Showing posts with label BBC Writersroom. Show all posts
Showing posts with label BBC Writersroom. Show all posts

Saturday, 17 July 2021

''Does Fanfiction count as a writing sample?'' Going from Fan to Professional

The long and short answer, most of the time, is no. Professional producers in any sector of media (film, TV, comics, radio, audio, novels, games etc.) want to see your vision, your voice, what you bring to a project. They want you. Fanfiction won't do you a lot of favours and is almost never advised as a proper writing sample: it's legally in a grey area, you're working with characters you don't have a legal license to use and it doesn't do enough to sell you as a writer in your own right. Plus, most of your favourite properties already have the agented writers banging on their doors: you will simply raise the odds against yourself.

There is ONE major exception, which I will come onto in a few paragraphs.

Is that to say fanfics are worthless? Not necessarily: Anywhere you can train up and build up experience is always handy when it comes to writing. Refining your craft is what counts, not where you do it. You don't have to worry about budget concerns or exec notes, so only your imagination is your limit. However, a balance with original work is vital if you actually want to make the jump from amateur to pro.

I do not believe the practice of working with other properties, unlicensed, is useless either in craft: not just because of the upcoming 'exception', but because adaptation is one f the bread-and-butter gigs, whatever field you get into. Working with others' materials is something you will come across, and getting some practice in without producers breathing down your neck, capturing another style and voice, can be handy.

Here's a five point plan I've cooked up if that's your game:

1) What is your goal? Do you want to be a working writer, or just writing one property? While that may sound arbitrary, it's important to consider because they each need different things: if all you want is just to write Who stories and nothing else, you're better off sticking to fanfiction sites as the grind exceeds what you really need. It may not be canon, but if you enjoy writing in that universe, that shouldn't matter. 

If, however, x or y franchise is just 'a goal' and you want to have a full career, beyond that, then that's a whole other kaboodle. Do you have favourite genres? What style do you like to write? What subjects or themes interest you? Do you have weird or funny memories, friends or relatives that could provide a great basis for a story? Write those and give yourself plenty of time: no one will ever thank you for giving them rushed work.

2) Being realistic. Getting to any dream is slow, and this doubly true for writing. The addage is 'it takes 10 years to break in', which is a good metric (though many have done so in half the time) to avoid disappointment and losing your passion. Treat nothing like a guarantee and be ready for a lot of unreplied emails and non-answers as you build a body of work. It's just the reality of the entertainment business.

3) Learn learn and learn: invest in your education. Read scripts and prose, learn drama theory, take classes/workshops and join writing groups. Sharpen those skills and be open-minded. Always refine your work and approach, which thanks to the internet, has never been easier to do. Youtube is awash with free writing tutorials, lecture and seminars, if you're really tight on cash. It's also great as it's flexible to suit your current lifestyle. Learn what pitches, loglines, treatments and beat sheets are - they are a necessity in professional media production.


4) Build the CV. Much fun as fanfiction is, it won't count for much for a track record of professional work that proves you can work on that level. Good news is there are plenty of opps out there: online theatres and podcasts that will perform short audio plays, sketches and monologues, which is good for building up work. Same with physical theatres - scratch nights are always great for putting on short bits of new (original) writing. BBC Writersroom, London Playwrights Blog, Writers Services, theatre websites are full of opps. Do you have prose? Submit short stories to magazines, websites and collections - they will usually provide submission details on there too. Pay can be dicey so make sure they are transparent about that.

5) Network - meet people in the business. Producers, script editors, development assistants. Even if you don't/can't go to in person events like festivals, you can find personal websites and emails pretty easily online. Here, I did a whole article about how to network and make contacts. You're welcome.

And now, for the exception: in the American TV system, you can submit fanfics. Kind of. They're called spec scripts, meaning you write a hypothetical script for an existing show, though you will never submit to that specific show, but to ones like it. If you wrote an Law & Order, it'd get sent to The Rookie or Bosch, for example. I did an entire piece on that here, so go check that out as there's a lot to chew on.
 
 
But above all else, just remember to have fun. Don't drive yourself crazy trying to reach an arbitrary goal - learn and enjoy the process, because that love will show on the page.

Tuesday, 6 April 2021

4 Screenwriting Negatives FLIPPED into Positives

Screenwriting can, as fun as it is, be a negative space on a personal level. It's easy to get downtrodden, even disillusioned, by rejection, bad notes and even scripts that take a lot longer to write than you had initially planned for. It's easy to let it get into you and seem more damning and impossible than it really is. Often, even simple sentences have torpedoed your confidence for a day or more, depending on what that project meant to you.

However, like making or practicing pancakes (see? Not just for a title pun), there are always different approaches to something that seems like there's only one way, but is actually just hiding alternate methods.


