Effective Script Reading

There's a new script reading course on the scene, run by the very brilliant Evan Leighton-Davis. Not only was he script editor on Origin (m'short film), he's one of the leading script consultants working in the UK today, moving and shaking with the best of them (BBC Films, Ealing Studios, Working Title, Pathe, Warner Brothers etc etc).

Evan's rounding up all his expertise and industry savvy into the course, so it's ideal for folks who want to sharpen their development instincts and/or for those who want to know how to find those much sought after reading gigs. The fee is £150, which includes detailed course notes, a contacts overview of the UK industry, and refreshments. Places are strictly limited so please book early to avoid disappointment (although more courses are planned right through to May). It's cheaper than Script Factory and will take place in London in the New Year, more details below.

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Effective Script Reading
Saturday 30th January 2010 in London
How to write great script reports and source paid script reading work

This course teaches participants how to analyse film scripts effectively and produce quality coverage, as well as delivering knowledge on how to source regular script reading work in the UK and beyond. Ideal for those new to the industry looking to build a career in development, sales or distribution, the course is also valuable for people looking to develop contacts in development and earn an extra revenue stream from script reading.

The course focuses on how to deliver constructive feedback to writers both in person and on the page, and participants examine both produced and unproduced scripts, and also deliver a script report which will be marked by the course tutor. The course also delivers an overview of the key production companies, distributors, sales agents and funding bodies operating in the UK marketplace, for whom script readers are vital.

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Email info @ industrialscripts.co.uk for more info or visit the website here.

Getting Your Script Read

In the comments section of the 'Are You Ready?' post last week, Bob the Vegan asked about how to get your scripts read, and is it possible to pitch with just a premise?

First, getting your script read. In the UK, you've got a few options.

British Film Institute
The dust has more or less settled since the UK Film Council folded into the BFI, and the new staff and strategy has been laid down. Check out their website for the full rundown.

BBC writersroom
Always looking for new writers, always open to submissions. However, check out their new submission guidelines. Whatever you do, don't complain, especially if they reject you. Be gracious and appreciative that they're willing to read your work. Keep trying.

Script Competitions
Enter the good ones. It can cost a bit but usually not that much. Kaos British Screenwriting Competition and the Red Planet Prize (RPP) are two high profile ones that spring to mind. Competitions can be a bit of a lottery but some offer feedback so you get some vale for your money. Pick and choose the ones you think would be of genuine benefit to you.

Get an Agent
This part of the process is the easiest. Hold on, that didn't sound right. Oh yes, this part of the process is the hardest. There, that's better. Or worse. Still, agents take on new writers all the time. You just have to be good. Simples.

The Unsolicited Approach
The Writers & Artists' Yearbook lists a huge amount of production companies and usually mentions if they accept unsolicited material or not. But I'm going to let you in on a secret. Are you ready? EVERYBODY accepts unsolicited material, even if they say they don't. The trick is to make contact with the assistant, exec, co-ordinator, whoever, either via email or the phone (preferably phone) and convince them you're a lovely normal person who has a promising script to read. Show a bit of charm and hustle, and no door will be closed to you.

Networking
Attending film festivals, talks, seminars, etc. Stalking producers and execs at the bar. Getting to know fellow writers. Finding out about script editors. Putting your name out there. This makes you more agreeable and identifiable when you do the unsolicited approach, above.

Referral/Recommendation
A referral or recommendation to an agent or a producer about you and your work is a great boost. Recently, I referred Kevin Lehane to an exec I knew (because his scripts were good and he had worked so hard on my short film for free), and next minute, Kevin's in the trades, nabbing an agent and making sales. I hate him. I mean, isn't it great when the system works?

Now, is it possible to pitch with just a premise?

Ideally, yes. In practice, not so much. Producers/execs want to be hooked by your script with the premise alone. Most scripts don't have a concept that sounds instantly appealing. If you're trying to get money to write a script from just a pitch or one-pager, this is also generally a good thing. However, you need a spec script to back up the fact you have the talent to write your hot idea into a full screenplay. And anyway, most producers wouldn't commission a script from a pitch or one-pager. They'd get you to write an outline/treatment first, usually for peanuts. Literally. Type, monkey boy, type!

Seeing as you're here, why not check out Liquid Lunch, my 6x2min comedy web series. The 12-minute omnibus video is below!

Girl Number 9

A new web thriller hit the net earlier this month, Girl Number 9, which marked the directorial debut of none other than James 'Who's The Daddy Now?' Moran. He wrote the script and directed eps 4-6, while Dan 'I Can Do Anything, Me' Turner directed the first three installments.

It generated quite a buzz and was very cool indeed, but in case you missed it, check out episode 1 below. The series will be available to watch for free until the end of November, worldwide, so get on over to the official website to be gripped by the rest. After that, it'll be on DVD, with lots of goodies and extras. It's a self-financed project with no big corporation sucking up the benefits, just creative types trying to do something fun and entertaining within a genre and format that they care about. Have at it!

