Pay it forward

If I've discovered one thing over the past couple of years it's that people are kind. In a corridor of closed doors it's easy to get disheartened but there will always be people willing to help you along the way. Out of the speculative emails I have sent out (I'd estimate around 250) I received no response from around 80% of these. I received polite 'thanks but no thanks' from another 19.9%. Then there's the joyous 0.1%, the generous people who take five minutes to actually read your email properly and even click on the attached CV, who drop an email back saying 'Sure, pop in and let's chat.'

Now, in the current climate I'm not expecting anybody to drop everything and declare 'Behold! We've found her: the next big thing!' but those people are are willing to meet for a coffee and offer advice are like gold-dust. It's easy to think that those people who agree to meet you but can't offer you a job aren't useful, but I've realised that networking is what the TV industry is built on. Particularly at the moment when small companies (and large ones, for that matter) can't afford to take risks.

My advice? If you meet up with somebody and they help you out or give you some of their time thank them. I know that sounds simple but follow up your meeting with an email. Offer them something in return, like a contact or a script report. Then make sure you keep in touch with them. I have met several brilliant people along the way who offered advice to me, I thanked them and then I went merrily on my way. That was stupid. I should have kept up the contact, kept emailing them, offering my services. Not enough to be annoying, but just enough so that if anything comes up - either for them to help you or you to help them - you will be forefront of their mind. I have helped people out in the past too, either with script reports or advice and they have drifted off too. I'd be happy to help again, so keep in touch.

Over the last couple of weeks I have met with a few more fantastic people that I really should be keeping in touch with. And when I'm in a position to help people who are helping themselves I'll be sure to pass the favour on. As I was told this week

I'm happy to help. It's the only way to get into the business at the moment. And people helped me when I needed it.

An invaluable guide to script reports

I have written script reports for The Artists' Studio, for John Yorke at the BBC and for various freelancers. However I have never known exactly what I was doing. I just sort of analysed the scripts. I treated it like a review based on all those essays I knocked out at uni and A-level theatre studies and English lit. But for those less keen to blag it Danny Stack has provided a handy go to guide here. It was first posted in 2005 but all details are still extremely relevant, and you can see people have commented on it over a number of years. The best use of this would be as a kind of checklist. Write your report and then ask yourself if you have covered each are, or if there are any glaring omissions:

First, talk about CONCEPT: is the idea any good? Is it commercially appealing or more intellectual and discerning? Or is it just a shameless rip off of a million genre flicks before it? Or does it bring something new to the table? Is it genre?

PLOT: Does it make sense? Is it convincing and/or original? Too predictable maybe. Jumbled?

STRUCTURE: is there a basic understanding of craft on display? Is it a join the dot three-act structure or does it contain a solid and reliable framework to tell its story? However, the reader shouldn’t get bogged down with restructuring tips because it’s not a script editing exercise.

CHARACTERS: Are the central and minor characters believable, original, compelling, inspiring, colourful, loathsome, boring etc? Decent character development or emotional journey for the protagonist? Effective use of subplot with the supporting characters?

DIALOGUE: Distinctive, realistic, off-the-wall, on-the-nose, funny, dull, plain, quirks, true to each character?

TONE: Does the writer have an original voice; is the tone of the story consistent to the genre etc?

PACE: Pace, rhythm, tempo. Scenes start too soon, too late? Cut too soon, too late? Boring segments with little dramatic impact or importance? Where does the pace flag? What’s its overall effectiveness?

SETTING: Is it important to the story - does it make a valid and visual contribution to the characters & plot? Is it noteworthy at all?

APPEAL: will the idea and story find an audience? Is it marketable? Who is the audience? Is it really cinematic?

Thanks Danny, priceless advice.