Record your message at the beep

A couple of commissions have rolled my way recently, which is always exciting. Sometimes, when things are going well, I expect the phone to ring and for the producer/exec to say: "Sorry Danny, we were getting you mixed up with Denny Stark, that amazingly gifted Irish writer, not you, obviously". Denny Stark, my writing doppelganger. If you see him, he's got all my commissions but at least I've got his...!

Anyway, am a bit tied up at the moment so now's probably a good time to open it up to the floor: maybe you'd like to ask a question or would like something new covered on the blog, or something old given an update. Whatever you fancy, really, if anything... BEEP!

Whatever it Takes: Redux

I was going to expand on the last post by talking about what it takes to be a professional writer, and what kind of approach you might need but then I realised I had done it already in a post of June last year called 'Whatever it Takes'. So, this entry is a semi-story vault really as that post is retreaded in full, below. However, I thought I'd add a few more comments and thoughts to the mix.

The kind of advice on this blog isn't meant to be directly 'inspiring' or 'reassuring'. I look at it more as discussing the practical necessities required if you're going to get ahead. It may sound positive or inspiring but it still takes a heck of a lot of commitment and effort to get some results. It's true that I'm not one for the gloom and doom merchants who say 'don't bother'. You get nothing done by accepting defeat and it's too easy to be dismissive of the system or talk down someone's chances of being a writer. The way I see it, we're all in this together and the more we can share our experiences and strengthen our positions as writers, then the better it is for us and the industry. It may be idealistic and naive but in this cynical world of the 21st century, surely there's room for a bit of fresh thinking.

It should be obvious that anything I write about here is usually a direct relation to my own style and approach. I'm not doing too badly and this year is going quite well but there's been a lot of doubt, frustration and anxiety along the way. That's all part of the process. The only way to earn success is to work extremely hard, and knock back all the crap (as much as possible) that comes your way. One of the things I'm particularly proud about is the Red Planet Prize. This came about from a simple email and a genuine desire to create a decent screenwriting initiative that opens doors for writers rather than paying lip service to their efforts. That's called 'making a difference'. Anyone can do it: why can't it be you?

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“I've finally decided to take the plunge and give writing a go full-time. But the sheer enormity of the task ahead is making my head hurt and, writing aside, I just don't know what are the very first steps I should take - aside from the writing, of course. Any sage advice for a writing toddler would be very welcome.”

Three Ps. Practical. Proactive. Professional.

Practical
A writing career doesn’t happen overnight. If you’ve decided to take the plunge and live the dream, then that’s great, it’s very exciting. It’s also horrendously daunting, especially if you’ve severed normal job ties, and have nothing lined up to pay the bills.

So, look at your practical options. How am I going to make money while I build my writing portfolio to such a standard that I earn money from writing itself? Do I take a part-time job (likely) or can I get an industry related part-time job like script reading or script editing (preferable, but harder to achieve)?

Domestic issues will vary from person to person (married, kids, illness, disability etc) but you should ask yourself “what is the very basic income I need to survive? How am I going to achieve that?” Once these essential concerns are dealt with, then all effort can be focused on writing. But make sure you’re applying your energy in the right areas, like: new writing opportunities, Doctors, short films, and using all relevant contacts to nab potential writing gigs (corporate, commercial, internet).

Proactive
A lot of writing opportunities will emerge not because of what you know and the quality of your writing, but who you know and the broad appeal of your personality. Get out there. Attend industry events. Make contacts. Start a blog or a MySpace page, or get a Facebook profile. Be friendly, supportive and positive. Don’t expect opportunities to come to your door. Go out and find them yourself.

