Storylining for Coronation Street - a workshop experience

As part of the 2019 ITV Original Voices scheme, I was invited up with other BAME and disabled writers to attend a day-long masterclass/simulation of working on the storylines for the long-running and much loved drama Coronation Street. Departing London while still dark, finally diving into a three-year-waiting copy of Anno Dracula for entertainment, I found myself up in chilly Salford's MediaCity, where ITV and BBC stand side-by-side across the water.

Along with about 19 other writers, we were guided up into the cosy Corrie offices in ITV Studios and met the story team, like the wonderful Lindsay Williams. They talked us through the day's itinerary, got everyone introduced through an ice breaker over croissants and coffee, and then walked us through the process of making Corrie:

It starts with the story team: they meet, generate ideas, map them out ala a writers' room board and then go off and break those down into indivudal storylines. Following revisions and more meetings, these are then handed off the writers.

Actually, let me present this easy list to detail the process:

1. Story conference - every 4 weeks, for 6x4 Episode blocks.
2. Board Planning - A-E Plots and Arcs.
3. Storylines - Moving forward, Producers offer notes.
4. Breakdowns - exactly what it sounds like.
5. Commissioning
6. 1st Draft Meeting - The writer has ten weeks to write their episode's first draft. After, given notes from Producers and Script Editor.
7. 2nd Draft Meeting - Now, the writer has 48 hours to write the next draft. Notes from Producers, Script Editors, Director and production team.
8. Continuity Read and 3rd Draft - Now writing time is cut to 24 hours. Notes aggain.
9. Shooting Script published.
10. Amendments - any last minute tweaks/changes.

Armed with that knowledge, we were broken off into groups and set a task: brainstorm our own storyline for the next two eps (Monday 2, 7:30 and 8:30), following on from Friday's episodes. We had a choice of Jade and Hope (the obssession storyline), Roy and Nina (the more grounded care storyline), and Michelle and Robert (the big revenge storyline). I was in the Roy team and, with laptop and notepad, got to work with my team, conjuring up where the rocky relationship could go next.

There was a definite energy and kinesia there - it was so much fun just brainstorming and throwing ideas around. I found I rather missed this since the Belfast room I did for Pablo.

Oh, and part way, we were given a tour of the Corrie set, so huzzah!

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Later, we presented our storyline to the groups and story team. We were met with strong approval and felt quite chuffed about that. So, we were sent off home with our assignment - write two episodes (one night's) worth of storylines, from our group's work, and send them in Sunday to be judged. From there, well, some may get asked for revisions (like me), and then after, a lucky four will be selected to work on the series.

This was a very rewarding and valuable experience. A stereotype does exist of soaps/continuing drama as this lazy, silly, harrowed type of project, but it's actually a well-oiled machine and one that does genuinely care about story. If you've been running as long as Corrie has, well, something must be working. Indeed, the system they use is fairly close to other shows, such as Eastenders (though some, like Doctors, can be looser with writers pitching their own stories).

I also felt my ability to outline/write treatments did get stronger from the exercise, since every paragraph counted and we had only 8 to play with for a whole episode. Over the last year I've definitely put more into planning my scripts in detail, so this was a welcome booster.

Screenwriting Advice for BA Students... From a Masters Grad (Part Three: To Degree or Not Degree)

Here's the sad truth: 

Most, if not everyone, doesn't care where you studied, or how much you paid, or how high your grades were. Of course, doing well at school is an indicator of your ability and talent, but it's far from the final say. Ipsoergo, if your BA is so worthless, therefore, your Master's is as well.

Might as well just gung-ho it with a copy of Blake Snyder, right?

If the answer was that straightforward, this post wouldn't exist, would it?

Here's the thing: just like agents, you do not need a Masters to become a writer and get work. I've already shown you the resources available that can teach you all about craft and business. Indeed, the steep price tags of these more advanced degrees can be turn offs, and with an industry loaded with contradictory stories about how people broke in, many completely clear of degrees, gauging their actual worth can be very tricky.

HOWEVER, a Master's in Screenwriting is not merely just learning how to write a better movie:

• Careers: Other skillsets and career paths can open themselves up to you, that you wouldn't be exposed to by just reading. Not merely writing for film (feature and short) and television, but radio, video games, commercials, as well as development roles like script reader, script editor and then, finally, teaching and consulting. 
• Professional development: on the course, you'll be getting your material developed, reviewed and critiqued by veterans with whom you develop a relationship with and can turn to for help. You can even, if you ask nicely, get them to read and critique non-course work, or run a CV or cover letter passed for a check. This also covers pitching and getting comfortable talking to others.
• Work ethic: the structure and deadlines of the course will encourage you to start working more professionally and efficiently on your material. Learning how to turn around an idea into a script in about five-six weeks is a useful skill (not to mention, close to what is expected in the business), as well as how to generate multiple ideas (more on that in a bit).

