2010: End of Story

What better way to sign off before Christmas than to point you in the direction of the latest episode of the UK Scriptwriters podcast. In case you didn’t know, me and Tim Clague have been hosting these screenwriting chin-wags since the summer, where we discuss the great and the (not so) good of the UK scriptwriting world.

You can listen on the main website, or via the player below, or subscribe via iTunes, and don't forget the Facebook page and Twitter feed. (Check out my demon hand in the photo! And we're kneeling down! Why?? I don't know.)

In this festive edition, we round up the latest news, which includes what’s happening with the UK Film Council, announce the Red Planet Prize winner, and highlight a few screenwriting opportunities. In the main discussion, we talk about what qualifications you need as a writer (if any), and there's the results of our inaugural movieScope magazine competition.

We’re running the competition again (hey, it is Christmas, after all) so do tune in for a chance to win this fantastic bundle: Movie Magic Software, DVD Screenwriter Series & a subscription to movieScope (plus runners-up prizes!). The question is quite easy this time around (‘what’s the name of the short film I wrote/directed this year?’), and you can email your answers (and/or feedback/comments) to ukscriptwriters @ hotmail.com

We’ll be back in the New Year, and I’ll also have blog updates on the Red Planet Prize (my annual rundown) and my recent experience with Shine’s Big Idea scheme (I got shortlisted down to the last 7 out of over 750 entries, and had to pitch my idea to Shine’s Big Execs).

Right you lot, I’m off for some fine food and wine, generally chilling out, watching a lot of TV/DVDs, and also sneaking in a bit of writing over the break. So, until then, have a great Christmas and here's to a cracking 2011!

Red Planet Prize, Winner!

The winner of this year's Red Planet Prize is Simon Glass with his script 'In the Flesh', a dark comic tale of people taking control of their destinies, however hopeless they may seem and laughing in the face of adversity.

The script was chosen from over 1500 entrants. Simon has been writing for a few years and has worked in series drama, theatre and even opera. Simon commented; “I feel deeply honoured, thrilled and incredibly grateful to have won the Red Planet Prize”. (Simon's just signed up to Twitter and you can follow him here.)

Huge congratulations to Simon, plus the good handful of runners-up who will enjoy mentorship and workshops with Tony, Red Planet and Kudos in the New Year.

As ever, I'm exceptionally proud to be part of this writing competition (I came up with the idea, and am one of the judges), and the range of scripts and writing talent out there is impressive (and a bit scary - got to raise my game!). But the competition would be nothing without Tony's passion and generosity, and now Kudos's commitment to find and nurture new writers.

For those of you who were rejected and may feel a bit spurned, don't feel too down or disillusioned. The Red Planet Prize is a screenwriting competition that has to make extremely tough decisions to whittle down the entries into a manageable shortlist. A lot of these decisions come down to subjective reaction, so don't give up on a script (or your writing) if you really feel it's got something to offer. If you're thinking of hanging up your pen because of a Red Planet 'no', then maybe writing isn't for you. You got to stick at it, and roll with the punches. And remember, there's always next year!

Congrats to Simon again, and all the runners-up! Really had fun reading the scripts this year, such a good and varied batch.

Screenwriting Bullet #3

Rewriting

Rewriting is the act of changing, deleting, revising or replacing certain character, plot or story elements within a script (or outline/treatment). It's typically the least enjoyable (or hardest) aspect of screenwriting but usually the most important. If it's a spec script, the writer will be relying on their instincts, plus feedback from their friends, to help them in their rewrite. If it's a commissioned or optioned piece, the writer will be subjected to notes from producers, directors, script editors and various execs - or sometimes anyone with an opinion - which can be illuminating and maddening in equal measure. Writers hate rewriting. They love having rewritten.

Related Posts:
The Six Stages of Feedback (with photo dramatisation by Jason Arnopp & James Moran)
Writing Wrongs
Rewriting

Screenwriting Bullet #2

What does 'a character-driven story' mean?

A character-driven story is one that focuses on the personal motivations and desires of the protagonist and secondary characters. As such, the characters create the plot, or have significant influence on what happens. Character-driven stories are normally associated with soul-searching or introspective dramas, and usually lauded above plot-driven stories, but this need not be the case. For example, Die Hard is a character-driven thriller with a great plot led by John McClane, which is why it's a classic. Raiders of the Lost Ark is a plot-driven adventure, with very high stakes and an engaging hero (who fails at every attempt he makes within the plot), which is why it's a classic.

Most great TV dramas are character-driven, like The Wire, Mad Men, Cracker etc, while some great TV like Dr Who are plot-driven. 'Character-driven' doesn't mean 'there is no plot', just as good plot-driven stories doesn't necessarily mean 'there are no decent characters', although that can happen frequently.

Related Posts:
Character Vs Plot
Sub-plots & Secondary Characters
Surprising Characterisation

Screenwriting Bullet #1

What's 'original voice'?

'Original voice' is the term used by producers/execs/script editors when describing a writer's particular style, or lack thereof. e.g. 'This script has no original voice' or 'we need scripts with more original voices'.

A writer who demonstrates 'original voice' will have a distinctive style or a fresh storytelling approach, something which makes their scripts easy-to-read, original, entertaining and/or thematically resonant, or all of the above (for thematically rich writers, they may be referred to as someone who has 'something to say'). See Jimmy McGovern, Paul Abbott, Russel T Davies, Tony Jordan, Howard Overman, Ashley Pharoah, Matthew Graham etc.

For more on original voice, see this post from 2005.