Thursday 29 April 2010

Reports

Busy week so far – a bit of plate-spinning in my real day job (ie the one I get paid for) and off to Paris tomorrow for the bank holiday weekend – pleasure, not business.

I also sent my first script report as part of the Feedback Exchange. Haven’t heard anything back though – eeek – does that mean I was too harsh? I really enjoyed the script, and obviously outlined what I enjoyed, but also made lots of less than positive points too. Not because the script was bad, but because I assume that to be more helpful than just saying it’s great and wishing them well. After all, it’s just the opinion of one less-than-experienced wannabe.

I’m also in the process of sending my first bit of analysis to The Artists’ Studio, though they’ve asked me to suggest writers for a book adaptation, which is much more difficult than I imagined. I’ve done a bit of heavy imdb use and hope they’ll be happy enough with the result. I’m putting off sending it in case inspiration strikes, but it’s gone 9pm and my bag for Paris remains unpacked.

Tuesday 27 April 2010

Imposter

I wrote a couple of weeks ago about how I was beginning to feel like a real freelancer (still missing the payment, but that’s by-the-by) well, scratch that. I feel like an imposter. Over the last couple of weeks I’ve had two meetings with Gub Neal, creative director of The Artist’s Studio (formerly of Granada, Channel 4 and Box TV). We met at a member’s club in London, which states on their website that their members are ‘mostly artists and writers’. I was well out of my depth. Sat in on our second meeting (on the club’s rooftop terrace this time – pretty nice office!) was the studio’s development exec Julian Stevens and, for the beginning of the meeting, Adam Tandy the producer of The Thick of It. And all these interesting, talented people were proper grown-ups, while I nodded and smiled away in my Primark jacket with an oversized pink flower in my hair.

But regardless of this sudden feeling of youth when I spend the rest of my time saying things like “gosh, doesn’t time start going faster after twenty-five” and “well, I wanted to own a house by thirty, but let’s say thirty-five…” the meetings were interesting and incredibly useful. They spoke a lot about the realities of getting funding in the current climate, and of considerations not just of the writing but of franchising angles and the importance of international appeal for distribution and co-funding. From a writing and editing point of view it’s fascinating to see what other considerations come into play. For now they have given me a couple of books (one of which is the property of one James Nesbitt, apparently. Must remember not to leave it on the tube) to read and provide reports on, followed by some scripts.

However my top tip from that meeting came from Julian, who quizzed me on my knowledge of writers, and said that every time you come across a writer make a note of three things they’ve written. So, first one: Roy Mitchell, whose script I was sent by Gub as a little test of my analysis, wrote i) episodes of New Tricks (2003-2009) ii) and episode of the crime drama Blue Murder in 2006 and iii) a couple of Casualty episodes in the 80s.

Wednesday 21 April 2010

Writing example: The police came late one night

The police came late one night, but there were no scenes. There was an uncomfortable disparity in Jenna’s mind; the policeman’s soft, firm rap against the family’s front door, contrasted against the story he came to tell. For months afterwards Jenna couldn’t close her eyes without visualising against her will the invented last moments of her brother’s life. On some nights she was haunted by desperate screams and cries for help, on others there was simply a crash, flashing lights and a descent into darkness.

She had been in bed, asleep, on a night very much like any other. After dinner Jenna had spent over an hour on the phone to a friend she had seen that day and, Jenna had assumed, would sit with again in geography the following day. Ellie usually called after their walk home to dissect the day. They would either discuss the previous weekend or make plans for the next one, depending on how far into the week they had gone. In this case it was Tuesday, so speculation about Dawn and Liam in the disabled toilets of the under-eighteens club night was still rife. “She said nothing happened” Jenna had mused, only to be struck down with Ellie’s assertion that “she always says nothing happened” and they concluded that there was still more to be discovered about the situation. Jenna’s dad had joked again about the phone-bill and about the necessity to put Ellie on friends and family even though she lived three roads away. Jenna found his jokes tiresome and he never understood how they had so much to talk about.

After several thwarted attempts at maths homework not due till Friday there was a programme on about the nation’s obesity levels then Jenna went to bed, and slept easily. She was woken by a knock at the door. It took a few moments for her to fight through the fuzzy layers of sleep and realise her parents were at the door, joined by an unfamiliar voice. Not wanting to get out of bed into the cold night, lit only by streaks of moon seeping from the back garden through her patterned curtains, Jenna stayed in bed and listened with interest to find out the reason for the late night visitor. The unknown man’s solid tread followed the flip-flop of her mum’s slippers and the heavy swishes of her dad’s bare feet against parquet flooring. The three settled in the lounge, situated directly under Jenna’s bedroom, but voices grew muffled by the thick carpet in between. Jenna lay as still as possible, trying not to breathe too loudly. Her head was cocked sideways, ear lifted off the pillow to avoid the plump cotton muffling the voices further. After a short while, it was impossible to say how long what with the strange contracting and expanding of time that happens in the dark, Jenna grew impatient and gradually more awake and slowly wiggled her way out of the warm bed, leaving padded covers morphed to her shape. There was no reason for her caution as everyone in the house was already awake, but a sense of quiet had descended on the building. There was something present which had filtered into the collective subconscious of those living there and it seemed bad manners to cause a disturbance. Barelegged Jenna padded out onto the landing and sat on the worn shag-pile of the top stair. The banister and front door glowed a sickly black and amber as the streetlights slipped through gaps and reflected back on themselves against the polished wood below. Placing her forehead between cold spindles leading down the stairs Jenna could see a warmer yellow light seeping out under the lounge door invitingly, but still she did not move. Waiting and listening she tucked her legs comfortingly against her chest and pulling her t-shirt down over her knees, like they used to in primary school assembly, all sat cross-legged in row after row of bottle-green sweaters stretching the front of the material, to the annoyance of their parents. She was still straining to hear voices, but the pauses between words were now getting longer, yet despite the unusual late night visitor and the night-time loneliness she still felt none of the gravity of the situation pervading into her consciousness. Finally satisfied that this was a conversation she would not be invited into Jenna tip-toed back to bed shivering and fell into a disturbed sleep, occasionally punctuated by a rise in volume downstairs but by time she awoke the voices subsided and Jenna was left to wonder if she had imagined the whole thing.

