Couldn't help but wonder what other e-tomes could become the subject of bizarre, yet strangely acts of electronic intervention? Perhaps every Kindle containing a copy of Farenheit 451 could self-immolate if a fire engine goes past. Or The Book of Lost Books might disappear completely unless you read it once a week. More worryingly, I'm convinced someone's going to start The Twitter of Anne Frank. [Too late, it's already happening.]
Friday, July 24, 2009
Coming soon: Bonfire of the Kindles
Amazon.com got itself into trouble lately by deleting a version of George Orwell's novel 1984 from the Kindle e-book readers of its customers. They'd paid for the book, yet Amazon electronically removed it from their Kindles. The reason for this marvellously Orwellian act of intervention? Amazon had sold a version of the e-book to which it didn't have electronic distribution rights.
Couldn't help but wonder what other e-tomes could become the subject of bizarre, yet strangely acts of electronic intervention? Perhaps every Kindle containing a copy of Farenheit 451 could self-immolate if a fire engine goes past. Or The Book of Lost Books might disappear completely unless you read it once a week. More worryingly, I'm convinced someone's going to start The Twitter of Anne Frank. [Too late, it's already happening.]
Couldn't help but wonder what other e-tomes could become the subject of bizarre, yet strangely acts of electronic intervention? Perhaps every Kindle containing a copy of Farenheit 451 could self-immolate if a fire engine goes past. Or The Book of Lost Books might disappear completely unless you read it once a week. More worryingly, I'm convinced someone's going to start The Twitter of Anne Frank. [Too late, it's already happening.]
Thursday, July 23, 2009
Tales from the trenches
It's nearly two years since I finished my MA in screenwriting. Met up with two of my former classmates yesterday for a natter, the sharing of war stories from the trenches of freelance writing and tips about opportunities for each other's work. There are times when you get in a room full of writers and all you see around you is competition. Happily, there are other gatherings were those around you are a potential support network.
Each of us yesterday had tales of getting mucked about, ripped off or frustrated by promises and possibilities that have come to nowt. Given the choice, I suspect none of us would enter into a collaboration or writing gig without securing a signed contract first. Reality and experience tells us that rarely happens [although most book publishers and the BBC are pretty vigilant about maintaining a clean paper trail for writers].
None of our class has achieved massive success as yet [or if they have, they've kept it well quiet]. Plenty of them have secured paid writing jobs. Lots have seen short film scripts made. Others have pursued broadcast by internet for their efforts, or worked the festival circuit to limited acclaim. Some have achieved success writing in other media, such as novels, plays, radio drama and computer games. Some have even won prizes.
The piece of paper we received upon graduation, that was perhaps the least important part of the MA experience. What counted was what we learned, the people we met, the friends we made, the contacts we formed, the scripts we wrote, the feedback we received, the opportunities we had to experiment - and fall flat on our faces, at times - in a friendly environment. Those are the things that remain, that linger, that matter.
In seven weeks I'll be helping teach a new creative writing MA at Edinburgh Napier University in Scotland. We'll have a class full of students eager to learn, to find out more about writing, the industry and themselves. No doubt there'll have mis-steps, as few new ventures accelerate from a standing start without hitting the occasional bump in the metaphorical road. But it'll be an adventure, hopefully a rewarding one.
Right now, I have no idea what effect it'll have on my writing or my career. I'm determined to keep pursuing the ambition of screenwriting TV drama. No doubt there'll be days when teaching will drain large chunks of creativity away. But it should also have an energising effect, making me re-think my own methods, tics and writing techniques. Time will tell. In the meantime, I've got modules handbooks to prepare. Onwards!
Each of us yesterday had tales of getting mucked about, ripped off or frustrated by promises and possibilities that have come to nowt. Given the choice, I suspect none of us would enter into a collaboration or writing gig without securing a signed contract first. Reality and experience tells us that rarely happens [although most book publishers and the BBC are pretty vigilant about maintaining a clean paper trail for writers].
None of our class has achieved massive success as yet [or if they have, they've kept it well quiet]. Plenty of them have secured paid writing jobs. Lots have seen short film scripts made. Others have pursued broadcast by internet for their efforts, or worked the festival circuit to limited acclaim. Some have achieved success writing in other media, such as novels, plays, radio drama and computer games. Some have even won prizes.
The piece of paper we received upon graduation, that was perhaps the least important part of the MA experience. What counted was what we learned, the people we met, the friends we made, the contacts we formed, the scripts we wrote, the feedback we received, the opportunities we had to experiment - and fall flat on our faces, at times - in a friendly environment. Those are the things that remain, that linger, that matter.
