Tag Archives: script angel

Creating An Original TV Drama Series

We all know that writing a killer feature film script is hard but how about creating a pilot script for a drama series; something that will be compelling not just over an hour, or a series of hours, but over years?

downton abbey

I’ve been working a lot recently with a couple of talented Script Angel clients who are creating original tv series on spec. Developing a new series is an ambitious undertaking and not something I’d usually recommend early-stage writers to attempt. After all, creating a single protagonist story over ninety minutes is challenge enough. But my writers love television drama; they are avid viewers, know the medium and envisage a career writing for it. In the UK you can’t impress a television exec with a spec of their own show, so writers have to create something original in order to demonstrate their abilities both to create original shows and to write on existing shows.

It’s reminded me of the challenges we face in developing that pilot episode script, which must do so much more than just entertain in its own right.

1) Be consistent. You might only be expected to write the script for episode one on spec (please don’t waste time writing the others) but in order to write the pilot you have to know your show inside and out. The pilot script must look and feel just like any other episode in the show. Having sat on the other side of the fence I can tell you that there’s nothing more frustrating than reading a pilot script that feels like one kind of show and then reading the series proposal which is pitching something entirely different! You need to have a clear vision for the series and the pilot episode must sell that vision.

2) Where to start? So how do you begin to shape your original Drama Series? The characters and setting will play a major role in the success or otherwise of your series. However, knowing what story form your show will take will help you to begin envisioning what your episodes will look and feel like.

3) The episodic series. Drama series can take two distinct forms. The first is the ‘episodic’ series, sometimes referred to as ‘story of the week’, whereby there is a new story each week and it concludes at the end of the episode. There are regular characters who return each week and often a recurring setting but the primary plot driving each episode is set-up and paid-off within one episode. One advantage is that viewers can miss episodes and still enjoy the show – you don’t need to have seen last week in order to enjoy this week. Most crime dramas take this form whereby the crime is investigated and ‘solved’ at the end of the episode; CSI, Sherlock, Castle, NCIS, Death in Paradise and also Call the Midwife.

4) The serialised series. In this form we tell stories over multiple episodes. These shows usually have a central character but also a significant ensemble cast around them in order to spread the story weight over multiple hours. Most episodes will move stories on for a number of regular characters. This is where a whole new skill-set comes into play as you develop multi-protagonist storylining. Examples include Downton Abbey, Mr Selfridge, Breaking Bad.

5) The best of both? Of course you can combine the two and it’s typical for even episodic series to have a serialised element for their regular characters. Many of the UK’s long-running one-hour shows (Casualty, Holby City) started as almost purely episodic but became more serialised over the years in order to give the regular characters more rewarding material, thus also rewarding long-term viewers. Indeed, in the current climate it would be unusual for an episodic series to have no serialised element for its regular characters.

6) The story engine. Figuring out where your show will sit on this story form spectrum will help to determine where the drama will come from in your episodes. What is the central conflict at the heart of your show? Deciding how much screen-time is spent on the story of the week (if there is one) and how much on unfolding series-long story arcs will help you know what your pilot episode and all subsequent episodes will look like and where to focus your attention in developing the show. Of course, both your characters and your stories need to be awesome but in a serialised series the characters are even more important because they are your story engine.

7) Have a central character. Even with an ensemble cast we almost always come in to the show through one main character. Over time the show might expand out to give more weight to other characters but you can bet your bottom dollar the show didn’t start like that. If you go back to the pilot episodes of any long-running show it’s very clear who the focus of that episode is. Casualty today might look like an ensemble show with no lead character but the pilot episode was entirely focused on male nurse Charlie Fairhead. Downton Abbey began life focused on Lord Grantham, The Paradise centred on shop girl Denise, Orange Is The New Black focuses on Piper, Mr Selfridge might have a great ensemble cast but the title of the show tells you who is at its heart. You might have lots of great characters but we need to watch that first episode and know ‘whose story is this?’ The answer should be the same for the rest of the series.

