tag:blogger.com,1999:blog-81859071675527691732024-03-05T04:15:11.106+00:00Abel's Magic LanternA working writer on the spectrum, exploring the depths of UK Film & TV.
ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.comBlogger158125tag:blogger.com,1999:blog-8185907167552769173.post-84939809684643808912023-12-01T15:30:00.007+00:002023-12-01T15:35:06.267+00:00Books for Writing in Genres - A Handy Guide<div class="separator"><p> Every writer, at some point, has gone 'I'd like to try something new' or 'I've always wanted to write X', but where to start?' You can watch/read your favourites, take notes and study them, but what if you need something more specific? Some type of reference or guidelines, even just something to quickly highlight common tropes you can avoid or find new spins on? </p></div><p>Well, writing guides to just about every genre in fiction exist, old and new, and many authored by working veterans, are available. Of course, the sheer volume (and then factoring in sites like Amazon permitting self-published works) can be rather daunting and confusing for a newcomer to disentangle. Well today, I'll give that a shot with an easy list of published works: a mix of personal recommendations and ones I've heard on the grapevine.</p><p style="text-align: center;"> <img alt="Plotting and Writing Suspense Fiction - Highsmith, Patricia: 9780715394519 - AbeBooks" aria-hidden="false" class="sFlh5c pT0Scc iPVvYb" src="https://pictures.abebooks.com/isbn/9780715394519-us.jpg" style="height: 363px; margin: 0px; max-width: 331px; width: 240px;" /></p><p><u><b>This article, for the sake of disclosure, is not sponsored by anyone mentioned - this is just me and me alone. <br /></b></u></p><p>To be clear, this is not a comprehensive or exhaustive list of genre writing guides, nor is this one about storytelling basics (your Save the Cats etc): I already covered that elsewhere. This is also not a guide to books on entire mediums like film, stage and TV (save one example which I'll explain), career advice (at least, not chiefly) or memoirs by famous writers - this is just for storytelling genres. </p><p>There will also be no self-published works (the quality threshold, never mind the sheer number of them, is just too all over the place to be useful or consistent) and I will avoid too many books from within the same series (Teach Yourself and For Dummies do include a number of these guides, if you want an immediate starting point). Last, I will also include, as and when relevant, essay compilations, though this will be geared in the direction of practical writing advice, rather than purely analytical writing.<br /></p><p>Crime/Mystery:</p><ul style="text-align: left;"><li><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" style="text-overflow: unset;">Writing Crime Fiction by Rosemary Atkinson </span></li><li><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" style="text-overflow: unset;">How to Write a Damn Good Mystery by James Frey </span></li><li><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" style="text-overflow: unset;">How to Write a Mystery: A Handbook edited by Lee Child with Laurie R. King<br /></span></li><li><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" style="text-overflow: unset;">Writing the Cozy Mystery by Nancy J. Cohen</span></li><li><span class="css-901oao css-16my406 r-poiln3 r-bcqeeo r-qvutc0" style="text-overflow: unset;">Writing the Mystery: A Start to Finish Guide for Both Novice and Professional by G. Miki Hayden<br /></span></li></ul><p>Thrillers:</p><ul style="text-align: left;"><li>Plotting and Writing Suspense Fiction by Patricia Highsmith</li><li>Writing and Selling Thriller Screenplays: From TV Pilot to Feature Film by Lucy V. Hay<br /></li></ul><p>Fantasy/Sci-fi:</p><ul style="text-align: left;"><li>Wonderbook by Jeff Vandermeer</li><li>Get Started in Writing Science Fiction and Fantasy by Adam Roberts</li><li>Making Myths and Magic: A Field Guide to Writing Sci-Fi and Fantasy Novels by Shelley Campbell and Allison Alexander<br /></li><li>Writing the Science Fiction Film by Robert Grant </li><li>Writing Fantasy and Science Fiction by Brian Stableford<br /></li></ul>Horror:<ul style="text-align: left;"><li>On Writing Horror: A Handbook by the Horror Writers Association, edited by Mort Castle<br /></li><li>A Sense of Dread: Getting Under the Skin of Horror Screenwriting by Neal Marshall Stevens<i></i></li><li>Horror Screenwriting: The Nature of Fear by Devin Watson<i><br /></i></li></ul><p>Comedy:</p><ul style="text-align: left;"><li>How To Write Comedy by Tony Kirwood</li><li>The Serious Guide to Joke Writing by Sally Holloway <br /></li><li><i>Elephant Bucks: An Insider's Guide to Writing for TV Sitcoms</i> by Sheldon Bull</li><li><i>The TV Writer's Workbook</i> by Ellen Sadler </li><li>The Complete Comedy Writer by Dave Cohen <br /></li><li>The Hidden Tools of Comedy: The Serious Business of Being Funny by Steve Kaplan <br /></li></ul><p>Romance:</p><ul style="text-align: left;"><li>Writing and Selling - Romantic Comedy Screenplays by Craig Batty & Helen Jacey</li><li>Writing a Romance Novel For Dummies by Victorine Lieske and Leslie Wainger </li><li>(Interestingly, I've noticed romance seems especially dominated by self-published guidebooks. If you wish to give them a go, well, have at it. Just check out the author's credentials to see they are legit.)<br /></li></ul><p>Children's/Animation:<br /></p><ul style="text-align: left;"><li>Writing for Animation by Laura Beaumont - my one cheat on this list as animation is a medium, not a genre unto itself. However, writing is a criminally underdiscussed part of the animation and few blogs and websites mention it either. There's also incredibly few books discussing children's stories, so another strike.</li><li>The Magic Words: Writing Great Books for Children and Young Adults by Cheryl B. Klein </li><li>Writing for Children by Pamela Cleaver <br /></li><li>Writing Picture Books by Ann Whitford Paul<br /></li></ul><p>Hope this little compilation has helped guide you on the right road!<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-27132502841885569032023-11-10T01:06:00.096+00:002023-11-10T22:39:50.901+00:00Honest Advice for new Screenwriters in 2023<p>This piece is aimed at anyone in the UK who wants to write scripts: maybe you're just starting or coming off a course (BA or MA), or are the intrepid outsider gung-ho-ing it with a copy of <i>Save the Cat</i>. You want to write movies and TV, maybe even get a shot at working on a big franchise like <i>Doctor Who</i> or <i>Eastenders</i>. </p><p>I must first salute your first step into a creative field. It's exciting and when it comes together on the page, a sublime feeling!<br /></p><p>You will also no doubt be aware of everything else happening - the country is dealing with a cost of living crisis, and the entertainment industry has not been spared. Between rising costs and the fallout of the (fully justified) SAG-AFTRA and WGA strikes in America, many in the UK film and TV industry are out of work, and <a href="https://www.theguardian.com/media/2023/nov/08/to-leave-is-heartbreaking-the-film-and-tv-makers-forced-into-other-jobs">many more have left altogether.</a> It's undeniably a grim picture right now: nerves are frayed and with money low, the dream seems always just out of grasp. For the recent arrival to this field, you may be doubting your decision to try script writing.</p><p style="text-align: center;"><img alt="Welcome to Broken Britain 2023 and a new 'Winter of Discontent' - Revista de Prensa" aria-hidden="false" class="sFlh5c pT0Scc iPVvYb" height="365" src="https://www.almendron.com/tribuna/wp-content/uploads/2023/02/welcome-to-broken-britain-2023-and-a-new-winter-of-discontent.webp" style="height: 365px; margin: 0px; max-width: 800px; width: 547px;" width="425" /></p><p>However, I've always endeavored for this blog to not just be optimistic, for the sake of new writers navigating an often frustrating business, but practical: to give you <a href="http://abeldiazcinema.blogspot.com/2017/12/screenwriting-advice-for-ba-students_4.html">resources</a> to find your way. So if you are a nervous student, or a curious enthusiast, here's my recommendations for what you can as your next steps, even in economic turmoil and uncertainty:<br /></p><ol style="text-align: left;"><li>Keeping or getting a day job is not a sign of failure or that you need to
give up your writing dream - it's literally what's keeping you fed and
alive. Balance and finding time to write can be done. If you take an
extra few months to write a script because you've got other priorities,
so what? It's not a race - just write something good and damned be if it
takes six months or two years to write. No one has ever, in my
experience, cared about length of development: just the end result.</li><li>If I can advise spending a little on something, invest in a copy of <a href="https://www.amazon.co.uk/UK-Scriptwriters-Survival-Handbook-Actual/dp/1511426330/ref=pd_sim_14_17?_encoding=UTF8&psc=1&refRID=2SQF1X5G456QQS35FTWH"><i>The UK Scriptwriter's Survival Guide</i></a>: (for clarity, this is not a paid promotion.) Veteran film and TV scribes Tim Clague and Danny Stack (<i>Eastenders, Doctors, Thunderbirds Are Go</i>)
give a practical, no B.S. guide on what you can do to help yourself get
a foothold in the industry. I honestly
believe this should be compulsory reading for all new screenwriters, as
it will open your eyes to many possibilities (some we'll quickly touch on below too), as well as give you useful
tips and tricks to navigate the business and avoid dead-ends.</li><li>Screenwriting and its storytelling methods don't just apply to movies and TV - it's writing, after all. With what you learn, you can diversify into other fields that do put up jobs in a more familiar way (sites like LinkedIn, Indeed etc) than the detective work associated with the big two. Web content (like scripts for Youtube videos), video games, podcasts, copywriting (writing adverts, written website content, promotional materials, pamphlets), all of these will utilize the skills you learn. Indeed, there are other roles where your skills can be used, as <a href="https://abeldiazcinema.blogspot.com/2021/03/getting-work-without-agent.html">I discuss here.</a><br /></li><li>No matter what genre or style you like to write in, keep your scripts budget-friendly. Be conservative and smart with your sets, number of characters, production value and big set piece moments. In TV terms, what's your precinct (where characters will spend most of their time) and how much can you get out of it? This is also true if you write movies: the Hollywood machinery doesn't exist here and your best bet is the world of microbudget feature films. </li><li>In the middle of economic hardship, the standard advice of 'make your own thing' can be, at least, a little insensitive and presumptive. If you were to ask me 'I don't have a lot of spare time or money. Should I do a short film, a video webseries, or a comedy/drama scripted podcast as a showcase/first credit?', I'd say pick the podcast - far lower costs and logistics than anything visual, everyone has a decent-quality mic on their phone or laptop nowadays, and it puts your unique voice as a writer front and center.</li><li>Use this time and downturn to build a portfolio of scripts: 3 is the usual advice, but I'd say 4-5, in different mediums/genres is a better investment of what time and energy you have. And I don't mean 4-5 scripts you've just written - I mean 4-5 scripts you have polished and are proud of, which may be your ninth or tenth overall!<br /></li><li>Even when things pick up again, everything in film and TV will still be rather <u><b>SLOW</b></u>. Everything takes time and everything is
about your initiative and productiveness. This is not a career for those
who are lazy or just expect, for whatever reason, things to come
to them. </li></ol><p>The simple takeaway here is that building a career in the arts is hard. It was already really hard, but the economic plight has compounded that challenge. But, and this is the fuller takeaway, it's not without little rays of hopeful sunshine, twee as that might read. So long as you keep practicing, keep writing and keep on experimenting, you can survive this.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-18687262321876605422023-07-31T15:40:00.002+01:002023-07-31T15:40:52.686+01:00I worked on a kids book!<p>It's funny: I spent years, having an awkward relationship with my disability, I wanted to hide it, pretend to be like everyone else. I didn't want to acknowledge who I was and how harmful masking was. Turns out, being more open about it and discussing it has afforded me my in into creative work: my episodes of Pablo, my place on ITV Original Voices last year, and now this.</p><p>I worked as one of several disability consultants on<i> I Am, You Are</i>, a non-fiction kids picture book, talking about disability, life and accommodation. It's a conversation starter for families and kids to think a little more about such people and the world around them, and why this topic matters so much. But this is no tragic story: instead, it's a colourful and vibrant book that celebrates in addition to teaching.<br /></p><p style="text-align: center;"><img alt="https://m.media-amazon.com/images/I/811vixa3hPL.jpg" class="shrinkToFit" height="400" src="https://m.media-amazon.com/images/I/811vixa3hPL.jpg" width="328" /></p><p><a href="https://www.amazon.co.uk/You-Are-Disability-Individuality-Empowerment/dp/0241573114/ref=sr_1_1?crid=3PS4CHIXG7DSS&keywords=I+am+you+are&qid=1690813711&sprefix=i+u+are%2Caps%2C552&sr=8-1">Click here to get yours.</a><br /></p><p>Big thank you to the team at Ladybird/Penguin for listening to me, to the author and illustrator for their hard work, and for Laura Henry-Allain for recommending me.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-34017601895553904222023-06-27T10:22:00.024+01:002023-06-27T23:59:41.513+01:00Does proper formatting actually matter in scripts?<p>I was reading the <i>Haunt</i> filmmaker diaries a few months back - Scott Beck and Bryan Woods document their lives as working Hollywood screenwriters while also juggling directing their horror film. It came with a draft of the script as a bonus, which was not only a fun read, but prompted some interesting questions about how the duo used formatting to create a particular effect on the reader.</p><p>Formatting is one of the biggest battlegrounds when it comes to screenwriting - it's possibly the only thing as loaded and fraught as discussions on whether or not 'act structure' is real. Scripts, so say some, are done on Courier font 12, with a specific spacing, usually in a programme called Final Draft (but some have also preached about John August's Highlander software, and for a time there was Celtx) that then exports it as a PDF. </p><p style="text-align: center;"><span style="font-size: small;"><img alt="Final Draft Software Review | Is Final Draft Worth It | Music Gateway" aria-hidden="false" class="r48jcc pT0Scc iPVvYb" height="197" src="https://support.musicgateway.com/wp-content/uploads/2021/04/Copy-of-800-x-500-Blog-Post-9.png" style="height: 327px; margin: 0px; max-width: 800px; width: 523px;" width="315" /></span> <br /></p><p>On the page, the real meat of the formatting debate, everything is broken down into slug lines (scene headings, like INT/EXT, DAY/NIGHT), and tight action lines to describe what's going on. All the character names and their dialogue is centered, and anything more specific is usually put into brackets (whisper, chuckling, screaming etc.). The key to this, the reason why it's done, is for clarity and ease of reading. And under NO circumstances are you allowed to use the following:</p><ul style="text-align: left;"><li>Pictures/JPEGs</li><li>Maps</li><li>Weird fonts and word sizes<br /></li><li>Word Art</li><li>Different colours</li><li>Random quotes from other sources, like famous politicians or historical figures<br /></li><li>Specific times of day, broken down into hours and even minutes<br /></li><li>Long action lines/descriptions, more akin to bits from novels<br /></li><li>Ending scenes on dialogue instead of an action line<br /></li><li>Cut To<br /></li></ul><p>So, as both a script reader and working writer, how true is all of this? Does it really matter, in my experience, if you chuck in pictures or extra bits, or even if you play with fonts?</p><p>Mostly no, but there are some caveats. The top goal is writing a compelling story that people will want to make - so long as it's eligible, and of quality, then you'd be surprised how many people will let slide some minor errors. The only ones that are non-negotiable are the use of Sluglines and having character names and dialogue be centered. Those are the only true fundamentals necessary for a screenplay's format. Everything else is service of creating the mood and style of your script, anything you can do to get the reader utterly sucked in.</p><p>To return to <i>Haunt</i>, the writers there use the formatting itself to sell the creepy, surreal atmosphere of a haunted house gone mad. Word size is increased and decreased to indicate sound and proximity, with the odd use of onomatopoeia to punctuate. Even the scene headings and descriptions will flip to the other side of the page to sell the weirdness factor, and it really works. This is breaking the rules, done correctly: it's a horror script and it makes you uneasy.<br /></p><p>But, I did warn of caveats - in my experience, most scripts that include all or even some of the gimmicks listed above turn out to be, well, just that: Lazy and poor quality stories, loaded with random nonsense no doubt trying to make it stand out in the submissions pile. The worst of these is inserting pictures: to me, this is simply an all-out failure of writing. You have the written word at your disposal, why not use it to describe something marvellous or weird and let the reader's imagination do some of the work? Changing colours can also fall into this: it can look ugly and there's often no sense of an actual benefit to doing this.</p><p>(And, as a cherry on top, most of the pictures tend of be of abysmally low quality. Blurry, grainy, muddy images shoved willy-nilly about the script. This defeats the entire point of even including them to begin with, meaning you just gambled with the reader's tolerance for no reason.)