In seven weeks I'll be helping teach a new creative writing MA at Edinburgh Napier University in Scotland. We'll have a class full of students eager to learn, to find out more about writing, the industry and themselves. No doubt there'll have mis-steps, as few new ventures accelerate from a standing start without hitting the occasional bump in the metaphorical road. But it'll be an adventure, hopefully a rewarding one.
Right now, I have no idea what effect it'll have on my writing or my career. I'm determined to keep pursuing the ambition of screenwriting TV drama. No doubt there'll be days when teaching will drain large chunks of creativity away. But it should also have an energising effect, making me re-think my own methods, tics and writing techniques. Time will tell. In the meantime, I've got modules handbooks to prepare. Onwards!
Tuesday, July 21, 2009
21 Question Movie Meme
Stole this from Miss Read's blog, who lifted it from elsewhere...
1.Name a movie that you have seen more than 10 times.
The Rocky Horror Picture Show. Used to go every few weeks to a midnight screening at the Hollywood Cinema in Avondale, Auckland, New Zealand. Costumes, props, call and response - the full audience participation. I still pity the poor sods who had to clean up the mess afterwards.
2.Name a movie that you’ve seen multiple times in the theater.
The first Back to the Future, more than 30 times. There's an Australian film called Starstruck I loved so much I saw back-to-back screenings in the same theatre.
3.Name an actor that would make you more inclined to see a movie.
Got a lot of affection for Dennis Quaid. Clint Eastwood too, but he's petty much retired now. In my 1980s love for Michael J Fox stage, I saw a lot of crappy movies - Teen Wolf, The Secret of My Success, Bright Lights Big City. For my book on the films of Michael Caine, I watched 80 of his films. Twice. But that was masochism.
4.Name an actor that would make you less likely to see a movie.
Nicole Kidman. Tom Cruise. [Get them both in a film, I'm likely to never see it.] Will Ferrell. Jude Law, unless he's playing an utter shit.
5.Name a movie that you can and do quote from.
Broadcast News, amongst many: "I'll meet you at that thing in the place where we went that time." The first time I met my wife, she quoted a line from The Breakfast Club and I replied with the next line.
6.Name a movie musical that you know all of the lyrics to all of the songs.
The Rocky Horror Picture Show. I also know all the audience participation responses as well, including several obscure NZ-only variants.
7.Name a movie that you have been known to sing along with.
See above.
8.Name a movie that you would recommend everyone see.
The Dish.
9.Name a movie that you own.
Just one? Well, I bought Smart People for three quid on DVD at Tesco on Sunday. It's got Dennis Quaid in it.
10.Name an actor that launched his/her entertainment career in another medium but who has surprised you with his/her acting chops.
Frank Sinatra in The Manchurian Candidate.
11.Have you ever seen a movie in a drive-in? If so, what?
No, but I remember seeing You Only Live Twice projected on the lounge wall of Gordon Barnaby's house in Pt Chev during the 1970s, long before home video. They hired a projector and got the film on 8mm. The bit where one spaceship swallows the other spaceship - cutting off a spacewalking astronaut in the process - scared the bejesus out of me.
12.Name a movie that you keep meaning to see but just haven’t yet gotten around to it.
The Outlaw Josie Wales.
13.Ever walked out of a movie?
Prince of the City, by Sidney Lumet [I think]. Wasn't much of a date movie. Then again, it wasn't much of a date. She was a lovely girl, but we weren't well suited. She's a lesbian now, and probably much happier as a consequence.
14.Name a movie that made you cry in the theater.
Oh, I blub all the time at movies. Field of Dreams leaves me in bits.
15.What’s the last movie you saw in the theater?
The Hangover, while killing time in London. Bloody funny.
16.What’s your favorite/preferred genre of movie?
Been on an early 70s conspiracy thriller jag, of late.
17.What’s the first movie you remember seeing in the theater?
Maybe the Puffinstuff movie, at Pt Chev.
18.What movie do you wish you had never seen?
The Magus. Insufferable shite. But it does have a brilliant poster.
19.What is the weirdest movie you enjoyed?
Magnolia. Not to everyone's taste.
20.What is the scariest movie you’ve seen?
Silence of the Lambs, in a packed Leicester Square cinema full of men screaming in utter, abject terror.
21.What is the funniest movie you’ve seen?
I was weeping with laughter at the talent section of Little Miss Sunshine, but The Hangover is far more consistently funny.
1.Name a movie that you have seen more than 10 times.
The Rocky Horror Picture Show. Used to go every few weeks to a midnight screening at the Hollywood Cinema in Avondale, Auckland, New Zealand. Costumes, props, call and response - the full audience participation. I still pity the poor sods who had to clean up the mess afterwards.