8) Make them flawed. I can’t stress this enough. There is nothing worse than a boring central character whose most apt description is ‘nice’. While in a long-running series you may never complete your characters’ journeys as you would in a feature film story, you still need to know what that ending would be. Knowing your character’s flaws allows you to exploit them dramatically. The theme of the show (what it’s really about) is usually dramatised through your central character’s flaw. Your central character also needs to be in opposition to something / somebody and preferably to lots of things to give you an abundance of story riches to choose from.

9) Where are we? The story world, precinct or setting can have a major influence on your show, particularly on its tone and style. DCI Banks and Death In Paradise might both be cop shows but with one set in Yorkshire and the other on a Caribbean island they couldn’t be more different.

10) Establishing tone. Be consistent and make sure that your stories, characters, setting and writing style all work together to create a show that has a clear tone. Is it light and warm, easily consumable like Downton Abbey, Mr Selfridge, Call The Midwife, Castle or NCIS, or tough and challenging but rewarding like Peaky Blinders, The Wire, True Detective or The Americans.

Putting all that together is hard. You need a story engine that can run for years. Your characters need to be flawed enough to be interesting but with enough redeeming qualities that we’ll keep watching them. But if you get it right, and the pilot script is executed well enough to sell that coherent vision, then you could really impress and, who knows, even get your show commissioned!

Creating Characters by Alan Flanagan

As part of the Script Angel Writer’s Toolbox series, writer and script editor Alan Flanagan looks at the tricky task of building your characters.

Have you ever tried to be the most interesting person at a cocktail party? To look like the smartest person in your class? To make someone fall in love with you?

rp mcmurphy one flew over the cuckoos nest

It’s not fun, and yet as a writer you’re left with the Herculean task of making an audience care deeply about your characters, not just in ninety minutes but usually in under twenty — and ideally under ten.

So how do you build a human being without raiding your local graveyard?

Facts, Facts, Facts

When building any character, remember the iceberg rule. You need to know about ten times as much about your character as your audience will ever see.

Build a character profile, including their family history — parents and siblings definitely, grandparents can be helpful — and place of birth, their education, professional history, taste in lovers, taste in friends, taste in food. There are no right or wrong answers here, but you will find yourself forming a concrete version of this person from which it will be impossible to deviate when you sit down to write your script.

Remember, a character who feels specific is “universal”, but a character who feels non-specific is just “generic”.

Point Of View

Secondary to facts, an interesting exercise for a character profile can be to question your character on various facets of their lives. This isn’t just about their biggest fear or their proudest achievement, but their personal opinion on anything from Afghanistan to Miley Cyrus. Everyone has an opinion on big issues, even if (tellingly) that opinion is no opinion at all.

Character & Plot

Often the main reason we get into this business is because of our desire to spin a good yarn. But by building a concrete character you will time and again see opportunities for the facts of your characters life to intersect beautifully with your story.

For example, consider a character’s profession. Think of how Memento‘s Leonard used his background as an insurance investigator to anchor his sense of self. Or how American Beauty‘s Carolyn Burnham was so perfectly encapsulated by her zealous cleaning of a house. Profession can also helpfully delineate characters, as the multifarious characters in Orphan Black (all played by the same actress) find differences in being a cop, or a drug dealer, or a researcher.

And that’s just profession, which is one tiny detail in your list of facts. Think of what else a character profile can offer you.

The Stereotype Trap

“Write what you know”, right? While every writer draws on their own experience — whether they intend to or not — it’s important to bear in mind what that phrase means.

Having read hundreds and hundreds of scripts, it’s clear that the characters writers are bringing to the screen are predominantly male, predominantly white, predominantly straight, predominately… predominant. Do you want to see a character you’ve seen a million times, or one whose story you’ve never seen before?

It also says something about how we see the “write what you know” dynamic. “What you know” isn’t about your gender, sexuality, race — it’s about humanity, and that doesn’t see such simple boundaries.