<br /></p><p>Ditto the beefy action lines: if you want to write a lot, my advice is break it into smaller, more dynamic sections. It reads cleaner and it can give an added sense of tempo and attention to what's happening in the scene. The best advice to remedy this is, well, read more screenplays - learn how writers sold something ambitious or hefty, and apply it to your own work. </p><p>A lot of this comes down to developing your own voice as a writer, and that takes time. You use shortcuts (like say, grabbing a picture off Google Images) to try and get stuff done quicker, and maybe in the process, create a unique presentation. Maybe you want to showcase more of your creativity with some original art or funky font tinkering? However, if it's not done in actual service of the story, then it's not actually helping you: It's just a distraction. You have to give the reader as few reasons as possible to say no, and yours is maybe the fifth or sixth script they have to read that day - every choice you make has to be considered. Sticking to the 'rules' is simply an easier guarantee, one less possible strike against your work.</p><p>My advice, if you're really nervous: stick with traditional formatting and focus on fine tuning your writing. However, if you want something extra in, make sure it is justified and actually adds to the atmosphere and style of what you're making. Reasons like 'it looks cool' are utterly worthless and, as said, will just hasten the reader's finger to the big red X. Keep them on the page, at all costs.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-43282224553690018562023-05-01T15:35:00.002+01:002023-05-01T15:40:37.220+01:00Review: Haunt: Screenplay & Filmmaker Diaries<p>With <i>65 </i>having done its run in theatres, I figured why not share a recent read of mine - the <i>Haunt: Screenplay & Filmmaker Diaries</i>. Writer-directors Scott Beck and Bryan Woods (also the minds behind <i>A Quiet Place</i>) made a little slasher called <i>Haunt</i> back in 2019, a twisted take on chintzy haunted houses where a group of teens get stuck in very real danger. Overseen by Eli Roth, <i>Haunt</i> used its low budget and small cast to its advantage, creating a small but distinct little horror. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXYMosukWFliTQzKQPW93J0P3gjMnXHpB_66TnNYdV_xsGnGjfFMnfEpVlfbFr-Djd1gMh7D51C1yZzBE4TbOmRvO_YHHK7VX4NnBakCGzpQnHqEjZcFlVv9I5BB8LE4rLApTz1lvzlnLC_3OI45nSRjp9nNcRerHDVzeXg3j0zUX15DfEcCo14l5/s499/hauntfilmmaker.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="328" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNXYMosukWFliTQzKQPW93J0P3gjMnXHpB_66TnNYdV_xsGnGjfFMnfEpVlfbFr-Djd1gMh7D51C1yZzBE4TbOmRvO_YHHK7VX4NnBakCGzpQnHqEjZcFlVv9I5BB8LE4rLApTz1lvzlnLC_3OI45nSRjp9nNcRerHDVzeXg3j0zUX15DfEcCo14l5/w263-h400/hauntfilmmaker.jpg" width="263" /></a></div><p></p><p>So in 2022, the duo brought out this book, a diary documenting
their lives as working Hollywood screenwriters while also juggling
directing their horror film. The pair discuss meetings, foods, movies they've seen and even changes in their own lives (like fatherhood and marriage), as the film lumbers from script to production to finished film. It comes with a draft of the <i>Haunt</i> script as a
bonus. <br /></p><p>Books like this are always deeply fascinating for me - I love getting inside other storytellers' minds and seeing how they tick; how they approach challenges and what are things to avoid. Beck and Woods, writing in a simple, conversational manner, offer this in easy, digestible chunks. They go over every issue that comes with making a film - pitching, writing, rewriting, notes, meeting, casting, budget, working with crew, getting locations, editing, balancing work and home life and then getting it out there. For every success, there's a bunch of setbacks, mistakes and sudden left turns, forcing the duo to think fast and still balance everything. It has the peaks and valleys of good drama, yet Beck and Woods never become sappy or maudlin - they acknowledge the pain, but endeavor to push on and enjoy the good parts.<br /></p><p>The script draft, which follows a quick but neat interview with Scott
McConnell (Gointothestory.com), was not only a fun read, but prompted some interesting
questions about how the duo uses formatting to create a particular
effect on the reader. Throughout, the script will have onomatopoeia to punctuate sounds and movements in scenes, as well as use the spacing and position of words themselves to create a sense of distance and atmosphere. The effect is a highly visual and evocative read that makes the script pop, even as the material itself is very firmly in its genre. </p><p>Yet, it never feels gimmicky or lazy: it always done to enhance that haunted house feeling, giving it a sense of place and style. In my time as a script reader I've seen exactly this sort of stuff done wrong. VERY wrong - quirky formatting done to mask a generic, unengaging script. I and certainly no company is impressed by 2004-level Word Art or goofy Photoshop. However, Beck and Woods do it right - the story is set in a mad haunted house attraction, so it creates the sense of being in a twisty, turny, spooky place. Form and substance marry up.<br /></p><p>A definite recommend, even if you're not a horror hound and just like a peek behind the curtain.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-46415834833772227242023-04-05T14:33:00.011+01:002023-04-13T21:27:46.212+01:004 More Screenwriting Negatives FLIPPED into Positives<p>Since everything gets a sequel nowadays, might as well do one for my piece on annoyances in screenwriting. These were the common fears and pitfalls that can trip up a writer and lead to doubt, confusion and upset. I attempted to offer some remedies, new angles at which to look at them.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggHmkZDgEaMszG7ITkMbjnSS31hdoFxX3yalzkz6RA6qmfrnSc8DWNotRFYZJ-eTYtWrpjp2AEy0bBVAbU_E8P31db1f3JMZ9VhneLSGt3PvY1TrUu_k7rtOjzFBmrPjyqA6Zv3NzxVOE2FMhWtwNAtbahwA0LyMBJCVRyq7TPEuFw8HJT63kDj2Ra/s755/john_wick_chapter_four.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="755" data-original-width="593" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggHmkZDgEaMszG7ITkMbjnSS31hdoFxX3yalzkz6RA6qmfrnSc8DWNotRFYZJ-eTYtWrpjp2AEy0bBVAbU_E8P31db1f3JMZ9VhneLSGt3PvY1TrUu_k7rtOjzFBmrPjyqA6Zv3NzxVOE2FMhWtwNAtbahwA0LyMBJCVRyq7TPEuFw8HJT63kDj2Ra/w314-h400/john_wick_chapter_four.jpg" width="314" /></a></div><p>Now, for four more headscratchers, and how I think you can fix them.<br /></p><ul style="text-align: left;"><li><b>When a contact ghosts you, it doesn't mean you caused it.</b></li></ul><p>Ghosting is one of the worst things in this industry: silence is always worse than a flat 'no'. You have no idea what the person (producer, director, exec etc.) thought of your script, or if they've even read it. This can be a deeply painful experience, especially if the first meeting was positive and the person seemed nice and genuine. Maybe you think you pestered them too much, or did something wrong.<br /></p><p>However, you should not shoulder the blame on yourself. The sad truth is this often has more to do with workload and time than you. People are always reading and being sent stuff, and inevitably, some take greater priority over others. Your follow up emails can, alas, be drowned in overfull inboxes. People are busy, they forget and sometimes, it's just rotten luck. You did what you could - be proud you were able to pitch well, get your script out and always remember, you can have dozens of nos, but all it takes is one yes. Don't let the guilt weigh on you.<br /></p><ul style="text-align: left;"><li><b>When you're told a character isn't likeable, you don't need to make them so.</b></li></ul><p>A classic note you'll get sooner or later: your character isn't likeable enough, so the reader didn't get invested in their journey. They may be too nasty or harsh; they may be greedy, cruel or narcissistic; they may just be unpleasant to hang around with. The common fix is to, well, make them likeable; give them a cute cat or some funny lines or have them do one nice thing amidst all the bad.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXMCOdLDjhfu-cTX4NN_z7sjLovYUdQ01rRpvBj9zuEp2MHze-WCTi9uOxItblOEV3xwOpzGXkei1Pe2iVXMts0kZatMMLBXhwh6kyRWNyMHhW-fA8jDUNiZ3K1jcHJUima6iCVIXX9siZQnnH2QfxkH8YGnUYWbF1Qf_GWrk1Oz0xtojWQZaGja6L/s1096/QV5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="659" data-original-width="1096" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXMCOdLDjhfu-cTX4NN_z7sjLovYUdQ01rRpvBj9zuEp2MHze-WCTi9uOxItblOEV3xwOpzGXkei1Pe2iVXMts0kZatMMLBXhwh6kyRWNyMHhW-fA8jDUNiZ3K1jcHJUima6iCVIXX9siZQnnH2QfxkH8YGnUYWbF1Qf_GWrk1Oz0xtojWQZaGja6L/w400-h240/QV5.png" width="400" /></a></div><p>Thing is, this one is super-contextual: I've found 'likeability' is really a shortword for 'interesting': your character may be a bad boy, but they're not actually interesting or engaging. Characters like Don Draper, Walter White, Raymond Reddington and Villanelle are all deeply bad people, but they are engaging because they are textured, three dimensional characters. If you are writing a script that demands a morally grey protagonist, then before you 'cute up' your mob boss, really go over and ask - are they interesting? Are they complex? Are they making tough and interesting choices? IF, on the other hand, you're writing, say, a fun kids script and the main kid or animal is just an unlikeable dick - that then is a case of your character not fitting the story, or even the genre. Match the protagonist to your genre and audience.<br /></p><ul style="text-align: left;"><li> <b>If your writing is getting too much, you shouldn't be ashamed of stepping away.</b></li></ul><p>We want to give everything to our art: it's the suffering artist trope. Everything else in our lives doesn't matter: we HAVE to get the script written. We HAVE to get it done by x date for this or that opportunity. We HAVE to make it revolutionary and different and so utterly unlike anything else. When a script bombs, or is rooted heavily in personal trauma, it's tough to deal with that. You feel like you HAVE to hang on, have to keep fighting.</p><p>However, you're only human: sometimes, it's not only good but necessary to wave the flag, step away and re-calibrate. A single-minded drive can be deeply toxic to your physical and mental wellbeing. I gave three years of my life to one mad pursuit of a tv script, and when it came crashing down, when I had to stop, is where I actually learnt what I was doing wrong and changed my routine and philosophy. It may have hurt, but it was the right thing to do for me. It wasn't cowardly, or lazy, it was the smart play for the sake of actually being able to have a career.<br /></p><ul style="text-align: left;"><li> <b>If you don't live in London (or Los Angeles), it doesn't mean you can't have a career.</b></li></ul><p>The old wisdom was you had to move to the big media hubs, spend a lot on rent and gamble on being able to network and meet people. London, Liverpool, Edinburgh, Hollywood - that's where the cool kids are at. Especially the cool kids with money. If you live in a small town or village, well, you're screwed right?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEmN2qKMbBGBETN19Zpjaxjqei0rbQdv_I0ubbJop_TQlShhdjlAnj7mWFJVxUkW333-uo7Dt034jiOnUgdpP9RObYbJ5L3jA8x9RDjvvuecKHEtcDFd_82tW4M8Z8OMrRl8KTSMZ0TsUKvU2XRHIz8znZWQW17pEWc2E3Nz7sPleKJDr_2EAzIGhh/s2048/20191202_102238%5B1%5D.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEmN2qKMbBGBETN19Zpjaxjqei0rbQdv_I0ubbJop_TQlShhdjlAnj7mWFJVxUkW333-uo7Dt034jiOnUgdpP9RObYbJ5L3jA8x9RDjvvuecKHEtcDFd_82tW4M8Z8OMrRl8KTSMZ0TsUKvU2XRHIz8znZWQW17pEWc2E3Nz7sPleKJDr_2EAzIGhh/s320/20191202_102238%5B1%5D.jpg" width="320" /></a></div><p>The pandemic did a lot of harm to peoples lives. There is the tragic aspect, of course, but there is a silver lining: it blew up online communication and meeting. Programmes like Zoom and Microsoft Teams have upended a lot of the old rules when it came to getting meetings with some of the biggest of big cheeses. The ability to set up a meeting any time, anywhere, never mind the sheer freedom of email and social medias, means so long as you know how to find people (IMDBPro, LinkedIn, Twitter, company websites), you could and can get yourself out there.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-57413234480265953272023-03-13T21:47:00.017+00:002023-03-21T23:57:14.093+00:004 Tips on how to write a TV Pilot, from a working writer<p>Writing TV can be an exciting, as well as daunting, endeavor. You're not just writing one good script, you're writing the opening act to an entire saga, a story that could run 3-100 episodes, depending on the project. Maybe it's a five series fantasy epic, or a four part family drama about a forgotten murder: whatever it is, it's a big job that can, if you find the right people, pay off big.</p><p><img alt="The Last of Us: Cast and Character Guide" class="n3VNCb pT0Scc KAlRDb" data-noaft="1" height="110" src="https://www.gameshub.com/wp-content/uploads/sites/5/2023/01/the-last-of-us-hbo-key-art-1080.jpg" style="height: 341px; margin: 0px; width: 606.222px;" width="196" /> <br /></p><p></p><p>As someone who's been at this for several years, with stuff broadcast and in development, I've learnt my share along the way. I've written for kids and adults, worked in ITV Studios and gotten recommendations from some rather hefty players in the business. I don't claim to know all: I'm still learning too, but I hope you can avoid some of my own blunders with this quartet of advice.</p><p><u><b>1. Build your series treatment/bible first, not your pilot</b></u></p><p>A television pilot is more akin to the first chapter of a book than a whole novel: it's the introduction, the setup that will give us a taste and template of what's to come. How many times have you ever heard of an author planning and writing just the first chapter of their book? </p><p>A series bible/treatment is basically everything your show has to offer: the cast of characters, the theme and central conflict, the setting, the storylines you will tell, rough ideas for upcoming episodes. People may be wowed with twisty-turny plot, but they won't be back for more if the characters don't click, so spend the time in this document to flesh them out, give them flaws, arcs, secrets. Another important thing to remember: TV casts tend to be big, which means you also need to think about how relationships between the characters and what conflicts they have (that's a keyword, so remember) over the course of the series.<br /></p><p><u><b>2. Please have subplots, and have them be discernible</b></u></p><p>Do not fall into the trap of having your pilot be nothing but A Plot, A Plot, A Plot. You need subplots to not only fill the runtime, but also give your cast more to do and see the characters be explored. In a pilot, these subplots will often also help set up longer running storylines and conflicts: secret romances, betrayals, family stories, alternate perspectives, the plans of the antagonist.</p><p>If you've done your bible, there's less risk of this not being present. However, this is where outlining will help too: being able to have clearly defined A, B, C and even D plots (sometimes you may even get E and F, depending on the type of show and the length) will enable you to treat them like individual stories, not random scenes that break up the main action for no reason. <br /></p><p><u><b>3. Everyman/ordinary protagonists should not be dull</b></u></p><p>The protagonist, hero or dick, is the person we will be following throughout the whole show. Even if they are not a Sherlock-level genius, or a Marvel superhero, they should still be complex and interesting. Even if they still live with their parents and work a crappy till job in a deadend town, they will still be three-dimensional people with hopes, dreams and vices. If they don't care, why should we bother watching them?</p><p><img alt="I've watched every episode of Happy Valley and it's British TV at its best - we need more like it - YorkshireLive" class="n3VNCb pT0Scc KAlRDb" data-noaft="1" src="https://i2-prod.examinerlive.co.uk/incoming/article26085469.ece/ALTERNATES/s615/1_Sarah-Lancashire-and-Siobhan-Finneran-stars-as-siblings-Catherine-and-Clare-in-Happy-Valley.jpg" style="height: 341px; margin: 0px; width: 512.751px;" /></p><p>Often, an ordinary protagonist is a reflection of the writer, and while there's nothing wrong with that, it's important to step outside your own head: just because you know something and take it as a given with your views and personality, that does not mean it will make sense on the page or be clear to the reader. Even if they are based on someone real, do the work and make them come alive on the page.<br /></p><p><u><b>4. Be economical with your sets</b></u></p><p>While budget is less important than a good story and characters in a spec script, remember it's still television. if we are constantly changing locations every single scene, not only will the cost go up, but it means the show has no anchor. People, even the rich and diabolical, still have places to live and hang. Homes, hangouts like clubs or bars; businesses and places of work like shops, offices and schools, even vehicles they often are in like cars, trains and buses.</p><p>These places effectively function as precincts, as returnable standing sets that will help get the most out of the budget, and as a place where multiple characters can be expected to interact, thus creating conflict and drama. This is true, even in animation where there isn't a hard limit on sets because no construction costs: characters on those shows still have places they frequent. <i>Ducktales</i> has McDuck Manor and the Money Bin; <i>Octonauts</i> has their ship and underwater base; <i>Simpsons</i> has the house, Moe's Tavern, the Plant, Springfield Elementary, the church, the Retirement Castle, the Aztec Cinema, the list goes on.<br /></p><p>I hope these will be of use to you. If you still feel like you need more help, I've also done a list of books <a href="https://abeldiazcinema.blogspot.com/2018/07/screenwriting-books-for-tv-handy-guide.html">I'd recommend about TV writing</a>. Go check it out!<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-81588811356985370382023-02-28T17:00:00.008+00:002023-03-06T19:48:07.685+00:00How long does it take to write a script?