Girl Number 9: Episode 1 from Vincent Boylan 500 on Vimeo.

Are You Ready?

When you haven't had a break yet, the temptation is to scream THAT YOU COULD DO SO MUCH BETTER compared to what you see on TV or at the flicks."How did that get made?" "The writing was so lazy!" "OMG, what an insult to my intelligence!" "My script has a better premise AND a better story!"

Well, hold up one moment. There's a wider system and process at work here. It's not all about the writer. Indeed, the writer would have been hired because of his/her quality work; an impressive portfolio of scripts or a list of produced credits. Producers/execs like to feel assured they're hiring the right person. A lot happens in between the writer trying to do the best he/she can and what you finally see on the screen. Sometimes, when the planets align, it'll be just right. Other times, the development or production process might have knocked the script off course, and several grubby fingers may have bent it out of shape.

How can you prepare for this part of the process? How do you know you can cope? When do you figure out that you're ready? Ready to be a professional.

The answer: you dive in and see if you sink or swim. You pitch. You get rejected. You write outlines. A bit of interest, perhaps. Developed, then rejected. You write a first draft. People like it but nobody wants to make it. Worse, nobody wants to buy it. You write more drafts. Someone options it. They have new ideas. You rewrite. They don't want to make it anymore. The option expires. Nobody wants to make it or buy it.

You get a commission to write for a TV show - great! But hold on, there's a wealth of information you need to know about the programme before you start. The history of the show, its production values, its characters, iconic storylines. Then, there's the writing process. Work out the practicalities of your episode. Who's available, who's not. What sets are available, what isn't. The limitations. The expectations. Write a first draft. Take on the notes. Rewrite. More notes. Rewrite again. More notes. Rewrite, tweak. Final amendments. Revise. Polish. Last minute changes. Start again. Deadline. Done.

Back in 2000, I had an opportunity to write a trial episode for Family Affairs. I was well up for it. Then, I received the history of the show. A huge document that detailed everything anyone needed to know about writing for the soap. I hadn't seen anything like it. I thought I was good enough to write for the show but I reneged on the trial episode. I was intimidated by all that information. I wasn't ready. No problem, they said, how about a job in the storylining department? That would have been ideal for me, especially at that time. But I turned it down. My logic? I wanted to focus on writing my own scripts. Ah, the irony (and stupidity). I wasn't ready.

With the benefit of 20/20 hindsight, I can easily trace my naive beginnings right through to the moment when I was properly ready to take on the system. That came in 2004 when I got my first Doctors commission. Instead of feeling intimidated about what was in store, I was eager to get stuck in and deliver the goods. Absorb the history/bible documents. Pitch new ideas. Develop scene-by-scene breakdowns. Write a first draft. Take on the notes. Write a second/third draft and do whatever revisions were necessary. Work with the script editor, to try and understand their point-of-view instead of fighting their notes, and the process.

Don't be in a rush to prove yourself. Take your time. Keep writing. You might feel ready but if you're shouting at the TV or cursing at the cinema, then you're probably not. I'm not saying you can't dislike something but as a new writer, you should try to have a bit more awareness and insight into how the system works. Once you do, you will never, ever, criticise another writer again. Right, ready? Go!

iFeatures (& my stuff on t'telly)

Lots of schemes and competitions about at the moment. The Story Works, Sky Movies HD comp etc (and I hope to have news about this year's Red Planet Prize soon). Here's another scheme that's most definitely worth a look. iFeatures digital feature film initiative from South West Screen.

Although it is a regional screen agency's initiative set up to promote Bristol as a cultural and cinematic location, it is open to submissions from creative teams nationwide. There's a development slate process and then three films will be made for £300k (BBC Films being one of the partners). Submissions must be made by post and the deadline is 12 NOON on TUESDAY 8th DECEMBER 2009. There's lots more info on the website, so check it out here.

In other news, tomorrow's Friday the 13th. Unlucky for some? Not for me, it seems. I start the day with my episode of Roy on BBC2 at 7.30am (get up early whydontcha), and finish the day with my episode of EastEnders, BBC1, 8pm. Wahey!


This is my second episode of 'Enders. I was more nervous doing this one than my first attempt, partly because it was a Friday episode (so I didn't want to let anyone down) and partly because I was only blimmin' following on from supremo writers Richard Davidson, Nicholas Hicks-Beach and Rob Gittins. So, like, no pressure. Still, I'm fairly pleased with the way it's turned out, so if you do watch, I hope you enjoy. Repeats on BBC3, iPlayer and the Sunday omnibus. (In this preview clip, I'm in the caff watching the actors on a monitor.)

Also nervous about Ireland playing France on Saturday. I predict 1-1 in Dublin and 0-0 in France (next Weds), thus seeing us (typically) bow out of the World Cup qualifying race. But come on the lads! Let's make it a weekend to remember!

Sky Movies Competition

"Sky Movies, in association with Skillset, is offering one independent film maker the unique opportunity to have their own HD film financed and broadcast on air by Sky.

