I'm in full flow and typing away; but the moment I need to go into problem-solving mode, which is often, the iPod gets silenced.

Second, should one specify a particular song in a script if one wants its use as incidental music? Personally, I never do this, my reason being that it might put off the reader if they're not familiar with the song. And anyway, the director or producer will probably overrule my choice. But I know of many a successful and professional writer that does do this in scripts, so don't pay any attention to me.

OK, to the 7. Generally I like warm electronic sounds, jangling guitars, big beats, and combinations thereof. Seven songs in heavy rotation on the iPod of late are as follows:

1. 'The Greatest Story Never Told' / Murray Gold and the BBC Wales Orchestra. This is Doctor Who incidental music, a cue from Steven Moffat's Library-based episodes. I was incessantly listening to the album, and this track particularly, when writing the recent Doctor Who spec script, to get me into the spirit of the thing.
   


2. 'More than a Dream' / Pet Shop Boys. My favourite track on their latest album. And I'm very excited to be seeing them at the O2 Arena in June (I don't get out enough!). Anyone else going?


3. 'Toe Jam'/ The BPA (feat. Dizzee Rascal & David Byrne). If you haven't heard of it, the Brighton Port Authority is the latest project from Norman 'Fatboy Slim' Cook. This comes with sleeve note pretence that these are recently recovered recordings of an old, forgotten band. But forget the fakery, it's essentially another Fatboy album, but more song-based and with a few celebrity vocal talents thrown into the mix. And it's better than anything he's put out since around about 'Praise You'. This song is bliss encapsulated.


4. 'Neon Tiger' / The Killers. I love The Killers, they can do no wrong.


5. 'Not Fair' / Lily Allen. The music and production on Ms. Allen's latest album 'It's Not Me, It's You', courtesy of the Bird and the Bee fellah, is impeccible. But she sets her stall as a lyricist, and judged as a lyricist she is infuriatingly variable. On songs, like 'Not Fair' where she's speaking for herself (or more probably a characterisation close to herself) it works. But when she strays from that and starts speaking about society, it all just makes my toes curl. Worst offender on the album is the song that includes the refrain "Society says that her life is already over" about a character who's 29. 29! FF, and if I might be so bold, S! Society doesn't say women's lives are over by 29, Lily: idiots in society say this, Don't be one of them.


6. 'Mario's Cafe' / Saint Etienne. From their second album 'So Tough' and also on the 2-disc 'best of' currently living on my Shuffle. I parted company with them after 'So Tough', so mostly the compilation is new stuff to me , and very good too. But a few tracks, including this one, are a pure hit of Nineties nostalgia from back when I had a major crush on Sarah Cracknell. Actually, I still have a major crush on Sarah Cracknell.
   


7. 'I Box Up All The Butterflies' / Boy Least Likely To. I don't ever get time to listen to the radio anymore, so I catch up with new music via The Word magazine, like quite a few discerning Dads out there I suppose. There is a CD sampler of new music given away with the mag every month, and this my most listened to track from the latest one.

That's me done. If anyone has any recommendations, I'd welcome them. I'd create a spotify list of the above songs, but I haven't got around to trying spotify yet, and by the time I do, it probably won't be fashionable any more. Ah well.

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!

Two

Oh, I missed my blog's second birthday.

It's now two years and a couple of weeks since I started this venture (it seems like longer - that's what you're thinking, isn't it? Isn't it, hmm?!). That also means it's just been the blogaversary of Jason Arnopp and Helen Smith (we are blog triplets, you know) and they didn't really celebrate either. We all must be busy.

I'm not going to review the goals I set myself back then, as I haven't really achieved any of them (but I've had a hell of a lot of fun not doing any of that stuff).

Here, though, if you're interested, is a link to how I marked the occasion last year: 'One Year On'

And here's the very first post I ever made, two years (and a bit) ago: 'The Church of the Latter-day Bloggers…' Ah, memories.

Memories, like the corners of my... um... thing... wispy water-coloured, erm, how's the rest of that song go?

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!