2.Name a movie that you’ve seen multiple times in the theater.
The first Back to the Future, more than 30 times. There's an Australian film called Starstruck I loved so much I saw back-to-back screenings in the same theatre.
3.Name an actor that would make you more inclined to see a movie.
Got a lot of affection for Dennis Quaid. Clint Eastwood too, but he's petty much retired now. In my 1980s love for Michael J Fox stage, I saw a lot of crappy movies - Teen Wolf, The Secret of My Success, Bright Lights Big City. For my book on the films of Michael Caine, I watched 80 of his films. Twice. But that was masochism.
4.Name an actor that would make you less likely to see a movie.
Nicole Kidman. Tom Cruise. [Get them both in a film, I'm likely to never see it.] Will Ferrell. Jude Law, unless he's playing an utter shit.
5.Name a movie that you can and do quote from.
Broadcast News, amongst many: "I'll meet you at that thing in the place where we went that time." The first time I met my wife, she quoted a line from The Breakfast Club and I replied with the next line.
6.Name a movie musical that you know all of the lyrics to all of the songs.
The Rocky Horror Picture Show. I also know all the audience participation responses as well, including several obscure NZ-only variants.
7.Name a movie that you have been known to sing along with.
See above.
8.Name a movie that you would recommend everyone see.
The Dish.
9.Name a movie that you own.
Just one? Well, I bought Smart People for three quid on DVD at Tesco on Sunday. It's got Dennis Quaid in it.
10.Name an actor that launched his/her entertainment career in another medium but who has surprised you with his/her acting chops.
Frank Sinatra in The Manchurian Candidate.
11.Have you ever seen a movie in a drive-in? If so, what?
No, but I remember seeing You Only Live Twice projected on the lounge wall of Gordon Barnaby's house in Pt Chev during the 1970s, long before home video. They hired a projector and got the film on 8mm. The bit where one spaceship swallows the other spaceship - cutting off a spacewalking astronaut in the process - scared the bejesus out of me.
12.Name a movie that you keep meaning to see but just haven’t yet gotten around to it.
The Outlaw Josie Wales.
13.Ever walked out of a movie?
Prince of the City, by Sidney Lumet [I think]. Wasn't much of a date movie. Then again, it wasn't much of a date. She was a lovely girl, but we weren't well suited. She's a lesbian now, and probably much happier as a consequence.
14.Name a movie that made you cry in the theater.
Oh, I blub all the time at movies. Field of Dreams leaves me in bits.
15.What’s the last movie you saw in the theater?
The Hangover, while killing time in London. Bloody funny.
16.What’s your favorite/preferred genre of movie?
Been on an early 70s conspiracy thriller jag, of late.
17.What’s the first movie you remember seeing in the theater?
Maybe the Puffinstuff movie, at Pt Chev.
18.What movie do you wish you had never seen?
The Magus. Insufferable shite. But it does have a brilliant poster.
19.What is the weirdest movie you enjoyed?
Magnolia. Not to everyone's taste.
20.What is the scariest movie you’ve seen?
Silence of the Lambs, in a packed Leicester Square cinema full of men screaming in utter, abject terror.
21.What is the funniest movie you’ve seen?
I was weeping with laughter at the talent section of Little Miss Sunshine, but The Hangover is far more consistently funny.
I Was a Teenage Zambuck
Filming started yesterday for next year's series of Doctor Who. Within hours the internet was awash with photos of Matt Smith in costume as the 11th Doctor, an intriguing young fogey look juxtaposing elbow patches, tweed and a thin bow-tie with bovver boots. The TARDIS prop has been given a retro makeover, with a St John's Ambulance sticker reappearing on the front door for the first time since 1966.
I've always had a fondness for that symbol, having been a St John's Ambulance cadet for a year or two while growing up in New Zealand. Mostly it involved learning first aid procedures and practising drills in a black and white uniform of serge so scratchy it felt like wearing hot Brillo pads. We went along to sports events, poised to intervene in case of accident or injury, slowly melting in our uniforms.Not sure I ever got to treat anyone, but I do recall being on duty during stock car races at Waikaraka Speedway. Several members of my family are buried in the cemetary next door now, but that happened after my time as a Zambuck. Looking back, I'm not sure why I joined the cadets. I was never interested in the scouts, the boys' brigade or the air training corps - all of which were popular pursuits for Kiwi youths at the time.
I didn't last long in the cadets - puberty and a burgeoning interest in girls soon put paid to being a Zambuck. Melting in a scratchy uniform on the sidelines didn't do a lot of me, and I've always preferred to plough my own furrow. But it did feel good to help others, to be part of something larger than yourself. So it's nice to see the St John's Ambulance symbol restored to pride of place in the front door of the TARDIS again.
