Jed Mercurio and the Importance of Screenwriter's Etiquette (Part Two)

Don't think I need to explain who Jed Mercurio is if you're reading this blog: probably the most successful British screenwriter of the moment not named Nolan. Line of Duty returns for another series and so, press gets generating. One such was GQ Magazine interviewing Mercurio and talking about working amidst the pandemic, as well as some asides to his political and social views. 

On its own, just a simple piece, save for one topic: amidst talking about issues with modern journalism (a topic, to be clear, worthy of examination), Mercurio uses this as a segway to touch on his noted animosity with television critics, and in particular, highlighting an incident in 2019 where, well, I'll let the article explain:

That became particularly evident when, in December 2019, a storm erupted on Twitter after he called out the Guardian for including Line Of Duty in an article titled “The Biggest TV Disappointments Of 2019”, which also included Game Of Thrones and Killing Eve. In a now-deleted tweet, he directly addressed a young critic for her involvement in the article. In it, she suggested that the show had gone “catastrophically off-piste” by revealing that the mysterious “H”, supposedly the inside man at a high level in the police with links to organised crime, was not one, but four people. “The biggest disappointment these jokers really experienced in 2019 was when they realised what they do for a living,” he wrote, followed by another message directed at her that lead to several fellow journalists tweeting back angrily on her behalf, defending her right to criticise the show.

And then he capped off with this:

I don’t see why it’s OK for a journalist to participate in an article which is fundamentally sneering and not at least have some insight into what a c*** she’s being. If you go into the public domain having a pop at people then expect some comeback. There was actually an enormous pile-on from journalists saying, ‘She’s just doing her job. She’s a talented writer.’ She’s a piece of shit. Fuck her.”

Well... that went from one to fifty fast, huh? 

Indeed, why is this eerily similar... (he said, plugging his article about Joe Carnahan and El Chicano that this one is a sequel to.)

DISCLAIMER: I do not know either of the two main individuals. Nor am I here to demonize Mercurio or denounce his work or collaborators. Like with Twitter's 'Line of Duty was never good' takes, this misses the point and trivializes the real issue here.

 

Seeing someone of Mercurio's stature behave like this about one critic's review of Line of Duty is troubling. Just like with Carnahan's infamous blunder, it is another example of people at the top not setting the example to newcomers: yes, art is passionate and we get very invested in it. Yes, being upset at a bad review is understandable, but to engage in public shaming like this, and then hounding said critic off of Twitter, for the crime of being, what, the one person who wasn't raving about monster-hit and critical darling Line of Duty?

 

Mercurio should know better, rather than perpetuating this 'war' between media critics and creators that achieves nothing nor improves either discipline. In the same way it's not our job as writers to please critics, it's not their job to pat us on the head and give us cookies. Does that mean you agree with everything someone writes about your work and have no right to defend yourself? Of course not, but Mercurio's reaction reads as completely disproportionate to the situation.

 

(As an aside, can we also can it with the 'critics are failed artists' schtick? Besides being the weakest scene in Birdman, it's so hilariously untrue and, furthermore, ignores the ones who do both successfully. See Rod Lurie, C. Robert Cargill (back to him in a bit...) and the entire French New Wave that changed cinema in the 50s.)

What's worse, and especially bad for newer writers to be seeing and taking after, is that Mercurio claims in doing all this, he was giving the critic a chance to respond to him. Okay, but why then front load with ad hominems if what you want is a dialogue? Why not create an actual constructive dialogue with this critic so that both you and they learn from it, instead of shouting and calling them this-that-and-the-other? Sorry, but this isn't actually engaging with your critics: she was going to lose, no matter what she actually said or did.

Like I wrote in the Carnahan article, the truth of internet fire-fights is no one, regardless of position, comes out looking good. If you misconstrue critique of the work as personal attacks, proceeding to broadcast that ire everywhere, how can you expect to work with other people and improve both yours and their work? What are you telling peers about yourself when you do this? What does this say about your values? Conduct and etiquette matter; doubly so when you don't have the stature of a Mercurio to act as some kind of (albeit poor and in no way actually valid) excuse.