Aspiring film makers are invited to submit their own one-page treatment for a 10 minute HD short film. A panel of industry experts including Sky Movies' Movie Geek presenter Josh Howie, will consider these treatments, before announcing the winner in December.

The winning film maker will be awarded £5,000 for equipment hire to shoot and edit their film in High Definition with the film to be shown on Sky Movies Indie HD in the New Year."

For the full details, visit the Skillset page.

Flog a blog?

Photo: Gaping Void

Blogs and networking sites have taken a strange hue of late. It's interesting to see certain online tangents and cliques that are being made while others stomp their feet over internet trolls who gleefully take a swipe at anything or anyone. Twitter is certainly leading the way in that regard but its micro-blogging service is also reducing the regularity and quality of normal blogs. It seems it's easier to tweet or hang out with your friends on Facebook rather than take the time to write a blog post.

Only this time last year, blogging was being touted as the way to go. But with so many blogs and online commentary available, it's all getting a bit fragmented. Still, I reckon maintaining a good blog is a worthwhile venture. So, an extract from a post I wrote last year, with my humble tips on blogging. For the full post and reaction, see the original post from 29th October, 2008.

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Blogging - good blogging - is about regularity. Intelligence. Wit. Honesty. Triviality. Community. Sounds a bit highfalutin, but it’s true, all the best blogs give generously with their time and text, building their audience with their regular posts and useful comments. If you’re just starting out a blog and feel a bit daunted by the task, then here are a few tips to see you through:-

1. You
What’s your blog about? If you just want to share the highs and lows of your writing experiences, then great. Most scriboblogs take this approach. It gives us that sense of community and support but, if you want to be a bit different, think of a particular new tack or tone for your blog, and stick to that.

2. Getting to Know You
Nobody reading your blog? Well, they don’t know you’re out there yet. The most basic way of raising your profile is to make comments on the blogs that you read the most. Don’t just hit and run, either. Make an appreciative comment, or add something to the debate. And then do the same on a few other blogs. People will recognise your name, like/dislike your comments, check out your profile, which will lead them conveniently to your blog.

The best way to get noticed is to get a link or a mention on someone else’s blog but this is usually an unexpected bonus. It’s blog etiquette to return someone’s link if they have you on their blogroll (their list of links) but it’s not so cool if you specifically request a shout out just for a quick hit on your site.

3. Slow Build
Once they’ve seen you have a blog, it doesn’t necessarily mean they’ll come back. To ensure repeat hits, you have to blog. Which means you have to write new posts. Fairly regularly, especially at the beginning. The internet hoovers up content. You have to keep providing it. 3 posts per week would be a good place to start. More if you can manage it. Anything between 1-3 per week is fair game once you’re up and running. You’ll soon discover if blogging is for you; whether it’s an inconvenience and irritation to write something or if it’s a natural impulse to post an update on what’s happening in your little corner of the internet.

4. Quality
Anybody can whack up a YouTube video or share a joke, or the details of a course, and it counts as a post. This is all fair enough but if you really want a blog that stands out from the crowd, you’ve got to try to make each of your posts useful. Or witty. Or intelligent. Or different in some way. If you’re going to review a film or something you’ve seen on TV (another way to easily generate a post), don’t be lazy about it. You’re a writer. Have something insightful to say. Don’t just slag things off or be sloppy with your prose. Check out Dan’s Media Digest to see how it’s done.

5. Work
It’s important to remember that your blog is on the internet, and can be read by anyone, anywhere at anytime. If you’re a writer, and you haven’t set up an anonymous blog (which have their merits but nameless rants can be wearisome), then it’s likely that an exec will Google you at some stage, and check out your blog. And if that coincides with your latest post where you have a flaky meltdown about the way your career is going, then that’s not going to be good, is it? (I heard that someone slagged off an exec they had met, and the exec read the post, heavily offended.)

The blog is your shop window. Your professional face to the world. While it’s great to be honest and truthful about what’s going on, there’s no need to show that it’s turning you into an emotional wreck. Everybody gets rejected and has frustrating experiences. Blog about it, absolutely, but don’t become a raving loon.

Will I get work from it? Possibly. It all depends on you, and what you write about, and how you present yourself. It’s all a knock-on effect, really. Having a positive web presence will help build your reputation, and could be the final clincher in someone thinking of you for a writing gig. Personally, I’ve got three paid gigs from having the blog. But it’s not a straightforward process of someone seeing your blog, liking it, and offering you a job. In my experience, they’ve read the blog, got in touch, kept in contact, and then thought of me when the time was right.

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The Story Works

A new screenwriting initiative was launched recently, funded by Skillset and in association with EIFF.

It's called The Story Works. According to the blurb, it's a "high-level screenwriting initiative aimed at experienced screenwriters which will be delivered by the partnership of story editor Kate Leys as project director, producers Finola Dwyer and Amanda Posey as creative advisors and with the Edinburgh International Film Festival."

For more info and to download the application forms, click here.