Professional
Take responsibility for your writing. It’s not ‘them’, it’s ‘you’. The system doesn’t suck. The system exists for itself. In the process, professional courtesies may fall between the cracks. Sometimes, it may be understandable, occasionally it will be rude while other times it may be plain unforgivable. Get on with it. Let off steam with friends and fellow writers, but don’t burn bridges. Don’t take rejections personally. Take criticism on board but keep it in perspective. Stick to your conviction. Be assured about what you want to say. Develop your original voice. Realise the strengths of your writing and try to understand the weaker areas so that you can develop a balanced critique of your own material. Keep writing. Get your work out there. You never know what’s going to stick - where and with whom. Now, how much do you want it? Really? What are you prepared to do? Then do it.

And now, a fourth ‘P’. Patience. It’s going to take time. There’s going to be a lot of rejection and frustration that, hopefully, will be worth it for one or two moments of elation or validation, which will kickstart a writing career. But it doesn’t get easier. It gets harder. Competition is fierce. Opportunities are few and far between. Don’t get complacent or bitter. Stay focused. Keep writing. Take inspiration from your favourite films & TV shows, and the success stories of your peers. Be wary of writer envy. Everyone finds their own way to success; they don’t imitate others. There is no right way to go about it except by writing consistently good material. That’s what it’s all about. Your unique talent. Hopefully that will be enough to earn you a living, and, Disney time, give you the foothold to make all your dreams come true.

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Confidence & Attitude

At the start of every writer’s career, there’s a combined sense of optimism and doubt about what they want to achieve and, more importantly, how they’re going to do it. After all, the odds of establishing yourself as a full-time writer are mountainous, and screenwriting in particular attracts more people to the potential flame of success than writing novels or pursuing a career in journalism. Still, armed with a bit of naive enthusiasm, the new screenwriter sets off to make the right impression with the industry and when the first bits of positive reaction begin to filter through (if you’re lucky), the writer feels a huge sense of relief and validation. S/he feels emotional, humble and grateful… and rightly so. You’ve made it! The career kicks off and the money rolls in! Right?

Not exactly. What happens is that things actually get harder, rather than easier. Work is still difficult to come by, despite your recent glimpse of success or validation, and the usual stresses of being a freelancer are all very much in evidence. But what has happened is that you’ve raised your game, whether you’re aware of it or not. You’ve moved into level 2 of your career, and it’s time to roll up your sleeves and get dirty if you want to have a chance of progressing even further up the screenwriting pole. Basically, a shift of attitude occurs. No more are you excitable and emotional when you get a commission or a producer options your work. Instead, you’re thinking: “that’s right, this is what’s supposed to happen. If I’m a good writer, and if I’m to have a career, then these are the things that have to happen, just by natural course.”

Or at least, that’s what you should be thinking. For example, it’s perfectly fine to get excited about the BBC writersroom asking to see your full script. This is a small but significant request, as it means they thought your first ten pages didn’t suck and you might be an interesting writer. But you shouldn’t be surprised or grateful. You know you’re an interesting and talented writer; you don’t need the writersroom to tell you otherwise. Of course, it’s important that somebody with industry standing (like the writersroom) recognises your talent, but you shouldn’t wait for them - and others like them - to give you permission to write, or to pursue a career as a writer.

This kind of ‘permission from the industry’ attitude is bad for writers. It gives producers, execs and script editors the higher ground, making us feel grateful to them when they give us a break, when really, they should be grateful to us for making all the effort in the first place. I see a lot of new writers trying half-heartedly to break in and when they receive a knock back or two, or can’t get pass go with the writersroom, they think that writing’s not for them, and inevitably choose another career.

Listen, if you’re going to be a writer, you have to do it properly. You know that it’s going to be hard and that the rejections are going to flow but that doesn’t matter because you’re a writer, and no-one can tell you otherwise. You’re going to develop an assurance about yourself and an inner confidence about what you write. Not self-delusion, although it’s a fine line, but a knowledge and passion that you know your work is good, no matter what anyone says. I’m not suggesting that you turn into a brazen writer who can talk the talk. What I’m saying is that you need to be more aware and assured about yourself and your work. To take responsibility and ownership over what you write, and why you write it. This way, your confidence will shine through on the page and make a natural impression on the various gatekeepers of the industry, and your chances of a breakthrough are that much higher.