Next time you’re working on a script, consider how a character would work if you flipped their gender, changed their ethnicity, gave them a disability. It won’t change their character outright, nor should it, but it may throw up unusual character moments and interesting plot points you hadn’t considered.

Bringing Your Character To Life

Once you’ve nailed down everything about your character, the obvious question is how to get them down on paper. Here a couple of key elements come into play:

First Moment: On the page a reader is usually being bombarded by characters and information, so it’s vital that the first sight we get of a character is a fair approximation of who they are. Do they come crashing through a window? Tumbling out of their neighbour’s wife’s bed? Cowering from a knock at the door? Far too many characters enter a script doing nothing, or doing something that is either bland or a poor indication of who they are.

Look: This is packaged with the above, but consider how your character looks. Avoid commenting on their attractiveness, because it tells us nothing — what is a “pretty” girl? Instead, rely on unusual adjectives — “sly”, “clipped”, “bullish” — and focus on what part of a person’s look really tells us about them. Are their shoes scuffed? Is their hair pulled back painfully? Chewed nails? Smeared lipstick? Red eyes? Gleaming pocket watch? Be specific but be concise.

Dialogue: Writing good dialogue is a difficult, some might say impossible, skill to learn. It relies on a combination of brevity, levity, plot necessities and a true voice that comes from eavesdropping on other people’s conversations.

What you can decide straight off is the general style of a character’s voice. Think of their background, their education, their attitude to life. Are they all long words and dripping bon mots? Or are they constantly dropping their g’s and speaking in metaphors? Are they clipped, one-word robots or loquacious, excited know-it-alls?

Relationships: Characters don’t exist in a vacuum. If you want to define your character early and well, put them in a situation with someone they are deeply connected to. It could be by hatred, by love, by family, by law, but deep relationships breed deep reactions — showing who your character really is.

The Wants & Needs: In drama, as in life, people want things. And in drama as in life, this often doesn’t correspond with what they really need.

When we introduce a character, we not only introduce their personality, but we implicitly introduce their flaws, and what they really want and need in their lives. In any scene, a character should be aiming to achieve something – and a scene without goals and change is a dead fish.

But on a wider scale, any story should look to exploit its character’s flaws and needs. This could be done traditionally but subversively, as in Frozen where the hidden need is a sisterly connection. Or a flaw could be exploited to teach a lesson, as in Requiem For A Dream‘s series of interlocking tragedies. Or a character’s flaws could be cured, but then undermined, as in Chinatown‘s reforming of its protagonist, only to have him lose everything in the end.

Always remember that audiences aren’t looking for someone to like, they’re looking for someone to love. And we only love people we feel we know, people who are beautiful and damaged and as flawed as we are. Anything less will ring hollow.

Bio: Alan Flanagan is a writer and script editor who works for Big Finish Productions on the series ‘Dark Shadows’, as well as script editing for Canadian festival WildSound and being artistic director of theatre company Refractive Lens. Twitter: @parallelevision

Alan is currently performing his one-man show Dupont & Davenport at the Edinburgh Fringe, which tackles what happens when we can’t tell the difference between grief and love, and how we let someone go when technology makes it almost impossible. It runs until Friday 8th August, 1.25pm, at George Next Door, 9-11 George IV Bridge.

Why I’ve Learned to Love Story Structure by Xandria Horton

I agreed to take on this blog post with some trepidation. Why? Because, in my opinion, script structure is a hot potato of “How to…” blogging. It’s like religion; those who subscribe to a system will doggedly defend their beliefs, and “structure atheists” who insist that there is no structure in their stories won’t be tempted either.

Not only that, but structure is my personal nemesis. Of all the storytelling elements, it’s the one that can lurk under still waters of pithy dialogue, good characterisation and entertaining story in a script. It is often the problem when I delve into something that “isn’t quite working properly”. It’s the one that many writers find the least instinctive when working on their stories, and it’s taken me years of reading to get a handle on it. I feel like it’s time to settle the score on script structure.

