How can a Screenwriter get their first credit?

Since 2018 has proven to be somewhat a watershed year for me in terms of career advancement (new short, stage play, TV credit), I figured now is as good a time as any to discuss this, and boy ain't this the big one...

It's possibly the most common oxymoron you'll find in screenwriting: Can't get an agent without a credit, can't get a credit without an agent. Whatever is a new screenwriter to do, hoping to catch that much vaunted fish?

Well here's the thing: you don't need anyone's permission, agent or otherwise, to make something. Having some independently produced material can rather 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, which started life as a teaser short film, then got expanded into a feature), or be a way to build your own brand with some other successes.

So, what can you do?

• Short films: This is the classic staple, and is pretty self-explanatory. If you lack contacts for a crew, don't fret: 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. 

THAT SAID, as time passes, I find the first project below far more advisable for writers creating short-form material than a short film: not only because there's likely to be more content, but shorts tend to be viewed primarily as director showcases. A lot more emphasis gets placed on performances, style and ambiance than on great dramatic or comic writing.

• Webseries: In the internet age, these are everywhere and cover every genre. Some can even attract some decent name talent, such as cult-favourite Cops and Monsters (which counts among its staff TV scribes like Debbie Moon (Wolfblood) and Roland Moore (Land Girls)), or recent hit Shiro's Story from Rap Man (now at the centre of a bidding war from networks). These are especially good if you have an eye for TV and want to show you can write a returnable/long running project. It affords you a freedom of plot and character that short films simply don't allow. Facebook and Screenwriting Staffing also put these staffing gigs up regularly, so keep an eye open for that too.
• Stage Plays: Loads of small theatres and festivals regularly offer opportunities and competitions for material, some even doing full plays that they fully fund. Most of these tend to be sketches, ten minute plays or one acts (totalling about 40 mins). Agents and other talent scouts do attend these (though usually, they have to be invited), so it's a good way to get spotted and network. BBC Writersroom and London Playwrights' Blog are great sources for finding out who has an opening coming up, and usually three or four show up a month.
• Radio and podcasts: The audience is much 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 (Commissiong guidelines are available on the site to learn more.) However, the same need for patience and decorum as with TV still applies. Welcome to Night Vale and Homecoming, meanwhile, are proof of how much narrative podcasts have become a force of their own, and not something to overlook. If you have a bunch of mics lying around, some type of theatre or acting associates and some decent editing software, you could get your own decently-produced audio drama up and running.

There's also the question of screenplay contests. Even just placing highly in one of the heavyweights like the Nichols can be a useful sales hook. Just like everything I've discussed on this blog that involves money, Be A Discerning Shopper: Check the prizes, 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 that I have recommended previously. Alternately, why not try one of the yearly TV Fellowships from the States?

Okay, but say you've done that: what about actually talking with companies? Two words: IMDB Pro. Quick and easy way to find emails, and substantially better than doing the dumb thing of sending to the info@ address of a company. Type a short email, giving a brief account of you, your work and pitching a sample (DO NOT ATTACH THE SCRIPT, you will only come off as desperate) for them to read. Alternately, just ask to have a five minute meeting with someone in development about career advice: You'd be surprised how generous people can be with their time.

Just do not be:

• Clingy 
• Impatient
• Annoying
• Demanding

Got it?

My first performed Stage Play - Cull

Well, now I'm a performed playwright! This past Sunday, May 6, my One Act dystopia play Cull premiered at a special members-only New Writing triple bill at the Oast Theatre in Tonbridge, Kent. It depicts a future where resources are at critical, overpopulation is the dominant and our government must consider a 'terminal option' for the crisis.

Directed by Sandra Barfield (funny thing about this: I had sent this off two years earlier, and they just got back to me in March. Stranger things indeed... but I'm not complaining!), it closed off an afternoon of new plays (following both a ten minute and One Act comedy about infidelity and Brexit respectively).

It was a fun experience: naturally, I was nervous about seeing my work performed live in front of an audience. All the expected concerns came up: is it exciting? Is it clever? Is it unsettling? Did the director get it? Did the actors get it? Was the dialogue right? Was the pacing right? Were the characters will fleshed out? Did their conflict make sense? Was it too long? Was it too short possibly? Was it practical?

However, all went off without a hitch and the response from the audience was very positive. Many were indeed unsettled by the ethical questions posed by the play, and my own observations of the audience confirmed this.

So, what next? All goes well and it recieves the winning decision in October by the Oast's board, there may be full follow-up productions on the fringe festival circuit around England. After that, well, skies the limit, no? I have also been offered to have any 10 minute plays produced by another theatre as a result, so I will keeping an eye on that. If there is a moral to this story, it's expect the unexpected.

(Check out Oast's newest productions here: https://www.oasttheatre.com/)

Summer work experience - Production Assistant on Flowers in the Field (June 2014) and Revolution Farm (August 2014) - (8/8/14)

During this summer, I had the great blessing and privilege to work as a production assistant on two small theatre productions, both directed by tutors from my Middlesex BA Film course. These were the above mentioned Flowers in the Field, a period piece set during WW1, directed by David Cottis, and Revolution Farm, an update of George Orwell's classic novel Animal Farm, directed by James Martin Charlton.

Both were relatively similar in how I came to work on them, and then the type of working relationship and tasks I was given; both had announced their new shows via social media, so I promptly emailed both and asked if there were available position on the production team, regardless of pay. Both men were very prompt in their reply, and were very easy to work with and allowing. So, after a little discussion and checking over of schedules, I was signed up as an extra Production Assistant, and had a meet with the main body of the team, the principal person of note here being the designer; Joana Dias for Flowers, and Ian Teague for Farm. It was with these people who I was to chiefly collaborate with.

However, it was from this point that the two diverge, equally due to different subject matter, as well as the actual length of my collaboration; Flowers was a period piece, so my task was primarily to assist in the acquistion of props, many of them from the actual period and rather fragile, as well as set construction. What's more, my collaboration was for the full month that made up rehearsals. Farm however, was contemporary, so there was more in the way of gathering materials up to build props, such as cardboard for the placcards that advocate the rules of the farm. The catch here, however, was the timing; I only served on this one for a week, as it happened to begin around the time I was preparing to depart for Spain to visit relatives and sort out private affairs there. A shame, as I found that between the two, I found Farm more actively utilizing me as a member of the team, whereas Flowers, while very interesting given the material, definitely felt a tad more like a runaround catch-fest, chasing down after all of the antiquated props need for the show, with one particular escapade having me leave for Portsmouth on a Sunday to get ahold of some 150 year old music cylinders!

However, I cannot deny that on each occasion, the people have been absolutely lovely, and very welcoming towards a newcomer like myself. Also, it was a great insight into the worlds of fringe and community theatre, and how even these grassroots, low budget production can have just as bells and whistles as their West End big brothers. I wish to extend a considerable thanks to both David and James for giving me these opportunities to help beef up my CV, and I hope we bump into each other sometime soon.