Blimey, it’s been a while since I blagged, but nobody wants to know I’m chilling by the sea, drinking wine and reflecting on my writing. Especially not in rainy old England, that’s called gloating.
After my lovely hols, it’s all go. InkTip are including me in a newsletter so I think it’s okay to tout my connection with Great American Cinema . Scott Rudolph has a fabulous idea, and for the last few months we’ve been bashing it around into the skeleton of a story. After we’ve ironed out the twists and turns, the script gets started. I’ve also started with the brilliant Script Angel mentoring with Hayley McKenzie. For the first time ever, I have someone looking at my writing objectively and giving me tips and tasks for progression – aiming of course for the all-important London Screenwriting Festival. My biggest hurdle - I have decided to make myself pitch! Hayley is helping me prepare my pitches, while I've enrolled on the 2Phils pitching workshop the weekend before LSF. COLLIDER is now optioned by Buggar of a Kid Films AND Hayley thinks some of my very early work shows merit. Pretty soon, I'll have a slate of scripts in various genres and a not-too-shoddy writing portfolio! All exciting and all going in the right direction
0 Comments
Well, it's been a long time since my last blag.
Not through apathy, more from nothing to say. My words have been consumed by writing rather blagging, which I feel is positive. Anyway, had a bit of good news from the Beeb to say my submission has progressed from the first 10 page read, to the next 'sift' of 20 to 30 pages, and has then progressed to a full read. This is my second submission to the Beeb to reach this far. Awesome - I now get a full read and review. Either a nice critique (well, 'nice' as in an objective appraisal rather than something complimentary), or "the script will be recommended for a further look by a member of the Writersroom team". Apparently that puts me in the top 5% of submissions they received, so that's already lovely. Happy days! YES! In my LSF newsletter, there's a link to their Breakfast Club and the theme this week is: "Stop reading structure books and start writing " Thanks for the unexpected backup, John Yorke: He will be talking about “The Curse of the Screenwriting Gurus” and how decades of “how to” books have destroyed the serious study of structure." Perhaps not exactly the problem I'm having, the deluge of information, but I think John and I are on the same page (nope, never met the man - but I can tell). I'm going to make a huge effort to stay away from these 'how to' websites and just crack on with my writing again. I've read hundreds now, some have been interesting, some have been really helpful and some have been downright confusing, but we'll see if any of it has sunk in! Meeting Hayley McKenzie next week to discuss my mega-prize of mentoring, and I absolutely can't wait. Today though, I have a day with my writing buddy. Happy Days! Ps - the motorbike has NOTHING to do with this post, clearly! It's nice to have a picture though, to break the monotony - and as I love both bikes and writing, I took a liberty and added my next motorbike, funds allowing. I’ve been reading a lot recently. I’m attending the London Screenwriter’s Festival, and the website is choc-a-block full of resource. After the 2Phil’s writing weekend, we all joined a Facebook page and exchanged emails, and I’ve received a plethora of writing ‘stuff’: Articles, blogs, forums, videos… a wealth of information on ‘how to’. How to plot, create characters, organise structure, decide genre… create a beat-sheet – a flood of information that I’m struggling to process!
Not only is there so much advice out there, there are so many rules to follow. I am at saturation point, which is blocking my writing. I’m trying so hard to force a scene into a setup for a reveal on page 65, or does my inciting incident fall at the correct stage in the script? Are my Acts fitting a pattern? I rang poor Philip Shelley yesterday, in despair about all the rules I’m trying to incorporate – and that I struggle with detailing my beat-sheet prior to starting a script. He advised that I will (and I can confirm this!) ‘go off the rails’ of my story if I don’t have this planned out before starting, but I didn’t want to hear that! I do really wonder if perhaps, as part of the learning curve, one needs to lose the flow of story-telling, whilst learning the various rules – my theory is that one comes out the other side when this is ingrained and can then address the story again, without being preoccupied with the rules… you’ve got to know the rules before you break them, right? Philip was, as always, very informative, we agreed a common ground that TV and Feature writing is very different.