Really, it comes down to you: are you better as a lone wolf, learning as you go, or do you need a guiding hand to help? Do you do better in class, with order and structure, or do you thrive on the wiles to the tempestous muse?

Let's say yes, you do need that class environment. What do you do next in course hunting?

What have I kept saying? Be A Discerning Shopper. Some degrees are undeniably better than others: fairer prices, better modules, more variety, more content and higher quality tutors. Just like with books and websites, similar criteria applies:

• Tutors: Just like with writing gurus, make sure the tutors are practitioners and have some experience. You likely won't be taught by a titan like Julian Fellowes or Steven Moffat, but even someone who was a producer on Casualty or a development exec at Lime will be a stronger guide and mentor than just a regular film professor. They know your pain, your anxieties, and will be able to offer you support and even advice on what to do.
• Module content: The course should offer a nice sample platter of the industry, covering all the key mediums, as well as a fair focus on the business side. There is no point in spending thousands on a course that, yes, can make you write well, but does not prepare you for the industry or suggest career options to explore while you prepare your material. Also, how is it structured? Does it feel like one subject flows into the next, or is it just a random jumble?
• Reputation: The more presitigious an establishment, the more difficult the entry criteria will be, and just like pricing, this can be a hurdle. The National Film and Television School are especially strict, demanding an entire portfolio of work from you (if you want to try, start working on it now). Inversely, the smaller and less well known the school, the higher the chances are that the MA is not very good, especially if it's not a school that primarily specializes in media.

So, you like the course and the school. Great, but what are some other MA benefits?

Well, one of the big downfalls of newbie writers is getting stuck on one project: that one pilot or feature that will, somehow, magically propel them to riches and fame, and as a result, never diversifying or working on anything else. This is the screenwriting equivalent of abortion: denying your career life before it's even begun. As a writer, like it or not, you have to create many stories, not just one. Going on an MA will force you to learn how to generate mutiple projects in a timely fashion, and not get tempted to be glued to one 'magic ticket'.

Another benefit? Names do, somewhat, matter here: in more developmental roles such as reading and editing, being taught by someone with a modicum of clout and respect can be handy to drop into your CV to show you've recieved quality training in said discipline. Plus, depending on who and where you pitch your project to, what your tutor worked on may also come in handy as an extra hook (want to sell a crime series? Maybe mention that you were helped in its creation by someone who worked on, say, Luther or Prime Suspect).

What's more, as you'll recall from your BA, you'll develop a little network among your peers of people who can share advice and even work, to be read and critiqued. While they may not seem like much now, someday... you never know. A script read today for a classmate could equal someone getting you a job on a hit Netflix series a few years down the line. Plus, you get free script reads, which never hurts. You may even get to write shorts, if the course crosses over or collaborates with other ones at the school, such as directing or producing, which will beef up your credits.

However, what if the propsect of more school just doesn't suit you? What are your options if you'd like some type of class, but not as expensive or long term a commitment? Well, there are no shortage of shorter writing courses, online classes and weekend workshops that you can easily search up online. Some will even tackle other roles, such as Yvonne Grace's sessions on being a script editor.

No, these aren't necessarily a replacement for what a good MA can offer, but they do offer some of the same features and, with careful selection, you can add up several in row and enjoy a variety of teachers and approaches. Like with an actual degree, the same criteria applies: make sure they're reputable, cost effective and offers a good amount of stuff.

Whatever you decide to do, degree or not, remember this: INVEST IN YOUR EDUCATION.

No, you don't have to drown in debt with expensive degrees, but learning and improving your craft, any way you can, is vital. It's slow, it's difficult and can often be maddening, but if you put in the effort and learn your inciting inicidents from your midpoints, and your elevator pitches from your series bibles, you will already be beating out a lot of your competition. The harder you work and the more you read and write, the better you'll be. Simple as: no cheat sheet or secret formula can replace that.

So, you've worked hard on writing, and are starting to get comfortable. You've got a few scripts that are coming along nicely. What can you do in the meantime? Join me in part four, where I finally talk about your job prospects. SPOILERS: your first gig likely won't be as a writer.

Writing For Musicals - A Workshop By A.C. Smith (17/4/16)

So on Sunday, finding not much of anything to occupy myself with, decided to attend a workshop dedicated to the craft of book and lyric writing at the Theatre Delicatessen in Farringdon. The session was taught by theatre veteran A.C. (Ali) Smith, who has worked on a number of shows with hr biggest credit being a co-book writer on the West End production of the hit comedy musical Dirty Rotten Scoundrels, based on the much loved Frank Oz film.