 

Indeed, I think newer writers very much need to bear this mind: perhaps not from your work getting reviewed by published critics, but any time you get feedback/criticism on a project. Script reading services, script editors, even just getting feedback in a writing group. The core principle is the same: You have to be able to listen and not freak out when someone doesn't like what you write. A great saying that stuck with me is, 'look for the note behind the note'. If you feel like a criticism of something you made doesn't make sense, rather than start attacking, like Mercurio did, put some distance between you and the critique and think: why would they say this? Is there a choice I made that made them take away that impression instead of the one I wanted?

 

But hey, if I can't convince you, because my work isn't on the same plateau as Mercurio, let's hear from a writer who is: here's what novelist and 'Doctor Strange' (An MCU film is, I'm sure, more than a match for LoD in notability terms) screenwriter  Cargill, has to say about taking criticism: 

 

As a capper, I think it's worth considering the personal effect here: being able to handle critique is not just important for having a career, a good image and navigating the industry - it's necessary for your own mental wellbeing. Using others for validation, especially when it involves critique, is a fickle thing and is more like a coin toss. When you land the tails of negative feedback, being snippy and hyper-defensive is going to do your own confidence no favours, and shows you lack perspective on your work and yourself. Writers can often get stuck in negative mires, worrying about our ability or worth, and anger, while understandable, is not the answer to these insecurities.

 

Have faith in your ability, be confident, but don't get into the mindset of you are always right. Writing, like so much in life, is a learning process, and art is really subjective. Understanding this will take so much of the anxiety off your shoulders when you're making stuff: not everyone will 'get' you, and that's fine. You don't need everyone to love your work and praise you. Instead, take pride in the little victories - finishing a page, or three, or ten a day. Writing a gag that makes a friend or collaborator laugh. A tight action scene. Do the work, listen and keep on writing - if you're not enjoying it, why bother?

GETTING WORK WITHOUT AN AGENT - Screenwriter's Survival Kit

I'm repped now (thank you Andy Townsend!), but I spent several years in the 'wilderness' of the industry, without an agent. For new writers and out-of-school-students, this can be incredibly daunting: they've oft-heard the 'no unsolicited submissions/agents only' bit many times before, thus massively cutting down submission options. They may also have heard that big shows won't hire writers without one, or without a track record of credits. 

Can't get work without an agent - can't get an agent without work. What a Catch-22, right?

Well, not entirely. Your options will be more limited, to be sure, but as I've mentioned many times on this blog, the industry casts a huge smokescreen around itself (mostly for legal protection). Those walls and gates can absolutely be broken through and there are people out there who will take a chance on new blood. While I cannot sell you a magic ticket, nor would I, I hope the following will serve as a roadmap as to the avenues you can explore to train and earn.

Also, for the purposes of clarity, I'm specifically talking about paying gigs, not competitions, scratch nights or short film festivals, nor am I talking about self-funding projects like an indie feature. This is about commissions.

CAN I GET TV WORK? 

Yes, but get ready for it to be slow coming. Very, VERY SLOW. TV that is more amenable to unrepped writers tend to err on the lower budget end, meaning it can take longer to make and, more importantly, fund if it's not an in-house production from a broadcaster.

One easy recommend is Children's TV: shorter lengths, simpler stories and, on the whole, lower costs than regular comedy or drama. Pre-school, in particular, can be really amenable to new talent if you have a good sample on hand and are, most importantly, enthusiastic to write for the series. 

Based on my experience, some of the things that they look for include:

• Big and colourful, something cheery (but not bubblegum - the days of Barney are long gone.)
  
• Contains an educational component (though doesn't have to be an education series persay, just simply with something that teaches kids a lesson about life or the world.)
• Diversity
• Humour - kids loves slapstick, goo and goofery. Just be careful of imitable actions (''don't try this at home, kids'')

BUT WHAT ABOUT ADULT WORK?

Sketch shows, if you pitch it right and have some cracking samples, may be willing to give you a show. Again, just bear in mind the profile: the bigger the comic, the harder it will be. Between the two, however, comedy allows for more moving about between kids and TV, so doing the above can make this a bit easier.