To be honest though, at the moment I feel like Cinderella’s ugly step-sister, trying to squash my big, cumbersome writing-feet into elegant, beautifully proportioned glass slippers, which are giving me blisters, corns and huge pain. I am ecstatic about winning the Script Angel mentoring competition, although I really hope Hayley McKenzie hasn’t bitten off more than she can chew in selecting me! I am hoping she will help me answer some of these questions, so what a fantastic opportunity. I shall take her advice and hope she will assist me in becoming a professional writer, who can write on demand. How lucky am I? ACE!! Utterly fabulous news - I won the LSF script competition, run by Hayley McKenzie of Script Angel: "Hayley was hugely impressed by Rebecca’s writing. The opening ten pages of her script combined exciting action and edge with strong characterisations and poignancy." And no, I didn't make that up Bit nervous now…. New followers on Twitter, some of whom might come onto this website. I’m not used to my idle ramblings and general bollocks being read by anyone but me! Let’s hope Hayley doesn’t click in here, or she might well retract the offer Actually, this is wonderful timing as I have been on a bit of a downer. The harsh reality of getting a job in writing is hitting home. Rejections – pah! I can take them, People who don’t like my style – pooh to you. BUT just say I do get 'skilled-up' (we use that phrase a lot in IT. Horrible), what happens next?!?!? The UK tv market is teeny-tiny, and our film budgets vanished in the Olympics then Budget (or lack thereof) mayhem, so it's pretty darn impossible to get anywhere unless you can start a career as a runner or similar and work your way up – which is out of range to me at my vintage. I have a mentor now, who can hopefully help me navigate some of this, whilst helping me craft my TV calling card script – which is another way into this tricky world of scriptwriting. Bloody marvellous Is there a sit-com set in an English allotment? There really should be. There really, really should be! I spent a couple of days helping Mum setup her new raised bed (well, I say help – she ordered and I shovelled shit mostly), and met several of the other plot-holders. Most were lovely, nearly everyone had advice – and everyone wanted to know what was being planted… which is where the rivalry cropped up (pun, excuse me): The need to boast on previous year’s successes, but not wanting to let on what they’re planting this year. It seems it’s a big secret to some, what will be planted, with their carefully raked over plots and empty canes all staked, ready to go. I’m not a huge gardener, but I would have thought their crops would be recognisable once they start sprouting? Aren’t courgettes quite distinctive? Or runner beans… or tomatoes? Maybe that’s the point though, by then it’s too late for competitors to grow their own versions. I know the village frequently wins an English Village award for the flowers that are planted outside every house, on the green, around the pond, in the formal ‘welcome to’ bed… just about everywhere there’s space. I guess I shouldn’t be surprised that the allotment owners are equally proud of their veggies. The characters from the plot absolutely had me in stitches though. One old guy was so overbearing and obnoxious he actually had me crying with laughter as he directed my efforts, and I had to pretend I had something in my eye. Seriously, the comedy gold around this microcosm would write itself! I am already involved in one comedy as a co-writer, but I’m still not sure my comic abilities are up to scratch to attempt this myself. Verbatim, taking the interactions from the weekend, the 2-D characters and their overt-Britishness werefar too ‘scripted’ to be believable. How mad is that? Well, things are moving slightly, which is exciting. Bing & Moo stage play is back from my friend's friend's Dad (bless him), with some lovely comments and great feedback. Just waiting for a luvy in Australia, then I'm on to my 2nd cousin twice removed (in theatre, darling). This networking business is convoluted, and I'm going to end up owing lots of people drinks even if I get nothing made... still, drinking's never something I've shied from! After that, it's on to Hampstead theatre (well, after some re-writes). In itself, that process takes months, but they are brilliant for UK writers (there are many other London theatres that do similar, so I'll keep them in reserve). Got a new writing agreement in, which is exciting. On the back of Collider, with a US Prod Co who likes my work! Yay, positive feedback! ALSO got the collaboration agreement for the comedy, and that story is slowly taking shape. Presently though, I'm obsessed with Sequestration Manor. I've had a huge dilemma on whether it should be a horror (which is my inclination) or a drama (which is where the characters want to go). I've decided to outline 2 versions, one for each, and see which works. I've got a new writing buddy to help with this too, which is great. She's got huge talent, so I'll enjoy going through her script as well as welcoming her feedback. All good stuff! FOUR exciting writing projects on the go at once, which rocks! IT is getting in the way because there's so much to write, but I must remember that the mortgage won't respect my artistic sensiblities and just leave me in peace Soooo, from this writing weekend, we've joined a group Facebook page, and a couple of people sent me direct Friend requests.