I never understood why the cadets were known as the Zambucks back then. Thanks to the internet, I've just looked up that old nickname. Seems it was an Antipodean thing. Zam-Buk was the trade name for an ointment in a black-and-white container. Black and white were also the St John's Ambulance uniform colours, so some wag at a sports event called the medical volunteers Zambucks - and the name stuck. How odd. Oh, well - onwards!
Thursday, July 16, 2009
Wait 24 hours and a new priority will emerge
Thanks to all those who cast a vote about my next project. I'm setting myself the goal of writing a first draft feature this year, as well as working up more ideas for Doctors and pulling finger with regards radio drama. Having decided all of that, I spent most of the day developing an entirely new idea, though I've no idea yet which medium best suits the story I want to tell. Probably TV drama, if I'm honest - it's my bag.
Then came an announcement of Scotland Writes, a new BBC TV drama writing opportunity for writers born or resident in Scotland. Click the link to get all the facts, but here are the headlines: 60 page script, pilot for a series or serial, any genre, suitable for broadcast on a BBC channel, deadline: Monday November 7 this year. Open to all over the age of 18, so long as you don't have two or more hours of broadcast drama to your credit.
It's long been a frustration for Scottish writers that there are so few TV drama openings north of the border. The local BBC soap River City did invite submissions back in 2006, with the promise of a weekend workshop for the best candidates. Instead entrants waited a year for their rejection letters. The show's now a 60-minute weekly drama, not a place for newcomers to cut their teeth - closing that doorway.
STV soap High Road gave a generation of writers their first taste of scripting TV drama, but that's long gone now. Crime drama Taggart was never really an option for emerging writers, but even that hardy perennial is all but gone, according to rumours. That leaves London-based schemes like the Writers' Academy, and Channel 4's Coming Up - slim pickings in an industry crippled by cutbacks.
When Kate Rowland - the BBC's Creative Director of New Writing - came to Edinburgh last summer with the writersroom roadshow, she talked about establishing a shadow scheme or new opportunity for scribes north of the border. So it's great to see that come to fruitition with Scotland Writes. The lengthy deadline [more than 15 weeks] offers no excuse. First prize is £1500 to develop your idea, with another £500 for the runner-up.
Even if you don't get a cash prize, up to 20 of the best entrants will be invited to a masterclass where they will have a chance to meet the BBC Scotland development team. I reckon this opportunity will get around 200 entries. That means you've got a one in ten chance of face-time with the people who can open doors for you. Now's your chance, so get off your arse and start writing. Onwards!
Then came an announcement of Scotland Writes, a new BBC TV drama writing opportunity for writers born or resident in Scotland. Click the link to get all the facts, but here are the headlines: 60 page script, pilot for a series or serial, any genre, suitable for broadcast on a BBC channel, deadline: Monday November 7 this year. Open to all over the age of 18, so long as you don't have two or more hours of broadcast drama to your credit.
It's long been a frustration for Scottish writers that there are so few TV drama openings north of the border. The local BBC soap River City did invite submissions back in 2006, with the promise of a weekend workshop for the best candidates. Instead entrants waited a year for their rejection letters. The show's now a 60-minute weekly drama, not a place for newcomers to cut their teeth - closing that doorway.
STV soap High Road gave a generation of writers their first taste of scripting TV drama, but that's long gone now. Crime drama Taggart was never really an option for emerging writers, but even that hardy perennial is all but gone, according to rumours. That leaves London-based schemes like the Writers' Academy, and Channel 4's Coming Up - slim pickings in an industry crippled by cutbacks.
When Kate Rowland - the BBC's Creative Director of New Writing - came to Edinburgh last summer with the writersroom roadshow, she talked about establishing a shadow scheme or new opportunity for scribes north of the border. So it's great to see that come to fruitition with Scotland Writes. The lengthy deadline [more than 15 weeks] offers no excuse. First prize is £1500 to develop your idea, with another £500 for the runner-up.
Even if you don't get a cash prize, up to 20 of the best entrants will be invited to a masterclass where they will have a chance to meet the BBC Scotland development team. I reckon this opportunity will get around 200 entries. That means you've got a one in ten chance of face-time with the people who can open doors for you. Now's your chance, so get off your arse and start writing. Onwards!
Wednesday, July 15, 2009
Spoiled for choice about what to write next
Had two meetings in Glasgow on Monday, talking with a producer and a drama development exec. It's a chilling period in the world of film and TV drama at the moment, with commissions few and far between while long-running favourites are getting the chop. Getting funding for features is tougher than ever, ITV has all but abandoned non-soap drama before 9pm, and the BBC seems to be under constant attack from every angle. Tough times.
