Scriptwriting in the UK

Effective Script Reading

2009-11-30T10:58:00.005Z

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

2009-11-24T12:50:00.005Z

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.

UK Film Council
They've changed their priorities and slashed their funding recently but there are opportunities to get your script read and developed. Check out their website and guidelines 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. (No news on RPP yet, bear with us). 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. *Shudder*

Girl Number 9

2009-11-22T19:16:00.003Z

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?

2009-11-17T13:54:00.003Z

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)

2009-11-12T16:56:00.009Z

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

2009-11-09T10:16:00.002Z

"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?

2009-11-03T14:25:00.001Z

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

2009-11-02T12:27:00.002Z

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

2009-10-22T23:12:00.005+01:00

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

2009-10-19T14:22:00.003+01:00

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

2009-10-14T11:52:00.001+01:00

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

2009-10-01T17:45:00.004+01:00

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

2009-09-23T10:23:00.006+01:00

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...

Roy on iPlayer

2009-09-17T12:08:00.003+01:00

(picture JAM Media/BBC)

If you missed yesterday's episode of Roy (cough, written by yours truly), fear not, you can watch it on BBC's iPlayer (available for two months). UK only, alas, unless you're tech savvy to know how to get around those things.

Roy, CBBC, Weds 16th

2009-09-14T11:08:00.002+01:00

Have you been watching Roy on CBBC these last few weeks? Good, isn't it? If you don't have CBBC, no worries, all the episodes are available on iplayer for, like, months.

If you have missed it, or don't have a clue what I'm talking about, then here's the trailer for the series:

And here's an extended clip from one of the episodes:

Any-old-hoo, my episode is on this Wednesday at 4.30pm. It's called On the Run: "Roy thinks he's been kicked out of home by his mother so he decides to go it alone on the mean streets of Dublin."

I haven't seen it yet so I'll be watching it 'live' on Wednesday for the first time. I did visit filming last September, and had an absolute ball working on the show with all the other writers and producers.

Here's how I got the gig: a script editor (whom I had met thanks to this very blog) contacted me. Was I interested/available in writing for a new show called Badly Drawn Roy? Naturally, I was. He asked for a couple of sample scripts and if the producers liked them, they would invite me to pitch ideas. My samples went down well so I went over to Dublin to pitch to the producers and CBBC team.

Occasionally you get the opportunity to pitch for a show, and you give it a go but your ideas don't get picked up. You brush it off. 'Never mind, wasn't meant to be'. However, with Roy, I felt an immediate attachment and passion for the project, and I was determined not to let the opportunity slip by. I HAD to write for this show.

I toddled over to Dublin and met the producers, prior to the official pitch meeting. However, as we chatted about the show, they casually asked about my ideas. Luckily, I was OVER-PREPARED and was able to pitch right there and then. They seemed to like the ideas, and they gave me suggestions which I thought I'd use at the official pitch meet.

We all met in a hotel boardroom - writers, producers, exec producers - and prepared to pitch. Who would go first? Cough, my hand went up. I was so excited about the show, I couldn't help myself. I did my pitch AND GOT A ROUND OF APPLAUSE! But I think that was mainly for going first.

After a couple of days going through the ideas and world of the show, the producers went off to decide what writers and episodes they would pick. Despite all of the writers and pitches being top notch, at least a couple of writers were going home empty handed. As ever, no guarantees. Happily, they chose my pitch, which I then developed into a scene-by-scene, three draft scripts and a polish.

Once again I must give special mention to Alan Keane, script editor, (whom I wouldn't have met if it weren't for the blog). He made the process so rewarding from start to finish (as Alan has thorough respect for writers and the writing process). And of course to JAM Media and CBBC, who were terrific.

So, there you have it. Roy, this Wednesday, 4.30pm on CBBC. I'll probably give another shout-out on the day to remind everyone but thought you might be interested in a behind the scenes rundown on how it came about.

Origin poster

2009-09-11T12:26:00.005+01:00

Click the image to get a good look. Designed by Associate Producer Paul White.

(Website & trailer here.)

