Tag Archives: breaking in

New Year Writing Resolutions

The world doesn’t owe you a screenwriting career. Harsh, but true. So, like everyone before you, you’re going to have to go out there and make it for yourself. And you can. Here are my top tips for new year writing resolutions to help you on your way.

Surround yourself with your biggest cheerleaders. Dementors are great in Harry Potter but not in your life. Avoid people who don’t believe in your dreams and instead spend time with people who do.

Find support groups online and in real life. Join a local Writers Group like Stratford-upon-Avon Screenwriters or Them There Northerners. Facebook and LinkedIn have numerous screenwriting communities and on Twitter search and use #scriptchat #screenwriting #amwriting to find other people talking about writing and screenwriting.

Make time for your writing every day. I know it’s tough with so many demands on our time, but you’ve got to put the hours in. And don’t kid yourself that you need a big expanse of writing time; if you wait for that to materialise you’ll be waiting forever! Carve out small chunks of time in your normal day, whether it’s your lunch-break, in the evening or early morning, even if it’s only for half an hour. But make it part of your daily routine.

Study the craft. Whether you take classes or self-study, there is a way to develop your screenwriting skills that suits you. There are numerous M.A Screenwriting courses; Creative Skillset list their accredited courses and any internet search will throw up hundreds more. There are short courses to suit everyone, anything from several months to one-day. If you don’t want spend money on a course, you can learn a huge amount simply by watching films and tv and reading their scripts. But don’t just be a passive consumer, be an analyst; break it down, work out how the writer has crafted their characters and story structure to manipulate you emotionally. Whether you’re watching comedy or horror, thriller or drama, the job of the writer is to make the audience feel (and hopefully to think as well), so how did the script make you scared, amused, excited, frightened?

Develop your screenwriting skills. The old adage ‘writing is rewriting’ really is true. So to make sure your rewriting is improving the script and you’re not just going round in circles, find people whose feedback you trust. That might be through peer review or via a paid-for script feedback like those on offer at Script Angel. If you go for peer review, make sure the person giving you feedback is at least as good a screenwriter as you, and preferably much better! If you opt for a script consultant, make sure they’ve got industry experience reading for well respected production companies and contests or have script edited professionally. Good feedback should offer practical solutions to the problems and weaknesses it identifies and should resonate with you as the right direction in which to take your project. Great feedback will inspire you to write the next draft.

Get your writing out there. No-one will know about your great script unless you make it visible to them, so do whatever you can to get your script as widely read as possible. Research the best screenwriting contests and target those offering what you most need, be that cash prizes or getting finalists’ scripts read by producers. The industry is looking for new writing talent and they’re looking to agents and the well respected contests as their filters. Target producers making the kind of films that your screenplay could become. I know the vast majority of production companies won’t take unsolicited material, but there are a handful that do and if they don’t, then get your script solicited by querying them. Don’t be a stalker but do be smart and tenacious in making yourself and your script visible to the industry.

Be true to yourself. Yes you should understand the market, but honestly, there’s an audience for just about every kind of film and therefore a place for every kind of screenplay. Of course there are more opportunities in some genres than in others but you don’t need to write a low-budget gangster thriller just because lots of them get made if that isn’t your cup of tea. Don’t write what you think others want to read. Write for yourself. Every successful screenwriter I’ve worked with has caught the attention of the industry with the script they were most passionate about. It might not be the thing that actually gets made but if it’s utterly compelling it will get you noticed.

Don’t give up. Anything is possible and as Lucy Hay wrote recently, ‘why not me?’. Someone is going to be the next big screenwriting talent to make a splash, so why shouldn’t it be you? The professional screenwriters I’ve worked with and interviewed for the Script Angel blog (Chris Lunt, Tripper Clancy, Robin Mukherjee, Jamie Crichton) all wrote on spec for years before their dreams of a screenwriting career became a reality. They didn’t give up, and neither should you.

What Writers Can Learn from 4Screenwriting by Xandria Horton

One of the things that I love about Script Angel is its focus on opportunities for new writers, so the blog seemed an obvious place to summarise my recent experience as a Shadow Script Editor on Channel 4’s talent initiative 4Screenwriting – with some thoughts other writers can take from it.

4sw logoWhat is 4Screenwriting and why is it brilliant?