So, let's run down some common ones that may seem like disasters, but in actuality, have something more to offer to those more determined and diligent:

  • When you don't place in a contest, it doesn't mean you wrote a bad script. 

Nice and easy one to start with: Contests are often the first port of call for new writers. They are also lotteries, whether they are paid (Script Pipeline, Nichols, Austin) or not (BBC Writersroom, ITV Original Voices): you and thousands of others gamble on having the winning combo. It can be easy to think that winning these is the only ticket, and not doing so is a sign that you cannot write worth donkey diddle. 

Not true, however: taste plays a part in any reading and sometimes, yours will not be to the reader's, never mind a myriad of other reasons why it's not meant to be. A spec pilot of mine that failed in contests got me my first adaptation gig, and another got me Pablo, for example. As I've discussed in other posts, there are more ways to find people in the industry, and they don't cost a penny. 

  • When your email to someone bounces with an automated 'out of office' email, you might get extra info. 

In doing the above, you may have the bad luck of sending someone an email while they are away - holiday, maternity leave or no longer part of the company. It's annoying and can kill your buzz. You may get lucky in that the automated reply'll provide an alternate means of contact, such as another email for them, or of another person on the development team.

Okay, so what? What's so special? Well, in the event that it doesn't work with Person A (be it ghosting or them not being able to read), suddenly, you have a person B available to try instead, usually their assistant or a more junior member of the company i.e. someone looking for that next big thing. Just remember your manners.

  • When you get notes critiquing your storytelling, it doesn't mean you can't write. 

Let's continue with an evergreen classic: you get notes from a service or writing friend on your script and it just isn't working. May be the characters or plotting or pacing or ending; anything. But don't worry: everyone screws up or misses something. It doesn't mean your whole script is useless or is not salvageable. Always look for the note behind the note, and sometimes, an absence of a note can be illuminating in its own right as the fault behind the other faults.

If you want a more detailed solution, check out Screenwriting is Rewriting by Jack Epps Jr. A great resource and hey, who wouldn't take advice from the writer of Top Gun?

  • When you get a rejection, unless specified by the person, it doesn't mean the door is completely closed. 

You took a gamble and it didn't pay off: they didn't like your script. It can be for any number of reasons and it almost never is personal. Everybody gets it. It can be a devastating feeling.

However, that's far from the end. Say your thank you and then retreat for maybe 6 months to a year and come back, refreshed and with a newer, better and more appropriate project. Do ask if you can stay in touch, and always be polite and maybe even a little humourous in your catch ups. Half the job is networking and just being genuine.

Even in business, like in fiction, there is creative license. Use it.

Thursday, 1 August 2019

Screenwriting on a budget - Can you learn craft cheaply?

Let me be frank: the creative industries have never been the most friendly towards those who come from working-class roots. Breaking in requires a monetary and time investment that makes it difficult if you are not A) Supported by family or B) working a job that both pays well, and has scheduling that enables you to pursue networking and other opportunities.

Writing is, paradoxically, one of the easiest and, yet, one of the hardest sectors to crack: sure, all you need is a good story and a keyboard, and it can be from anywhere; but then, becoming a great storyteller, as well as one who's in demand, takes a lot of investment. Courses, books, other scripts, a means to write, the time to write and rewrite, and then the time, and often financial cost, of finding people to help bring your project to life. And that's all on top of your day-to-day needs and expenses.