Narrative Clarity

2009-09-08T12:35:00.005+01:00

Ah, the joys of script reading. Script after script after script, report after report after report. As soon as you get into the reading routine, you begin to yearn for engaging opening sequences, a simple set-up and/or a good flow. Even better, the protagonist and secondary characters are easily identified, and the premise is quickly established. You look for a script with narrative clarity, basically.

Yet, surprise surprise, a lot of scripts muddle their first thirty pages, never mind their first ten, so you're left none the wiser about who's who, what's what and why a reader should give a damn. There's a lot of talk about the first ten pages, and how important they are in engaging a reader's interest, but the first thirty or forty pages are arguably more important as the reader settles down into the pace of your story, and is eager to find out what happens next rather than wondering what the hell is going on.

So, putting aside the importance of the first ten pages, let's look at the first thirty or forty pages instead. Or act one, if you prefer. The script has probably introduced the protagonist and secondary characters, and established the overall premise of the film. But as we move into page thirty and beyond, has the script developed a fixed momentum regarding the story's main source of conflict? Or is it still setting up subplots or tying up the loose ends of the overall premise? Or, god forbid, the protagonist hasn't emerged yet?

Imagine you're in a cinema. You've just sat down to watch the latest release. The lights go down, the film begins. You begin to figure out who's who and what's what. However, after about twenty minutes in, you still haven't settled in to the flow of the story. You shift in your seat. You struggle to follow what's going on. Thirty or forty minutes in, and you have a slim interest in the characters or story (and that's only 'cos you've paid entry). The acting's fine, the directing's fine, it all looks good. But the story doesn't excite or engage. It's a bit slow and/or confusing. It lacks narrative clarity.

There is a downside to a script reader's 'easy read' demands. It means stories end up being told the same way, only to make the reader or exec's life easier. We get scripts boiled down to a 'quest narrative' so that the protagonist's objective is clear, and spurs a neat course of action for act two. Generally, it's all good advice but not all stories should be told this way. Some are more challenging or discerning, and demand a bit more time and attention from the reader. Ensemble pieces, multi-story strands, interweaving plots, a non-linear structure, that kind of thing. But readers actually LOVE all that stuff. If it's done well. If it doesn't push them too much. The problems occur when a reader has to flick back a few pages to check a character's name, or to find out what's going on, or remember who said what, or re-read a whole page to remind themselves about the plot.

A couple of recent viewing examples that made me think of narrative clarity were BBC3's new teen horror series 'Harper's Island', and an Italian mafia drama, 'Gomorrah' (on DVD). Harper's Island begins by introducing ALL of the main characters, establishing their key traits and relationships. It's a difficult task, especially as we're all-too-quick to pounce on an expositional line of dialogue and declare the writing rubbish. However, Harper's Island just about gets away with it. The exposition was pretty much OK, plus the first killing wasn't too far away and ensured a good pace/flow to the proceedings. You might have seen Harper's Island and thought it a load of rot, but if you're an aspiring writer, ask yourself: what would you have done in that opening sequence? How would you have started the story, and ensured that the characters and premise were quickly established? So far, the series seems like undemanding fun, a weird combo of a trashy soap and a slasher flick, with Ireland's own Elaine Cassidy leading the way.

Gomorrah, on the other hand, is a modern Italian mafia tale. Gritty and realistic, it follows an ensemble cast, from kids to drug kings, as they find their way in the mean streets of Naples. The acting's impressive, the directing's fine, it all looks good, but it lacks narrative clarity. Forty minutes in and we still don't know characters' names or the main thrust of the key characters' storylines (or at least, I didn't). It's hinted at here and there, and there are good moments but some interest is lost, and the story begins to disappoint. My criticisms here are based on the screen, not the script, so I'm unaware of the writer and director's approach (it is based on a book, though). Nevertheless, it's safe to say that it left me a little detached.

Narrative clarity. Doesn't matter if a story is complex and multi-stranded, it still should have a clear line of understanding and involvement. Check out the long opening sequence of The Godfather, and how the characters are set-up, and then (** SPOILER **) there's an assassination attempt (** END SPOILER **), and 'click': the story gels and unfolds beautifully. Julian Fellowes also does it well in Gosford Park (but of course, script coverage at the time said it was unfocused and confusing!). Sigh, you can't win, can you?