As for drama, the continuing dramas/soaps are seen as the 'traditional' way in, though most don't regard themselves as such (even Doctors, often treated as the beginner's show). Reaching out to the script producer is an option, though bear in mind they also work on the series and handle a variety of other responsibilities, so don't be surprised if it takes 6+ months before you get a reply. However, that's not the only way - storyliners are a job you can apply for and, even better, they tend to progress into script editors or writers, meaning there will usually be a new callout every couple of months.

WHAT OTHER WORK IS THERE?

• Radio and podcasts: The audience is smaller than film or TV, but the advantage: 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. If you're into comedy, Newsjack is the classic entry point. 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 if you're interested. Audible do callouts from time to time, and don't be afraid to search 'audio drama' or dig into 'BBC Sounds'.
  
• Games: While these can sometimes demand some level of experience, and you won't be right away on the next Assassin' Creed, the great thing here is an agent isn't needed, and there are fairly regular call outs for writers, or narrative designers, to work on a new game with smaller developers. Sometimes it's on a specific game, other times to join the company's writing department to work on several.
  
• Online content: web animation, often no longer than maybe 2 or 3 minutes, has been coming more into its own in recent years. The views on Youtube are, frankly, insane. These tend to be, but by no means always, part of a bigger brand and a link will usually be provided on the channel to find them. There are also jobs to write live-action Youtube videos as well, such as being a researcher or copywriter, depending on the style of show.
  

WHO DO I SPEAK TO?

Exactly the same process as I discussed in the Networking article of SSK (read here if you missed it). Producers, script editors and head writers are your ports of call. End credits and IMDB are your friends.

WHAT WILL I GET PAID?

Use the Writers Guild of Great Britain (WGGB) website to check your rates, which covers all sectors of the industry and media.

I hope this is of use. Naturally, none of this is a complete guarantee: all work is tricky and competitive. However, this should clear away what can feel like some of the impenetrable mist.

HOW DO I DEAL WITH REJECTION? - Screenwriter's Survival Kit

This is inevitable.
You can do nothing about it.
It will happen.

Every writer, in every field, deals with this at least once (and that's being generous): rejection. The big R all writers fear (whereas Residuals is the R writers like). it's one of the hardest facets of being a working writer that newbies must make peace with.

 
Yes, you will work really hard on a script or other project (but as this is a screenwriting blog, let's mainly focus on that), only for someone to say no. I'll talk more about why shortly, but there's any number of reasons why rejections happen.

WHAT DOES REJECTION FEEL LIKE?

For as much writing as there is about rejection being a reality, I don't think there's much written on what it feels like in the moment; especially if you're new to the whole business. Naturally, I can't claim to represent every screenwriter in this: just my own experiences. However, for what it's worth, here's my take on the stages of rejection grief (mainly when you're a newcomer, though pros certainly feel the sting too), and what to do.

1. Shock - You open the email or envelope and get told the bad news. Usually, it will start with a courteous hello/how are you/hope you're well, and then tell you that they will not accept your screenplay at this time. Sometimes they will cite a reason (not for us/we already have something similar/we like the concept but...), but other times not. The initial shock of being told no will give way immediately to a sort of numbness, like time has slowed and you've divorced from reality. Afterwards, you will feel
2. Upset - Naturally, rejection hurts. You spent all this time, put in all this work, and they said no. This can hurt more if it's from a person or company you really like. You may feel a weight in the pit of your stomach, or even the trickling of tears at the corners of your eyes. Hey, it hurts - you're not a baby for feeling hurt by something that meant something to you. Then comes a burst of
3. Anger - You spent all this time, put in all this work, and they said no - HOW DARE THEY! You want to scream, want to explode with indignity and rage. You were sure you did everything write - proofread it over and over to make sure it worked; the characters were good; the plot was good; the pacing tight; the structure strong; no typos or errors. You were sure! SURE! And yet, it didn't make it. After the fire subsides (time taken can vary a lot), you will reach a state of
4. Acceptance - Having got the fire out of your system, calm sets in and you just say, 'well, that's a shame, but I must move on.' Maybe you go back to your current project, maybe you opt for a break; you just do something because you're a creative and it's what you do.

The main thing to remember with rejection is it's not personal. No one is out to get you, or humiliate you, or destroy your dreams. 

