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.

New UK Sci-Fi

Watch out. There's a new science fiction writer in town. It's only the inimitable gent Philip Palmer. He's published two new sci-fi books this year: Debatable Space and Red Claw (just released). He's got a blog. He's got a sense of humour. He's Welsh (not Scottish, thanks pdolly!). He even wrote a sci-fi episode of Heartbeat last year. He writes for radio, TV and film. Saunter over to his place and say hello. He may even buy you a drink.*



*you never know

Story Vault: Know Your Cuts

Yesterday, on Sky Arts Book Show (or possibly last week's show and I was watching a repeat), host Mariella Frostrup interviewed screenwriter Christopher Hampton. He recalled one of his earlier lessons in screenwriting from David Lean, where Lean would insist on knowing how the last image of one scene would flow/compliment/match (or mismatch) to the next scene. It taught Hampton a lot about transitions, and how to make them work in a script.

Here's my take on the subject: Know Your Cuts. Originally posted 11th April 2006.

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Back in the day, I was an assistant in Channel 4’s comedy department where my bosses developed, commissioned and worked on some top shows that included Spaced, Ali G, Smack the Pony, Chris Morris, Comedy Lab etc. One of the shows in the comedy stable was Chris Evans’ TFI Friday, the hit entertainment show to kick-start your weekend every Friday at 6pm.

The problem with the show was that it was live and due to the carefree presenting style of the host, some of the guests would be very drunk and use language wholly unsuitable for its pre-watershed slot. And so, after a heavy rap on the knuckles from the ITC (Independent Television Commission), and a fine, TFI Friday was recorded ‘as-live’ on Fridays at 5pm for its broadcast at 6pm. The reasoning behind this was so the show could retain its spontaneity but any rude words or inappropriate content could be cut out before transmission.

As an assistant in the department, one of your duties was to edit the bad language from the show. Every Friday at 5pm, you would toddle down to 124 Facilities in Channel 4’s HQ on Horseferry Road, sit yourself in an editing booth with the Duty Lawyer and jot down timecoded references to anything untoward. Then during the ‘ad breaks’, you would feverishly try to edit the offending item before the next part of show began, and have the tape ready for broadcast. This often led to some hair-raising shouts and panics as once, a runner literally got our edited tape to MCR (master control room) with only seconds to spare!

Some assistants expressed reluctance at this editing task, usually shared on a rota, but I loved it. I had sat in editing rooms before and watched an editor/director assemble their footage but this was my first experience of actually choosing which shots went where to ensure ease of continuity. Basically, what it came down to was not just jotting down when the bad language was said but you also had to keep an eagle eye for any suitable cutaways that would help the editor when he was chopping out the wayward f**k. And so cutaways and inserts became the routine.

What I didn’t realise then was that this was essential and basic training when it came to screenwriting. Someone once told me ‘know your cuts’ in your script and I didn’t know what he meant. An editor-friend reiterated this advice when she bemoaned the quality of scripts she received, and how she and the director would tear their hair out in the editing room trying to generate the required pace and momentum from scene-to-scene.

‘Know your cuts’ refers to the pace, rhythm and tempo of your story but specifically, the key transitions from scene-to-scene. In other words, try not to end a scene on a piece of flat drama or loose end because it will only leave the next scene to trudge and work hard to apply its dramatic interest on the audience. The pace will be too even and sluggish, making the script a difficult and detached read.

Some basic tips to ensure smooth transitions and clever cuts include using the same SOUND that ends the previous scene to carry forward the beginning of the next. MATCH-CUT an image to a similar image (this is done all the time, everywhere, just sit down in front of the TV for 20 minutes and you’ll see loads). JUXTAPOSE SOUND and/or IMAGE from one extreme to the other, if applicable and appropriate for dramatic effect.

The interesting aspect of this technique is that when you apply it into your script on a conscious level, say in your first draft, the energy and momentum of actually writing the story becomes heightened because of the smooth links from scene-to-scene. In other words, attention isn’t flagging and the story is moving along nicely. It’s not necessary for EVERY scene to run this way but it can prove extremely useful to be aware of this technique, especially when you’re a spec writer no-one’s heard of and you want an anonymous stranger exec to like your script.