Story Vault: Writing Wrongs

2009-09-02T10:28:00.002+01:00

A post from July last year, about conflicting feedback, and how to deal with it. If anyone's got any questions they'd like covered on the blog, now would be a good time to shout (email or leave a comment, thanks!).

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Wyndham: I've just had some feedback from two people but they've given completely contradictory feedback on one aspect of the script. The script is now going into exile in my sock drawer for six weeks or so. What kind of decisions should I be making when I get it out again and start the dreaded process of rewriting?

First, the good news. You’re doing the right thing by putting it in your sock drawer. Taking time-out and gathering perspective is just as important as brainstorming yourself into a quick rewrite. It’s all too easy to take on board everything people say and do another draft but the end result can be messy as the script can lose the focus and intent of the original writer.

The bad news? Only you can decide what’s best for the script. No-one else. There isn’t a simple solution. It comes down to instinct and personal choice. Don’t try to second-guess the audience (or the script reader). Don’t be swayed by feedback that goes against your natural impulses and/or what you always intended for the story.

Use your common sense. If you get three or more people pointing out the same problem in the script, then you should probably listen to what they’re saying (but not necessarily respond to their feedback, if you ultimately disagree with it). If you’ve got two contrasting opinions on only one element of the story, then it’s not a case of who’s right and who’s wrong, it’s a case of what you think is best. Choosing an option, knowing you’re right, that it’s good for the story (not your ego, or your mate or your reader). Then, sticking to your conviction all the way.

Your decision may be the difference between box office gold or failure (hey, it could have been the wrong choice) but you’ve got the be content, in your heart of hearts, that you made the right judgement. Some writers/filmmakers are happy with imperfect stories because they stuck to their conviction about what they wanted to say. It may not have impressed or satisfied the audience in the way that they intended but they made a decision and refused to bend.

Don’t feel tortured by the decisions you have to make. It’s all part of the process. Weigh up the good and the bad but go with your gut. As writers, we need to stand up and be counted; to take more responsibility for our work. We shouldn’t rely on other people’s approval or amend our stories for every bit of feedback that we receive. If it’s a particularly problematic part of the story that’s dividing opinion then, again, only you can decide what needs to be done.

If a basic like or dislike has been expressed about a certain scene or moment, it doesn’t necessarily mean that both responses are correct. But if the part of the story is troubling you, and you value the contrasting views, then dig deeper to find out the core of the problem. Ask yourself some questions. ‘What is the purpose of this scene?’ ‘Is it true to the character?’ ‘Does it really belong in the story?’ ‘Is it out of tone with what’s already happened?’ ‘What would happen if it was removed altogether?’ ‘Is it important to me or important to the plot?’ Answering these questions, or questions like them, should help clarify what you intended rather than bouncing off feedback that might not be entirely relevant.

Alternatively, use index cards or a cork board to lay out the scene, sequence or storyline in front of you. Experiment. Change. Add. Delete. Once you’re happy that something is right, and it works, then dig deep and stand firm. Ten different people might give you ten different opinions but that’s the nature of the beast. Make the right decision for the story, not for anyone else. You can’t rewrite forever.

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Bits & Bobs

2009-08-24T15:37:00.003+01:00

I'm a bit behind on this year's A.S.L. (write a new script in the August downtime). Been a bit busy, which is great for August, but it's been with stuff that I've been finishing off rather than starting something new, which is what the A.S.L. is all about.

So, what's been keeping me busy? Well, my second episode of EastEnders got locked off so I went to see it being filmed last week: nice. Won't be on until Friday the 13th November, not long after The Campbell Man's next episode, so stay tuned!

The final stages of post-production on Origin, my short film, are coming together. Next few weeks are crucial. I hope to have the film ready for festivals, and such, by next month. I did the grade (digital intermediate) recently, which was very exciting. Basically, you sit in a viewing theatre and colour the images to the ideal mood and look. Very happy with how it's all shaping up. Thank you Trevor Brown and Ascent 142!