Sometimes, it just doesn't work out. 

BUT WHY NOT?

Maybe you need to get better at writing; maybe they weren't the person for the project; maybe it simply wasn't the right time in the market for the project; maybe you just didn't have the name recognition for it to be worth the gamble. 

BUT HOW DO I DEAL WITH IT?

Well, aside from going back to writing, one easy bit of advice is just give yourself room. Let yourself feel; let yourself have time to digest. If you're not on commission, then the script is being written on your time and thus, you are in total control. Step away for a bit; have a walk, eat something you like, maybe watch a movie or a show. Like after a night's binging, let yourself detox from a rejection. Give it a few days, I'd say.

As time passes, and you get more rejections (which you will), you will find the stages get less potent. The shock, anger and upset will start to fade: never fully gone, but they will not be as harsh on you. 

DO I NEED TO REWRITE MY SCRIPT?

I'd say, if you sent it out to multiple people, wait. If they all come back rejecting it, it's worth having another look over. As the saying goes 'If one person says it's crap, it's an opinion. If ten people say it's crap, you've got a problem'. However, never try to rewrite something right after getting a rejection - it's too raw for you yet to be truly objective.

WILL I GET USED TO REJECTION?

Like anything in life, the more you do it, the more used to it you become. The hurt and annoyance will never fully vanish, because you are an artist and you are, always, exposing yourself in creating your art. However, experience brings maturity and with that maturity, coping mechanisms. You may think you won't, but you will.

BUT IF I CAN'T?

You will - that's just the immediate shock talking. Nor should you worry about 'lost chances': barring you being rude to the other person, new opportunities can and will emerge in time. Maybe this script wasn't for them, but another could be. 

And if not? There's always someone else out there.

Always keep pushing, and you will get where you want to be in the end.

HOW DO I MAKE CONTACTS? - Screenwriter's Survival Kit

Welcome to a brand new sub-series on this blog, designed to be one-stop shops for your big craft and industry questions. 

To inaugurate, I'm going to talk about one of the most vital yet still poorly-explained parts of building a media career, in any field but focusing on screenwriting here. The big N: Networking. This can be especially troubling for those living away from the big media hubs, or have some difficulty in social circumstances. You may be socially awkward, or not used to being hyper-proactive in a job sense. 

However, it is a vitally important part of this business: you need people to make your movies and shows. You need people with some level of power or resources to know you exist, and playing the lottery with screenwriting contests and just waiting can be a needlessly big gamble. Whether it's for a producer, director or development person, the process is the same.

WHAT DO I DO?

First, after having written and polished a quality script, find a company/producer who makes stuff similar to your script. If you have an action thriller, find people who make action thrillers. Comedy: comedy. 

You can find people with greater ease than ever before: sites like IMDBpro and Linkedin offer ways to get directly in touch. There's also production company websites, which usually contain a generic/office email: HUZZAH! They've already done half the work for you. A little more brain juice, and you'll quickly figure out the email of the person you want. Producer, executive, script editor, assistant - all people to speak to.

In the email, you don't need to be heaping wild praise, or desperately begging for attention. Short and sweet is the desired. Start by say 'Hi, I'm a screenwriter (mention if something you worked on got an award or distinction. If you're currently on a course, even better. They love students, as they aren't a threat. Otherwise, just what genre you write in).' 

After, write a quick bit of praise. Something like, 'I really liked your show (quickly say why, just a line) and I'd like some advice on getting into continuing drama/hour-long drama/animation/sitcoms. If it's possible, could we do a five minute phone/zoom chat?'. 

NEVER EVER attach a script or CV without asking to do so first. Dumping stuff onto someone is only going to turn them off. You want to make their lives as easy as possible: the less demanding you are, the more willing they will be to hear you out. 

BUT WHY A MEETING AND NOT A SUBMISSION?

I'd say doing this is better than gambling on a blind read - you'll get a meeting, where you can become more than just another anon email, and make a contact in the process. This is how I did it - I was humble, open-minded and asked industry people for advice. Now, I'm in the business. This advice works.

WHAT DO I SAY IN THE MEETING?