One of the things Philip Gladwin urged is to begin networking, citing degrees of separation will toss up unexpected people 'in the industry' to help progress our careers. AND that nepotism is about the only way to succeed! STILL - I haven't told my 'FB' buddies about my writing. An great mix of people; from my travels, from work, even from school... my only criteria for an 'accept' is that we've got drunk together (and I've enjoyed the experience). My bezzy-mates are there too, and offline they know my secret. SO, back to the new friend requests. I declined (politely). Not because there are photos of my daughter, and my friend's kids. Nor because we hadn't got trollied together... Rather because I don't want posts on my personal FB relating to my writing! How crap is that? I just don't want to talk to these people about it. Why? I think because I just don't want to pretend to be something I'm not (yet). I can see I need to work on this though. To my mind, that makes me like a really crap Superman. IT geek by day, writer by night, weather allowing in my underpants (but minus the phone box). Great weekend with Philip Shelly and Philip Gladwin in London on their screenwriting workshop.
Lots of good technical tips, and lots of practical 'contact' ideas for networking. The aim is to take the pain out of it - so Billy No-Mates doesn't sycophantically approach an actor, grovel and try to become best mates, with the hope of getting something 'read'. No! The target is the producer! Or the script editor, who one should track down via IMDb, find out where they live, then stalk. If being a sycophant fails, resort to Trolling. NO, that's completely untrue, I just made that up! Obviously. They gave us good information on making and keeping contacts, and gently establishing a name without grovelling or intruding on these people of power. Both days were great - the technical nitty-gritty, and the initiation of a writing persona of repute. The low point, for me, was the Pitching exercise; the horrific realisation that I will need to sell myself (my work, rather than my body - I think) to these demi-gods. Still, I feel inspired and motivated to crack on with my writing now, AND to find a partner to pitch for me! Apparently you're not allowed to do that, you have to step up yourself, but I'm sure I can wangle something... Now, sadly, I have an IT project to prepare for, so not much writing work this week. Saw a lovely post about Fawlty Towers on Facebook. Dunno if it's a spoof but Ian Main was incredibly offensive in his rejection of the show - at least I haven't had anything that bad! I shall ignore any ongoing press that advises it was a spoof and console myself with this. J.K. Rowling etc...
Anyway, things are looking up. My Bing & Moo stage play is on round 2 review - my friend of a friend's Dad (I owe him a bottle of whiskey) and another mate who works in theatre (darling) in Australia! I'd completely forgotten about her profession until she posted on a recent production - good old Facebook. Sequestration Manor is shaping up very nicely now too - a huge amount of thought and re-writes, but I'm actually liking the story flow now and getting more confident about it. AND I have the TwoPhil's London workshop this weekend, which I'm looking forward to immensely. Got a lovely (private) Facebook page with lots of other 'aspirationals', so we can jolly each other along. AND I've got a comedy script to work on, as a co-writer. Swings, roundabouts and roller-coasters pave the way to writing success - I think the key is to keep enough speed, with new ideas constantly on the boil, so that when you reach the bottom in a trough, you've got the momentum to push up to the peak again (got that analogy from O level geography! Good, innit?). |
Please browsefor samples of my work Archives
July 2019
Categories |