I've also been script editing two very promising scripts so it'll be interesting to see how they develop from here. And someone is interested in one of my ideas but we're going to try to build the project from the basic pitch upwards in order to get the right backing (financial and practical) for the script.

So, there are a number of things that I must focus on to see me out of August and into September. I even turned down a chance of work the other day. I know, that is insane! It just would have taken me away from things I need to sort out here. However, I haven't abandoned my A.S.L. Far from it. I've got the idea (it's bonkers but I'm going for it) and a rough idea of the plot, so I'm just going to write and see where it takes me. Should be fun.

Oh, and this year's Red Planet Prize will be sometime in the autumn, probably. As soon as I get any information, I'll let you know.

And finally, have you seen the trailer for Splendid, Dan Turner's new sketch show (written by Jason, Piers etc)? Why, it's right here:

Pitching 2.0

2009-08-14T12:17:00.004+01:00

Two of the best pitches I ever made were rejected. It might sound odd to be proud of a failed pitch but when you know you've done a creditable presentation of yourself and your intended story, there's not a whole lot you can do if the story isn't exactly what they're after (or if they have something similar in development, yada yada yada). That's the way it goes. You can be the best pitcher on the planet but if they don't dig your story, then it's not going to sell.

One of the pitches was a week-long pitching workshop with the producers of a well-known franchise. Myself and co-writer Sam Morrison were invited along with about ten other writers to develop our original ideas which we would then pitch to the producers plus invited guests from the UK film industry. This was a big deal, and Sam and I were naturally very excited. We had high hopes of doing well, thinking that our idea and story were terrific.

On the first day, everyone was nervous and awkward, naturally, but we all stumbled through our pitches. Then, the ideas were deconstructed, bashed around, rebuilt and deconstructed again so all we were left with was a broken story idea that was clearly never going to work in the first place, you moron. So, a lot of development and improvement had to be made.

Two days later, everyone did a revised pitch which bore little resemblance to the ideas we had come in with, apart from maybe the title and the overall premise. Morale was quite low at this point but it was clear that everyone's pitches had improved, and the style in which people were pitching was much better, too. Dammit, these development peeps knew what they were talking about, even though we all hated them at this point.

The week got emotional and intense (imagine something like The Apprentice meets Dragons' Den: The Dragons' Apprentice), and everyone was worn out. Confidence and energy were shattered. No-one was looking forward to The Big Pitch. And then, a strange thing happened. The pitches were really good. Everyone raised their game. Even though we were stressed and exhausted, a lot had been learned throughout the week, and the adrenalin clicked-in for that final Friday pitch.

Sam and I stood up in front of a room full of industry people, and gave it our best shot. We didn't slip or fumble. We were smooth and confident. It was a great pitch. They had a few questions, and that was it. Sam and I felt optimistic about a commission (they were going to pick up two or three pitches for development) but whatever the case, it made our co-writing partnership stronger because normally, we work by phone or email. We weren't used to spending so much time together, and we were staying in the same flat for the week, too.

On the Monday, we got the news. It was a 'no'. I was gutted but learned a valuable lesson in pitching: you can never be over-prepared. Know the story inside-out. Don't leave any cracks or fuzzy details in the story. Be flexible if they have ideas but be sure about the premise, conflict, stakes and resolution when you pitch.

The second experience, about a year later, involved a Hollywood production company who had optioned a UK children's book and they were looking over this direction for a writer. They liked my scripts and asked me if I'd like to pitch my take on the story. I read the book, wrote down what I liked, then revised the story to what I felt would make a good film. My previous experience had taught me to focus on the key elements of a pitch: premise, conflict, stakes and resolution. However, it had also taught me to over-prepare.

So, to get to that perfect five-ten minute pitch, I was going to figure out the full story first. And that meant bashing out all the essential story beats. The core structure. The defining act breaks. I ended up with a six page outline that I then reduced to a two-page pitch. It was a telephone pitch - to their LA and their NY offices! - but I was confident I knew the story, and what I wanted to do.