It's an informative conversation, not a shopping list. There's no right way to go about it, save for not going overly-personal, or insulting the other's person's work. Some easy pointers, if you are having trouble, include:

• How did you get started?
• What are your influences?
• What was you best experience on a project?
• What keeps you going, even when things don't go well?

As for talking about yourself, which they likely will ask about, you just simply talk about your writing background, if you've won anything/placed anywhere, and maybe do quick pitches of whatever script you've ready to show. A logline, maybe a quick descriptor of the main character and the conflict. Be cool, be calm and, above all, be a good listener. Industry people love to talk, so let them. When it comes time for you, be chipper and upbeat: monotone will make you sound like you don't care. Don't force it, but I guarantee you will find, as you get comfortable, you will be more engaged, and be more charming to the other person. 

AFTER?

They will ask 'Can you send it/something along?' At which, you send the script and your writing CV. Good time to chase up would be 10-12 weeks. Indeed, checking in every couple of months with a simple 'Hey, how are you?' goes a long way.

You may not realize it, but you do have the ability to network with greater ease than you may be aware of. Once get in the groove, it may become your favourite part.

NEW WRITING - Bang2Write's Submissions Pet Peeves

Well, we're now in 2021. Boy, what a weird fog that all was, eh? Hope everyone had a fun and safe New Year's, and keep every opposable digit crossed that you kick a whole lot of posterior in the next 12 months!

To ring it in, I have once again contributed to jack-of-all-trades writing website Bang2Write with their newest guide for writers, 18 Experts Share Their Submissions Pet Peeves. The article details what readers, producers and development folk in both film, TV and books, tell what are the big no-nos when they see a new piece of work come in.

I chipped in, recalling what I had seen while working as a script/book reader for a few places. I've so many more niggles i could share, but right now, this is plenty. If I'm not enough of an incentive, the list also features tricks from superstar showrunners Tony Jordan and Ashley Pharoah, as well as agent Blake Freidmann.

Read here.

 
Previously, I have also written on their little miniseries, What 22 Industry Pros Don't and Do Want.  First up, here are the DONT'S.
And now, the DOS.

 (And if still want more help on actually working on your craft, I did a whole series to help beginner screenwriters here.)

So, You Want To Be A Movie Critic? Guidelines To Being An Online Media Reviewer

So, you’re a young, fresh faced movie geek. You’ve just watched your first Kurosawa or Hitchcock film; you’ve memorised all sorts of random facts about your favourite franchise (Star Wars, Marvel, DC, Jem and the Holograms, etc.), from the names of the production staff to what kind of tape the gaffers used on the set; And, the biggest one of all, you don’t have an immediate circle of people with which to share your passion. For them, cinema is just for big explosion fests, cartoons and maybe the odd ‘serious’ movie around Oscar time.

So, what do you do?

Jump onto social media and become a film critic (or reviewer, depending on your influences and how you view your craft and dedication) of course! Maybe a Youtube channel, popping out a couple of 5-10 minute videos a month, or perhaps a blog that you update every few days. You might even go to Wix or WordPress and start up your own website. Either way, you want to start talking about and dissecting movies.

But how? What are some of the fundamentals you need to get right? Well, as someone with seven years of experience in the field, spanning written and video content (Blasting News, ThirdActFilm (alas, now defunct), Youtube), and collaborating on projects such as Red Ribbon Reviewers), I have a few possible suggestions:

1. KNOW WHAT YOU’RE TALKING ABOUT!
Do you know a thing about what the process of, say, directing or screenwriting or producing or cinematography is? Do you know your mise-en-scene from your Inciting Incident? Do you understand how dialogue works within the confines of ‘show, don’t tell’, or the importance of three point lighting?

If the answer is no, even to just one of these, then congratulations: you’re already lagging. It’s shocking how many people make movie reviews without understanding the basics (just like people who try to write and/or direct shorts without knowing about the craft). You don’t need to have made a film to talk about film, but you ought to get informed on the how and why if you want to present the best and most thorough review possible. After all, would you trust a doctor who didn’t go to med school, or a firefighter with no training?