Despite this, one clear message emerged from both meetings: everybody's looking for great writing, fresh ideas, new concepts. There are absolutely no guarantees, but there are still opportunities. But you have to play the long game. Those with the power to say yes and inject money into a project are more risk averse than ever in these dark days of credit crunch and cutbacks. Good enough isn't enough now, you need to be exceptional.
Despite the dire state of the industry, those meetings left me fizzing with excitement. I've got a fistful of projects all clamouring for my attention, arguing inside my head about which one gets developed next. The danger is I start pinballing between them, never making any real progress. It's decision time - what should I write next?
Just for fun, I'm giving you a chance to influence that choice. Should I get stuck into the feature screenplay I've been putting off far too long? Haven't got a feature in my portfolio, it's a gaping absence. Should I work up one of half a dozen concepts for TV pilots? How about radio drama, an area I've been neglecting for months, even years? Or should I pour my energies into pitches for Doctors?
Indicate which one of these options you favour in the comments section. Can't guarantee I'll abide by the majority decision, but you might tip the balance. Vote now!
Despite this, one clear message emerged from both meetings: everybody's looking for great writing, fresh ideas, new concepts. There are absolutely no guarantees, but there are still opportunities. But you have to play the long game. Those with the power to say yes and inject money into a project are more risk averse than ever in these dark days of credit crunch and cutbacks. Good enough isn't enough now, you need to be exceptional.
Despite the dire state of the industry, those meetings left me fizzing with excitement. I've got a fistful of projects all clamouring for my attention, arguing inside my head about which one gets developed next. The danger is I start pinballing between them, never making any real progress. It's decision time - what should I write next?
Just for fun, I'm giving you a chance to influence that choice. Should I get stuck into the feature screenplay I've been putting off far too long? Haven't got a feature in my portfolio, it's a gaping absence. Should I work up one of half a dozen concepts for TV pilots? How about radio drama, an area I've been neglecting for months, even years? Or should I pour my energies into pitches for Doctors?
Indicate which one of these options you favour in the comments section. Can't guarantee I'll abide by the majority decision, but you might tip the balance. Vote now!
Wednesday, July 08, 2009
Entertainment mega-force stopped by... trees
After years of refusing to countenance having a Sky dish, three days of appalling reception a fortnight ago finally forced a collision of shove and push. Phoned up Sky, arranged a package with an HD Sky+ box, sat back and waited. The installation man was due to arrive to between 8am and 1pm on Monday, a five hour period ostensibly known as morning. There was no sign of him by 12.30pm, so I called the only phone number I had for Sky.
Recorded messages informed me the installer would have phoned by 9am on the day he was due to visit, so I'd known when to expect him. Nope, that didn't happen. There seemed to be no way of actually conversing with a human, to find out where the installer was. I shrugged and got back to work. The missing dish bloke turned up at 12.59pm - props to him for making it in time. His arrival heralded a torrential downpour, after weeks of sunshine.
He wandered up and down the road, ascertaining where everybody else's Sky dish was pointing. Once the optimum direction was found, a problem became clear: trees. There's a lovely copper beech at the front of our property, with a rubbish ash tree beside it. Both are tall - taller than the house. That wouldn't be a problem, except they're in exact alignment with our place and the optimum direction for Sky reception. Not good news.
Dish bloke wandered round the back garden, searching for the best possible signal, before reporting he was struggling to get 50% strength. Our only hope would be strapping the dish to the highest point of our home - the chimney. But that's a two-man job involving steeplejacks and grud alone knows what else. So a dynamic duo of dish blokes is coming today to scale the eastern face of our house, in search of good signal.
If that doesn't work, Sky will refund our money and it's back to watching Celebrity Masterchef and Torchwood through a televisual snowstorm effect. Living in the Scottish countryside, there's no chance of cable ever getting near us - so it's Sky or nothing. I find it ironic that Rupert Murdoch's empire is painted as this mighty, all-consuming monolith, yet it's being vanquished by two trees in our garden. Oh well, back to work. Onwards!
UPDATE: The trees won. Not only are our trees too tall, those across the road are even taller - and they're all blocking line of sight to the relevant satellite. Which smells of wee, frankly. Grrrr.
Recorded messages informed me the installer would have phoned by 9am on the day he was due to visit, so I'd known when to expect him. Nope, that didn't happen. There seemed to be no way of actually conversing with a human, to find out where the installer was. I shrugged and got back to work. The missing dish bloke turned up at 12.59pm - props to him for making it in time. His arrival heralded a torrential downpour, after weeks of sunshine.