Luckily, with a telephone pitch, you can have your notes in front of you. But when it came to it, the adrenalin kicked in and I didn't need my notes. I knew the story. I was confident about my take. LA and NY execs listened, laughed and eventually complimented me on my pitch, and they'd get back to me. A few days later, I got a 'no' but the LA exec phoned separately to say how much he enjoyed working with me (helping with some prep beforehand) and that he thought I did a really good pitch: they just decided to go with a different take.

Now, I'm nowhere near the world's best pitcher. I still struggle with what to say and how to say it but when push comes to shove, I know you have to try to get across your story in the best way you can. This doesn't mean turning yourself into a stand-up comedian or coming across as Wow Mr Confident. Being nervous is OK. In fact, I would say it's a good thing. However, being so nervous that you lose your way and stumble through the pitch, that's when you're going to fail.

So, don't be intimidated by pitching. It's nerve-wracking and (mostly) not very enjoyable but that doesn't mean every pitch has to be a disaster. The key is to know your story and be confident that it's the pitch you want to make. Over-prepare, over-prepare, over-prepare. Once you know everything inside-out, it won't even matter when you get interrupted mid-flow or momentarily lose your train of thought. Without even realising it, you'll improvise to get back on track and finish the pitch, confident that you've done a good job. Then, they'll reject you. Hey, nothing's perfect.

Other pitching posts:

Pitch Perfect
Pitch Follow-Up
It's Breakfast Club meets Psycho
Professional (Pitching) Documents

Blogoversary!

2009-08-12T09:01:00.001+01:00

The blog is four years old today. Wow. Four years. 528 posts. Through the blog, I managed to get work and increase my profile. Two years in and I had the crazy idea for a screenwriting initiative for new writers which Tony Jordan turned into the Red Planet Prize (very proud to be associated with that). This year, I got some vital funding from you, dear reader, for a short film I wrote and directed this year. Plus, I've met loads of cool new friends and screenwriters. Twitter may be enjoyable pop but blogging's the real rock n' roll.

Instead of me navel-gazing over the last four years, I thought I'd shout out to the folks who inspired me to blog in the first place (or to keep blogging once I got going). The people who I found on the 'net when I was trawling for information, inspiration and procrastination. These guys continue to fly the flag, and still deliver fantastic insights into the screenwriting world. Without them, I would most definitely not be here. You know who they are, I'm sure, but if they're new to you, then click on through to see what they're all about. So, in no particular order:

Alex Epstein
Complications Ensue: The Crafty TV and Screenwriting Blog

Denis McGrath
Dead Things on Sticks

Ted Elliot & Terry Rossio
Wordplayer

Scott Mullen
Alligators In A Helicopter

James Henry
James and the Blue Cat

James Moran
The Pen Is Mightier Than The Spork

After reading their sites, and others besides, I thought I could contribute by offering what I learned from script reading, and sharing my experiences as a budding writer. I'm still finding my way but the blog has had a huge significance in how the last four years have fallen. It's been quite a spin.

Nowadays, a wide range of top quality blogs exist that cover the UK screenwriting scene in great detail. Jason, Piers, Lucy, Michelle, Phillip, Julian (the best new blog on the scene; an agent's inside view, check it out!), and many more.

It really has developed into a warm community. Sharing information, encouraging messages, rallying calls, inspiring insights, funny anecdotes, embarrassing/hilarious rants. There's been a little bit of a dip and decline in some blogs lately, and that's understandable, but I don't think it will go away. It's easy to find your mojo when you have something to say or have something to share. And that's what good blogging is about. So, let's keep rockin'.

ROY

2009-08-06T11:16:00.004+01:00

Yesterday, a new series called ROY started on CBBC. It's about an Irish boy who tries to be normal - the only trouble is that he's a cartoon! It's like 'Roger Rabbit' meets 'The Commitments' (without the swearing!). If you missed episode one, then mosey on over to CBBC's iPlayer and catch up. Or you can tune in for the repeat on CBBC, Saturday morning at 9.30am (Sky 613, Freeview 70, Freesat 600, Virgin Media 701, Tiscali 306).

