Tag Archives: screenwriter interviews

Screenwriter Interview – Nicholas Gibbs

Script Angel’s very first Mentoring client in 2013, Nicholas Gibbs, was signed by an agent in January this year. Here Nicholas kindly shares his experience to-date of that journey towards a long-term screenwriting career.

Hayley: Huge congratulations on signing with an agent last month. Can you tell me a bit about how that came about?

Nicholas Gibbs signs with agent - 5 March 2015Nicholas: I approached Elizabeth Dench at the Dench Arnold Agency in mid-September with an introductory email and my writing CV. About an hour later, she responded and invited me to send a writing sample. She asked to read a second script that led to a meeting with Elizabeth and Fiona Grant. The meeting was scheduled for late October but did not take place until the following month. From that, they asked for documents relating to the scripts they had read plus another script I had. We were then scheduled to speak on the phone about representation in early December but for various reasons – not least, the festive holiday break – we didn’t have the conversation. I thought at that stage that the interest was gone. Then on Sunday January 4th, I got an email from Elizabeth rearranging the call. In that call, she made a verbal offer of representation. I had a think about it and accepted and then we officially signed. It sounds all straightforward and easy but as all the writers out there know it is not. At the time of approaching Elizabeth, I had also approached other agents – some of whom said no. What was in my favour was at that time I had three different scripts being read by three different production companies all of whom responded positively about the scripts and kept the door open to read again.

HM: Can I take you back and ask, what was the first script you finished and what did you do next with it (agents, producers, etc)?

NG: Once I have finished a script I show it to three trusted writer friends who do give honest feedback, which then leads to rewrites. At that stage, I would then pass it on to a script consultant like, for example, that rather good Script Angel. Then I work the script to its best possible incarnation before sending it out to producers. On occasion, those producers will provide valuable feedback. In this business, everyone has notes and everything is subjective.

I would like to say I wrote all three scripts in a week and it was really easy. It wasn’t. There were many drafts of all those scripts. And before that, there were other scripts that were what I regard now as learning scripts. Some were dreadful but there is a progression of quality not just in terms of the latest polished draft but also with the first draft. I have always leaned towards approaching Indies and producers first rather than agents and have had a good response and as I said before prior to getting an agent I had opened doors with some of those sample scripts. Those little breakthroughs end up on the writing CV, which impresses the indie, or agent you approach next. It also helped that I had done the BBC Script Editing course and written a book on Writing Television Drama.

HM: Have you always written stories? When did you realise you wanted to be a writer/screenwriter and that it could be a career?

NG: I have always loved stories from a kid playing Batman – the Adam West version not the moody cinematic versions – in the playground. I vividly remember at primary school writing a story about Neil Armstrong landing on the moon and meeting dragons. I did drama at university and in my last year I wrote a book on the England football team which was endorsed by the FA and the then England manager Bobby Robson did the foreword, that was picked up and published that led into journalism. I went freelance and got involved with BBC RaW and a whole range of theatre and radio projects. I can’t say I have a screenwriting career yet. Now, I just have access to a wider group of people who can say no.

HM: Did you have a plan of where you wanted to be in five years’ time?

NG: I didn’t have a five-year plan but I would like to think I could have a returnable series up and running by then. That may sound optimistic but you have to believe it is possible or else what is the point? That is in contrast to two or three years ago when I seriously thought of abandoning the notion. It combined with a difficult period in my life where loved ones were lost. Out of that period was an all or nothing approach. I contacted you, we did a six-month stint working on a number of scripts that were enhanced, and the response has been positive.

HM: What was your experience of trying to get the industry to read your scripts?

NG: I must say that I have had more success getting scripts read than those who say no from the outset. I am always appreciative of any industry figure who takes their time to read my scripts given that it is often an unsolicited approach. And I am always delighted when people take time to give feedback. To have people of that experience and with such demands on their time to be willing to do such a thing is a boost every time. The truth is no one is obliged to read anything and there are perfectly good reasons for people to say no.

It is hard for all writers to get read so when you do make sure that script is the best you can make it. However, to get the script read there is a need to sell you along with a commitment to screenwriting. Enrol in courses, enter good competitions, and attend industry events as your time and budget will allow.

HM: How many projects are you actively working on at any one time?

NG: At the moment, I have two half-written scripts one of which will be completed when I am away with a couple of writer friends in a remote part of West Yorkshire next week. I am story lining an ambitious epic series, which is a mighty, complicated task to make it work and understandable. I also have a file of story ideas, which range from a sentence, a paragraph or a two page documents. I have also taken writing down scenes, scenario or sequence ideas which may end up in a script. I also have on-going book projects as well.

HM: Are you focused on television drama or writing for other platforms, like feature films? What attracts you to those media, as opposed to writing novels or radio?

NG: I prefer television drama because I love multi-episodic storytelling. There is nothing better than watching an emotionally engaging and inventive TV series. That is not to say I don’t like single self-contained stories. I do. Indeed, I have some story ideas that best suit the one-off show. I have a little experience in radio and I have written non-fiction books. I am writing, on the sly, a novel based on one of my scripts.

HM: Do you always have to write a spec script to pitch a project to a producer or are you pitching with a two-line idea or a treatment? Do you think that will change in the future?

NG: I am at the stage where it comes down to the script because the truth is I do not have an on screen credit. Unlike most of the books I’ve written, which have been pitches first, and then you are commissioned and given a modest advance. In the future, I hope the commission comes first from an idea and they pay me to write the script.

HM: How do you think getting an agent will change things for you? Will you still have to network / get yourself and your work out there?

NG: Based on a couple of sample scripts an indie has put me forward for one of their shows. The producers of that show will decide whether, based on the sample script, whether they think I maybe suited for the show. That probably would not have happened if I didn’t have an agent.

I am still going to continue doing what I have been doing because it has proved to be successful. What having an agent does is open you up to a wider set of industry figures that you previously didn’t have access to. It also means you can target your scripts to the right individual producer, production company or broadcaster. It gives the writer an endorsement and says to any producer that what they are going to read has had quality control. Networking remains important because you still have to show you are not an arse! That no matter how good your writing is, you are someone people will want to spend time and work with.

HM: What do you want to be doing in five years’ time? Do you have a plan of how to get there? Does your agent help in this?

NG: Ideally, I want to do this job for the rest of my working life and the only way to achieve that is to continue to have good ideas and write.

HM: What’s the one piece of advice you’d give to someone starting out?

NG: It is a long a commitment. Learn the craft and you can only learn that by doing it. Read the books, attend the courses but more than anything Write, Finish, Rewrite. Do not be afraid to put your work out there. It is unlikely to happen overnight and when you get the inevitable rejection (it happens to every writer) be miserable for no longer than eleven minutes (the length of the average TV act).

HM: Thanks Nicholas!

Nicholas Gibbs is represented by The Dench Arnold Agency and his book  “Writing Television Drama” is available to buy now. 

 

 

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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.