I've already talked about what you can do if you're in a time crunch with your creative dreams. While some of that carries over here, I will also be covering things I didn't mention before or not at great length. The goal is to, hopefully, allow you to start your screenwriting road without sinking into money or time sinks.
  • Via BBC Writersroom and FutureLearn, the University fo East Anglia offers a free, online (so no travel expenses, debts or schedule changes needed) screenwriting course. This offers you a starting point if you're entirely green or haven't written in forever.
  • Of course, you have to read real scripts to know stellar from tripe. Good news is that many are free and downloadable. Here's where you can start digging:
http://www.bbc.co.uk/writersroom/scripts
https://indiefilmhustle.com/free-screenplays-download/
https://sites.google.com/site/tvwriting/
http://www.la-screenwriter.com/script-index/
http://www.imsdb.com/http://www.simplyscripts.com/movie-scripts.html
  • How about advice and tutorials? Bang2Write, run by veteran consultant Lucy V. Hay, is your one-stop shop. It's filled with great blogs on just about every facet of screenwriting you could want to know, told in Hay's snappy style. Furthermore, many of the screenriting gurus have dedicated websites, full of resources related to whatever their paradigm or selling point is (like Save The Cat), as well as The Writer's Store and Scriptmag.com also offering plenty of articles to chew on.
  • Videos to watch? Trying D4's thorough yet lean series on screenwriting structure in popular films like Pulp Fiction, Frozen and Guardians of the Galaxy.
  • You like to read something tangible and don't want to develop square eyes? Well, this one may be obvious, but sometimes, obvious is good: Libraries with decent media sections and charity shops are great hunting grounds to find the classic screenwriting tomes, as well as physical printings of major screenplays (some even come with bonus interviews with the writer and/or creative team behind the movie). If you're lucky enough to be near one, visit your local BFI.
  • There's also podcasts you can listen too, while you're sitting down with a cuppa: Danny Stack and Tim Clague talk with all manner of film and TV people on their popular UK Scriptwriters Podcast. Meanwhile, over in the USA, John August (Charlie's Angels) and Craig Mazin (Chernobyl) have probably the most well-known screenwriting podcast of all, ScriptNotes: both these guys discuss Hollywood, interview guests who've worked on some of the biggest movies and shows, and offer all sorts of advice and weird stories.
So that was all to help you learn the craft. What about when it's writing time? Recommended programs like Final Draft are a big investment and, for those with tight purse strings, may take a while to fully save up for. Plus, Celtx, the one-time saving grace for broke writers when it came to professionally formatted work, no longer does free versions. So, what can you do meanwhile?

Well, basic as it sounds, just reformat Word. Yes, it's like using a pile driver to make a mosaic, but it'll do fine for now. At this stage, learning and practice should be your priority, not trying to get an agent or gigs. You'll find no shortage of how-tos online, so this shouldn't be overly difficult to get rolling with.

As long as it looks like this, you're clear:


(If you can guess what script this is from, you win a prize!
The prize being the gift of dedication)

To cap off, don't ever feel ashamed: if you can't afford a full, fancy degree, or just 'know' great storytelling right away, it's not a problem. Like I've said many times, nobody cares where you went to school or how you learnt: just that your output is good. Some will benefit from books and structured learning, others just by reading scripts. Whatever you do, make sure it's right for you.

Monday, 15 January 2018

Screenwriting Advice for BA Students... From a Masters Grad (Part Five: Actual Writing Work and Agents)

And now, we finally talk about being paid to write scripts. Yes, a series all about screenwriting, and it's just now that we finally talk about actually making any sort of living at it.

Ah well, save the best for next-to-last, right?

As mentioned at the beginning, you don't need an agent to walk up to a producer or development person and pitch your idea. Procedure is much the same as the work experience discussion last time: find the relevant email, compose a short pitch and logline, and then send it off. Agents really exist to help with contracts, payment and get you past the 'unsolicited' material bit, but they do not get you work. You do. You still have to network and talk to people and pitch and all the rest of it. That will never change.

Also, note what I said above: I said pitch your idea, not guarantee a read or development or actually getting made. The reality of the industry is most of your money, and by proxy, most of your career, will come from development, rather than actual production and release. Indeed, that show or film you want to make will more likely serve as a calling card to work on a similar project that the company or producer is making: your period drama pilot may open the door to work on a series like Versailles or Gunpowder, or a crime spec onto Midsommer Murders or Father Brown.

But before any of that, having some independently produced material can also be handy: It shows you write well enough to have people want to make it, as well as have initiative. Sometimes, it can even serve as a demo of a bigger project (think Whiplash), or be a way to build your own brand with some other successes. So, what can you do?
  • Short films: Classic staple. Doubt I need to say much on them. If you didn't make many connections at uni, don't worry: Facebook has tons of filmmaking groups, filled with a never-ending supply of producers and directors looking for short scripts. It's as easy as typing in film or screenwriter and BOOM: a goldmine.
  • Webseries: Good if you have an eye for TV and want to show you can write a returnable/long running project. Plus, if you have a pilot idea, this can also act as a road test. Facebook and Screenwriting Staffing also put these gigs up in droves.
  • Plays: Loads of small theatres and festivals offer opportunities and competitions for material, some even doing full plays. Agents and other talent scouts attend, so it's a good way to get spotted and network. BBC Writersroom and London Playwrights' Blog are great sources for who has an open slot.
  • Radio and podcasts: The audience is smaller than film or TV, but the advantadge: lower costs, allowing more risks to be taken. Yes, you can just pitch straight to a producer on radio, and maybe get your work on BBC Radio 4, without any sort of 'unsolicited' hullabaloo. Welcome to Nightvale and Homecoming, meanwhile, are proof of how much narrative podcasts have become a force of their own, and not something to overlook.
  • Screenwriting contests and competitions: You pay a fee, and your film or TV script will be entered into a competition, with the prizes running from big fat cheques, to meetings with producers and agents. Even just placing highly can be a useful sales hook. Just like everything thus far, however, Be A Discerning Shopper: Check the prizes, credentials of the judges, fee prices, how long they've been running and if they've had any major success stories. Thescriptlab.com did a great piece on the best ones.
  • In addition, writing news scripts, adverts and other types of commercial, short-form content (known as copywriters) are also a common way to earn your keep as a new writer.
One I did not mention was Amazon Studios: you might've heard the Big A has a system of reading unsolicited scripts. A couple of years ago, I would have said give them a go, but nothing from their unsolicited slate has been greenlit in forever, since they started working with represented writers. The only thing of worth, the forum, has since been shut so, really, there's no point going there.