<p>An original spec screenplay, be it for film, TV or a short, is going to be a long-cooker. Audio and stage too. It takes time, if you actually want to create something good and interesting to potential collaborators, producers and companies. Time to create engaging, textured characters, time to create a compelling plot, time to craft great dialogue, everything is time.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif31u9nnDmrD0C4JhAnhRvq4vgXN2y_ppvfcUBKt4iX8WppbKsf-m4l7s5Aj-paWOpabsGHfWGn3VZf39OLNJKsJ8SZ-N7u1UJ0Q3B7JOlhYhoAvaEDmGlo3TtmD5qohaqUnxaTcw9I34toi_PutQCmZ5LK4GOuohy5O5811xYQwvG0zmQHFDRrO7e/s720/mary_poppins_returns_ver2_xlg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="720" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEif31u9nnDmrD0C4JhAnhRvq4vgXN2y_ppvfcUBKt4iX8WppbKsf-m4l7s5Aj-paWOpabsGHfWGn3VZf39OLNJKsJ8SZ-N7u1UJ0Q3B7JOlhYhoAvaEDmGlo3TtmD5qohaqUnxaTcw9I34toi_PutQCmZ5LK4GOuohy5O5811xYQwvG0zmQHFDRrO7e/w400-h255/mary_poppins_returns_ver2_xlg.jpg" width="400" /></a></div><p></p><p>So why is this seldom discussed in screenwriting discourse? There's endless debates about act structure, scenes, pacing, character construction and the validity/evil of screenwriting gurus, but why not about how long an average script could take to write? After all, many new writers are writing in spare time/when not at work, so that writing time is precious; cut up further if they are reading books, doing classes or researching. There's also windows of opportunity that are time sensitive: contests, schemes, even when shows might potentially be staffing. Having a reference point, an expectation, is useful.<br /></p><p>The obvious answer is it varies depending on medium (a ten mins short versus a 60 mins pilot verses a two hour film) but that comes with caveats: a TV pilot may be a shorter script, but not a shorter project. It doesn't exist on its own, you have to have some kind of treatment/bible explaining where the show will go in 3-100 episodes time. A more useful and clear answer is to break down what goes into writing a script: it's not just the drafts, but all the research, brainstorming, outlining (or improvising, if you swing that way) and rewriting that goes into it. Rather than an abstract, let's think about it as a timeframe for a project.<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lpRoCAE3KkFRUdc8fVS-1ac5kC_aGI31EUCKoGCm34_it-IBSfNwWjbN3q7xjkDE4J-MCsVsHTrg3ldgJN0_bIRwraMdz3sek-guW5Mfo3kt1JNQPkhBfk8oC-hw5cGDlqnuZ4RrFgATwXVtiJhNsRaKh8WlBuS_oSaUgpbxNjwvaA_7uI10f5sO/s500/QV5.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9lpRoCAE3KkFRUdc8fVS-1ac5kC_aGI31EUCKoGCm34_it-IBSfNwWjbN3q7xjkDE4J-MCsVsHTrg3ldgJN0_bIRwraMdz3sek-guW5Mfo3kt1JNQPkhBfk8oC-hw5cGDlqnuZ4RrFgATwXVtiJhNsRaKh8WlBuS_oSaUgpbxNjwvaA_7uI10f5sO/s320/QV5.png" width="320" /></a></div>Each of these steps, in my experience as a writer, can vary wildly. They are, however, usually not a few days long: I don't think it's wise, or healthy, to have one month to write an entire, polished screenplay from scratch. That type of pressure leads to stress and rushing, and in the world of specs, sloppiness is your second biggest enemy (first is writing a boring story). When you're not being paid, ultra-strict deadlines are not something you have to live by. They can be useful for discipline but they, by themselves, do not guarantee a better script: Only putting in the hours can.<br /><p></p><p>So, what's my rough measurement (again, just my experience here)? Anything that is pre-script draft (all of the research and prep work, even if you don't use outlines) could easily be, minimum, two months but that could stretch out further, depending on how elaborate and ambitious you're making your script, and what detail you need to create authentic characters and worlds. Let's say three, for safety and maximum bug-ironing. After that, a vomit/rough draft could easily be done in a few days, maybe only three. After that, however, as you polish and rewrite, it will start to take longer. Usually my rewrites take about two-three weeks for big drafts, and then a week for polishes/tweaks. Bear in mind also I'm not just doing one script: I rotate between different spec projects in a day. Plus, you likely won't be writing continuously: you'll want a few days off here and there to let the most recent draft sit and get some fresh eyes on it.<br /></p><p>You also have to factor in time for notes, whether you use a service or just put it up on a group. That could be days or weeks before you get feedback, depending on circumstance. Let's say two weeks as an estimate. And if you've gotten some pretty tough notes that require you dig deep, back to the rewrites you go, sometimes back into outlines and treatments.</p><p>So from that, what's a reasonable, minimum estimate for how long a script takes to write to a good standard? Well about six months as a barest of bare minimums, but experience has taught me that sudden swerves, and life circumstances, could easily bring that number up to eight, ten or even twelve months. Now, is that so terrible? You may be frustrated or really desperate to see a return on your hard work, but like it or not, patience is a vital skill for a screenwriter. Letting delusions of grandeur drive you is a surefire way to mess up and feel bitter.</p><p>And that, in the end, benefits no one.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-88981601646631099452023-01-21T00:52:00.001+00:002023-01-23T18:17:27.402+00:00New Year, New Articles and a New Schedule<p>A belated Happy New Year to all! If you're still managing to hold to your new diet or exercise regime, consider yourself a hero - I just don't have the patience.</p><p>So, what to expect from the blog in 2023? Well, there will be more screenwriting pieces up this year. I personally think I've focused a lot on the industry angle, and have strayed from talking about craft and offering practical writing advice. While that was part of this blog's goal, as stated before, I do want to share what I've found works for me and what I've learnt over the last few years as I've had to re-adapted to writing after the pandemic left me in a state. I'd also like to review some more screenwriting-related literature I've been reading, and not simply how-to books either.</p><p>What may not have escaped more longtime readers of this blog is that the output has sputtered some - the usually bimonthly pieces of past years have trailed off, with bigger and bigger gaps between uploads. Last year, I got swamped with gigs and this year, I have a big slate of specs I'm aiming to get through before the summer. Some in genres i've not tried before, so that's both exciting and fraught. As a result, regular blogging will have to take a backseat: no way I can juggle this and all that new creative work at the same time. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG8YJLQzoyuZwQ7FytrpMcnXkwDUoJipA1iXbpbtZQ_qvwKIzJE91rPpilN557jgmGRRbsn6uuntYkj8uzZCZFupq6vSAwDnTA2uQA3szsd5HwnwjsCK3tluQabWqXZRyrYXJ-M_TZb07SQktKm_SQja1kyFaYPhYKyMQ9BfhP0ImG_Ke06F4GaZnE/s808/QV5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="808" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG8YJLQzoyuZwQ7FytrpMcnXkwDUoJipA1iXbpbtZQ_qvwKIzJE91rPpilN557jgmGRRbsn6uuntYkj8uzZCZFupq6vSAwDnTA2uQA3szsd5HwnwjsCK3tluQabWqXZRyrYXJ-M_TZb07SQktKm_SQja1kyFaYPhYKyMQ9BfhP0ImG_Ke06F4GaZnE/s320/QV5.png" width="320" /></a></div><p></p><p>HOWEVER, be assured this does not mean you'll have to wait for several months - I will be endeavoring to prepare more pieces in advice and upload, ideally, once a month or so moving forward. Possibly every other month - just have to see. It will come, that I do promise you.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-66463932426365026642022-12-11T20:05:00.021+00:002022-12-16T17:47:38.597+00:00Screenwriting Professionally: 2022 edition<p>Another year, another time to reflect on <span style="font-size: small;">the highs and lows of my screenwriting efforts. Some big pushes, some amazing experiences, and some terrible reversals. I was also able to finally travel again after nearly three years of being stuck in London, so huzzah!</span></p><p><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgC58ZKwhPQlU0vKg1y-_Al9d8ffYTLIUBTNS_NtjhmfqB54gvw6ORmqwMF4GjlpyVsSJwWZ3sC_LdUUJNtHJHI8VZpfxzE0Ms7PHCwXTKWvL-H0tTujmPr2SCJDeHPO_yB67HtrpE2U2BlBcNuxVFbTxWwraYbyJRSkSMlXNKphcvoowqMJmNPmpw/s710/2022-background-happy-new-year-2022-yellow-leather-texture-2022-concepts.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="444" data-original-width="710" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgC58ZKwhPQlU0vKg1y-_Al9d8ffYTLIUBTNS_NtjhmfqB54gvw6ORmqwMF4GjlpyVsSJwWZ3sC_LdUUJNtHJHI8VZpfxzE0Ms7PHCwXTKWvL-H0tTujmPr2SCJDeHPO_yB67HtrpE2U2BlBcNuxVFbTxWwraYbyJRSkSMlXNKphcvoowqMJmNPmpw/w400-h250/2022-background-happy-new-year-2022-yellow-leather-texture-2022-concepts.jpg" width="400" /></a></span></div><span style="font-size: small;"><br /></span><p></p><p><span style="font-size: small;">I had dubbed 2021 </span><span style="font-size: small;">as being 'one step forward and two steps back'. Is that also an apt summary of 2022, per what I just wrote? Well, that'll take a bit longer to explain. No more preamble, let's just go!<br /></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Jan-Mar (Winter):</b></u> </span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">In past entries, I've written that this is the 'quiet' period of the year for me. Not so this time - a few days in, an email lands in my inbox and BAM, won ITV Original Voices and got to be one of the four placements on <i>Emmerdale</i>. It would be an even split - part done at home, part hauling myself up to Leeds and getting to work in ITV Studios. I got the second slot, meaning my tour of duty would start in March.<br /></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Don't think that meant I was slacking off though: I was grinding away a pitch for my episode of <i>Doctors</i>. I had sent a script off to a lovely producer on <i>River City</i>. I also got hired to consult on a children's book about disabilities, being published by none other than </span></span></span><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span>Penguin Random House (</span></span></span></span><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span><span style="font-size: small;"><span style="font-size: small;"><span class="background-details">thank you Laura Henry-Allain</span></span></span>). A picture book for little kids and their families, it offered a simple and colourful introduction and guide to disabilities, what they entail and how to make a better world for them. It aimed to be supportive, thoughtful and celebratory - no tragedy or sadness, here!<br /></span></span></span></span></p><p><span style="font-size: small;">I wished for so long to have things pep up at the start of a year - well, I got it!<br /></span></p><p><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Apr-Jun (Spring):</b></u> <br /></span></span></span></span></p><p><span style="font-size: small;">Busy busy busy! <i>Emmerdale</i> was a rollercoaster, going from storylining to script editing to finally a trial script. Always on my toes and always new challenges, surrounded by a fantastically helpful team. Those were some lively rooms, with no shortage of jokes (and sweet treats to boost morale!) and I even got to visit the interior sets - the Woolpack, the various houses, the prop room, all very cool.</span></p><p><span style="font-size: small;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OS3cfYA6IjAruL1e1e5yQxJVvJdXv-8YJmmN7PqqFfjRqrHCnynX0tLsGuZ2qR0NVFhnWDbfFzblZ3uTJpITbNCARjC6xt4r0vdl-_OTY521iyKK9mk-xBzCyQU49WXA47UZ27dkIm4T24nYEmrhfE2KiD96-Y6GSs_Jq3uz7o_uIq_lB6WPuxXW/s421/Emmerdale_titles.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="236" data-original-width="421" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1OS3cfYA6IjAruL1e1e5yQxJVvJdXv-8YJmmN7PqqFfjRqrHCnynX0tLsGuZ2qR0NVFhnWDbfFzblZ3uTJpITbNCARjC6xt4r0vdl-_OTY521iyKK9mk-xBzCyQU49WXA47UZ27dkIm4T24nYEmrhfE2KiD96-Y6GSs_Jq3uz7o_uIq_lB6WPuxXW/s320/Emmerdale_titles.png" width="320" /></a><span style="font-size: small;"> <br /></span></span></div><p></p><p><span style="font-size: small;">And if you think that was all on my plate, oh ho ho no! I was doing a long overdue rewrite on the pilot script for <i>Brenda and Effie</i>, aiming to extract more from the wonderfully wacky world of Paul Magrs' unique imagination. <i>River City</i> got back to me in remarkable time, we got chatting and I was eventually able to set up for my own episode (bypassing the shadow scheme used by other soaps). It was frantic and tiring, but you know what? It was also exhilarating. Years of strife and struggle, doubt and fears over my own ability, and here was not one but two major UK dramas validating my ability.</span></p><p>It wasn't all sunshine, however: on top of a string of annoying stomach bugs, I also found <i>Doctors </i>sputtering a bit - there was a change in script editors, which left my pitch needing to undergo more rewrites. To be clear, the new person (or interim, rather) was very nice and helpful, but it was now approaching half a year since I'd been given the go-ahead to do an episode, and still it wasn't moving as I'd have liked it to. In addition, due to the new workload, all work on original specs had to stop, meaning I was now two years without a new spec available for my agent. Still, better money coming in than not.<br /></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Jul-Sept (Summer):</b></u> </span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">And here comes the not-fun part of this trip down memory lane. I wrapped <i>Brenda & Effie</i> and then dove into <i>River City</i>. Got my first payment for the script, which I proudly showed my folks - I HAD MADE IT! What was meant to be the culmination of my journey thus far, the next step into television drama, however, turned into a crushing defeat. So enraptured in my own desire for success was I, I wasn't taking my notice of my own wellbeing. After three years of no real break or holiday (if I wasn't writing, I was planning or doing some other work), my mind was out of it. I hadn't seen my brother or my nephew in even longer, missing out on seeing him grow up. I wasn't spotting things in my work, and that's when mistakes started happening. Big mistakes.</span></span></span></span></p><p><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><img alt="BBC Scotland - River City" class="n3VNCb KAlRDb" data-noaft="1" height="254" src="https://ichef.bbci.co.uk/images/ic/1200x675/p08sb1z5.jpg" style="height: 338.625px; margin: 0px; width: 602px;" width="452" /></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">I wasn't happy - every rewrite just didn't sit right with me. Something was missing, something wasn't clicking. I hadn't got the voice of the show right, even if I was writing passable drama with proper structure. With feedback and deadlines tight, an ability to recalibrate was also not on the cards. I was up at dawn, pounding out words without the passion or fun that should come with the craft. It was monotonous, draining and my desperation to finally conquer a personal milestone was likely all that was keeping me chugging. Until I got the phone call that is.</span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">It hurt. The <i>River City</i> staff were kind and graceful, don't misunderstand, but I was kicking myself. I hadn't seen the problems, and now, it was too late. I made a decision: I had to get out. Get out of London, get out of the UK, just get away from writing for a while. Recharge. Re-evaluate. Clear my head and see what changes needed to be done. So, I joined my family over in Spain for their holiday, met up with my brother (but not my nephew, alas) and took the clean country air. No internet, just food and folks. It was exactly what I had been needing for a long time.<br /></span></span></span></span></p><p><br /><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Oct-Dec (Winter again):</b></u> </span></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Coming back to the UK (and boy howdy, had things happened in my absence!), I knew what I needed to do: Get my passion back and write original specs. How? By completely upending my writing methodology and routine, taking help from <i>The Organized Writer</i> by Anthony Johnston. A complete rethink of how I scheduled my day and how much work I took on: if I was to make things right and put myself back on track, I needed to work smarter, not harder. Split the day up by projects into short, manageable chunks.</span></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Result: most output I've done in a long time, with stress down and some comprehensive treatments finally written. They currently comprise a cosy crime, a thriller and a teen drama, with some other stuff kicking around. After such a long gap, it feels incredible.<br /></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">And that's not all either: been talking to some shows, so see what comes of that; done some more consultation work on the disability book as well as on a children's project. <i>Doctors</i> is still an unknown, though conversations have been happening.</span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> </span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKKHTh0Q4pINjCEXZwl1UNlNcAO9LXMCDs4pqjYzWiAaS4pBzk1Ir2GZVsCJ6DQqFYFe0SeS9xVfyfcMNMH9ZzClJAygh3goZXPEYKAQl923bmZ1kTrdvXhqiTdfLTrV8yr7kCyFHLbXF3sq50SPjJ3rhM2GZ38OhbskYwwTUbawGSy0kCwUPAbw36/s1038/PK9.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1038" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKKHTh0Q4pINjCEXZwl1UNlNcAO9LXMCDs4pqjYzWiAaS4pBzk1Ir2GZVsCJ6DQqFYFe0SeS9xVfyfcMNMH9ZzClJAygh3goZXPEYKAQl923bmZ1kTrdvXhqiTdfLTrV8yr7kCyFHLbXF3sq50SPjJ3rhM2GZ38OhbskYwwTUbawGSy0kCwUPAbw36/s320/PK9.jpg" width="320" /></a><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"> <br /></span></span></span></span></span></span></span></span></div><p></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">'One step forward and two steps back': to answer myself, is it an accurate summary of 2022? I mean, did I really go backwards at all? I am still grateful for the successes I did have, even with my loss. I got right into the beating hearts of major shows and learnt a lot, even revising and changing some of my own methods along the way. I didn't hit my big target, but I hit smaller ones along the way.<br /></span></span></span></span></span></p><p><span style="font-size: small;">Most important, and this is another point I raised in the last recap: I implemented long overdue changes to how I work. It's a shame it took what it took, but I'm glad for it. We can get so buried in our work and dreams that we forget to take a step back and realize that something isn't working anymore. We need to be able to tap the brakes and rejig: even a few days away can do wonders to clean the cobwebs.</span></p><p><span style="font-size: small;">What do I want out of 2023? Well aside from the usual of gigs and pay, being able to get the new specs, however they turn out, out into the industry. Variety is not just the spice of life, but also of an artistic career, and I want to get into more exciting and thrilling genres of TV. I know I have more to offer and i want to showcase that. Film? One day perhaps...<br /></span></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-1543983017950459612022-09-15T14:33:00.003+01:002022-09-15T20:36:25.210+01:00Dealing with Reversals and Coming Back Better<p>Today, I got the news that many a writer, regardless of field, dreads: 'we are not continuing further with you'. I will no longer be writing the episode of River City I was commissioned to back in July: I simply wasn't able to capture the right tone for the show. </p><p><img alt="BBC Scotland - River City" class="n3VNCb KAlRDb" data-noaft="1" height="282" src="https://ichef.bbci.co.uk/images/ic/1200x675/p08sb1z5.jpg" style="height: 338.625px; margin: 0px; width: 602px;" width="501" /> <br /></p><p>Now to be clear, the executive producer