Whenever I read a script that did it smoothly and effectively, I always made reference to it in my report. It shows good awareness of craft as well as having the talent to use it wisely within the story, and it makes for easier reading.

Now, what if I cut out the third paragraph and replace it with the second last paragraph so that the post reads shorter and more to-the-point…and… CUT.

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Origin, update

I started developing Origin, my short film, in January of this year. By the end of April, I had a cast and crew, and we shot the film over four days. Editing finished in July (although not much happened in May as we tried to get completion funding). Music was composed, then re-composed. Sound design was signed off, and the film benefited from the full digital intermediate experience at Ascent142. All of this was achieved on a modest budget, a huge amount of goodwill and favours, not to mention vital financial contributions made via the blog and Twitter (thank you!).

At the moment, I'm waiting to mix the sound and music together, and play out to a master tape. That'll be it. Done!

I've been struggling to find a place to squeeze me in for the sound mix (as I have little or no money). I had imagined that the film would have been finished (and premiered!) by now. One or two more favours should see me past the finish line. It's been a terrific experience, with a truly top cast and crew, and I'm already itching to direct again. Post-production has been the most stressful part of the project, and I have missed not having a proper producer to help me. However, the film is looking great, and I can't wait to get it out there!

If you work in post-production and could help out with the mix, or recommend somewhere that could accommodate my low-no budget, then do let me know. In the meantime, here's the trailer again:

Writing for the BBC

Want to write for the Beeb? Interested in their continuing drama series (Doctors, EastEnders, Holby, Casualty)? Think it's all a closed shop? It isn't. You may think it is, especially if your ten pages didn't get past go at the writers' room, again, or you were rejected from the Writers' Academy for the fourth year running. But there are other ways in. Shadow schemes. See the full rundown below. I've taken this directly from BBC writersroom, so check out their website for more details, info and interviews.

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What is a shadow scheme?

A shadow scheme is basically a dummy run of the commissioning process. Writers are asked to pitch guest story ideas, and given a real serial document from which they are asked to write all or part of a script. Usually they are asked to write two drafts. This script is not for broadcast, but is used by the production to decide whether or not to commission the writer.

Not all writers who write shadow scripts then go on to be commissioned.

EastEnders

Several times a year, writers are invited to attend an "Elstree Day". These are writers who are either new to the show, or would like to return. (It is optional for the returning writers, but still recommended as the show and the team have changed so much in the last few years.) During the day writers explore the genre of Continuing Drama; analyse a story document and see its journey to the transmitted episode; tour the set so that they can understand the geography of the world they'll be writing; and discuss the influence of both the show's history, and the real East End.

At the end of the Elstree Day the Shadow Script Task is set up. At a time convenient to them, writers are given a story document, the related research, and logistical production requirements. They then work with the Development Editor, James Peries, on two drafts of the script. After that a decision is made as to whether they will be commissioned to write for the show. There is no fee paid for this process, though (in a few cases) if a further period of development work is invited a fee might be paid for that. All writers new to the show have to undertake the Shadow Script process.


Holby City

Writers who already have an hour-long broadcast drama credit, are requested to pitch two brief, original guest story ideas. These must be devised in order to drive and illuminate the given serial from a story document. The writer does two drafts of their pitches with notes from Simon Harper, Development Editor. There is no fee paid for this exercise.

Less experienced writers may be invited on to the Holby City shadow scheme, for which, the work being more intensive, a fee is paid. Participating writers first spend a day at the Holby office, and then take away a story document and over the next few weeks, select one strand of a real episode and write a scene-by-scene treatment with an original guest story woven into it. They do two drafts of this before proceeding on to writing up 12-14 selected scenes from the treatment. Again, writers do two drafts, with notes from Simon before the Holby team decides who to take on to commission. This process is for the Holby team and the writers themselves to find out if they are right for the show. New writers can often fall down if they try to write a pre-imagined idea of the show, rather than discover what the show is about now.

Holby is a strongly authored and writer-led show. Tony McHale, who originated the show, is lead writer and also Executive Producer.