There are many ways to skin (and Save) The Cat

Go to Google Image Search and type in “screenplay structure”; the various structure diagrams can look like something from a Dan Brown novel. This can give the impression that schools of thought on structure are vastly different. However, this simple but brilliant diagram by JT Velikovsky (himself the creator of StoryAlity, the result of his doctoral thesis into screenwriting) breaks down the terminology and templates used by different schools of thought on screenplay structure.

storyality - screenplay syntagms

It’s interesting, laid out visually, to see as many similarities as well as the differences. So are they worth reading if they’re all saying something similar? Absolutely.

Story gurus, or indeed any take on screenplay structure, show a ‘way in’ to storytelling. Although different gurus will have different emphases on certain aspects of story, or may have a different writing style, the more you read the more attuned you’ll be to how stories are crafted.

Making structure work for you

Another worry that newer writers have about structure is that it limits creativity. This needn’t be the case. Scott Myer’s brilliant blog Go Into The Story uses the pithy slogan “tools, not rules” to approach story structure – and I second that as a way of learning to love structure.

Structure helps provide both logic to the storytelling, and emotion in presenting events in a meaningful context. The key is that the structure must work to the premise / idea you want to tell, rather than letting the structure dictate the story.

Here are some ways in which films have made the structure work for their particular story:

Work your structure around your concept: Annie Hall and the Usual Suspects are structured by a character remembering events, meaning that relevant parts of story can be told out of order to intrigue – but not confuse – the audience. Four Weddings and a Funeral structures its story around the events of five ceremonies. Memento tells a story about memory in reverse segments from end to beginning, consistently undermining what we know of the characters with each reveal of what’s come before.

Moving the elements around: Brad Johnson’s article in ScriptMag magazine brilliantly illustrates this point, using two films that fit the necessary story moments in Act I, but execute them in very different ways. Back To The Future’s first act involves a lengthy set-up of Marty’s home, school and love life that exceeds the usual ‘rule’ of an early inciting incident (usually around page 10). However, when the Inciting Incident does come – the terrorists arrive to steal the plutonium from Marty and Doc Brown – both Marty and the story are ready within a couple of pages to make a quick leap to travel back in time and delve into Act II. The Hobbit, by contrast, has an early Inciting Incident – the dwarves and Gandalf arriving at Bilbo’s house – but a longer period of resistance (some critics say too long…) before Bilbo is ready to accept his journey. If you want to read more on this the article is here.

Is structure always to blame? Sometimes when something ‘feels wrong’ in a script, we think that the structure isn’t working in the story, when occasionally it can actually be structure’s way of showing you that there’s a better, cleverer way to deliver your story point. Whilst it’s still true that the structure should fit the story you want to tell in the majority of cases (see above), here’s a recent example of the reverse in practise:

A writer wanted to take a character on a long central journey, but wasn’t quite sure how to deliver the ending. After back and forth on some interesting ideas they’d come up with, we looked back at the structure of their first act, which was really strong, and how mirroring those beats in the final sequence would underline the character change. This helped the writer decide not only where they wanted the character to end up, but also to create a satisfying ending. Voila – an example of structure helping story!

Obviously this hasn’t even scratched the surface of structure in film and TV, so over the coming weeks Hayley, myself and other guest post writers will delve back into this and other topics for the Writer’s Toolbox series – articles you can use to improve your craft as a writer. Stay tuned…

But in the meantime, Joe William’s post gives some of the differences between writing for film and TV and touches on structure – check it out here.

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!

 

 

Reader-Proof Your Script – The ‘X’ Factor – by Xandria Horton

Since joining Script Angel, I felt I should take some time here to introduce myself. Only polite really, since if you buy a Script Analysis Report, you will be getting notes from me on which elements of your script are working well and suggestions for things that can be improved in your next draft.

ten out of tenThere are lots of good ‘Reader-Proof your script’ blog posts out there*, designed to ensure your script will get past the dreaded script reader, but this blog has the ‘X’ Factor. The ‘Xandria’ Factor.