was very gracious in his phone call with me, and he did offer an open return in the future, which
was nice and I am grateful for. He commended the script that I had used to get on the show in the first place, which was also very nice.<br /></p><p>Perhaps you expect me to do a big old sobfest and cry and moan. Say how unfair it is and how I was totally great at it.<br /></p><p><span style="font-size: x-large;"><u><b>No.</b></u></span></p><p>Fact of the matter is: I wasn't ready and, maybe because of frustration with how other projects had gone, I was banking too hard on it being 'the one' (the magic ticket I have so often denounced on this blog). Even as I was writing the drafts, I couldn't help but have a sense of unease, like something was missing. I actioned the notes, best as I knew how, but something just kept on niggling me.<br /></p><p>Did it hurt when I got the news? Of course it did. </p><p><span>Was I upset for a while? I mean yes, why wouldn't I be? I don't think it's a bad thing to acknowledge that. We are human beings: we feel and feel deeply. There's no shame in saying that and it's not unprofessional.</span> One thing I pride this blog on is honesty and, as a second, transparency. If something doesn't work or changes, I say. If I don't believe something, I say. I don't run away from mistakes and I take them as learning experiences. In turn, I hope you learn from them.<br /></p><p>The reality is, these things happen. Talent is no protection against, sometimes, missing the mark, and it happens to everyone and anyone: Paul Abbott got booted off Doctor Who; Peter Morgan has scripts rejected all the time by big producers; William Goldman has a whole treasure trove of 'almosts' in his filmography. My point is, if this does happen to you, don't let it crush you. You're not a hack or a fake or a 'bad writer': you're learning. The issue is not making mistakes, it's not learning from them, which is what I intend to do. What will I do now: Have a break. Regroup, refresh and then go back into specs.<br /></p><p>A big thanks to the team on RC, who were genuinely great, and hopefully, not my last trip to Shieldinch.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-53521141096141134372022-08-18T13:09:00.005+01:002022-08-26T21:12:08.085+01:00What is a 'Dedicated' Screenwriter? - A Response to John Fusco<div class="separator"><p><span>W</span><span></span><span></span><span></span>ork ethic is a core part of any writer's life and career - you want to be good and get work? Got to put in the hours to get both, constantly improving your work and widening your net of contacts, be they editors, publishers, or for this blog's purpose, producers in film and TV. A writer must have a level of discipline to ensure they not only write, but get better and produce plenty of spec scripts.<br /></p></div><p>Of course, what 'writing discipline' is is fairly fluid - does it mean setting page counts? Word counts? Is it how many hours you write every day/week, or even setting fixed times of day? Is it goals for how many drafts/passes you do on a project before sending it out? Well, <i>Young Guns</i> and <i>Spirit: Stallion of the Cimarron</i> writer John Fusco, a name those with 90s and 00s nostalgia should know well, offered up this tip (which has seemingly been removed since, given some responses).</p><p><br /><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><img alt="Image" class="css-9pa8cd" draggable="true" height="236" src="https://pbs.twimg.com/media/FYXavSLUsAEioj6?format=jpg&name=medium" width="400" /></p><p>Now, in the interests of clarity, the purpose here isn't to cast aspersions on Fusco. Indeed, he's not the first writer to offer this particular advice: before him, George MacDonald Fraser (of 70s <i>Muskeeters</i> and <i>Flashman</i> fame, one of my favourites) opined that a fierce determination, with no exceptions, to writing was the correct path (he had written the first <i>Flashman</i> novel while working as a newspaper editor), as have others. The argument being that writing requires sacrificing any time in the day that could be considered 'you time', including leisure, family, friends and, here, sleep.</p><p>Like some responses this comment generated, I can't agree with Fusco here. I get the sentiment, but ultimately I think it's clouded by an important piece of missing context and doesn't take into account an unfortunate contemporary truth: when Fusco started and where many screenwriters start today is not only profoundly different, but that the very way life is structured is different. While this advice is to instill discipline, it may have the unfortunate side effect of doing harm to one's health.</p><p>If that sounds a bit hyperbolic, let me break it down more: I've tried to help writers from working class and other lower socio-economic backgrounds on this blog, to give them not only ways to learn craft without an expensive degree, but also ways to navigate the business and get something in return that doesn't require bankrupting yourself into making an all-or-nothing short or indie feature. Too much screenwriting and indeed filmmaking advice, I found, was aimed more at people from well-off backgrounds, who can afford to do all that with little in the way of major inconvenience or consequence. Your short doesn't make it to festival, or your feature doesn't cut it for distribution? Maybe your script didn't make it into some paid script contest? Oh well, Can always bounce back.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJXN9-lpaBKVDjoaPfJLstUwxyZSnVcAKXOxIDuF20Pco2FbcUQPCmyCnGRdcfcj1AqqOJ29OQf9Xjqnbizfc_KSz-JLGxZpTvkeQMDzCNEoKJanTEQjl0-KX78nDEcCfSOWRN6ui-aeDu6iI1U5mtGk47gfd_ZKvj4E67p5oY7AxgnLJ0oMHisLo/s712/go.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="712" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQJXN9-lpaBKVDjoaPfJLstUwxyZSnVcAKXOxIDuF20Pco2FbcUQPCmyCnGRdcfcj1AqqOJ29OQf9Xjqnbizfc_KSz-JLGxZpTvkeQMDzCNEoKJanTEQjl0-KX78nDEcCfSOWRN6ui-aeDu6iI1U5mtGk47gfd_ZKvj4E67p5oY7AxgnLJ0oMHisLo/s320/go.jpg" width="320" /></a></div><br /><p></p><p>That's much harder when not only your money is tighter, but also when your circumstances aren't as carefree. Even before the cost of living crisis we are heading into, we had over a decade of stagnating wages, zero hour contracts, unpaid overtime as 'work ethic' and other predatory practices that lead to working people having both less money and, importantly here, less time. Less time for hobbies and, vitally, less time for personal needs: Friends, family, education and even the ability to change career paths, which no shortage of writers are attempting to do. We've got record levels of depression and mental health issues due to this toxic combination of elements, and yet, the type of advice Fusco is offering presupposes a person with different circumstances.</p><p>If you've got other commitments or are overworked or suffer from something that impacts your quality of life, how on earth is taking away what time you have for you supposed to be a good thing? Yes, writing does require graft, but there's a difference between making a choice versus a commitment. If you already have a full day dominated by work, what does sacrificing sleep actually accomplish? You can't write well if you're tired or worried about other things, and it's not like there's some kind of prize for doing it. You may be writing more, but writing is a process full of trial and error - there's no trick to making it 'go faster' or, as Fusco may be implying, prove that you're a 'real screenwriter'.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibV4crRElwbY0K4tNnGI5IZnbWQwC8nirTygq0-vqDlx0Y8lMTG4vjwKHbzYbmIdkzfvRwnOnaseGFwN5xii5LIbAoSAai-bCG3mncHabaBDpOcP_6P-KNJ19C9lUdoP71W2Hz26mXFPzCWenz7dMxqEsOdoNijDqC-E6jCnzkbFYs4BZk_Xe2Z38l/s720/mary_poppins_returns_ver2_xlg.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="720" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibV4crRElwbY0K4tNnGI5IZnbWQwC8nirTygq0-vqDlx0Y8lMTG4vjwKHbzYbmIdkzfvRwnOnaseGFwN5xii5LIbAoSAai-bCG3mncHabaBDpOcP_6P-KNJ19C9lUdoP71W2Hz26mXFPzCWenz7dMxqEsOdoNijDqC-E6jCnzkbFYs4BZk_Xe2Z38l/s320/mary_poppins_returns_ver2_xlg.jpg" width="320" /></a></div><br /><p></p>While I don't claim to have the body of work Fusco does, I can say from my experience I've never met a producer or development person who asked about work ethic or how long a script took to write. What did they care about? <u><b>IF THE SCRIPT WAS GOOD. </b></u><p>THAT'S IT.</p><p><u><b>THAT'S ALL.</b></u></p><p>Work should be hard on the work, not on the worker. Don't let advice from people who entered the business 20, 30, 40 years ago put you into a compromising position (Fusco himself had his first pro-screenplay made right out of film school back in the 80s, Walter Hill's <i>Crossroads</i>) where you have to choose between your dream versus your wellbeing. It's a false conflict: work when you can and give yourself room to have a life. Be with your friends and family and enjoy hobbies, such as you can: plus, it'll help you find inspiration for stories too. Make your writing schedule work around your life, not the other way around.</p><p>Deadlines and targets can be very useful, but be flexible: look at your week and see what can be allotted that isn't going to make it unnecessarily stressful. If you can only write for two hours on Sunday, or on Friday evening, do that. Like I said, no one in the business cares how you write: just that you can write well. When you actually get paid and are in the industry, then you can think about setting down something more extensive. So long as it's on your time and dime/penny, well, you decide what to put in.<br /></p><p>Write at your speed. If you're not enjoying the process and learning from it (what I think a 'dedicated writer' should strive for), then what are you actually achieving?<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-7347126283471469252022-07-21T14:48:00.002+01:002022-07-21T21:53:46.066+01:00I'm writing River City!It looked like it was going to be a quiet summer after I did my time with Emmerdale... and now I have just gotten commissioned for an episode on BBC Scotland's <i>River City</i>! Created by Stephen Greenhorn (who also wrote some David Tennant <i>Doctor Who</i> episodes that I have nostalgic fondness for!) this long running drama is, to sum up logline style, a Scottish<i> Eastenders</i>: all about the trials and tribulations of a working class neighbourhood in Glasgow. Love, secrets and lies in a half hour - what more could you ask for?<br /><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">As if that wasn't enough, there was no trial or scheme this time - I sent a spec, they liked it, we talked and bam, got the real deal. My first guaranteed broadcast drama credit, and my first broadcast TV episode since <i>Pablo</i> (and not for lack of trying either).</div><div style="text-align: center;"> </div><div style="text-align: center;"> <img alt="BBC Scotland - River City" class="n3VNCb KAlRDb" data-noaft="1" src="https://ichef.bbci.co.uk/images/ic/1200x675/p08sb1z5.jpg" style="height: 338.625px; margin: 0px; width: 602px;" /></div><div dir="auto" style="text-align: start;"> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;">Big, big thanks to Joanne Sneddon and Isabella Barber on the show, for giving me this opportunity, as well as
Michelle Goode of <i>Writersofluid</i>, whose notes service helped polish the
drama script that got me onto the trial in the first place (indeed, the same that got me <i>Doctors, Emmerdale</i> and my agent. A gift that truly keeps giving). And not forgetting my friends and family either, who've had my back and kept me going. 2022 has truly been a whirlwind year, and knock on a whole forest's worth of wood, this won't be the last of it!</div><div dir="auto" style="text-align: start;"><br /></div><div dir="auto" style="text-align: start;">(P.S. The longtime reader may be wondering 'hey, what happened to <i>Doctors</i>?' Well, on top of my commitment to <i>Emmerdale</i>'s Original Voices, there have been a few changes in personnel, meaning I got put on the backburner. With luck, it shan't be a lot longer till I have something to talk about there...)<br /></div></div>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-36911043410538147292022-07-01T11:42:00.006+01:002022-07-01T15:38:32.008+01:00WHAT GOES IN A SCREENWRITER'S CV? - Screenwriter's Survival Kit<p><span style="font-family: inherit;"><span style="font-size: small;"><i>Curriculum vitae</i>, CV or a <i>resume</i> - whatever you call it, almost every job requires one. It's basically a combined work history along with a quick pitch for you yourself and your skills. When it comes to writing, there will be times (especially when you are without an agent) where you will be asked for one, or it will be handy to have to provide a little more context about your and your work. </span></span></p><p style="text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;"><img alt="Curriculum vitae - Wikipedia" class="n3VNCb KAlRDb" data-noaft="1" height="400" src="https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/Curriculum_Vitae_of_Gabor_B._Racz.pdf/page1-1200px-Curriculum_Vitae_of_Gabor_B._Racz.pdf.jpg" style="height: 426px; margin: 0px; width: 329.169px;" width="309" /></span></span></p><p><span style="font-family: inherit;"><span style="font-size: small;"><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;">However, just like there exist many templates for non film/TV CVs, what a CV in this field needs to look like varies. For writers, my advice is one of emphasis: sell <b>YOU</b> and what <b>YOU OFFER</b>. A bunch of waffle about your hobbies or some swimming prize at school (or for that matter, a long list of where you went to school) won't help. Focus on what you write/have written, what you've won and what makes your voice different and special. </span></span></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;">Let me breakdown on what to include (this is what has worked for me in the past, and it's how I was taught by a film producer). This applies both to total newbies and those of you who have/'are building a small body of work. Maybe you've even scored your first commission (congrats!) and want to know how to best present/highlight that. <u>Here's my steps:</u><br /></span></span></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>1. Full name.</b> Ideally in a bold font. I'd also recommend keep this, 2 and 3 center-aligned: it's more appealing. Don't bother with wacky Publisher designs and colours.<br /></span></span></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>2. Contact info and personal websites</b> - your blogs, your social media profiles (that you want to share - all this is info you have to be okay with a potential producer/collaborator looking at). Also, when you get an agent - put their details here.<br /></span></span></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>3. Write a Brief introduction</b> – this is just a quick summary of where you’ve studied and what you’ve worked on. Succinctness is really key here, and tie it all into your goals to work in this industry - 2 paragraphs and boom. Why does it make YOU matter, why does this make YOUR STORIES special.<br /></span></span></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>4. Your credits –</b> everything you’ve worked on in film/TV, and I do mean everything. Episodes, features, shorts, web series etc. Don't fuss too much over the chronological order - focus on the ones that you think are the best/have gotten the most attention. If you can, include hyperlinks to them. </span></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdDhe5lxTcpl3OEAnwqiSXUQvhaykQJJo9MVXKOrrzS7WS6ste1e57cs6ymZxgkOWyFqAYk5kgds2CyhSwTIy6HZPpDd29rEyQ6bvup2ffNVzIemBMdg-vTtEKosXdEAIxCZQUWTKFCnc9BFzmTerkQAHCUBRvrS5royUtgVU_2iqNQoy44iqJR3Ke/s960/wrapped%20up%20poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdDhe5lxTcpl3OEAnwqiSXUQvhaykQJJo9MVXKOrrzS7WS6ste1e57cs6ymZxgkOWyFqAYk5kgds2CyhSwTIy6HZPpDd29rEyQ6bvup2ffNVzIemBMdg-vTtEKosXdEAIxCZQUWTKFCnc9BFzmTerkQAHCUBRvrS5royUtgVU_2iqNQoy44iqJR3Ke/s320/wrapped%20up%20poster.jpg" width="213" /></a></span></div><p></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>5. Development</b> – any other script projects you are working on right now AKA your spec scripts. Don’t need to be finished, and despite the name, don't have to be ones you have sold to a real production company: just mention them quickly here with a logline (a short description that contains the hero, villain and the conflict of the story) and if there is a treatment available (always good for gauging interest and building a little early interest).</span></span></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>6. Additional credits</b> – everything that isn’t film or TV. These will be useful if you're newer to screenwriting and need to bulk up the CV. Books, short stories, comics, podcasts, plays, games, visual novels etc. Like with social media, only share what you want people to see (I'd avoid fanfiction, though fan projects like fan films or audios can be used, depending on the quality of the production).</span></span></p><p><span style="font-family: inherit;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA2U-Eqb2n_QK5sfm93ZMzI2vt_jUQnKUs1DaxQsmssBGMfr7ireRyP3w28ThngA4c3nLf09IUhcIifpSGeoi1vSHNu-vnMCQhdVZp1PeS-S-cwLwm0kxDuK7WJ3p5wPqIVaL1t4UnynoARGPOJnU7ORNHZJOpvgmDLXPy86VyX5KsRw3KU0qmnkLM/s734/titlecard.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="534" data-original-width="734" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA2U-Eqb2n_QK5sfm93ZMzI2vt_jUQnKUs1DaxQsmssBGMfr7ireRyP3w28ThngA4c3nLf09IUhcIifpSGeoi1vSHNu-vnMCQhdVZp1PeS-S-cwLwm0kxDuK7WJ3p5wPqIVaL1t4UnynoARGPOJnU7ORNHZJOpvgmDLXPy86VyX5KsRw3KU0qmnkLM/s320/titlecard.png" width="320" /></a></span></div><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"></span></span><p></p><p><span style="font-family: inherit;"><span face=""Arial",sans-serif" style="font-size: small; line-height: 125%;"><b>7. Education</b> – as you build more credits, you won’t really need this, but list where you’ve studied at University level. No need for anything earlier than that - doesn't serve any purpose. If you went on a specialized course, or a major school (like Met Film, NFTS etc.), it may be worth mentioning a notable teacher or mentor from the industry. Never know who you could bump into out there, after all, and a familiar name can always be a hand.<br /></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;">And there you have, seven steps to a more useful CV. Hope that helps out.</span></span><br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-47413788367537141742022-04-15T22:26:00.001+01:002022-04-15T22:26:55.434+01:00Your Script's First Draft Will Suck... and that's fine<p>They call it the vomit draft for a reason. Like it or not, you will never get everything right on the first try with a script. Heck, it's unlikely you will, even on the second or third. A good writer gives themselves the breathing room to