Jenna woke the next morning with a strike of fear, not at the memory of the strange visitor but simply in the knowledge that she had overslept. The light in the room was unusual for 8am, it was too bright and was the sign of a fully-fledged sunshine rather than milky fingers poking their way gingerly around corners and edges of drawn curtains. Sure enough when she rolled over the red cubed letters read 8.57. Jenna never set an alarm, as she disliked the momentary panic at being beeped awake so suddenly through the deepest of sleeps, and instead relied on the noise of her family and her ever-dependable mother to ensure she was up before eight for school. Even though things appeared to be in excess of fifty-seven minutes behind schedule the house was lay quiet.

Writer's group

A large number of the problems a writer faces can be solved by just one thing: a writer’s group. Last week I met up with a few people from my writing course at St Martins. I took the beginners Creative Writing: Fact or Fiction with Elise Valmorbida last year. The course was excellent and I would recommend it to anyone who fancies themselves as a bit of a writer, or just enjoys doodling a few stories every now and again.

The best part of the course for me was gaining confidence in sharing my work. Before the course I hadn’t shown anyone my writing for years. Not since age nine, when I was the proud recipient of the primary school creative writing shield, had my writing had the opportunity to be mocked and sniggered at by my peers. Or at least that’s what I had imagined would happen. The first class was a nerve-wracking affair, as I pictured a room full of artistic geniuses chain-smoking and making droll comments about literature. Which actually wasn’t far off – the room looked like Topshop and a vintage stall got in a fight (I couldn’t quite say who won). However there was no mockery of any kind. In fact the feedback was overwhelmingly positive, and even negative comments were given with a positive spin. Although the skill level in the class was high the assignments took us all out of our comfort zones and some weeks even the most talent writer struggled and the tadpoles excelled.

Several of the girls I took the course with went on to take the intermediate course, but I opted for screenwriting (which turned out to be film studies. Not what I was after at all). I definitely intend to take the intermediate course this autumn, and some students take it over and over as a way of pushing them to produce new work. At £200+ a course doing it every year seems a bit pricey, so the next best thing is taking the class into a bar. Six of us met up in a bar-cum-coffee shop on the top floor of a London bookshop (which we thought apt) and read aloud our most recent pieces. I took the piece of prose I mentioned in my 31st March post, and I have to say it didn’t receive quite the reception I was hoping for. Re-reading the piece now I think all the feedback and advice is actually terribly accurate*. It’s sometimes hard to hear criticism not just because it knocks your confidence, but sometimes because you’ve gotten so attached to a word or phrase that it’s difficult to acknowledge it isn’t suitable. There’s several wordy sentences in the piece that I adore; I love their poetic, polysyllabic nature and the way they languidly roll off my tongue. But they don’t fit. They don’t suit the character, the nature of the story and the rhythm of the piece. So out they come. Next week, when we meet again, I’m going to take a completely edited piece written from the first person instead of the third to make sure I don’t slip into language that speaks from me rather than from the character. And on top of all this you get to have a few glasses of wine with some friendly, interesting people who like what you like.

*I will put the piece into a separate blog entry and tag it as 'writing example'

Wednesday 7 April 2010

On a roll!

What a thoroughly great day. It just goes to show how variable this writing malarkey is. Just last week I was whinging, frustrated and completely up to my eye-balls in writer’s block but this week I’m 55 pages in on a script I don’t completely hate.

I started today by reading aloud everything I had written so far. This is a technique I’d definitely recommend as it helps you see where things don’t flow quite right, or even something as straightforward as a repeated word or phrase. Reading aloud took about 35 minutes, which really made me feel like I have an actual script in my hot little hands. I also had a revelation the other night while watching Jonathan Creek episode Judas Tree (written by David Renwick, who I just checked out on imdb and he’s been writing since well before I was born. Little facts like that definitely give me hope, knowing he’s been honing his technique for so long. I do love a bit of Jonathan Creek) and realised my plucky PC needs a side-kick, or at least someone to bounce ideas off. As a result of this the relationship between young PC and her boss has become more nurturing, and less weirdly sexual – which was kind of the gross way it was heading before. I have also developed the role of a teenage boy in a wheelchair as someone who sees everything that goes on (a little bit Hitchcock, Rear Window perhaps?) into something a bit more rounded.

Also a busy week on the script front; I spoke to Gub Neal on Thursday and he sent me a script, Atoll, (which I loved) and we’re meeting up to talk about tomorrow. I am yet to get stuck into Angels, the script I was sent off the back of the Feedback Exchange, after a busy weekend over Easter. I’m aiming to put something together this weekend, and have also been contacted by someone else about a drama pilot to read.

Hey, maybe I can officially call myself a freelancer now! It’s certainly beginning to feel a bit more like it.