Let me put it this way: when I got my first commission on Doctors, I cried my eyes out. Honestly. And then I blubbed like a baby when I got nominated for the BBC Tony Doyle Award (nominated! I hadn’t even won yet!). They both came at an emotional time for me when I was running into big brick walls of rejection and frustration. That was four years ago. I’ve had bigger walls of rejection and frustration since but I think I’ve developed a more assured knowledge of myself and my work. I feel more confident about my writing and know I can come up with the goods if and when requested. So now, when the phone rings with a bit of work or a commission comes through, I no longer cry on to my keyboard, no sir. I think: “yes, this is what’s supposed to happen. Bring it on.” I still feel elated - I might punch the air or yell something stupid at the top of my voice - as you can never take anything for granted, and complacency is the ultimate enemy of the writer.

Basically, the point is to bolster your confidence and attitude. Don’t wait for others to tell you what kind of a writer you are, or that you don’t have what it takes. It’s all subjective, and it’s all bollocks. Look to yourself. That’s where the real answers are. That’s where the real talent lies. If you feel you’re not up to it or can’t carry on, then that’s a big and brave decision (that only YOU should decide). But if you’re determined to continue and succeed no matter what, then nobody can stop you, especially if you know, deep in your soul, that you can spin a good yarn. A writer writes. End of story.

Cannes Tips

Cannes is coming up. Alas, I won't be going this year. I made my Cannes debut two years ago. As a Cannes virgin, I was terrified but I was determined to make my time well spent. Luckily, I had the mighty Tim Clague and Suki Singh (Cannes veterans) to hold my hand, and they eased my tensions and provided excellent company (for that boys, I am eternally grateful). So, I'm no expert, but if you're going along to the Croisette for the very first time, here are some humble tips to keep in mind:-

1. Be Clear What You're Going For
Treat it completely like a work trip. Ask yourself why you want to be there and what you want to get out of the Festival, and then stick exclusively to that.

2. Cannes Database
Once you've figured out why you're going and what you want to achieve, then you target the movers and shakers that will help you realise your goals. Do this by trawling/searching through the handy Cannes database (which you can access when you register). Everybody's details are on there, so drop them an email and try to set up a meeting. I sent about 200 emails and got about 30 meetings in the end (and I got the gig on Sofia's Diary from a meeting at Cannes). Plus, you may set up meetings while you're there. But while meetings are fun and exciting, they can be pointless and frustrating too, so stick to rule number one to stay focused.

3. Cannes Marketplace
Go to see a few films that are selling at the market place. Most will probably be shite. Feel like a Cannes veteran and walk out after 10 mins, sighing and tutting as you go.

4. Cannes Premiere
Do the red carpet at the main cinema (great cinema). If not going to a premiere (where you'll have to wear black tie), then a day screener is just as fun and glamorous.

5. Drinking
It's impossible not to drink too much but y'know, steady on, and all that.

6. Eating
Eating out isn't actually that bad (price wise) and often, there'll be canapes/deep fried tidbits to enjoy in early evening events or parties. And free booze. See no. 5.

7. Network
Don't just network with the people you've arranged to meet. All you have to do is introduce yourself to someone sitting beside you, and lo, it's a fellow writer, or a producer, or director etc.

8. Have fun!
You're in the south of France for god's sake! Oh look, there's Harvey...

Speaking of Sofia's Diary (you've been watching haven't you? of course you have). I wrote next week's instalment (week 7 already!) so um, enjoy! Oh, and Far Away Scriptwriter has set up a neat little blog survey, so if you have 2 mins to spare, check it out.

** UPDATE ** Actually, I've just found out that Sofia's Diary starts on Fiver tomorrow, Saturday 26th April, 12.20pm (catch up omnibus thingy), and then weekdays at 4.55pm, so you can watch it on your tellybox as well as online at Bebo. D'groovy.