He wandered up and down the road, ascertaining where everybody else's Sky dish was pointing. Once the optimum direction was found, a problem became clear: trees. There's a lovely copper beech at the front of our property, with a rubbish ash tree beside it. Both are tall - taller than the house. That wouldn't be a problem, except they're in exact alignment with our place and the optimum direction for Sky reception. Not good news.
Dish bloke wandered round the back garden, searching for the best possible signal, before reporting he was struggling to get 50% strength. Our only hope would be strapping the dish to the highest point of our home - the chimney. But that's a two-man job involving steeplejacks and grud alone knows what else. So a dynamic duo of dish blokes is coming today to scale the eastern face of our house, in search of good signal.
If that doesn't work, Sky will refund our money and it's back to watching Celebrity Masterchef and Torchwood through a televisual snowstorm effect. Living in the Scottish countryside, there's no chance of cable ever getting near us - so it's Sky or nothing. I find it ironic that Rupert Murdoch's empire is painted as this mighty, all-consuming monolith, yet it's being vanquished by two trees in our garden. Oh well, back to work. Onwards!
UPDATE: The trees won. Not only are our trees too tall, those across the road are even taller - and they're all blocking line of sight to the relevant satellite. Which smells of wee, frankly. Grrrr.
Monday, July 06, 2009
Don't hope things'll happen, make them happen
Back from That Fancy London where I went to Adrian Mead's Screenwriting Career Guide seminar. I'd blog all my notes but Lucy at Bang2Write beat me to it, so go read her account. The tip about targeting European producers was one of many good ideas I hadn't heard before. As always, Adrian was a wonderfully galvanising influence. He talks a lot of sense, such as the bouncers' mantra: don't hope it'll be alright, make it turn our alright.
He challenges people to confront the issues they're not dealing it, and to set public goals for themselves with definitive deadlines. So here's the three objectives I chose at the seminar. Short-term goal for this week: submit 2x two-page story of the day pitches to Doctors. Medium-term goal for the next three months: write a first draft of my TEALEAF project. Long-term goal for the next three years: get an original TV drama optioned.
Strictly speaking, the last one is wrong because it depends upon others to make it happen. These are meant to be goals you make happen, and getting optioned obviously requires somebody else [ideally, somebody else with money]. But there's no point aiming low and achieving the easy, that's not going to advance my cause. Deadlines for my goals - this Wednesday for short-term, September 27 for medium and June 2012 for Long-term.
Adrian's point about making things happen is all too true. The progress I've made in the first six months of 2009 stems from hard work, putting stuff out there and not taking rejections to heart. I've had plenty of knock-backs, but you can't take them personally. And where opportunities arise, you've got to grab them with both hands. Hiding in a corner and hoping you'll be noticed doesn't do the job, especially now. Onwards!
He challenges people to confront the issues they're not dealing it, and to set public goals for themselves with definitive deadlines. So here's the three objectives I chose at the seminar. Short-term goal for this week: submit 2x two-page story of the day pitches to Doctors. Medium-term goal for the next three months: write a first draft of my TEALEAF project. Long-term goal for the next three years: get an original TV drama optioned.
Strictly speaking, the last one is wrong because it depends upon others to make it happen. These are meant to be goals you make happen, and getting optioned obviously requires somebody else [ideally, somebody else with money]. But there's no point aiming low and achieving the easy, that's not going to advance my cause. Deadlines for my goals - this Wednesday for short-term, September 27 for medium and June 2012 for Long-term.
Adrian's point about making things happen is all too true. The progress I've made in the first six months of 2009 stems from hard work, putting stuff out there and not taking rejections to heart. I've had plenty of knock-backs, but you can't take them personally. And where opportunities arise, you've got to grab them with both hands. Hiding in a corner and hoping you'll be noticed doesn't do the job, especially now. Onwards!
Wednesday, July 01, 2009
2009: first six months progress report
Half the year gone already, time for a recap. What have I achieved thus far, and what remains undone? Not enough and plenty are the short answers, but this is blog [not a twitter] so I'll elucidate. The biggest change is becoming a part-time lecturer in creative writing at Edinburgh Napier University. This consumes half the working week [and sometimes more], but provides financial freedom from having to do hackwork to pay the bills.
It's worth mentioning how much I'm enjoying the job. We've been interviewing potential students for a while now, and it's a blast discovering what makes people tick. We're offering a creative writing MA unlike any other, and it's attracting students with some amazing potential. Can't wait to get them into a classroom together and see what happens, see what stories they want to tell. Roll on September, that's what I say.
So, where was I? Oh yes, half year report. I'm making progress with Doctors, having gotten my first story idea banked, but need to be doing more. The Lighthouse project pushed many things to one side for several months, so the conclusion of that means I can get back to thinking about stories for Heston, Cherry, Daniel, et al. Doctors has given a lot of writers their first TV drama broadcast credit - hopefully I can emulate their success.