not only create, but to make mistakes and learn from them. You have to
develop a critical eye and know what makes a compelling story tick. How
do you find three-dimensional and complex characters? </p><p>Cracking
dialogue? </p><p>Deep and resonant themes, raised through engaging
conflict? <b> </b></p><p><b>Rewrites. </b></p><p>Understandably this can be a hard pill to swallow for newer writers: if you're trying to juggle a day job, the thought of your ticket to fame and fortune being a long haul is unappealing. You want success and you want it now, so why can't your script be gold the first time? <br /></p><p>Because writing, like art and science, is an experiment. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjLzAek3w1Dxs0j13umkxBzVhhqqu3vUxY3DE5EewUn6lyMfIVY0lE_Hf6FWdsPPx-6xAqSX6cDWsxfQFediRh0OyPxrMnYyR-0iGrwuDJbUmAAowK0HD6RItZD037WL6VqBWxEdAckXA-TcrANCkAWPMcYw-uCAGboMcEkdaCOOg7TjraFi89szVMa=s1000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1000" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEjLzAek3w1Dxs0j13umkxBzVhhqqu3vUxY3DE5EewUn6lyMfIVY0lE_Hf6FWdsPPx-6xAqSX6cDWsxfQFediRh0OyPxrMnYyR-0iGrwuDJbUmAAowK0HD6RItZD037WL6VqBWxEdAckXA-TcrANCkAWPMcYw-uCAGboMcEkdaCOOg7TjraFi89szVMa=s320" width="320" /></a></div><p></p><p><u><b>IS THERE A WAY TO SPEED IT UP?</b></u></p><p>Depends on what you mean - if you want to write quicker, be more of a free wheeler (or pantser, as in 'by the seat of your pants') in your method. </p><p>If what you mean is 'can I cut crap sooner?', that's a tougher question. There are some things you can try, but so much of writing is, as stated, trial and error. You'll never be able to get everything fixed the first time through, because it's <u>the first time</u>. Something that looks great in an outline can utterly collapse in script form.<i> I speak from experience. </i>It's not worth becoming one of these paranoid 'I must get it all done now now now' writers because you will never get work out there with that mindset.</p><p><u><b>SO WHAT THEN?</b></u><br /></p><p>Here are some things you can do to help your first draft writing be less painful and speedier.<br />
</p><ul><li>Read lots of scripts: The
more you read, the quicker you'll be able to sniff out crap in your own material. In fact,
I'd argue these will help you more than watching the movies, as you will
see how their tricks were done. Like a magician, you can't do a trick
if you don't know how it was done. Furthermore, don't just read the
Oscar winners: read junk! You'd be surprised how much you can gleam from
reading the three terrible scripts for Tim Burton's <i>Superman Lives</i>, or two different drafts of the Will Smith (<i>topical reference?</i>) bomb <i>Wild Wild West.</i></li><li>Get a proofread and break down: whether it's from a writer's group or a
script editing service (as always, shop around and get a good deal), get a second pair
of eyeballs on your treatment or beat sheet. They will give you notes, and from there,
develop a more detailed feedback breakdown. </li><li>Scene by scene brainstorm: A handy tip from William M. Akers (<i>New Adventures of Superman</i>) in his book <i>Your Screenplay Sucks!: 100 Ways to Make it Great</i>.
Take each scene in your outline and give them a whole page, write a
basic description of what it does and then the rest of the page is just
brainstorming ideas to make it better. Don't worry about spelling or
grammar or anything, just splurge everything and anything. </li><li>Space it out: A classic tip I've shared before, but one I will bring up again. Don't do too many rewrites on the same
project back-to-back, and try to shake up the genres you write in. You might find
some inspiration in working on a horror and then a comedy versus two
horrors consecutively. With a treatment, because it's not a script and so you're looking at it from an 'outside' perspective, I think this reset is important to help clear your thoughts and see the weak points.<br /></li></ul><p>
Also, attitude is important: acting bigheaded and defensive when people do comment on your work, or even when you yourself go over the idea and dismiss any possible issue, is unhelpful. There's a time to defend your work, and there's a time to be open and experiment. If you want a first draft that will be worth anything in the long run, the latter is what you need to do.</p><p><u><b>SHOULD I GAMBLE ANYWAY ON A SUBMISSION?</b></u></p><p>It's not worth it - yes there are those one-in-a-million stories like John Hughes writing <i>Ferris Bueller</i> in days, or how fast Stallone wrote <i>Rocky</i>, but those films were in constant refinement and had the advantadge of, y'know, money and studio support. You're on your own so you have to adjust your expectations. It's not worth blowing a potentially great contact or contest shot by submitting something that's not ready. </p><p><u><b>WHAT IF IT DOESN'T WORK AFTER I'M DONE DRAFTING? LIKE AT ALL?</b></u></p><p>It happens, and it's nothing to be ashamed of. </p><p><b>It's not. </b><br /></p><p>Sometimes, ideas don't generate the stories we think they can and that's fine. So as long as you're not promising it to anyone, this isn't a big worry. You didn't fail, it just means that idea wasn't right or you didn't think through or break it down enough. Don't let one mistake throw you off - you can always get back up and start fresh. That's what is so great about writing: you can always start over. Making a mistake isn't the problem: not learning from it is. </p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com1tag:blogger.com,1999:blog-8185907167552769173.post-24809002990763986632022-03-17T00:24:00.002+00:002022-07-01T11:44:59.151+01:00PAYMENT AND DOING FREE WORK - Screenwriter's Survival Kit<p><i>HERE COMES THE MONEY! Money money money money! </i></p><p>Hey, you've got to eat and live too, you know: your worth, what you can expect and command, is a vital part of being a professional screenwriter. You deserve to be remunerated for your work and should never take less than what you're worth.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgwI6x1ZqWxoF9zFwoDphS_c-toW_P5dWCTX2OHgmQW0XrG4eUN0YJIu6aHHQ0pcMRkk3VxuMNOPvWWIgqGUNhD7FUtfMd36v7yFcGG207-3fQokof6FLnRzF2ZziZyCQWReJfiQyylB6cphySCS6OvXGzSPmNXO16q-oHC4UfjWqg2_x9FEOnSsVxX=s1280" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="839" data-original-width="1280" height="263" src="https://blogger.googleusercontent.com/img/a/AVvXsEgwI6x1ZqWxoF9zFwoDphS_c-toW_P5dWCTX2OHgmQW0XrG4eUN0YJIu6aHHQ0pcMRkk3VxuMNOPvWWIgqGUNhD7FUtfMd36v7yFcGG207-3fQokof6FLnRzF2ZziZyCQWReJfiQyylB6cphySCS6OvXGzSPmNXO16q-oHC4UfjWqg2_x9FEOnSsVxX=w400-h263" width="400" /></a></div><p></p><p>But how do you find out? Can a new writer be worth much? And should said new writer be offering their work for free, for the sake of 'exposure' or 'credit', the two tantalizing carrots that many a filmmaker and aspiring producer dangles.</p><p><u><b>FIRST, KNOW YOUR WORTH</b></u></p><p>This one is really easy: The Writer's Guild of Great Britain (and their American counterpart, the WGA) has rate cards for basically every medium - film, radio, TV, games etc. Just go over to their website and there is it, simply find one that matches your project. You might get tripped up by the differing names of the agreements (like BBC, ITV etc.) so if in doubt, and if your project is more on the indie side, just use the PACT rates. They tend to have the most adjustability. <br /></p><p>If it's from a legit production company with a bit of branding and cash to their name, then they will usually already have the cash amount sorted in advance (in compliance with the Guild, but double check just to be sure there's no funny business), though they may ask you still. In that case, choose the highest as pertains to the medium of the project (TV, film etc.).</p><p><u><b>WHAT IF THEY CAN'T PAY?</b></u></p><p>This is a sticky one, because there are exceptions and particulars to consider. The big one is: do you know the person? </p><p>If they are a good friend or family member and just need help on something, then I say alright. A freebie there is understandable.</p><p>If you do not have a pre-existing relationship, if this is someone who is approaching you out of the blue, then it's best to fully suss out the project and do your homework:</p><ul style="text-align: left;"><li>Do they have any sort of online presence?</li><li>Do they have any kind of track record?</li><li>What is their budget range and market?</li><li>How fast do they want turnaround and how long is the project meant to be?</li></ul><p>Anything like a full feature film or a TV pilot should be remunerated - that's where I say a flat out <b>NO </b>to free work should be placed. It's a lot of effort to write either of these and you get nothing of substance out of it (and word to the wise, if they offer a 'net percentage' or something post-release as the main pay, that's a no too. Too shady and unreliable).</p><p>If it's a web series or short film... first, check out the rates and see what could suit the budget. Talk it through with the person - if they say no, then you have to consider the following: </p><ul style="text-align: left;"><li>Is the workload worth it? </li><li>Will it stop you from pursuing anything else in the meantime? </li><li>Can it be fitted into your schedule and life? </li><li>Does the person have a game plan for the project? </li><li>Do they want to take it on festivals, promote, create buzz? </li><li>How will they do it? </li></ul>If they want you to give up your time, the least they can offer in return is professionalism.<p><u><b>YOUR DESPERATION</b></u></p><p>This is a dangerous siren call - no matter how much it looks like you'll never break in, never leave yourself vulnerable to exploitation. For every scumbag who will screw you hard, there's someone out there who will treat you well. If the person looks or sounds dodgy; if they are vague on details; if they sound like they are promising the world, stay away. STAY FAR AWAY FROM THEM.</p><p>Do not let yourself get scammed. Nothing is worth that. NOTHING.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com1tag:blogger.com,1999:blog-8185907167552769173.post-51580832956701041232022-02-27T11:32:00.003+00:002022-07-25T11:12:24.201+01:005 More Things I wished Amateur Screenwriters would JUST. STOP. DOING.<p>One of my most popular pieces on this blog was about <a href="https://abeldiazcinema.blogspot.com/2019/03/things-i-wished-amateur-screenwriters.html">five things I wanted newbie writers to stop doing</a>. These were bad behaviours, choices and general non-nos that only guaranteed a one-way ticket away from the industry. My goal with this blog is to, hopefully, inform and aid newer writers in their decisions and save them time by avoiding doing the really dumb stuff. Stuff so dumb you'd think no would ever do that, and yet, a casual look in screenwriting groups and forums always yields these fruits.</p><p>So, just like Hollywood, why not cash in with a sequel?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjDh0vRLgQtQna8gLbtV70sYz_TQHgPKzGYFs_de1oV1yZLTwtjKuimvoyd54g_aIxuKLaazJH3isPIS1UzFRl_RfKOH_fqx3a0h4PAondwYWg3pRPOne6PZv4JS4IrkVteUy2BfzE4nhAjMDSU063_ypjexS45d52FBRzngq12tESu-UQj3xjiSu9J=s560" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="317" data-original-width="560" height="226" src="https://blogger.googleusercontent.com/img/a/AVvXsEjDh0vRLgQtQna8gLbtV70sYz_TQHgPKzGYFs_de1oV1yZLTwtjKuimvoyd54g_aIxuKLaazJH3isPIS1UzFRl_RfKOH_fqx3a0h4PAondwYWg3pRPOne6PZv4JS4IrkVteUy2BfzE4nhAjMDSU063_ypjexS45d52FBRzngq12tESu-UQj3xjiSu9J=w400-h226" width="400" /></a></div><p><b>STOP PROMISING STUFF TO PEOPLE THAT YOU CAN'T GIVE</b><br /></p><p>I get it - you want to make a big impression. Collaborate and network with as many people as possible, say yes to as many gigs as possible because hey, credit's credit. You want to be the best, the fastest, the smartest, the deepest, the hardest, the wisest, the most honest, the--</p><p><b><u>CUT IT.</u> Just, cut it there. </b></p><p>Overpromising with your time and skillset is a surefire to mess up what ground you have gained, and what relationships you have built. One needs to be open at the start of their career, but you have to be realistic. As it's unlikely writing is your day job yet, your time on it is limited and precious. If you know that all you will have time for is one or two specs, focus on them. Don't try and write five or six shorts or a webseries, deplete your personal life and leave a bunch of people unhappy. Likewise, when you meet people in the industry, don't babble about something this is far, far away from being ready.<br /></p><p><b>STOP GAMBLING EVERYTHING ON ONE CHANCE</b><br /></p><p>Everybody wants the Cinderella story. I get the appeal: one lucky roll of the dice, one turn of the wheel, one magic ticket to everything you ever dreamed of. You pour your all into one script, convinced that this will be your ticket forward, and then submit it to the most prestigious contest or open call you can. The one that promises mentoring, commissions, money! The answer to your every problem, surely?</p><p>And when you don't make it through, it feels like the pits and you question why you even bothered. </p><p>Look, disappointment is natural and it's an important feeling - there's no shame in being hurt. But don't build your entire writing schedule around just this one shot: network, look for other opportunities and, as I've said many times, keeping a rotating portfolio of projects to work on. You can have a script or contest you want above others, but getting rejected from the BBC Writersroom or Austin or the Nicholl is not the end of your career and proceeding to then throw tantrums about it online is no better. Give yourself a bit of time, relax, and get back on.<br /></p><p><b>STOP ADAPTING IP YOU DON'T OWN</b><br /></p><p>Fanfilms, even fanfiction, can be a lot of fun to write, but that's not what I'm talking about. Time and again you see people on forums ask how they can make a movie or show based on a still-copyrighted IP, or how they can pitch to said copyright holder (usually a big studio), as they already have, and I want to really emphasize this, written a script based on it. Before any kind of agreement.<br /></p><p>I hope alarm bells are going off in your head after reading that: you just threw away days, weeks, months, on something that you are highly, highly, unlikely to be able to do anything with for years, if not decades. Is there a way to get the rights to something? Yes, you can contact the IP holder (like an author) and ask about how much the film/TV rights are, but usually this is purely at a pitch stage. Without a body of work, without some kind of proof of your ability, this is a complete waste of time and your priorities are all wrong. Write original material, make people excited about YOU.<br /></p><p><b>STOP SPAMMING PROS WITH YOUR SCRIPTS</b><br /></p><p>Everybody wants mentors and everybody wants contacts. You want to get better and you want to know people. Sometimes, a pro writer can be open, whether through a reading service, a mentoring programme or just simply be conversant on social media. Or you do what I suggested with networking and reach out to development staff. Sometimes you may get luckier and find you and they get along and think on the same wavelength. So you take the shot and send a script. Only problem: you forgot to ask. </p><p>Please people, always ask first. It's not hard. Pros are busy and that they are giving you their time is something to respect. Never, ever treat anyone in a way you yourself would not want to be treated.<br /></p><p><b>STOP KILLING YOURSELF WITH OVERWORK</b><br /></p><p>Hey, like poetry, this rhymes with #1. However, there is a difference between the two: this one is solely about you and your time, not what other people want from you/you need from them. </p><p>A lot of writing advice, however well-meaning, tends to posit that the true writer, the true artist, is a single-minded machine and much devote every moment they can to working on their magnum opus. Typically, this comes from the perspective of someone who hails from a middle/upper class background and has the time, income and even support to do that. If you don't have that safety net, don't. It's not worth it. Write at your speed.