Now, let's say you do make it: you get a read, they like it and then the follow-up meeting goes well (once again, civility with just a touch of energy and healthy, non-creepy mania, is king). Sometimes, you may get your work greenlit, and suddenly, your movie or pilot is being made. In which case, congratulations! You've now got that rags to riches story that every student screenwriter dreams of.

However, moreso in TV than film, this will likely not be the case and, instead, the company will pay you some money for development, and then offer you a job on something they're working on (a commission) that is similar to what you pitched them. This can be rewrites on a film (an assignment) or work as a staff writer on a TV series. Rule here is don't be a snob: any paid work is good work, even if the premise doesn't seem like the most groundbreaking or original thing ever. You may laugh, but soaps, daytime television and kids TV are all the classic stomping grounds of new writers, so keep a good watch on them.

The mantra goes that it takes 'ten years' to make it in the business, and sadly, that's often not far from the truth (it's the one I'm living with right now). However, this does not mean 'ten years' till you get paid, or meet people, or get meetings or even get an agent: it just means you get into a good position to really advance your career, with some decent credits under your belt.

So, I've talked reading material, job prospects, networking and your first gigs. What else is there I could cover? How about some home truths, including one which is almost never addressed, but can make all the difference.

Join me for the sixth and final part when I talk about getting it wrong, and why that's not the end.

Tuesday, 5 December 2017

Screenwriting Advice for BA Students... From a Masters Grad (Part Two: Freebies)

Now, where were we?

Ah yes, FREE screenplays.

Something to note: beware of 'script sites' that are just transcripts of TV episodes and movies, like SpringfieldSpringfield. They are not accurate in formatting by a long shot, and don't even serve to help analyze a given story all that well as they're usually poorly written and hard to read. Basically, if it doesn't look like this, don't bother:


Instead, here's where you can get actual screenplays for film and TV from:
But it's not only free scripts you can score over the interwebs: how about advice and tutorials? An immediate reccommend is Bang2Write, run by veteran consultant Lucy V. Hay. It's a one-stop shop, filled with great articles and lists on just about every facet of screenwriting you could want to know, told in a humourous and snappy style. Another good resource is BAFTA: they have an acclaimed series of lengthy and informative lectures by major screenwriters, including Emma Thompson, Hossein Amini, Charlie Kaufmann and David S. Goyer.

Furthermore, many of the gurus have websites full of resources, related to their paradigm (like Save The Cat), as well as The Writer's Store and Scriptmag.com. There also exist a number of smaller sites such as the newer but pretty decent Word Dancer (it even has a complimentary Youtube channel) and TheBitterScriptReader (more geared towards the US, but worth a gander).

What about writers' blogs, as in, blogs run by actual, working writers? Danny Stack's site, Scriptwriting in the UK, is a great one: just like his book, Stack talks about everything and anything related to the business and craft. Another favourite of mine is Wolfblood creator Debbie Moon's blog, loaded with war stories, as well as some very helpful tips and tricks on what to do and where to look.

There's also  some podcasts you can listen too: Stack and Tim Clague strike again with their popular UK Scriptwriters Podcast, while over in the US, John August (Big Fish) and Craig Mazin (The Huntsman: Winter's War) have ScriptNotes: both discuss the industry climate, interview guests and offers all sorts of advice and weird stories.

So, you know have your books and scripts. Read as often as you can: in bed, on the bus/tube/train, during break and lunch, even on the tried and tested loo. It may seem obivous, but I want to smash my head against the wall with how many writers DON'T READ scripts and can't name screenwriters (Seen it with my own eyes too). Quick question: how on earth do you expect to get work if you don't know who's done what?

But surely, this isn't enough: you also need to do a Masters degree next, in order to really seal the deal. Or, maybe, you abhor academia completely and just want to go it alone. After all, Tarantino and Paul Thomas Anderson did, so so can you! It's just that black and white of a choice, right? Right?

Join me in Part Three when I talk about courses and the value of your education.