Regular readers will be aware that I wrote an episode for the series (original post here). It was going to be episode three (called 'On The Run') but I'm told the order has changed a little, so it may have been rejigged. Fear not, I'll keep you posted on when it will be on. I can't wait to see it. I had such a good time working with the other writers and production team. Special mention goes to script editor Alan Keane for making the whole process such a joy from start to finish. A class act. Here's a full list of all the writers:

Paul Smith
Declan de Barra
Neil Layden
Pat Connolly
Mark Hodkinson
Richard Conroy
Derek O'Connor
Alan Keane & Paul McLoone
And yours truly

Hope the show goes down well. Fingers crossed for a second series!

Gimmick Submissions

2009-08-04T11:01:00.005+01:00

Here's how the system works:

- You send a script to exec/producer/prod co.
- It's received and logged.
- A reader gives it a once-over.
- The reader writes a script report.
- Exec/producer reads the report.
- A rejection is sent in the post, with thanks.

This is the routine. This is the norm. It gets a bit samey for all involved. Exec/producers start to yearn for some sparkle in their lives, and hold out for the one submission that will lift their day and make their life worthwhile. To help facilitate this, unrepped writers often get the idea to put a bit of colour in their submissions. Y'know, add various gimmicks or incongruous items to their script to make it stand out from the crowd.

They might send a clown to deliver their hot new comedy spec. Hey, it will put the exec in a good mood and get the script to the top of the pile, right?

Or they could send a bar of chocolate to sweeten the deal, and get the script read and approved.

Or they might attach a teabag and biscuit to the script as that will be just the thing the reader/exec will need to settle down to enjoy the 140 page epic.

Gimmick submissions, in my experience (the above are real examples), rarely work (here's a tip, chocolate *melts*). At worst, they're ingratiating and amateur. At best, they're amusing and endearing but they don't give the submission any guarantee of favourable consideration.

In Blake Snyder’s “Save The Cat”, he admits to once packaging a script about ‘nuclear’ superheroes into a faux-radioactive unit. This particular gimmick worked for him, and helped to get the script sold (but I'm sure the actual quality of the script had something to do with it). However, his particular gimmick was integral to the marketing appeal of the overall project, so it had some validity (although it still would have been laughed out of certain offices).

Opinion may well be divided on gimmick submissions. Certain execs and readers might like your cheeky approach. You might have caught them at the right time, just when they needed a giggle or some kind of lift to their day. But it's a lottery. You simply can't gauge their mood or predict what will happen.

People are busy. The system works for a reason. The only gimmick you need is a good script. The best trimmings around a good script are a recommendation or referral from an established writer, producer, director or actor, rather than tying your script with a slice of carrot cake.

** UPDATE **

In a twist of sad news, Blake Snyder died suddenly today from cardiac arrest. More info here.

Sequel To Cannes

2009-07-23T17:08:00.002+01:00

If you're based in Dorset or the South West, or heck, even beyond, then why not come along to the networking party that's happening next week? It's organised and hosted by the wonderful Rosie Jones. I'll let her blurb do the talking:

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Sequel to Cannes is a networking party for industry film professionals and associates which provides opportunities to meet with other independent film professionals and film support agencies in an easy, relaxed atmosphere.

The event takes place on 30 July 2009 at The RNLI Training College in Poole from 7pm – 11pm. Sequel to Cannes will feature:

* Launch of The Sequel to Cannes Screenwriting competition (1st prize £500 sponsored by Creative Dorset)
* Launch and Live demonstration of the new Internationally accessed ‘Location Poole’ Film talent database
* High energy speed networking session; Giving YOU the opportunity to meet with Producers, Writers, Film Support Agencies and Film Industry Artists
* Trailers and screenings of films, made by local award-winning filmmakers
* Live demonstration of the RNLI Sea Survival Tank (Available for hire to film production companies)
* Bar available until late!

The events sponsors, UnLtd, Creative Dorset and the Poole Arts Development Unit will be available during the evening along with organisations such as Location Poole, South West Screen, UK Trade and Investment, The Writers' Guild of Great Britain, The Production Guild, and a member of the Skillset Board. They are all able to offer advice and support on funding, bursaries and training for individual artists or projects.