<br /></p><p>Well, wasn't that a mouthful? But I hope it's helped you. At least, it may have saved you some embarrassment. <br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-6968370986838826952022-02-13T15:09:00.004+00:002022-02-14T17:40:45.077+00:00BBC Doctors Writer's Scheme - An Inside Look<p>The biggest news of 2021, for me, was my successful completion of the Writer's Scheme for BBC One's <i>Doctors</i>. The long running medical drama about the goings on at a Birmingham GP surgery has been running since 2000 on weekdays, delivering five half hours of daytime drama a week. It's also become known as a 'gateway' show for those seeking to get into TV drama: a fast and cheap show with a good amount of freedom to pitch stories on. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEho2SJON1ola4hzOPED4t1a_FkphAMV44hfaKQ0WKcclERxppsOPGNIUcW_3WgJ6A4jcIFSMoevfWEkXmADv9vaP-9d2M6rYaj463IUGMeZs9HaJ2AdR1sB8irod3ovZXSmSpSvs85QvXI5l279P1KrZDOmVLmkkVWfC7HvSPU5hKbnq1YnsPdyGtq8=s480" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="270" data-original-width="480" height="225" src="https://blogger.googleusercontent.com/img/a/AVvXsEho2SJON1ola4hzOPED4t1a_FkphAMV44hfaKQ0WKcclERxppsOPGNIUcW_3WgJ6A4jcIFSMoevfWEkXmADv9vaP-9d2M6rYaj463IUGMeZs9HaJ2AdR1sB8irod3ovZXSmSpSvs85QvXI5l279P1KrZDOmVLmkkVWfC7HvSPU5hKbnq1YnsPdyGtq8=w400-h225" width="400" /></a></div><p></p><p><b><u>How do you get on it? </u></b></p><p>The writer's scheme (or shadow scheme, as it was known in the old, old days), which is what it sounds like: a multi-week bootcamp, teaching you the ropes of the show as you develop a mock episode. You succeed, you get to do one for real. The other BBC soaps/continuing dramas also use this system to find new talent. </p><p><u><b>But HOW do you get on that? </b></u></p><p>Well, you have to be referred to it. Usually by your agent, but it can done by contacting a producer or script editor on the show directly, pitching one of your drama scripts and sending it in to see if they'll bite. Choose your best script, naturally, but if i had another bit of advice to give: give them something lean, of a modest budget and with a strong heart and sense of community/relationships. A VFX extravaganza with a lot of action won't do you any favours.<br /></p><p><u><b>What's the actual scheme like?</b></u></p><p>I'll take you through each step, with a date stamp. In between each one, I had a phone meeting with my script editor, to talk over notes and discuss the best changes. Timeline wise, the official line is six weeks, but due to COVID and other production issues (remember, the script editor is working on real episodes while also doing your trial) this can fluctuate.<br /></p><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><b>12/08/21</b> - Today, I delivered my first pitches. <i>Doctors</i> is divided into two components - the day story (the B plot, which is what you pitch) and the serial story (the story arc, which the storyliners work out in advance). You as the writer are told to submit several short pitches (about one or two lines) for the day story, an incident for the team at the Mill to deal with. The emphasis is on the character drama, however, not the novelty or rarity of the disease a character has. You're not writing <i>The Strain</i> here. You've basically got a 15 mins short film within the episode, so it has to be tight and emotional.<br /></span></p><div dir="auto" style="text-align: start;"><b>19/08/21</b> - Now that the pitch has been selected (one about an autistic boy and his son trying to figure out a path in life now that they are both older), I worked on a treatment. It's a 2 page document that outlines the whole story, with a clear beginning, middle and end. Because it's so short, it's really vital to make the emotional beats really clear - being vague or ambiguous is not good here. You also need to bear in mind that, well, one of your characters is a doctor - there are things medical professionals can and cannot do. Your script editor will point things out, but be sure to do some revision first.</div><div dir="auto" style="text-align: start;"><br /></div><div dir="auto" style="text-align: start;">(Quick time savers for you - they cannot hand out pills just like that; they cannot just leave the surgery save for house calls and double check which doctor has which specialties.)<br /></div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;"><b>31/08/21</b> - Treatment is approved, so went off and did a scene breakdown (basically a beat sheet of the entire episode, with both plot lines). What's interesting, when I look back at this stage, is appreciating how even 'quaint' or 'low-key' dramas, ones that are more relaxing or simple compared to the big flashy shows, still rely heavily on effective twists and structuring. Yes, <i>Doctors</i> has twists and surprises, because it's a drama. You cannot wing your way through this - 30 mins can be an eternity if done wrong. </div><p><b>14/09/21</b> - Breakdown got a thumbs up, with some notes. My script editor opted to go to script draft, so after writing, the first draft has now shipped. Getting into the actual script is a new challenge - unlike most TV drama scripts, the continuing dramas/soaps have different formatting. Instead of Final Draft and all the usual rules, <i>Doctors</i>' drafts are done in Word with a different set of guidelines - among the main ones is everything is centered right instead of the middle like FD; action lines are far, far more detailed as, given the show's tight budget, you have to be clear about everything needed in a scene; and you have to provide a cast and location breakdown at the front of the script - how many people, which regulars, non-speaking roles, bios. If it's in your story, you have to mention it here.<br /></p><p><b>28/09/21</b> - First draft notes received a few days back, now completed rewrites on the second. By and large, my script editor was happy with the progress. The main notes were mostly relating to character voice accuracy (a common pitfall that can be remedied by just binging episodes on iPlayer) and the tone of some scenes. Only one scene needs drastic altering as it wasn't working and felt out of place.</p><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;">The interesting thing is, while you are given a bible and clear guidelines to follow, once past the first draft you're allowed to be a bit looser with them, if the episode demands it. A character you may have had forced on you in the serial outline (since a <i>Doctors</i> episode is split between two plots, as discussed above) can be taken out. The goal of the first draft is just to see how everything you've created (for the day) and been asked to put in (the serial) work together, and see where the balance is off. It's more flexibility than I had expected, to be honest.<br /></div></div><p><b>19/10/21</b> - And after a short phone chat with my script editor, I got the go-ahead to do a real episode! Starting back from square one, of course, but I was amazed at how quickly this came together. In total about two months, so longer than the official length, but not by much. Honestly, I'm still surprised I got greenlit for the real deal on the second draft.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi_TnOG0RkGYCQanUAflLCuYbly8cPX5UPrHBwgcNobhE1xpHHiFUlR5g2qF3PHChScw35uGagzvO3Xx33n92-nAPaOGSWEalblRuMvUBHEVT7yDKl6kqVdQinRcdS4Cee9_WDsx1SyxN1jj4V46ykbgphNO0ASZeV3kbNz1OAnATlFVn07WCB1CTFM=s600" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="452" data-original-width="600" height="301" src="https://blogger.googleusercontent.com/img/a/AVvXsEi_TnOG0RkGYCQanUAflLCuYbly8cPX5UPrHBwgcNobhE1xpHHiFUlR5g2qF3PHChScw35uGagzvO3Xx33n92-nAPaOGSWEalblRuMvUBHEVT7yDKl6kqVdQinRcdS4Cee9_WDsx1SyxN1jj4V46ykbgphNO0ASZeV3kbNz1OAnATlFVn07WCB1CTFM=w400-h301" width="400" /></a></div><p>One of the best takeaways from all this has been learning how to turn around something fast while working to a high standard and deadline. While I prize myself as a fairly quick writer, this served as a reminder not to take shortcuts or assume too much with your work. Detail and clarity are king. Where it goes from here, well, I'll just have to wait and see.<br /></p><p>Hope that was interesting for you. Any questions, sound off below!<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-9894672671788316762022-01-10T21:38:00.005+00:002022-07-03T12:23:15.678+01:00I'm joining Emmerdale (ITV Original Voices 2021)<p>Only a few months after my big score on BBC's <i>Doctors</i>, this happens. </p><p>I completed the 2021 ITV Original Voices scheme (you may recall I did the 2019 intake for <i>Coronation Street</i>, but didn't make the final four. If you want to refresh, or learn about it if you're new, <a href="https://abeldiazcinema.blogspot.com/2019/12/storylining-for-coronation-street.html">here</a>) and got chosen to do a three-month comprehensive placement in the story and script departments of this long-running country drama. It's not unlike the Writer's Scheme from <i>Doctors</i>, but more expansive: you learn every step that it takes to make an episode. At the end, I do another shadow/trial script for the show. If they like it, well, who knows what opportunities arise?<br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjtZg3wZF95TauKRC3kFUi_ho4cphTNFntc7ptZrQqcpj3pR2hTamB4_BESSQDkJRukz3XnZhCiiriEHh7Pyk6oOCLhix5J7iUzl5b6ZF3CGYCgCZckuU6bON7gUK8AlSsmZpq4y-ll5M_QBPsF7ACevn2eFiBWwpoa_hNdUqOtl0IxIFejBgwk42xW=s421" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="236" data-original-width="421" height="224" src="https://blogger.googleusercontent.com/img/a/AVvXsEjtZg3wZF95TauKRC3kFUi_ho4cphTNFntc7ptZrQqcpj3pR2hTamB4_BESSQDkJRukz3XnZhCiiriEHh7Pyk6oOCLhix5J7iUzl5b6ZF3CGYCgCZckuU6bON7gUK8AlSsmZpq4y-ll5M_QBPsF7ACevn2eFiBWwpoa_hNdUqOtl0IxIFejBgwk42xW=w400-h224" width="400" /></a></div><p></p><p>It is amusing for me to get this: <i>Emmerdale</i> has been a constant in my life, coming in and out. Being the son of Spanish migrants who grew up rural, the show always gave me a cozy nostalgic feeling when I was away from Spain. Back when I was at Met Film School, doing my masters in screenwriting, I met none other than head honcho of the ITV soaps, John Whiston, down in London. Really nice guy, had lots of advice about television and we stayed in touch since. He even read and really liked a script of mine!<br /></p><p>So, a big fat thanks to everyone on the Emmerdale team, for giving me this opportunity, as well as Michelle Goode
of <i>Writersofluid</i>, whose notes helped the script that
got me onto both Original Voices schemes, as well as on <i>Doctors</i> (a reminder that a good script keeps on giving and giving). And not forgetting my friends and family, who've cheered me on as the application and test script for this part of the scheme were done on super-tight turnaround. Including the great Mr. <a href="http://joshmerritt.co.uk/index.html">Josh Merritt</a>, a fine artist in his own right, cheerleading me on.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-46658991567759534422021-12-27T20:51:00.012+00:002021-12-31T23:21:33.079+00:00Screenwriting Professionally: 2021 edition<p>In what's become an annual tradition, I recount<span style="font-size: small;"> the highs and lows of my screenwriting efforts in the last year. A special year indeed: 2021 was my first year as an agented writer, thanks to the great Andy Townsend. It marked my first steps into broadcast drama and was the first time, in nearly a year, that I was able to start working outside again, as is my preference. The COVID pandemic had been, and still is, profoundly surreal, and trying to get back into 'the swing' after such a seismic shift in culture and society has been tricky. </span></p><p style="text-align: center;"><span style="font-size: small;"><img alt="Industries in 2021 - Economist Intelligence Unit" class="n3VNCb" data-noaft="1" height="231" src="https://d1ngglk168riv7.cloudfront.net/n/wp-content/uploads/2020/10/19124009/Industries-in-2021-cover-image-Lucia-Garcia-scaled.jpg" style="height: 347.091px; margin: 0px; width: 602px;" width="400" /></span></p><p><span style="font-size: small;">Has it been a better year than 2020? A firm YES - vaccinated, got talking to industry folk again and my productivity was up a good 100% compared to said prior. Was it a good year, for me? Did I achieve my own goals and did I grow as a writer? That is much more complicated to answer.</span></p><p><span style="font-size: small;"> </span><br /><span style="font-size: small;"><span style="font-size: small;"><u><b>Jan-Mar (Winter):</b></u> </span></span></p><p><span style="font-size: small;">At first, the year started relatively quiet and slow - with my vaccine eligibility still months off, I was endeavouring to power through my action drama pilot, best as I could. I had been tinkering away on it since last autumn, believing it was a great new challenge, as well as showcasing my ability to write setpieces and something with a faster pace. Writing from home, given I live in a flat with others, was incredibly difficult: always distractions.</span><br /></p><p><span style="font-size: small;"><span style="font-size: small;">On the flip side, however, I progressed through the BBC New Voices scheme from last year. Now I got to do </span></span><span style="font-size: small;"><span style="font-size: small;"><span class="background-details">a Writer's room for series 2 of <i>Jojo & Gran Gran</i> (a Cbeebies megahit). Working with the producers and script editors of the series to conjure up stories and learn the particular flavour of the show was indeed a lot of fun. I even got to make the acquaintance of its lovely creator, Laura Henry-Allain.</span> </span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Apr-Jun (Spring):</b></u> </span></span></span></p><p><span style="font-size: small;">Now this period ended very differently to how it started: work slogged on with the action pilot, but that lack of 'space' was possibly the worst it ever was. Work that should've been a few hours took days, if not weeks, to turn around. No matter how bad I wanted it, it was hard to muster up the energy. Add to that, a family health scare, and it was rough.</span></p><p><span style="font-size: small;">There appeared to be two bright spots amidst all this. Two things that could turn it around: first was my agent liked an old crime spec I had on the backburner, which needed some punch ups. The other was a new disability initiative on one of the continuing dramas, which itself was partially following through an earlier script submission I had made to the production team, which they had liked. If I could land these, the blockage would finally clear and I'd be back, right into the heart of the action. A new submission in a lucrative genre, and a shot on a beloved show.<br /></span></p><p><i><span style="font-size: small;">And it all went wrong.</span></i></p><p style="text-align: center;"><span style="font-size: small;"><img alt="Three dead after passenger train derails near Stonehaven - BBC News" class="n3VNCb" data-noaft="1" height="180" src="https://ichef.bbci.co.uk/news/976/cpsprodpb/12391/production/_113914647_crashscene1.jpg" style="height: 338.625px; margin: 0px; width: 602px;" width="320" /> <br /></span></p><p><span style="font-size: small;">The timing of the scheme conflicted with rewrites, and due to a misguided sense of hope, mixed with a few drops of arrogance, I decided to put the crime pilot aside again. In the moment, it seemed like the right choice: the pilot was revealing deeper layers of problems, and the circumstances around the scheme, I thought, meant I was a shoe-in. I also, for reasons that make even less sense, decided to go full charge with the action pilot, thinking it was near finished (forgetting my own rules on having a varied slate). A few things happened regarding said scheme, which I cannot put up for public knowledge at this time, that meant it was not to be, and for reasons which I still have questions over. </span><br /></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">At this point, I was feeling miserable. I had taken a gamble and it completely blew up in my face. Thankfully, it wasn't all gloom: I had kept in touch with a script editor-turned-producer from <i>Doctors</i>, who I sent over a script to. My own manners and diligence had, at least, granted me this much needed lifeline.<br /></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Jul-Sept (Summer):</b></u> </span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">And here begins my <i>Doctors</i> journey. The script was liked, passed onto another script editor, Mary Flannigan, and ta-da, I was on the Writer's scheme. I've got posts planned to detail the process further, but over the coming months, I would pitch, draft and rewrite a trial script for the show under Mary's guidance. After what had happened with the 'other' show, this was such a boost and I loved the experience. </span></span></span></span></p><p style="text-align: center;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><img alt="https://www.bbcstudios.com/media/2743/doctors.jpg" height="254" src="https://www.bbcstudios.com/media/2743/doctors.jpg" width="400" /> <br /></span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">Plus, with my first shot in, I could start to think about getting outside again. I went, for the first time in my life, office hunting. It's a minefield, to put it lightly. Eventually, however, I found just the place and began to work from there.</span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">As for the action pilot... I had begun to reversion it, trying to solve a problem around the protagonists that emerged in notes. What started out as something closer to <i>Donnie Brasco</i> was starting to drift into more of a mother-son story with this element of homegrown fascism. It wasn't a bad approach, and I thought it would add a lot of intensity and action to the project. However, what I should've realized, as the drafts and brainstorms worn on, was that I had screwed up. Not here, but back to the project's origins. I hadn't done my due diligence and was building on weak foundations, with a script that ended up more mimicking other shows than being its own thing. </span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;">How had this happened: anxieties. I was worried about getting work and chasing shows I liked, that I wasn't paying attention to the right things. A writer must endeavor to maintain a clear and cool head in tough times, otherwise this can happen.