There’s a veritable wealth of videos and literature that will greatly expand your knowledge of the medium, as well as make for stimulating reads. Added bonus? If you ever do decide to dip your toe into filmmaking, as study or hobby, you’ll have a heads-up with these.
Some of the usual suspects include, but are not limited to:

• Film Art: An Introduction by David Bordwell and Kristin Thompson. This is like a great sample platter of everything that film study has to offer: the medium’s history, evolution, roles, techniques, as well as how to analyse material.
• Biographies of famous artists can be handy for both understanding different crafts, as well as learn film history, such as On Directing Film by David Mamet, Making Movies by Sidney Lumet and Rebel Without A Crew by Robert Rodriguez. As their titles imply, these take you through the much exhaulted yet not-commonly-well-understood process of actually directing a film. Also, William Goldman’s Adventures in the Screen Trade is a great read for wannabe writers and those curious about the movie business during ’70s ‘New Hollywood’.
• Save The Cat! The Last Book On Screenwriting You’ll Ever Need by Blake Snyder. An informative but simple guide to screenplay structure and construction. Also, you can throw in  Christopher Vogler’s The Writer’s Journey (which covers the old chestnut of ‘The Hero’s Journey’, first coined by anthropologist Joseph Campbell and then popularised by George Lucas via Star Wars).
• In The Blink Of An Eye by Walter Murch. Essentially Save The Cat but for editors, editing legend Murch (Apocalypse Now, The English Patient and too many more to count) gives you  everything you could want to know about the art and science of editing and how it affects the audience. It should also finally enable you to properly articulate why you hate jumpcut-fest action sequences so much.

Now, in terms of video/audio content:

• Every Frame A Painting: Terrific video analysis of why movies work, from the styles of auteurs like Edgar Wright, to the soundtrack of movie titans like the Marvel Cinematic Universe. Also recommended: Nerdwriter1 and Lessonsfromthescreenplay.
• The Movie Crypt Podcast: Joe Lynch (Everly) and Adam Green (the Hatchet trilogy) talk about and to filmmakers and their staff about the highs and lows of making movies and TV for a living. The hosts have great chemistry but also great wisdom and respect, allowing their guests to be relaxed and talk freely of the harder times in their careers, which can be a real eye opener. Guests have included Chris Columbus, Adam Wingard, Jordan Peele, Seth Grahame-Smith and many, many more.
• Listening to commentaries and watching making of featurettes? Good, keep at it: right from the horse’s mouth is always best. Stephen Sommers may not be one of the medium’s giants, but his commentaries for The Mummy films and Van Helsing gave me my first education in film.

2. Know about other critics
While this may seem obvious, if you’re getting into movie reviews because you’re a fan of maybe, tops, three or four people on Youtube, then you’re limiting your knowledge base as well as inspirations. Nothing wrong with the likes of Chris Stuckmann, theFLICKPick, schmoesknow and Screen Junkies: but like with my next point, the more you know, the better your own work will be.

Watch and read a variety of reviews, reviewers and critics. Some immediate names, past and present, include Roger Ebert, Richard Roeper, Mark Kermode, Janet Maslin, Pauline Kael, A.O. Scott, Peter Travers, Owen Gleiberman and even the anti-christ of film criticism himself, Armond White, all have distinct ways of breaking down films. Some favour a more general deconstruction, step by step, while others will focus on specific elements like say, plot or character or pacing.

3. Have a broad palette
If you want to be a film reviewer, and your only frame of reference is superhero movies, the odd Tarantino flick and some cheap fart comedies, then you might be in trouble. Not saying anything is wrong with these, but to properly discuss and analyse film, you need to be aware of what types of movie there are (same if you were writing about television or video games), how they work, when they were made and how they succeed.