You can watch Fiver on Freeview: 36, Sky: 182, Fiver + 1 is on 183, Virgin Media: 186 and Tiscali TV: 31.

Story Vault: Format

You may have heard that Sofia's Diary has been picked up by Channel 5, which is exciting, and it's great that the show is doing so well (will keep you posted on any developments, natch). Before the show started on Bebo, I wrote the pilot in a Microsoft Word document (don't think the producers had Final Draft) and pretty much made up my own formatting, even doing it in Arial pt 12 instead of Courier. Like, I'm so me, y'know? Despite this, it did actually look like a script (honest), which is obviously the most important.

Anyway, it made me think of this post about formatting from around this time last year. Go direct to the source if you want to check out some of the comments. Below is the post in full. And click here if you'd like to see a follow up post about using and formatting various techniques (freeze frame, voice over etc). See you on the flip flop.

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A lot of people get hung up about format. Courier pt12. The right margins. Which screenwriting software to use. And so on. There's no need to get stressed about it. Relax. As long as it looks like a script and smells like a script, it probably is a script. Only the bad ones smell, mind. The point is that only the most pedantic of readers is going to reject your script based on the formatting alone. There may be a few misplaced parenthicals or an action line may find its way into the dialogue space - and just how do you format a montage? - but if the script is 90% okay, then you should be in the all clear.

If you're still unsure about format, don't sweat. Look back at what you've written. Is it easy to follow? Does it all make sense? For the flashbacks/intercuts/montage/telephone call, have you taken the reader 'out of the story' because you've formatted it to death. If the reader can read the script and follow the action, then no problem, job done. A script needs to look like a script but after that, it's going to be something that's riddled with formatting errors to make a reader's blood boil. Lucy has some good thoughts on the matter, here.

Someone emailed me a while ago, asking about format. Here's the skinny:-

I've just bought First Draft and I am a bit confused. If you are au fait with the software could you advise me on the following:

1. What template should I use for a BBC returning drama series?

Normal screenplay format is the best to use, especially for spec scripts, even if they are intended for the Beeb.

2. Should I put 'Scene' and the scene numbers i.e. 1, 2 etc at the end of each scene or should I just indicate a transition by putting int/ext, and time etc followed by action.

The usual scene headings such as INT. OFFICE. DAY will suffice, no need to put Scene or scene numbers.

3. Should I write 'cut to' at the end of each scene/transition?

You can if you want. Up to you (I don't, unless I want to make an emphasis about what I'm cutting to).

4. At the end of each scene/transition should I let the script carry on or should I start a new page after each new scene heading?

In normal screenplay format, let the script carry on, don't start a new page after each scene.

5. OR should I just try and use Script Smart?

I've never used Script Smart (the above link tells you everything you need to know). Final Draft software is widely regarded as the format to use, and the Beeb don't mind. They can reformat scripts into their own templates if necessary (once you're working on an actual series, say). There is lots of good software you can use, some for free, but you can easily set up a screenwriting template on MS Word.

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Schemes & Opps

There seems to be a lot going on at the moment with regard to various schemes and opportunities. The deadline for the Met Film School Writer's Scheme recently passed (which looked good) and three other schemes have popped up that will probably be of some interest:

The BBC Drama Series Writers Academy is going again. "The next generation of TV writers are being sought by the BBC for its prestigious Drama Writers Academy, a unique course that equips writers with the skills to work on BBC flagship continuing drama programmes. The Academy is the only course in the world that guarantees writers the opportunity to work on prime time television." Paul Campbell is a recent graduate (currently working on his first Casualty, I believe) so check his blog for all the insider details.