<br /></span></span></span></span></p><p><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><span style="font-size: small;"><u><b>Oct-Dec (Winter again):</b></u> </span></span></span></span></span></p><p><span style="font-size: small;">The action pilot, not unlike a plane featured in it, finally crashed here. A last ditch effort to rescue the project by doing more a Shakespearean family tragedy, trying to add dimension to the lead, was a no-go. I felt awful: months of work and after all that, nothing to show for it. In two years, no new spec.</span><br /></p><p><i>Doctors</i>, thankfully, rode to the rescue again: I completed the scheme and secured the big prize: getting to write my first broadcast TV drama script. As of writing this, still on the treatment stage, but considering how fast the scheme went by, and what had happened earlier in the year, it was nothing short of a miracle. In addition, ITV called out yet again, with me landing on the 2021 Original Voices scheme, this time for <i>Emmerdale</i>. After a fun zoom workshop, I got to draft half an episode of a hypothetical episode. In that same week, I attended the launch of <b>Underlying Health Condition</b>, and did some pitches for a major northern production company, so hey, the year ends on a bang!</p><p>Returning to the above question, did I accomplish everything I wanted? No. The saying 'one step forward and two steps back' is an apt summary of 2021: I am grateful for the success I did have. Breaking the continuing drama deadlock is a huge win, whatever else can be said. But where I failed, indisputably, was in craft: I did not grow as much as I had wanted to, and in turn, hurt my slate. I forgot basic principles and charged into situations with the wrong mindset. Never put your eggs on one basket, always spread yourself out and never take anything for granted.<br /></p><p> If I want 2022 to really hit the heights, changes will have to be implemented and certain tenets revisited. Discipline needs to be re-instilled: I fought hard to get here, and I'm not backing down.<br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com1tag:blogger.com,1999:blog-8185907167552769173.post-57007390738998506382021-12-15T15:00:00.042+00:002021-12-21T17:04:41.172+00:00Underlying Health Condition: A New Chapter for Disability in TV<p><span style="font-family: inherit; font-size: small;">If you've read this blog for any length of time, you'll know I'm not shy about talking about <a href="https://abeldiazcinema.blogspot.com/2020/07/the-value-of-diversity-and-why-tv-isnt.html">disabled issues in film and TV</a>, as someone on the spectrum. Because of it, I've able to be part of some delightful things that have travelled the world (like the animated series <i><a href="https://abeldiazcinema.blogspot.com/2019/10/five-things-i-learnt-from-writing-pablo.html">Pablo</a></i>). Representation is becoming a bigger talking point in this business, and I try to do my own little part to add an informed perspective to the conversation.<br /></span></p><p><span style="font-family: inherit; font-size: small;">On Friday December 3rd, I was invited to the launch of Underlying Health Condition at none other than the Tate in London. What's UHC? a new report and initiative to improve what has been, frankly, the systemic failing of disabled talent in media in the UK for years. While headed up by award-winner Jack Thorne (<i>His Dark Materials, Skins, Enola Holmes</i>), this was an event, and a project, dominated with actual disabled voices. Among some of the speakers and guests included actress Ruth Madeley, Genevieve Barr and Tom Wentworth (both working on the BBC's <i>A Word</i> spinoff, <i>Ralph and Katie</i>). Watch the event for yourself at the following link:</span></p><div class="kvgmc6g5 cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><a href="https://vimeo.com/652927043">https://vimeo.com/652927043</a></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"> </span></span></div><div style="text-align: center;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><img alt="" class="wp-image-188 size-medium" data-attachment-id="188" data-comments-opened="1" data-image-caption="" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Logo" data-large-file="https://underlyinghealthcondition.files.wordpress.com/2021/12/logo-e1638649076941.jpg?w=581" data-medium-file="https://underlyinghealthcondition.files.wordpress.com/2021/12/logo-e1638649076941.jpg?w=293" data-orig-file="https://underlyinghealthcondition.files.wordpress.com/2021/12/logo-e1638649076941.jpg" data-orig-size="581,594" data-permalink="https://underlyinghealthcondition.wordpress.com/home/logo-3/" src="https://underlyinghealthcondition.files.wordpress.com/2021/12/logo-e1638649076941.jpg?w=293" /> <br /></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"> </span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">Talent in various fields (screenwriting very much included) who, despite hard work and determination, have found themselves shut out of jobs and opportunities they were fully entitled to. Why? Because the industry couldn't be bothered to do the bare minimum. We have money for big star actors and elaborate VFX, but not for ramps or disabled-accessible toilets (know how many there are in UK film and TV? 1000? 100? Not, just one. In the entire country). </span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"> </span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">They
aren't asking for preferential treatment or some other tabloid
nonsense about 'PC this, diversity quota that' - they are asking to be able to do their jobs. Because they are
<u><b>adults</b></u> who want to work and create, not 'problems' or 'nuisances' to be
brushed aside. They have the determination, the willpower and the work ethic to succeed, they only need space. If you recall <a href="https://abeldiazcinema.blogspot.com/2021/08/jack-thornes-mactaggart-lecture-why.html">my blog on it</a>, Jack Thorne also discussed this at his powerful MacTaggart lecture - disabled people fighting hard and ending up with credit stolen or being unfairly dismissed from opportunities they were completely entitled to and had proven capable of doing.</span></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><br /></span></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">Basic attention to detail and accommodation will do so much good - ramps, special kits, co-ordinators and proper toilets are the start. After that, actual sustained job support and training schemes that do lead to paid work and viable careers (for disabled writers, agents can also be a nigh-impossible hurdle to climb. I got lucky with mine, but how many others can say the same?). Merely more workshops or classes will not right a long-running ill, there has to be meaningful remuneration and strategy at play, an actual investment in the talent. Already, Channel 4 has adopted the proposed guidelines, and here's hoping more companies and broadcasters follow suit.</span></span></span></div><div dir="auto" style="text-align: start;"><br /></div><div style="text-align: center;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><img alt="https://upload.wikimedia.org/wikipedia/commons/7/79/Starrrahmenrollstuhl.jpg" class="shrinkToFit" height="320" src="https://upload.wikimedia.org/wikipedia/commons/7/79/Starrrahmenrollstuhl.jpg" width="264" /></span></span></span></div><div style="text-align: center;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"> <u>Pictured: Not a valid reason to ignore someone</u></span></span></span></div><div style="text-align: center;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><br /></span></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">Will one initiative solve everything? No, but then UHC isn't a lone wolf - it works with and builds on other disability organizations, like </span><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span>DPTV (Disabled People in TV), 1-IN-4 Coalition, Triple C/DANC (Disabled Artists Networking Community, which if you're not, you should be a member. Lots of support and masterclasses available). Collective effort is how things will change in how disabled creators are perceived and hired. <br /></span></span></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"> </span></span></span></div><div dir="auto" style="text-align: start;"><span style="font-family: inherit; font-size: small;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql b0tq1wua a8c37x1j keod5gw0 nxhoafnm aigsh9s9 fe6kdd0r mau55g9w c8b282yb d9wwppkn hrzyx87i jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">If all of that sounds like soapboxing, then all I ask you people reading to keep an open mind and listen to what disabled artists and crew are saying in the video above. If nothing else, do watch the first ten minutes, which has a short film talking about what disabled people deal with on a regular basis in TV, including some faces you may know from your favourite shows. </span></span></div></div><p></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-67716999987612663552021-11-26T23:36:00.007+00:002021-12-18T11:11:38.673+00:00A Writing Formula... from the inspiration of Superman?!<p><span style="font-family: times;"><span style="font-size: small;"><span>Everyone knows Superman, the big blue boy scout from Krypton. Clark Kent, small town Kansas reporter is the last son of an advanced civilization who fights for justice against all manner of monsters and villains.<br /></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span>Some know Doc Savage, a super scientist who was an inspiration for the Man of Steel (even had his own 'Fortress of Solitude', an arctic base where he conducted experiments and meditated). A master adventurer accompanied by five war veterans, busting all manner of super crime. (Those of a certain age may recall the Bantam reprints with the James Bama covers. Or the cheesy movie with Ron Ely.)<br /></span></span></span></p><p style="text-align: center;"><span style="font-family: times;"><span style="font-size: small;"><span><img alt="Meet Doc Savage, the most famous superhero you&#39;ve never heard of" class="n3VNCb" data-noaft="1" height="400" src="https://images.theconversation.com/files/98148/original/image-20151012-17811-arejk.jpg?ixlib=rb-1.1.0&q=45&auto=format&w=1000&fit=clip" style="height: 438px; margin: 0px; width: 297.151px;" width="271" /></span></span></span></p><span style="font-family: times;"><span style="font-size: small;"><span>Probably less known still, outside of pulp and 30s nerd circles, is Doc's original writer and creator, Lester Dent, a real life adventurer and treasure hunter, who wrote a lot of pulp material, not just Doc Savage. A body of work comprising of hundreds of stories, short and novels alike.<br /></span></span></span><p><span style="font-family: times;"><span style="font-size: small;"><span>Like many pulp authors, Dent was a machine, a man who had to churn multiple compelling plots on deadlines for a monthly, or even bi-monthly, target and a readership numbering in the millions. For any writer today, that may seem pure insanity. However, Dent gifted us with his method for writing, which laid out an easy to follow formula. Credit to website Dirty 30s who archived this. Read it here: <a href="http://www.paper-dragon.com/1939/dent.html">http://www.paper-dragon.com/1939/dent.html</a></span></span></span> </p><p style="text-align: center;"><span style="font-family: times;"><span style="font-size: small;"><span> </span></span><span style="font-size: small;"><span><img alt="The Monsters (Doc Savage, #7) by Kenneth Robeson" class="n3VNCb" data-noaft="1" src="https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1288893719l/2390800.jpg" style="height: 430px; margin: 0px; width: 252.568px;" /> </span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span>In the event that it goes down (because this is the internet), here are the main bullet points: Dent has four criteria when he writes a pulp story. They are the following:<br /></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><b><span>1. A DIFFERENT MURDER METHOD FOR VILLAIN TO USE<br />
2. A DIFFERENT THING FOR VILLAIN TO BE SEEKING<br />
3. A DIFFERENT LOCALE<br />
4. A MENACE WHICH IS TO HANG LIKE A CLOUD OVER HERO</span></b></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span>After that, he </span><span><span>divide up a 6000 word story (typical for a pulp novel of the time) into four 1500 word parts (you can think of them as acts, and work exactly like they do). <u><b>For Act 1/First 1500, he says: </b></u></span></span></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span><span><span>1--First line, or as near thereto as
possible, introduce the hero and swat him with a fistful of trouble.
Hint at a mystery, a menace or a
problem to be solved--something the hero has to cope with.<br />
<br />
2--The hero pitches in to cope with his fistful of trouble. (He tries to
fathom the mystery, defeat the menace, or solve the problem.)<br />
<br />
3--Introduce ALL the other characters as soon as possible. Bring them on in action.<br />
<br />
4--Hero's endevours land him in an actual physical conflict near the end of the first 1500 words.<br />
<br />
5--Near the end of first 1500 words, there is a complete surprise twist in the plot development.</span></span></span></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><u><b><span><span><span> Act 2/Second 1500:</span></span></span></b></u></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span><span><span><span>1--Shovel more grief onto the hero.<br />
<br />
2--Hero, being heroic, struggles, and his struggles lead up to:<br />
<br />
3--Another physical conflict.<br />
<br />
4--A surprising plot twist to end the 1500 words.</span></span></span></span></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><u><b><span><span><span><span>Next, Act 3:</span></span></span></span></b></u></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span><span><span><span><span>1--Shovel the grief onto the hero.<br />
<br />
2--Hero makes some headway, and corners the villain or somebody in:<br />
<br />
3--A physical conflict.<br />
<br />
4--A surprising plot twist, in which the hero preferably gets it in the neck bad, to end the 1500 words.<br /> </span><br /></span></span></span></span></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><u><b><span><span><span><span>And finally, Act 4:</span></span></span></span></b></u></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span><span><span><span> </span> </span></span></span><span><span><span><span>1--Shovel the difficulties more thickly upon the hero.<br />
<br />
2--Get the hero almost buried in his troubles. (Figuratively, the
villain has him prisoner and has him framed for a murder rap; the girl
is
presumably dead, everything is lost, and the DIFFERENT murder method is
about to dispose of the suffering protagonist.)<br />
<br />
3--The hero extricates himself using HIS OWN SKILL, training or brawn.<br />
<br />
4--The mysteries remaining--one big one held over to this point will
help grip interest--are cleared up in course of final conflict as hero
takes <br />
the situation in hand.<br />
<br />
5--Final twist, a big surprise, (This can be the villain turning out to
be the unexpected person, having the "Treasure" be a dud, etc.)<br />
<br />
6--The snapper, the punch line to end it.</span></span> </span></span></span></span></span></p><p style="text-align: center;"><span style="font-family: times;"><span style="font-size: small;"><span><span><span><b><img alt="Doc Savage The Black Spot by Conde Nast" class="n3VNCb" data-noaft="1" src="https://images.fineartamerica.com/images/artworkimages/mediumlarge/1/doc-savage-the-black-spot-conde-nast.jpg" style="height: 372px; margin: 0px; width: 259.16px;" /> <br /></b></span></span></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span><span><b>Detailed, right? </b><br /></span></span></span></span></span></p><p><span style="font-family: times;"><span style="font-size: small;"><span><span><span><span>Not too dissimilar to modern paradigms we use for discussing structure and writing methodology. And it makes sense - given his line of work, you couldn't wait for the divine muse, you had to get a story down. It gives you a way to think about the pace of your story and what will keep your reader hooked. It may not be as fanciful as Blake Snyder's Pope in the Pool, but it is a reminder that act and writing theory existed long before Syd Field was around.</span></span></span></span></span></span></p><p><span style="font-family: Verdana; font-size: x-small;"><span style="font-family: times;"><span style="font-size: small;"><span><span><span>It's also a methodology not unlike writing for continuing drama or more procedural television today, where plot can take a level of primary focus over drastic character growth. This is a way to give a decently fleshed out cast new adventures every week, because character proactivity and choice still drives, and a format viewers will grow loyal to.</span></span></span></span></span> </span></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com1tag:blogger.com,1999:blog-8185907167552769173.post-6206543064381501292021-10-19T13:47:00.007+01:002021-12-20T15:09:54.285+00:00I'm working on BBC's Doctors<div dir="auto" style="text-align: start;">So, I finally have some work news and it's a whopper: I have just gotten a place on BBC One's <i>Doctors</i>, following completion of their writers scheme. Basically, it was a trial to write on the long running drama about a medical practice in Birmingham. The series follows the lives of several GPs and staff at the Mill Health Centre. There's love, there's laughs, there's loss and always a new patient with some new problem every day of the working week! </div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">As I succeeded to the script editor's satisfaction with said practice episode, now I get the real deal: pitching (and hopefully then scripting) my first broadcast drama credit.</div><div dir="auto" style="text-align: start;"> </div><div style="text-align: center;"> <img alt="BBC Doctors (@BBCDoctors) / Twitter" class="n3VNCb" data-noaft="1" height="301" src="https://pbs.twimg.com/profile_images/1034822356458504194/8l6h4QhX_400x400.jpg" style="height: 399px; margin: 0px; width: 399px;" width="301" /></div><div dir="auto" style="text-align: start;"> </div><div class="o9v6fnle cxmmr5t8 oygrvhab hcukyx3x c1et5uql ii04i59q"><div dir="auto" style="text-align: start;">It's been quite a trek to get here, having tried to get on the scheme two years ago, and not landing it. (On the flip side, it's a reminder to be gracious, as that script editor went onto become a producer and put me forward this time when I showed him a new, and better, script). I do intend to do a full post on the scheme and how the process to develop a <i>Doctors</i> episode works, but sufficed to say, do not let the quaintness fool you: this is a tough and demanding gig.