Now, obviously I’m not claiming I have anything near Simon Cowell-levels of money or power to greenlight your project, or that any audience participation or buzzers are used in my script development**. But I do have experience with both juggernaut companies who produce hit TV series and films across the globe and the plucky new indies who have clout through their gumption and know-how. This has given me a brilliant insight into the ideas that get across the commissioning line and those that don’t. Outside of Script Angel and with my Script Reader hat on, I am only one of a series of gatekeepers that a writer needs to excite with their script, which includes producers, film funding agencies and TV commissioners. Scary!

Most scripts by their very nature start their lives as precious, personal and intimate stories you nurture in the dark, only bravely unveiling them once you have expended hours of sweat, tears and toil. We particularly appreciate this at Script Angel, and so here are some tips to reader-proof with the ‘X’ Factor, based on things I have personally found can help – or hinder – your story.

Give your story the best intro that you can: are you starting page 1 of your script with one of these openings?

  • The start of a protagonist’s day, from when they are asleep in bed;
  • The main character’s answerphone message or a message left for them that gives large amounts of exposition;
  • A flashback (a historical human sacrifice or ritual that curses something to lay dormant until modern day or a detailed unveiling of the protagonist’s childhood trauma);
  • A dream sequence – particularly one that is interrupted by an alarm signalling the start of the protagonist’s day;
  • An arresting opening scene that then jumps back in time 24 hours / 1 week / 3 months earlier, which can imply that the writer wants to script to start with something exciting, and knows deep down there’s not enough story in the beginning of their script.

Obviously, you may find brilliant, original and inventive ways of making any of these tropes work, but these are frequently used and can therefore be a ‘red flag’ to readers in terms of how original or fresh the ideas appear to be. Of course, we hope that we’re wrong, but first impressions are important.

Bechdel Revisited: this is all about ‘intros’ in description. Whilst bad characterisation is by no means limited by gender, one virtually unique problem to female characters is an introduction along these lines: “JANE (20s), attractive, walks in”. Whilst contradictions, conflicts and desires virtually ooze out of the best comedy and drama characters, if the first and/or only thing the script has told us about your character is that she’s pretty, all this tells us is “THIS CHARACTER EXISTS TO BE A LOVE / LUST INTEREST”. As the brilliant former Vogue editor Diana Vreeland says, “Prettiness is not a rent [women] pay for occupying a space marked ‘female’.” What else do we need to know about your female character? Do they need to be attractive?

Tell me where I am, when I am and who I should be following: a script opens with several people talking around the dinner table. How do we know who is your main character? And, more broadly, how do we know when and where we are? Of course, there’s getting the world established and there’s getting the story going, but the more you write, the easier it will be to find a balance.

Keep me oriented in the script: one skill that can really make a script a joy to read is a writer who keeps the reader oriented in their story – even giving each scene a clear opening image. Think visually, without prescribing the camera angles unless it’s needed to follow the story. This will make action setpieces (car chases, fights etc) a real pleasure to read, and the best are usually simply written.

Don’t write the story you think I want to read: and by this I don’t literally mean me, I mean that you’re writing a script based on a recent success (Breaking Bad, Happy Valley, Peaky Blinders) rather than the story you are actually interested in. This is part of developing your own voice, which takes a lot of work. However, you’ll only ever write your best spec script once you’ve developed a style that is truthful to you. Obviously, many writers will want to write on established series or soaps, in which case you will aim to keep an element of your own voice but ensure that your writing fits into a pre-existing tone and structure.

Remember that I want your script to be good: I think it bears repeating; whether it’s developing a script through Script Angel or even being a dastardly reader, I want your script to be good. I will be willing it on from page 1; I will ignore that typo on page 4 if there aren’t three more by page 12***; I will look for the trail of story breadcrumbs you’ve left and try to make sense of any small plot or character questions I have, in quiet confidence that your story has me in safe hands and all will be answered to my satisfaction. And I’m no different to any other reader. We rejoice when we find a character who feels truthful and interesting and we can invest in their journey; and we want to go to our producer friends and bosses to tell them that we’ve found a script they’ll want to make.