Guiding Lights is a feature film mentoring scheme. "Lighthouse and Skillset are pleased to announce another round of the Guiding Lights film industry mentoring scheme. We are seeking applications from filmmakers across all sections of the community and from a range of film industry disciplines. Directors, producers, screenwriters, cinematographers, talent agents and professionals working in sales, distribution, exhibition, marketing, publicity and business affairs are all eligible to apply."

And BBC have launched a College of Comedy to help comedy writers find attachments with existing sketch shows and sitcoms. "The scheme will take six writers and train them over a year by attaching them to sitcoms and sketch shows, giving each a mentor for original work, and running a series of masterclasses in all aspects of comedy writing."

All the relevant details can be found through the links. Good luck with whatever you choose to enter, if not all three!

Red Planet Workshop

The other day, I was at Red Planet HQ, home of Tony Jordan's production company, along with about eight writers who had entered the Red Planet Prize (including the winner, Joanna Leigh). Tony's hosting another workshop in a couple of weeks to go through the same shizzle with another handful of writers, which is basically a day of encouragement, advice, anecdotes and opening the door to potential opportunities.

What is abundantly clear is that Mr Jordan is a diamond geezer. In fact, the phrase must have been invented just for him. Honest, open, passionate, down to earth and funny: he knows what it's like trying to break in as a new writer, and is genuinely interested and supportive of those coming up the ranks (witness the prize for the writing competition: 5k cash, a commission on one of his shows and an agent if you don't already have one). Needless to say, all of us were suitably inspired and informed by our day with the great man as he regaled us with his wit and wisdom. Here's a brief rundown of his top writing tips:-

1. Hold on to Your Unique Voice
This is especially difficult when you're trying to break in as a new writer as you'll probably end up bending your script and ideas to suit your script editor/producer. Obviously, this is common (especially in TV), but if they're giving you ideas which you think worsen the script, don't be afraid to stand your ground or refuse to do it. It might hurt in the short term but in the long run, it will stand you in good stead.

2. Always Dig Deeper Than the Writer Next to You
Be better than the rest. Go further, dig deeper, find the emotions that they don't want to explore.

3. Get Your Hooks in Early
The first ten pages are crucial. Fact of life, get over it. Audiences spend less time deciding if they want to tune in or not.

4. Subvert Expection/Defer Gratification
Avoid predictability or cliché. The audience is not stupid. They've seen a lot of TV/film shows, they know what's going to happen. Show them something different, and try to hold out on giving what them want for as long as possible (Lost being a good example there).

5. Establish Dramatic Need
Almost the same as 'get your hooks in early', a character should have a dramatic need, an identifiable goal for the story, and then you make it difficult for them (obstacles).

6. Character Development
Make sure your character doesn't end up in the same emotional place as when he/she started out.

7. Turning Points
Call them what you want - act breaks, reversals etc - but try to have distinctive turning points which really push the story forward.

8. Character = Action
Characters are what they do, not what they say.

9. On-The-Nose
Generally, avoid on-the-nose dialogue but sometimes it's okay, if justified, e.g. classic EastEnders moment (written by Tony): "You're not my mother". "Yes, I am!" Be clever enough to know when you can get away with it.

10. Start Late/Get Out Early
Stick to what the scene is about and nothing more. Start the scene where the drama begins and as soon it's over, get out, you're done, on to the next scene.

11. Be Small to Be Big
Sometimes, the smallest or seemingly insignifcant moment can have the biggest dramatic impact. If an audience relates to a character and understands their emotions, their dramatic need etc, then something like handing over divorce papers can rock the entire nation.

12. Love Your Characters
Enjoy what you write. Find the sense of joy as you spend time with your characters, and get it across in your script.

13. Scene Specific
Make sure a scene is about what it's supposed to be about. Don't be lazy.

14. Show Don't Tell
Be smart with stage descriptions, and again, don't be lazy.

15. Rules Schmules
Nobody knows anything afterall.

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So there you go. Nothing earth shattering in the countdown but always a handy checklist to refer to when you might get stuck.