<br /></div><div dir="auto" style="text-align: start;"> </div><div dir="auto" style="text-align: start;">However, I'm really excited to get cracking on the real deal in the coming weeks, and big, big thanks to Mary Flanigan (no J, as she made very clear!) and Simon Curtis, for giving me this opportunity, as well as Michelle Goode of <i>Writersofluid</i>, whose notes helped polish the drama script that got me onto the trial in the first place. And in true awards tradition, not forgetting my friends and family, who've cheered me on through not just this, but last year and a bit as I've navigated a turbulent industry and media landscape.</div></div>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-69543771903860641532021-09-11T10:21:00.002+01:002021-09-11T10:21:49.163+01:00HOW DO I GET AN AGENT? - Screenwriter's Survival Kit<p>The big question that every writer has. The age-old dream that the agent is a wondrous wizard who, upon choosing you, will grant your deepest wishes and get you all the jobs and all the monies. You go from a nobody to champagne at the BAFTAs and royally rolling in residuals dough. Oh Saints be praised!<br /></p><p style="text-align: center;"><img alt="Curtis Brown Books (@CBGBooks) | Twitter" class="n3VNCb" data-noaft="1" height="400" src="https://pbs.twimg.com/profile_images/1148192048941555714/_Q39FTuE_400x400.png" style="height: 241px; margin: 0px; width: 241px;" width="400" /></p><p>Well, I can tell you right now, <u><b>that's a crock.</b></u></p><p>I love my agent to be clear, he's a cool guy, but he's not a miracle worker. No agent is, and I think writers think about agents in a way which is harmful to both their development, as well as to the potential relationship they could have when they find one. Agents cannot guarantee you consistent work, and they cannot guarantee you will always make money between big gigs. Companies, broadcasters and even studios can only buy so much material, and the UK doesn't exactly have the same resources as Hollywood.<br /></p><p>What they are is middle men, the guys who get you past the gatekeepers and put you in rooms with people who may have the money and work. They're a stamp of legitimacy that says 'this writer is not a crazy person who will stalk you for not reading their script'. They take care of contracts and other paperwork, enabling you to focus on writing the best material you can and not fret so much about networking.</p><p>Can you get work without one? Yes, I did a whole article about that. However, if you are getting to a point where you need one, I'll offer up two things for you: the standard wisdom on how to get one, and then how I did it.</p><p><u><b>HOW TO GET AN AGENT (CLASSIC STYLE):</b></u><br /></p><ul style="text-align: left;"><li>RESEARCH: Look up the writers you admire and want to be like. Look who represents them and where they are. Some of the classic names include Curtis Brown, The Agency, Valerie Hoskins, Knight Hall Agency and Independent Talent, but that's just the surface. A great tool here is <i>The Writers and Artists Yearbook</i>, full of names of places looking for submissions.</li><li>REFINE: Get that script, if not several (actually, make it several) as good as you can. I would really advise you take your time and have two, or three, in sharp shape. One is not enough - you need to show range and that you're not a one trick pony.</li><li>REFERRAL: Exactly what it sounds like - get someone in the business to read your script and, if they like it, ask them to act as a referral, an industry recommendation. I touch on a way to do this in another piece. <br /></li><li>QUERYING: The most daunting part - actually asking for a read. Usually, agency have a submissions guideline on the website, which you MUST follow. DO NOT, I repeat, <u>DO NOT DUMP SCRIPTS ON PEOPLE. </u>If you blind-send, or worse, spam send to everybody at once, you will crash before you've even started. It makes you look like a cynical huckster out for a fast buck, instead of someone building a professional relationship. As for the query itself, much like the networking article I wrote, there are some standards: a succinct introduction to your self; why you'd like this agent to rep you, and a quick pitch of the script you'd like to send. Be tight and to the point.<br /></li></ul><p><u></u></p><div class="separator" style="clear: both; text-align: center;"><u><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuPakq2l-QecIjHFAUQWXpZ44RWQkPIhdTmFUtgkiZ50WtsvcxycpETVmCTGgb0yRQ0c1aW-8kqmiSQXOYT_fwz-ugh4i1-iXRve19WmA3XxRKVnnAhABvB5mTtlgMtCN6s-xD0ImhjTM/s1024/title.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="1024" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuPakq2l-QecIjHFAUQWXpZ44RWQkPIhdTmFUtgkiZ50WtsvcxycpETVmCTGgb0yRQ0c1aW-8kqmiSQXOYT_fwz-ugh4i1-iXRve19WmA3XxRKVnnAhABvB5mTtlgMtCN6s-xD0ImhjTM/w400-h179/title.jpg" width="400" /></a></u></div><u><b></b></u><p></p><p><u><b>HOW I GOT AN AGENT</b></u><br /></p><p>I did the above and got good responses from several places, but no firm yeses. Big or small, the size of the agency made little difference (but don't lose faith if you're waiting. It's a slow game.) However, I did, through my networking, send a script off to a development person at Dancing Ledge, who passed it onto Andrew Roach, an agent specializing in disabled talent, who passed it onto my current agent, Andy Townsend at the Galton Agency (who work with Roach's clients on screen projects). This was the power of a referral in action, and then some.</p><p style="text-align: center;"><img alt="Galton Agency" class="n3VNCb" data-noaft="1" src="http://www.thegaltonagency.com/content/uploads/2016/07/home-page-hero-2.jpg" style="height: 248.247px; margin: 0px; width: 602px;" /></p><p>Andy read my stuff, liked it and we had a meeting. We got on well and he asked to read some more stuff, so I sent it over. In total, he read four scripts, counting the one from Dancing Ledge. Satisfied, he offered me the contract and I signed. Since then, we've done catch up meetings once a month, discussing projects and places to submit to. It's been a pretty easy-going thing, all told, and he has never pressured me to do something I wasn't happy with.</p><p>I hope this has been of use - the big thing is not to stress. Like writing itself, it's a long process and there will be mistakes and failures. So long as you understand this, you'll manage fine. <br /></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com0tag:blogger.com,1999:blog-8185907167552769173.post-52540731340585497512021-08-27T18:14:00.000+01:002021-08-27T18:14:54.983+01:00Jack Thorne's MacTaggart lecture: why 'Best Person for the Job' isn't an answer<p>Jack Thorne is a UK film and TV powerhouse (too much to list here) and staunch ally of disabled creatives. At this year's Edinburgh TV Festival, a major industry event, he handled the much-coveted MacTaggart to deliver a damning indictment of how the industry has time and again failed disabled people. As an audience, as creators behind the camera and as performers in front of it. Go watch it and come back here after.</p><p><a href="https://www.youtube.com/watch?v=oxUZPMBRIPU" target="_blank"></a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=oxUZPMBRIPU" target="_blank"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oxUZPMBRIPU" width="320" youtube-src-id="oxUZPMBRIPU"></iframe></a></div><br /><p></p><p>So, pretty tough listening isn't it? And sadly, all too true. Speaking as an autistic screenwriter, though I can't claim to speak for all disabled creators (running all the way from the physical to the mental, with each have its own traits and challenges), it's mind numbing how little progress has been made, and how the success stories have made no difference to how shows are made, or how talent is reared and supported. I even commend Thorne for admitting his own blindspots (though obviously he didn't have the final say on casting in <i>Wonder,</i> as one of several writers on a Fox movie, to be fair) and glad to see his partnering up with more disabled creators like Genevieve Barr and Ruth Madeley. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRU7BZ5eFqJC6I38Y1VCKWF8grpsyI_OU8hvq5o9IFclR0KBndei56l896qVPP-gsJrQVJiI5C7D-glVl7mzjC9jZ9IK2o4JihxexLYEAXJj_lf9l3o7s8v1zKVrW_NJ4GXos86fyFC8/s2048/thorne.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoRU7BZ5eFqJC6I38Y1VCKWF8grpsyI_OU8hvq5o9IFclR0KBndei56l896qVPP-gsJrQVJiI5C7D-glVl7mzjC9jZ9IK2o4JihxexLYEAXJj_lf9l3o7s8v1zKVrW_NJ4GXos86fyFC8/w400-h266/thorne.jpg" width="400" /></a></div><p>While reception has been overwhelmingly positive, because this is about representation, there were the usual crabs-in-a-bucket with the same tired, boring, intellectually empty points: 'Acting is about pretending to be someone you're not', 'representation doesn't matter', 'best person for the job, background is irrelevant', 'meritocracy' and of course, splitting hairs about 'um ackshually, 20% of the UK population is not disabled because blah blah blah' from people who suddenly became expert data scientists. And next-to-none of whom are in the industry.</p><p>I've talked about representation <a href="https://abeldiazcinema.blogspot.com/2020/07/the-value-of-diversity-and-why-tv-isnt.html">in the past on here</a>, as well as my experience on <a href="https://abeldiazcinema.blogspot.com/2019/10/five-things-i-learnt-from-writing-pablo.html">Cbeebies' Pablo</a>, but this time I wanted to really zero in on why this attitude is a problem, the culture it creates, and where the audience has a role to play as well. <br /></p><p><i>To begin, I get it</i>: It's unrealistic to expect your average audience member to have the same in-depth
knowledge of how film and TV works as an insider. From a
certain POV, they shouldn't need to - fans are there to consume and
talk about the content when its done, not engaging with broader
production questions. The
problem is the internet, and in particular social media, has broken down
a lot of the walls. Now, talking to creators and
companies has never been easier - the problem then becomes audiences are
not used to a lot of industry chatter and so, wind up in
discussions they, technically, have no business being involved. Big problems in the industry, whether it's the UK or
US, Disney or BBC, relating to issues around outdated
structures that artificially impede the career progression of people from a number of minority groups, seem like sudden changes to newcomers (even with multiple surveys and reports, like the ones Thorne cites in the lecture, showing how long this has been going on).<br /><br />Because audiences don't have, or sadly in some cases, don't care, about all that background and don't understand when a creator is talking about issues
with, say, more disabled characters in TV, it's easy to mistake a
plea to fix a longstanding problem with some kind of sinister demand or entitlement. When you don't understand how
hard it is for, say, a disabled writer to get the same shot, or
at least the same amount of opporunity, as their able-bodied
peer, it's easy to just say 'best person for the
job' or 'I don't see disability, just the person'. How many times do you think these creators
have been told that and not only <b>not</b> seen that sentiment lead to
change, but now have it be used to tell them to, basically, 'shut up and
be grateful' by people who don't even work in the arts at all? </p><p>And speaking of that, it's also tiring as a creator to see our achievements get blown aside in an instant when one of these types tries to tell our stories and royally bungles it. <span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">You
may have heard of Sia's directorial debut, <i>Music</i>. The title refers to an Autistic girl, played by Maddie
Ziegler, who is placed in the care of her drug dealer sister. With a
premise like that, you can guess where it goes, but what's important is
that A) Neither Sia nor Ziegler are autistic, B ) Autistic actors are
not in the film, even in background roles, C) No Autistic expert or
group was consulted during development, save for some brief interactions
with the notoriously controversial Autism Speaks, widely condemned for
treating Autism as a disease. </span><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">As counter examples, Atypical and Pablo (Hey, that's a-me) all involved autistics in
creative roles: </span></span><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">yet,
when <i>Music</i> became a hot topic, with discourse raging about its
portrayal of the condition, were
any of these shows mentioned? Did anyone cite that a show like Pablo,
effectively, disproved both Sia's choice and, indeed, the very
methodology of <i>Music</i>'s development, treating actual autistic voices as
tertiary? Nope. 105 episodes, airing on major channels, a
worldwide fanbase and a much publicized selling point (a pretty good sign of a job well done. The BEST kind, if you will)... and it might as
well have not existed.</span></p><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"></span></p><div class="separator" style="clear: both; text-align: center;"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpEMz1_hGesoio4332u-kpWpvNCvrWZ_m_AslaedqjUWylNmKQEO11OdWjoBNUyT0YvVuCNHPtSFlAPRNEApX7OVSQbK7moiOXkwavhaVsJTbncUSi-XvG8T3bqdEhSqQIKO5eizmaaB0/s851/pablo+s2+launch+-+Copy.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="577" data-original-width="851" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpEMz1_hGesoio4332u-kpWpvNCvrWZ_m_AslaedqjUWylNmKQEO11OdWjoBNUyT0YvVuCNHPtSFlAPRNEApX7OVSQbK7moiOXkwavhaVsJTbncUSi-XvG8T3bqdEhSqQIKO5eizmaaB0/w400-h271/pablo+s2+launch+-+Copy.png" width="400" /></a></span></div><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"></span><p></p><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto"><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">However
unintended, the message is clear: autistic creators are not to be given chances on larger projects, precisely
the kind that can change the narrative, because a highly successful
musician said so, and all the previous autistic movies and shows don't
amount to a 'valid' counterargument. See how that applies to what Thorne is talking about here? How the disabled shows he was able to make were done on breadcrumbs, and even when they got acclaim, and he went on to work on big properties, still nothing changed. How broken is that metric where success doesn't equal 'make more'? The one thing that the film and TV industry can be reliably called on to do, and this is the exception? Because of that, I wrestle with creating autism-based scripts and often wonder if my mentioning it limits my job prospects. Why should it be like that though? Why should a script, that's been worked hard on, proofed, run by other peers and thought good quality, be arbitrarily denied a chance for something unrelated to merit?</span><br /></span></p><p>As an additional point, I do also think there is a blind spot in Thorne's lecture: staffing. He alludes to <i>Silent Witness</i> and Liz Carr's battles, but I feel this needed more hammering home from a writer/director angle. It's not enough just to greenlight disabled stories, as vital as that is: it's about getting disabled creators the experience and credits needed to not just get those shows in front of commissioners, but also to pay their bills and put food on the table. Disabled artists don't just want to talk about themselves: they're fans of shows like you are. They have dream jobs too, whether that's <i>Eastenders, Casualty, Hollyoaks, Doctor Who</i> or <i>Call the Midwife</i>. We need to ensure they have the same shot as anyone else on getting on this shows, and not just for 'the disabled story' but because they are professionals who can tell good stories period. As long as just blindly parroting 'best person for the job' is seen as the default response, this will not happen because it others disabled people as somehow 'not the best'.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNcilbBEBbOvAgV41W8gL9paJAKNsbvzPbI2oVtWCEPJsq9yV2y9bD0NRVTVHzVM0FamSV8iDip1W_RYy_ojhlHo5e8B2qepcsaczAAh-aR5BvuY9MiL4Ru8IGfnYKbERHG3j5t8XqcPU/s1280/maxresdefault.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNcilbBEBbOvAgV41W8gL9paJAKNsbvzPbI2oVtWCEPJsq9yV2y9bD0NRVTVHzVM0FamSV8iDip1W_RYy_ojhlHo5e8B2qepcsaczAAh-aR5BvuY9MiL4Ru8IGfnYKbERHG3j5t8XqcPU/w400-h225/maxresdefault.jpg" width="400" /></a></div><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">This is as personal as I've ever gotten on this blog, but I need to say it: I am tired of having to fight for my basic dignity, and I've seen plenty of other disabled people share the same: tired of justifying ourselves, tired of asking to be treated like the thinking, feeling adults we are. Tired of being written off or insulted by quacks, anti-vaxxers and religious hypocrites who claim we are a 'mistake', a 'problem' that needs to be fixed or cured. Tired of constantly having to deal with nonsense about 'diversity hires' and 'affirmative action' being the reasons why we achieve anything, instead of y'know, hard work and our pure determination. We are people. We are human.<br /></span></p><p><span class="d2edcug0 hpfvmrgz qv66sw1b c1et5uql lr9zc1uh a8c37x1j keod5gw0 nxhoafnm aigsh9s9 d3f4x2em fe6kdd0r mau55g9w c8b282yb iv3no6db jq4qci2q a3bd9o3v b1v8xokw oo9gr5id hzawbc8m" dir="auto">And at the end of this, what I think we have is a tale of two faults: the industry and the audience. A
wealth of great talent is there, ripe for picking, and through them, exciting, funny or stirring stories. If we want to move
the needle, then every level needs to address how we treat creatives
from backgrounds outside the standard. Commissioners who will fight for change, and audiences who will be willing to take a chance and have empathy, or if they like what has been made, demand more. Otherwise, the cycle continues
and benefits no one. Not talent, not the audience and not culture, and if we got the Snyder Cut and redesigned Movie Sonic through pressure, why can't we get this?</span></p>ADiazhttp://www.blogger.com/profile/02658848318923019176noreply@blogger.com1