The workshop was broken in two halves: first half was on the book/libretto, which is the backbone of the show that ties the songs together in a narrative. A book writer differs from a playwright, despite both working on the stage, in that musicals are a collaborative effort over the singular vision of a normal play, and thus a writer has to be conscious of far more elements and people than they would if they were writing a regular piece. It can also be a thankless job, as most praise for musicals tend to go on the songs and performances moreso than the libretto (shows like CATS and We Will Rock You have often had their narratives questioned, yet are still very popular because of the music.). The upside is that it encourages a writer to be much tighter in their plotting and pacing, getting from song to song while creating stakes and a journey worth going on with our characters (usually one or two, as multiple characters tend to lean towards revues).

An effective book, Smith explained, was divided into two main lists: the 'keys' and the 'stages', both self explanatory. Five keys in fact:

1. Vivid, charismatic characters worth following. Who are they and what do they want?
2. Tighter plotting.
3. Dramatic action with weight and purpose. Songs play an important role here, propelling narrative and characters forward.
4. Imaginative world building, transporting an audience.
5. Elements of comedy and drama/light and shadow to create balance.

And then three stages. Again, very obvious:

1. Outline
2. Expand
3. Condense

Naturally, all this is well and good, but what do you do when you don't have songs? Not to worry, as you can have dialogue placeholders that convey whatever the final song is meant to, and again, revisions can and will smooth this out. Jukebox musicals (Rock of Ages, Jersey Boys) are not far off from that, albeit there you have to weave in and justify existing songs in the show.

Structures can vary, though the standard (from a writer's perspective), are a three (covered this one many times before in the blog, so I won't reiterate) and a five act (i.e., something like tragedy, where the first two setup our lead, his/her wants and how he 'gets' what he/she wants, while the last three show his fall). But wait, you say, most musicals are played in two! That's more for commercial reasons instead of narrative ones, and just means you may get a break at the end of 'Act One' i.e. act two in a three, or act two/three in a five, depending on your story.

The second half was devoted to lyrics which, believe it or not, don't necessarily require you to be a musician nor are they poetry with music. Lyrics are something that can be very infuriating at first, but as you get used to them and find your voice and style, they can become a second nature, and coupled with the many different types of 'texture' and 'flavours' words can have, there really is no wrong answer other than keeping it true to the character who is singing it (you wouldn't have a comedy relief singing something really profound and complicated) and not to cheat/go overboard with rhyming. It is important not to confuse rhyming with what is called 'Identity' i.e. Shaped/Shape, Fuse/Confused, where the words almost but do not sound similar. You can also create connections with vowels and even just the melodies of a song.

As with books, Smith outlined six rules of lyrics:

1. Character first: it has to fit them, as stated above.
2. Hook/motif: What is the heart of the song/unites it, and what makes it catchy?
3. Structure: How does its shape affect its meaning? A standard formula goes A, A, B, A, which translates to Introduction, Expansion, Contrast and Return.
4. Rhyme: Usually, second and fourth line. Good to consult rhyming dictionaries and thesauruses if ever in trouble.
5. Scansion: words set the way one would speak them so as to flow better in song.
6. Singability: don't give a singer an impossible chore to sing. Simplicity is key, and complexity must be used sparingly and for a purpose.

To demonstrate this, Smith played us a song from one of her own projects: My Secret Love, which tells of Queen Elizabeth I and her worries for her lover, Lord Dudley. Listen to the track and read the lyrics at the official page here. It takes on a folk song-ish dimension in its stylings, and Smith was very determined to keep the language as period authentic as possible to create an authenticity that fit both the era and the character. The AABA method is present here, though the instrumental serves as the Contrast here, and the hook here is the repeated use of 'secrets'.

And with that, our time sadly drew to a close. I must say, this was rather fun and a most welcome change of pace! Great atmosphere, friendly people and plenty of helpful tips. The fact is, I have loved musicals all of my life, from the Disney Renaissance gems like Aladdin and Lion King, to many beloved screen and stage classics like Singin' In The Rain  and Victor Victoria. I just love the ability of music, especially musical theatre, to inform, inspire and of course, create laughter. I enjoy the sight of a smiling audience, engrossed in whatever my work happens to be, and I had long been interested into expanding int musicals. I even tried to make my last University short film a musical! I felt the workshop was thorough and most helpful, though I lament we didn't get to do exercises in lyric writing as I would've liked to try and out what we had learnt to use. Oh well.