Casualty

Also looks for writers with TV experience and a good grasp of structure. Casualty needs writers who can not only handle serial stories and medical procedure, but who can come up with strong and arresting guest stories and who have something exciting and relevant to say about the world now. For the 2008/9 Casualty shadow scheme, writers were given a three-day induction course on how to write for the show, which included a set tour and information about the format and ambitions of the show. The selected writers then pitched guest stories and if these were thought suitable, those writers worked with Script Producer Bianca Rodway and Script Editor Jenny van der Lande to develop shadow treatments and a draft Casualty script. A fee was paid for each part of the shadow scheme.

In 2009/10 Casualty will run another Shadow Scheme - the format of the scheme may be revised and further details will be posted on this page as they become available.

Doctors

Doctors has a very high number of writers who are new to television. All new writers are asked to complete an unpaid shadow script in order to assess their suitability for the show.

The show does not have a Development Editor. Instead, all the Script Editors develop and work with new writers.

The show also runs an annual residential Doctors Academy that takes eight new or current Doctors writers, and teaches them more about how to write successfully for the show. Unlike the Writers Academy, you cannot apply for this scheme, but you can declare an interest in doing it when submitting to the show. The Script Editors decide which writers would must benefit from it.

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Remember, if you don't have an agent, then you have to submit via the BBC writersroom. If you have an agent, get them to submit your work to the relevant people of the above shows (full details of key personnel available on writersroom website).

Flying Hours

Recently, over at TwelvePoint, Kate Harwood (BBC Controller of Series and Serials) gave an interview (subscription required) where she said that there was no substitute for writers seeing their work on screen, what she called flying hours: "if you want to be a professional television writer you need to see your work produced because that is the only way you really learn."


(Kate Harwood at the BBC Drama office. Photo TwelvePoint).

What she means is that while you may think your script is perfect or cannot be trifled with, you still don't know what an actor will bring to a line of dialogue, or what a director will bring to a set-piece, or how the production design can make or break a scene. You only get this from seeing your work produced.

The production process will change your script. The interpretation will be different to how you imagined. It won't always be what you consider to be for the best. There will probably be at least one scene, or moment, where you think: 'gee, that's not how I meant it at all. Wasn't it clear?' There well may be an improved scene or moment, thanks to an actor or director, and you can bask in the glory as your friends praise your talent and vision.

As I finish up post-production on Origin, my short film, the most frequently asked question I get is: "how has it turned out as opposed to how you imagined (or wrote) it?" When I was first asked, I thought it an odd question because it was my script, I didn't change anything. I shot what I wanted. The actors made a few suggestions and line changes but the story and structure remained the same. I'm very happy with how it's turned out. It's how I imagined it.


However, as my TV credits grow, I'm beginning to become more and more aware of the 'flying hour' process. Some scripts have turned out well, some not as good as expected. Some scenes have fallen flat, or dialogue hasn't worked (equally, a dramatic line is suddenly funny) or the director didn't pick up on what I thought was clear in the script. Or someone, somewhere, has completely changed the script with their own ideas.

This is not down to Writer Vs Production. A lot of the time, it's down to interpretation (an actor's choice, a director's vision), or, quite simply, practicalities (director didn't have time to get the coverage; didn't need that scene etc). Visiting sets, watching the process at work (or even doing it yourself), that's how you really learn about your writing. What works, what doesn't, and more importantly, WHY.

Screenwriting gurus know the value of craft but know little about production. Similarly, a lot of script readers and development folk will espouse on the theory of script without the real knowledge of how it might turn out on screen. As a former reader, I've been guilty of this, but I've also learned valuable lessons. Occasionally, you'll read a terrific script but the end result will not be as good as the screenplay. There's the rub. Screenwriting is so difficult, so subjective, so open to various interpretations, it's difficult to know what's hot and what's not.

Keep learning what works and why, then try to make it as clear as possible in your script so nobody misses how it should be played! In a recent commission, I convinced the editorial team to do a scene slightly outside the normal parameters of the show. In my head, it works beautifully but I have no idea how it will actually turn out on screen. We shall see...