My WWII homefront soap Families At War was among the runners-up for the Red Planet Prize, earning me a session with Hustle creator Tony Jordan and an invite to send ideas to his production company. That's a 12-month offer, so I need to make the most of that opportunity. I've also been meeting with a script editor at another production company and we're kicking round a couple of ideas [I understand this is known as development.]
My first Doctor Who audio drama, Enemy of the Daleks, was released in May. I'd written a dozen different projects for Big Finish, but it was a special moment to script a four-part story for the main Who range. Happily, Enemy of the Daleks has proved popular with fans and even got a good review from critich Matt Michael in Doctor Who Magazine: "On the whole this is a very solid play with intelligence as well as plenty of guts."
I've also written the first Judge Dredd talking book, Stranger Than Truth, for Big Finish. This is akin to a dramatic reading, but with an extra voice or two plus music and sound effects. Stranger Than Truth is a tricksy little tale that operates on several levels. Alas, I couldn't go to the recording in Manchester last week, so the finished product will be completely fresh to me when it's released later this year.
My magnificent octopus about the history of iconic British comic 2000 AD was released as a paperback in February. Thrill-Power Overload was already earning me royalties from the sold out hardback edition [which some spivs are now selling for £170], so it's a joy to see the TPO paperback doing well. Years of my life are invested in that book, and it's something I hope stays in print for a long time. Makes the effort feel worthwhile.
Wrote my 39th and 40th issues of The Phantom comic for Egmont Sweden. Was one of two writers on a brainstorming session for a multi-platform BBC project. Been writing storylines and tweaking pitch documents for an animated project at an independent production company. Read numerous scripts and treatments for Scottish Screen. And I await news from several open call writing initiatives, such as Coming Up and the BSSC.
Last but not least, my script THE WOMAN WHO SCREAMED BUTTERFLIES has just been named as a quarter-finalist in the 2009 Page International Screenwriting Awards. That sounds more impressive than it is, as the top 10% of all entries make the quarter-finals. There are several more rounds before prize-winners are announced in the autumn. Still, it's nice to see TWWSB getting some love, as I've a great deal of affection for the script.
I won first prize in the Page Awards' short film category two years ago with DANNY'S TOYS. Obviously, I'd love TWWSB to get close to matching that, but have my doubts. DANNY'S TOYS had a downbeat yet hopeful ending. TWWSB is a bit edgier and more experimental, with lashings of bleak nihilism to finish. But you never know with these things, it's all utterly subjective. Must dash. Tomorrow I'll plot the way ahead. Onwards!
It's worth mentioning how much I'm enjoying the job. We've been interviewing potential students for a while now, and it's a blast discovering what makes people tick. We're offering a creative writing MA unlike any other, and it's attracting students with some amazing potential. Can't wait to get them into a classroom together and see what happens, see what stories they want to tell. Roll on September, that's what I say.
So, where was I? Oh yes, half year report. I'm making progress with Doctors, having gotten my first story idea banked, but need to be doing more. The Lighthouse project pushed many things to one side for several months, so the conclusion of that means I can get back to thinking about stories for Heston, Cherry, Daniel, et al. Doctors has given a lot of writers their first TV drama broadcast credit - hopefully I can emulate their success.
My WWII homefront soap Families At War was among the runners-up for the Red Planet Prize, earning me a session with Hustle creator Tony Jordan and an invite to send ideas to his production company. That's a 12-month offer, so I need to make the most of that opportunity. I've also been meeting with a script editor at another production company and we're kicking round a couple of ideas [I understand this is known as development.]
My first Doctor Who audio drama, Enemy of the Daleks, was released in May. I'd written a dozen different projects for Big Finish, but it was a special moment to script a four-part story for the main Who range. Happily, Enemy of the Daleks has proved popular with fans and even got a good review from critich Matt Michael in Doctor Who Magazine: "On the whole this is a very solid play with intelligence as well as plenty of guts."
I've also written the first Judge Dredd talking book, Stranger Than Truth, for Big Finish. This is akin to a dramatic reading, but with an extra voice or two plus music and sound effects. Stranger Than Truth is a tricksy little tale that operates on several levels. Alas, I couldn't go to the recording in Manchester last week, so the finished product will be completely fresh to me when it's released later this year.
My magnificent octopus about the history of iconic British comic 2000 AD was released as a paperback in February. Thrill-Power Overload was already earning me royalties from the sold out hardback edition [which some spivs are now selling for £170], so it's a joy to see the TPO paperback doing well. Years of my life are invested in that book, and it's something I hope stays in print for a long time. Makes the effort feel worthwhile.