You don’t have to like everything, but you need to at least be aware of all the genres: action, horror, adventure, thriller, comedy, sci-fi, western, biographical, documentary, parody etc. There are plenty of ‘Top 100’ lists out there from both critics as well as film establishments like the American Film Institute or the British Film Institute to help you, but some of the immediate suspects you should have crossed off:

• Citizen Kane (Yes, really. They’re still ripping off its tricks, even today)
• Casablanca
• The Good, the Bad and The Ugly
• Gone with the Wind (Yes, really, there’s a movie before damns aren’t given)
  
• The Godfather (Yes, really, there’s a movie beyond Brando’s wheezes)
• Taxi Driver
• Seven Samurai (Any movie about teams owes something to this)
  
• Psycho (Yes really, there’s a movie beyond the shower scene)
• Bicycle Thieves (this is where the whole ‘realism’ schtick came from)
  
• Chinatown (a holy grail among screenwriting teachers, too)
  
• Jaws
• Alien
• Raiders of the Lost Ark (really, there’s a movie beyond the boulder scene)
• Die Hard

And that’s just a quick skim! I could’ve done an entire article on the must-see movies for any young film enthusiast. Variety and perspective in your film diet counts for a lot when you want to really get stuck in with cinema and discuss the medium in all its strange quirks and habits.

4. This versus that, comparisons versus futility

Unless they are very similar films (like say, Friday the 13th vs My Bloody Valentine), comparisons in a review are a silly and fruitless exercise: why would you dismiss a film because, say, it’s not Citizen Kane, when it’s obviously not trying to be Kane? There are many reasons why, say Transformers: The Last Knight was bad, but it sure isn’t because it’s not Gone with the Wind or Schindler’s List. Likewise, obviously trashy fare like Killer Klowns From Outer Space or the 80s Hercules movies with Lou Ferrignou make no pretenses about being anything other than what they are, and have enjoyable merits of their own if you are willing to try.

These types of sweeping statements stink of amateur and show you haven’t developed a great love or understanding of the medium, yet, if you have to resort to quick name-drops. It doesn’t prove your street cred to fellow film geeks, it’s just hackneyed. Plus, we’re reading or watching to hear what YOU have to say about the film in question, not what you think you’re meant to say and compare it to.

5. Don’t know it? Don’t use it!
Again, another way to avoid looking like a dumb kid on the internet: if you’re not sure what something means, don’t try and sound clever by using said word in your reviews. The people who don’t know it will be confused, and those who do will laugh at you for using it wrong. It’s laughable how often people will say ‘cinematography’ to talk just about camera when, if you actually know what the word mean, you’ll realize it covers more than that. Same with how often tone or theme are misused as well.

In this day and age, you have plenty of resources to be able to check if you want to talk about certain ideas or subjects (like the reading list above) but aren’t entirely sure. If you don’t put in the effort to get your facts and definitions right, then why on Earth should anyone give you their time?

6. Read it, then read it again!
Proof reading is one of the most overlooked yet important elements. Not just basic tidbits like minding Ps and Qs, there and their, its and it’s etc. but also the structure and flow of your piece. Is your focus clear? Is your argument, positive or negative, detailed and well-supported? Do you adequately explain why you thought, say, the musical score was off-putting or the cinematography was intoxicating?

Detail is everything to a film review (or indeed, media criticism period): it’s the eggs and sugar of a cake, or the yipee-kay-ay of McClane. Bad articulation of points, poor use of terminology, bad structure and a conclusion/verdict that doesn’t match the preceding points, whether it’s written or a video review, is what undoes countless newcomers.

7. Do it because you want to
If you think writing movie reviews is the shortcut to fame and fortune, then you might as well put that time into something more practical, like engineering or computer coding. The truth is that there’s very little money in online content nowadays (ad rates have crashed over the last decade), save for those who prove themselves worthy of sponsors or having people willing to pay for a Patreon.

You create your channel or page because you actually want to talk about and share your views on film. You do it because the magic of the silver screen, whether it’s in 2019 or 1939, compels you, entices you, baffles you, intrigues you. You do it because you find merit in the hard work of dedicated artists and craftsmen. The reasons why are legion, but what counts is what you add to the discourse as a unique individual with a unique worldview. No one can do it like YOU.

Bonus tip: be respectful to your audience. Just because you’re the one at the keyboard or mic is not an excuse to behave like a condescending elitist. People will gravitate more towards someone they could actually talk to, and don’t appreciate being yelled at.

(This article was originally posted on ThirdActFilm.com on 26th August 2017. Some elements have since been revised.)

Screenwriting Professionally: 2020 edition

Back last year, I did a big recap post, going over the highs and lows of my screenwriting efforts. 2019 had been a year of halves: a quiet first was followed by a busy and exciting second. I got to visit Coronation Street, met some new contacts and got signed to prep Never the Bride. With that high, I set out to make 2020 the big push: get representation, score another broadcast credit and set up the pieces for future gigs.