So next time you’re thinking about submitting a script, ask yourself the age-old question: does it have the ‘X’ Factor..?

*If you’re looking for a couple of those other good articles, here they are:

http://www.writersstore.com/bulletproof-your-script-against-reader-rejection/ http://www.bang2write.com/2012/09/7-things-readers-can-tell-about-your-script-on-page-1.html

**Currently. Of course, that could be the Next Big Thing, who knows.

*** Which implies that you’ve not taken the time to read it over before sending it out, which can be frustrating. However, if you’re doing a last-minute rewrite on a shooting script, unless it changes the meaning, we will be more forgiving!

Xandria Horton is a Script Analyst for Script Angel. You can find out more about Xandria’s script feedback services here.

Investing In Your Screenwriting Career

We’ve all heard that it takes 10,000 of practice to become a virtuoso piano player or tennis champ. While the hours might be debatable there is little doubt about the principle behind it; to get better at something you have to actually do it, a LOT! Are you really investing enough of your time in your screenwriting to make the progress you want?

notepad and paperHere are some of the best ways to invest in yourself as a screenwriter:

1) Join A Writing Group (locally or online)

Pros: It’s probably free, you can use it to make commitments about how much writing you’ll do in between get-togethers and get your group to hold you to it, great for peer review of each other’s scripts.

Cons: You might be in a group of writers with less experience than you so might feel you’re not learning very much.

Tips: Be open to meeting new people.

2) Take A Class or Course

Pros: You can find courses running a few weekends or a year or more, it encourages you to make a time and financial commitment so you’re more likely to put the work in, good courses set homework which further encourages you to get the writing done.

Cons: Although many courses offer some feedback on what you’ve written, the time pressures on course leaders means the feedback can be very limited, teaching can be a bit generalised.

Tips: Figure out what you want to get out of the course and then find one that best suits your needs.

3) Go On A Writing Retreat

Pros: It forces you to invest a chunk of uninterrupted time you might struggle to achieve any other way, being in a different environment encourages new ways of thinking so you don’t keep repeating thought patterns, improving your chances of producing something new and different, chance to meet other writers.

Cons: It is essentially a holiday so it’s a relatively pricey way of getting quite a short chunk of writing time.

Tips: Decide what’s most important to you (location, retreat leader, feedback opportunities) and then research what’s out there.

4) Attend A Screenwriting ConferenceLondon Screenwriters’ Festival, Screenwriters World Conference (L.A or New York), Great American Pitch Fest

Pros: Most have great pitching opportunities, committing to it gives you a deadline to polish work you can pitch there, intensive, immersive, chance to meet lots of other writers and hear from industry experts.

Cons: Might feel a bit pricey for a few days, though LSF has a payment plan to spread the cost.

Tips: Commit early then plan a schedule to get work ready, building in time to get feedback on your scripts / pitches and rewrite accordingly before you go.

5) Get Professional Feedback On Your Script

Pros: Notes should inspire a constructive rewrite, screenwriting advice is tailored to you and your writing strengths and weaknesses.

Cons: Can be pricey and quality of feedback ranges enormously.

Tips: Get recommendations from fellow writers and check out the credentials of those offering feedback.

6) Find A Mentor / Coach

Pros: A good mentor will give you personalised script feedback on a portfolio of work, set goals and deadlines with you, offer support and advice, they are interested in helping you develop as a screenwriter.

Cons: Pricey, you need to put the writing in to make it worth your time and money.

Tips: Make sure you give yourself enough time every week to do the writing so your mentor regularly has work to respond to.

 

 

 

The Script Angel Journey So Far…

kindnessIt’s been a little while since I announced that Script Angel was expanding. After years as a solo business I took the step of inviting the brilliant Xandria Horton to join me. So I thought it was time to share with you how I got here and what might be next for Script Angel.