Wrote my 39th and 40th issues of The Phantom comic for Egmont Sweden. Was one of two writers on a brainstorming session for a multi-platform BBC project. Been writing storylines and tweaking pitch documents for an animated project at an independent production company. Read numerous scripts and treatments for Scottish Screen. And I await news from several open call writing initiatives, such as Coming Up and the BSSC.
Last but not least, my script THE WOMAN WHO SCREAMED BUTTERFLIES has just been named as a quarter-finalist in the 2009 Page International Screenwriting Awards. That sounds more impressive than it is, as the top 10% of all entries make the quarter-finals. There are several more rounds before prize-winners are announced in the autumn. Still, it's nice to see TWWSB getting some love, as I've a great deal of affection for the script.
I won first prize in the Page Awards' short film category two years ago with DANNY'S TOYS. Obviously, I'd love TWWSB to get close to matching that, but have my doubts. DANNY'S TOYS had a downbeat yet hopeful ending. TWWSB is a bit edgier and more experimental, with lashings of bleak nihilism to finish. But you never know with these things, it's all utterly subjective. Must dash. Tomorrow I'll plot the way ahead. Onwards!
I've been and done Dundee, you see
Sunday was Comics Day at the Dundee Literary Festival [and how nice that a literary festival has a comics day - others take note!]. Organiser Chris Murray did a wonderful job pulling everything together, and I got to natter with creators I haven't spoken to for years [Alan Grant, Warren Ellis, Gary Erskine, Colin MacNeil]. Met lots of new people too, like artist Emma Vieceli and graphic novels evangelist Mel Gibson [no, not that one].
I ran a workshop on writing for graphic novels in the morning, before chipping in an afternoon presentation about Alan Moore's treatment of time frames in his 2000 AD work. The rather plush lecture theatre [well, it was a lot nicer than many I've encountered] had a good crowd, and they seemed to enjoy themselves. [You can read more about the day at Helen Caldwell's blog.] It was the second such workshop I'd run lately and they're a lot of fun.
Next month I'm taking my show and tell extravaganza to the Edinburgh International Book Festival. I'll be running a Writing Graphic Novels workshop on August 25th. I'd offer more details, but the event's already sold out, so why tease you, right? I was a regular attendee at EdBookFest, until screenwriting turned my head. It'll be odd standing at the front of an EdBookFest event, instead of sitting down and taking reams of notes.
But you never truly stop learning, so this weekend I'd headed down to That Fancy London for The Screenwriter's Career Guide seminar, led by Adrian Mead. I used to be a regular at Adrian's sessions, but lately they've always coincided with my pre-booked holidays. Happily, not this time. I'm stopping overnight on Saturday, so for once I can go to the pub afterwards and savour the banter/networking/drinking [delete as appropriate].
All this coming and going has me feeling like I'm living out of a suitcase. No sooner does it get emptied and the contents washed than it's time to fill the damned thing back up and troop out the door again. But this coming weekend's jaunt is my last excursion for a while. After that it'll be time to knuckle down for some actual - gasp - writing. Just need to decide what it is I'll write next. The possibilities are legion. Onwards!
I ran a workshop on writing for graphic novels in the morning, before chipping in an afternoon presentation about Alan Moore's treatment of time frames in his 2000 AD work. The rather plush lecture theatre [well, it was a lot nicer than many I've encountered] had a good crowd, and they seemed to enjoy themselves. [You can read more about the day at Helen Caldwell's blog.] It was the second such workshop I'd run lately and they're a lot of fun.
Next month I'm taking my show and tell extravaganza to the Edinburgh International Book Festival. I'll be running a Writing Graphic Novels workshop on August 25th. I'd offer more details, but the event's already sold out, so why tease you, right? I was a regular attendee at EdBookFest, until screenwriting turned my head. It'll be odd standing at the front of an EdBookFest event, instead of sitting down and taking reams of notes.
But you never truly stop learning, so this weekend I'd headed down to That Fancy London for The Screenwriter's Career Guide seminar, led by Adrian Mead. I used to be a regular at Adrian's sessions, but lately they've always coincided with my pre-booked holidays. Happily, not this time. I'm stopping overnight on Saturday, so for once I can go to the pub afterwards and savour the banter/networking/drinking [delete as appropriate].
All this coming and going has me feeling like I'm living out of a suitcase. No sooner does it get emptied and the contents washed than it's time to fill the damned thing back up and troop out the door again. But this coming weekend's jaunt is my last excursion for a while. After that it'll be time to knuckle down for some actual - gasp - writing. Just need to decide what it is I'll write next. The possibilities are legion. Onwards!
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