4Screenwriting is a broadcaster-affiliated talent scheme run by highly experienced script editor Philip Shelley, currently in its 4th year. For each year’s twelve selected writers, they are given six months to take an idea through two drafts of a commercial hour (46’) script, creating the first episode of a series or serial (ideally with Channel 4 in mind). The course also has a script editor training element; allowing shadow script editors a chance to develop their skills by working to industry-proven script editors.

The writers get a “sandbox” version of a script commission, with a small amount of funding, set deadlines and opportunities for notes from their script editor team at each stage – as close as you can get to a real script commission, without the production element.

Once the course is completed, writers can use their spec script as a calling card in the industry, creating a buzz with literary agents and production companies who are keen to be across talent coming through and hopefully resulting in meetings that further their careers. Success stories are numerous, most recently with alumni Anna Symon and Cat Jones, who have both gone on to write for primetime TV series.

So, with insights from me and my excellent fellow shadow script editors Carissa Hope Lynch, Harriet Davis and Joe Williams, I’ve pooled some tips writers can take from our 4Screenwriting experience:

Working with the professionals

The scheme introduces writers to the process of working with a script editor, which can be strange for writers used to working alone. It also introduces to writers the concept of the dreaded deadline!

What can you learn from this?: whilst you may have in place trusted feedback-givers, there’s really nothing like the impartial and constructive notes you will get from a good script editor or industry-proven consultant. In terms of meeting deadlines, it’s important that you make all and any writing deadlines you agree to. However, if something happens that is beyond your control, the best way to handle it is:

1/ to flag this as soon as possible to the appropriate person;

2/ tell them realistically what you can deliver and when; if one element is more urgent than the others, can you prioritise this and deliver within the original time frame?;

3/ agree a new deadline and move heaven and Earth to make it!

Network a.k.a. ‘it’s good to talk’

The scheme provides opportunities for writers to talk to others at similar points in their career, which can be greatly useful, both personally and professionally.

What can you learn from this?: Meet with your writer peers! Find or start a writer’s group on Meetup (they are all around the country) or attend events such as The London Screenwriter’s Festival or BAFTA Rocliffe and seek out friendly faces in the opportunities to mingle.

What’s in a TV idea?

Unsurprisingly, some ideas will only really reveal whether they will work in a series or serial format – if at all – after some exploration, so some writers had to use backup ideas or go back to the drawing board to find the right idea to progress to script stage.

What can you learn from this?: If you want to work in the industry, it’s essential you’re across British output; it’s as simple as that. Whilst it won’t ensure that every idea you come up with is a bona fide TV idea, you’ll get industry knowledge as to who is making what, and watching TV widely (UK, US, internationally) will develop your instincts on which stories intrinsically work in a TV format and which may be more suited to film or theatre. Even if it’s just the opening episode of every new series, it’s really useful to watch TV as broadly as you can.

Also, if you’re ever in a pitching situation (e.g. pitching to a producer for an episode commission on an existing series or pitching to a production company your own series ideas), however married you are to your favourite idea, it’s always useful to have a couple you’ve worked up a little as well in your back pocket, just in case you need them!

Writing to act breaks – a punctuation metaphor

For 4Screenwriting the brief was a script that would fit within a Channel 4 schedule, rather than a BBC full hour slot, so it was a new experience for many writers to write to ‘act breaks’.

What can you learn from this?: how this works this will vary depending on your story (and your broadcaster). However, we came up with a useful way of thinking about the shape of the story with act breaks:

If your story is a paragraph and each scene is a sentence, how you utilise punctuation is a great metaphor of writing to act breaks; ending those sentences before a break to ensure that the viewers’ interest is piqued. What’s the screenwriting equivalent of scene ending with a ‘?’, an ‘!’ or a ‘…’?

Many thanks again to the input from my fellow shadow script editors on this article; to the very brilliant and experienced script editor I worked to, Jamie Hewitt; to the three brilliant writers I was lucky to work with; and of course to Philip, for tirelessly working to make the course go as smoothly as it does each year. If you ever see him at a 4Screenwriting networking event, he won’t miss a moment to connect a writer to agents and production companies that might be useful to them. 4Screenwriting is a brilliant experience for writers and script editors coming through – long may it continue!