How Script Angel came about. Being really honest with you, the sole reason I established Script Angel in 2009 was to enable me to carry on script editing (as I had been for nearly ten years by then) without having to work away from home. It really was that simple. I love script editing; I love working with writers, helping them make their script the very best it can be. I also love variety; I love working on a thriller one day, a crime series the next and a comedy the day after that. As a result I would take jobs because they interested me and that often meant living away from my family Monday-Friday which isn’t much fun however much you love your job.

What’s the Script Angel ethos? I knew what I wanted Script Angel to deliver for me and, importantly, I also had a very strong sense of the kind of script editor I was by then. I can be tough when I have to be but I don’t get a kick out of making others feel crap. When I give script notes I do it with honesty and a desire to ask the questions that will inspire my writer to find for themselves the most interesting solutions to the problems in the script. Script Angel’s nurturing ethos is a reflection of my values and how I work.

An overnight success? The reality was that even with nearly ten years of professional script editing credits to my name it took a while before there was enough work coming in that Script Angel was a full-time job. Even then my rates were so low compared to the hours I would spend on the notes that I was earning well below minimum wage. But I stuck with it and kept plugging away.  It took more than three years before the demand reached a point where my rates could reflect my experience.

With success comes new questions. Last year was a huge turning point for me and for Script Angel. I was consistently booked up three months in advance but I’d hit a brick wall. I couldn’t help any more writers because there was no more of me to go around. I was turning down extraordinary full-time script editing offers on some amazing shows because of the detrimental affect it would have on Script Angel. So I was kind of making a choice, without realising it, that Script Angel was no longer just a way to script edit while my children were little, it wasn’t a way to put my career on hold, it WAS my career.

What was the solution? I knew the demand was sufficient that I could put my rates up further but that would make me unaffordable to many aspiring writers and I don’t want my help to be available only to the wealthiest. Running the Script Angel-LSF Screenwriting Competition is another way I overcome this issue. The alternative was to expand. It sounds so simple and a no-brainer but in truth it was something I had mulled over without taking the leap for nearly a year.

What was stopping me expanding? My biggest fear was of turning into the type of script editing service I dislike – big, impersonal, corporate. It might suit some people but I knew it wasn’t the kind of script editing business I wanted to be part of, let alone create! So how could I keep the nurturing reputation Script Angel had if it was no longer just me providing script notes?

Finding the right people. I realised that I needed to find someone who naturally worked with writers the way I did. If I could find the right person maybe expanding Script Angel would mean being able to do more of what I was already known for?

Why Xandria Horton? I’d first met Xandria when she was Development Assistant at Eleventh Hour Films (Foyle’s War) and I was looking for a production company to take a client’s project to. We chatted about screenwriting, about writers and it was immediately apparent that she was really bright, knew her stuff and knew how to work with writers. I asked Xandria to send me sample script reports (with confidential information redacted, of course!) and I was really impressed. She was as articulate in the notes as she had been in person. Xandria’s notes are insightful and her style of delivering those notes is, like mine, designed to ensure that writers feel positive about moving forward with their project.

Making Script Angel more affordable. The other reason for bringing Xandria on-board was that I wanted to make Script Angel available again to those writers who had used me in the early days when my rates were low but who I’d lost as I’d become busier and more expensive.

So how’s it working out? Well, the great news is that Xandria’s Script Analysis Reports have been really well received. You can read testimonials of her work here. I also read Xandria’s notes before sending them out and we talk about anything that might need clarifying.  I feel very lucky to have a talented young Script Editor working for me at the early stage of her career.

What have I learnt? You can expand without losing your core values. It’s not easy; it’s taking as much effort to grow Xandria’s workload as it took to grow Script Angel in its early days. But I am thrilled to be able to offer Xandria’s script analysis talents to the Script Angel writers.

What next? My aim is to get Xandria as busy and in-demand as I am. I want to keep growing Script Angel but without ever losing the very personal relationship we have with our writers, and finding Xandria has proved to me that it’s not only possible but hugely exciting and rewarding.