Tickets are on sale on a pre-booked basis for £16.50 through Lighthouse 08700 668 701 or £25 on the door (cash only).

Full information can be found here.

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It's been running for three years now, and it's a great night out. Fun, friendly and, um, filmy. See you there!

Good Dialogue

2009-07-21T16:38:00.003+01:00

What is good dialogue? What does it sound like? How do you know when you've written it? Why do some readers identify good dialogue when others wouldn't know what it was if it slapped them across their face?

Back in November 2005, I did this post, where I said dialogue carries four main functions: exposition, characterisation, subtext and humour. Yes, yes, all very well, but that's the basic functions. Again I ask, what is good dialogue?

Unfortunately, there isn't a straightforward answer. What comes across as good dialogue to some can be regarded as annoying cack to others. EVERY reader/exec/teacher will say subtext is the most important but that can often go unnoticed or ignored. Instead, you may hear that the dialogue was too flat or, the worst insult, too 'on-the-nose', even if the dialogue plays to a neat subtext. This could be your fault, i.e. bad writing, but it's not all the time.

When people say the dialogue is good in a script (or a film), they probably mean it's sharp and witty. It's something that can be clearly identified and it gives people an external reaction: they can laugh. Subtext and internal emotion is generally more subjective. It can be thoughtful or reflective, and the impact of the dialogue can be easily missed.

What writers are known for their great dialogue? Sorkin, Mamet, Tarantino? Sorkin's famed for his witty and intelligent lines, while Mamet is celebrated for his cerebral repartee. Tarantino's dialogue is now vilified as pop culture geek but you can't deny that it can be funny and surprising. Check out the opening sequence of Reservoir Dogs for the 'tipping waitress' scene. A lot of cross-talk and characters but it also gets across the necessary exposition, characterisation, subtext and humour.

So, what is good dialogue? For me, it's neat, focused exchanges on the dramatic issue of the scene. Rhythm and reaction. The particular syntax of a character's voice. Broken sentences or grammar misuse (because no-one speaks perfectly!). Humour, when relevant. A man who nervously stutters a marriage proposal won't necessarily read as good dialogue but his fumbling actions could be the perfect compliment to what he's saying, giving the scene subtext and humour. Therefore, good dialogue.

Tony Jordan gives a nice example. People say as little as they can, whenever they can. Especially to the people who will understand them with only a nod or a gesture. Most of us trade on a visual or verbal shorthand so that we don't have to say more than we need to.

So, someone is saying goodbye to a mate: "I'll see you later. I've got to buy some smokes before I head home." If these two are good mates, you could remove the unnecessary words so that the dialogue becomes more sharp and realistic. "See you later. Got to buy some smokes." But you can reduce it more. [HOLDS UP EMPTY FAG PACKET] "See you later." And even further. [HOLDS UP EMPTY FAG PACKET] "Later." It's a very ordinary line but it's the most effective use of dialogue for the character and the scene.

There's a great line of dialogue in Men in Black. Neat, sharp and very effective. ** SPOILERS ABOUT TOMMY LEE JONES'S CHARACTER ** Will Smith has been recruited into MIB and is teasing Tommy Lee Jones about his stiff nature. He then discovers that Tommy Lee had a wife, and Tommy Lee brings her up on computer to take a mournful look at her. He can't be with her anymore because his life is devoted to MIB. Will Smith says: "Better to have loved and lost than to never loved at all, right?" Tommy Lee says: "Try it." Shoving the cliché back in his face with two words that say so much: the man's heart is broken because he can't be with his wife. Subtext, characterisation, exposition.

Other good use of dialogue: imaginative swearing/insults (In The Loop, Glengarry Glen Ross), cute/sweet but not sickly (Nick & Norah's Infinite Playlist, Juno), a different use of slang or language (Brick, Heathers) or realistic/humorous (You Can Count On Me, Lonesome Jim) where the story may not be a comedy but the very nature of the characters' dialogue and behaviour gives it amusing qualities.

How about you? Any particular dialogue that delights or makes you cringe? Not specific lines per se but the actual style, or the writer...?