Oh, little did I know...

Jan-Mar (Winter): Like with last year, the year began earnestly enough. I sent out my 1950s period drama spec, which had netted me the Corrie placement last year, with the intent of placing on shadow schemes, as well as attaining referrals to show to an agent. I went about my usual routine of setting up more meetings with development folk at various production companies, while also keeping an eye out for new schemes.

Then, Covid happened, and everything came to a screeching halt. Well, almost: one of the few upsides was that development people were still working and, with shows not being greenlit or proceeding in any fashion, it meant they had more time to read scripts. Indeed, I got some of my fastest responses and turnaround in this period, with agents consistently showing interest and asking for reads.

Apr-Jun (Spring):  One of the most surreal chapters of my life. Each day blended into the next in one long haze. I was sending out stuff, as mentioned, but time felt utterly meaningless. Writing, likewise, suffered greatly. The siren call of vegging out on Youtube was often too great at times, and the sudden evaporation of work did little to counter it.

I'm usually a machine, able to reliably turn around a script in, give or take, a week. That's how it's been the last few years. Now, that same script would take close to a month to get into any sort of shape, because of how 'out of it' I was. I wanted to do it; I had the enthusiasm and the ideas, but not the drive. When the world looked to be on such a knife-edge, it had me even questioning at points 'why bother?' It was the lowest I had felt since circa 2016, when everything fell apart on the animation project.

However, it wasn't a complete wash: Never the Bride took a big step forward when, after rewriting the series treatment, I got given the go-ahead to write the pilot script. Escaping to the dark, twisted and goofy world of Paul's books did help me get somewhat in the groove.

Jul-Sept (Summer): Getting back on the bike and writing proved to be a challenge. I made several attempts when I wasn't working on Never the Bride, which I sent off in August. In the end, I managed to eek out a new draft on a first part of a three-part drama serial about a Spanish-British family coming to terms with an ugly past. It felt good just to have something, anything, down on the page in front of me: clicking 'Save As PDF' when I was done on Final Draft like some Olympic achievement. 

By this time, however, the agent race had cooled significantly - rejections came aplenty, though it was more down to the agents needing to prioritize existing clients, rather than due to poor work on my part. indeed, I received consistently enthusiastic and strong comments on my spec, which was a silver lining. Given I had tried to get an agent last year for a time, and was likewise met with no success, I was much more mentally fortified to deal with rejection this time. Indeed, it's important to remember none of this is personal - just wrong place, wrong time.

Oct-Dec (Winter again): Like poetry, time rhymed as the winter became so much like last year's: After so much fuss and bother, new opportunities began to manifest that gave 2020 a shot in the arm. I finally landed my first agent, Andy Townsend, in rather quick fashion after getting a referral from Toby Bruce at Dancing Ledge Productions; I then secured a place on the BBC New Voices Festival, a development opp for writers in children's television. The two day festival was very informative, stuffed with seminars from producers and script editors at CBBC and Cbeebies. The best part, for me, was a talk on animation by Andrew Burrell, of Danger Mouse, Demon Headmaster and Disenchantment fame. He brought a self-deprecating humour to the presentation that endeared him to all of us: plus, he was hugely detailed on his process of writing a script.

With the talks done, we were all sent a range of opportunities to apply for: joining writers rooms on several new shows; commissions on podcasts and webseries like My DG; mentorships with production companies; even the chance to work on a new Christmas Ballet to be broadcast on Cbeebies next year. I've been applying for the three I wanted, so now have to wait and see. Beyond that, me and Andy began reaching out to places, with several (hopeful) new projects next year looking for writers.

For all the things that can be said of 2020 (many with very colourful and fiery language), I can at least say it wasn't boring: scary, worrisome and annoying, to be sure, but never lacking in something to occupy my mind. Even if it wasn't the way I expected, or wanted, things to happen, I still achieved my main goals this year: secure representation and find new commissions. It serves as a reminder that you can get to where you want to be in your career: just be mindful of all sorts of left-turns and diversions that will get you there.