Be The Best Writer You Can

This is a terrific video. It only takes a minute to watch, but it says a lot about writing, and having an effect on your audience.

Thanks for sending it, Doug

{ 0 comments }

I first met Philip Shelley in the late 1990’s when he was a very amiable – and acutely perceptive – editorial presence in an office along the corridor from mine in the BBC Drama Series Department.

Since then he’s gone on from there from strength to strength, worked on some terrifically high profile projects, and amassed vast practical experience of the industry – as this interview illustrates.

Perhaps most relevantly for many of the visitors to this site he is the man in charge of the Channel 4 Screenwriting Competition. His is the ultimate say so as to who actually gets selected. So it might be interesting to hear a little bit about what makes him tick.

And of course, since last summer I’ve been working with him very closely indeed as we deliver a series of screenwriting courses.

See what you think – and I’m sure if you ask questions in the comments after the article, I can persuade Philip to come along and answer them.

Q. Who are you and why should we listen to you?

I am an experienced script editor, producer and script consultant. I’ve been working in the business for over 15 years now. I served seven years as Head of Development at Carlton TV, and currently I run the annual Channel 4 screenwriting course. (I set it up, it’s now in its second year). I work with loads of writers, of all levels of experience, and through my website www.script-consultant.co.uk I have projects in development as an independent producer. I am working as a script consultant on two new series ideas for leading UK independent company, Kindle Entertainment. And I regularly teach script editing courses at the BBC.

I have huge experience of working with new writers and of analysing scripts. At the end of 2011 I was dealing with the submissions for the Channel 4 drama course. We had to choose 12 writers from 3200 scripts. This sort of challenge definitely focuses your thoughts on what it is that makes a good script stand out from the crowd.

Q. What are your five favourite shows of the past ten years?

That’s a tough one! I thought the first series of CRIMINAL JUSTICE (BBC1) was completely compelling, and more than a match for the best US TV drama. Just recently I thought the Charlie Brooker serial BLACK MIRROR (Channel 4) was great – cutting edge, thought-provoking TV drama at its best. I think there’s some great comedy around at the moment – shows like FRIDAY NIGHT DINNER (C4) and REV (BBC1). But I do think the best US – particularly HBO – shows really set the standard. Shows like SIX FEET UNDER.

Probably my favourite drama series of all time are OZ and HOMICIDE.

Q. What are your five favourite movies of the past ten years?

Little Miss Sunshine, Juno, Touching The Void, Shaun of The Dead, The Lives Of Others

Q. How did you get your first job in script development?

I was reading scripts for Granada TV in London and they needed a researcher for two weeks on a Paul Abbott series about missing people (which never got made). This turned into a two year job.

Q. Do you think spending a year or two on a Screenwriting MA is a good idea?

Tricky. The bottom line is I don’t know many successful working writers who have gone down this route. On the other hand there’s no reason why it shouldn’t be a very good idea – a chance to really hone your writing skills in sheltered, friendly conditions. If you’re thinking of doing this, I’d advocate a lot of research – seek out others who have done the course you’re considering and see what they got from it.

Q. Is it still the case that theatre writers regularly get scouted for TV?

Absolutely. If anything I think this is even more so the case now – despite the plethora of screenwriting courses available now. I think this has always been a strong traditional route into screenwriting. There are a lot of very good theatres throughout the UK (particularly in London) with new writing schemes; and a lot of really talented writers continue to emerge in the theatre.

I find it striking on the Channel 4 screenwriting course how many good theatre writers apply – sometimes they make the transition to screenwriting successfully, sometimes not. But the quality of new writing in the UK theatre is really outstanding. Theatres like the Royal Court, The Bush, The Tricycle, Theatre 503, the Finborough, the National Theatre have a commitment to helping and nurturing new writers that simply doesn’t exist in television and feature films.
Television does very well to cherry-pick the best of the emerging theatre writers. But TV simply doesn’t invest in new writing in the way theatre does – and that’s a very short-sighted approach. Which is one reason I’m so pleased to have set up and be running the Channel 4 screenwriting course – there are so few schemes like this in TV; and they are not only valuable to the writers, they should be of great value to the TV and feature film producers of the UK.

Q. What about radio writers? Do they make the transition often? Is it a good place to start? Or should it be an end in itself?

Both. I think, as a platform for dramatic writing, radio is very under-rated by most new writers. Your odds of getting original work broadcast is very much higher in radio than it is in TV – and it’s a brilliant dramatic medium in its own right – the best radio plays are wonderful. If you want to make an impact as a screenwriter, you can increase your chances of getting your work on, if you have radio drama credits. But there’s nothing to say also that as a working writer you can’t move between media – many successful writers write for stage, radio and screen.

Again, with the Channel 4 course, we always seem to have some very strong contenders from radio, using their radio scripts to apply. I have read many exceptionally good radio drama scripts in the last couple of years.

Q. What do you honestly think about the current TV drama output in the UK?

Firstly, there isn’t enough being made. And I don’t like the fact that a far greater proportion of the TV drama that is made now is ‘continuing drama/soap’, compared to a few years ago.

But I’m not going to be a grouch about this going on about how’ fings ain’t wot they used to be’ – I do think there’s still a lot of really good stuff being made.

And that if you want to get hired, you have to set your standards very high.

Channel 4 have made some really good shows recently – ‘Fresh Meat’, ‘Black Mirror’, ‘London’s Burning 2011’, ‘Misfits’, ‘This Is England ’86 + ‘88’ and I think ‘Skins’ has generally been excellent.

And the BBC have made ‘Silk’, ’Edwin Drood’, ‘Sherlock’, Being Human’, and shows like ‘Exile’ and ‘The Accused.’

And Sky have started to become major players – shows like ‘Mad Dogs’ and ‘Stella’ are as good as anything on the traditional channels.
There is still a lot of very strong TV drama being made in the UK.

Q. Give us your greatest, most realistic method for a new writer to come from having one or two good spec scripts to getting hired on a TV show.

I still firmly believe that if you have written one or two absolutely outstanding spec scripts, you will get noticed. But the business isn’t just about writing – it’s about doing the work to get yourself noticed, putting yourself out there, making connections with people who can help you, and nurturing those contacts.

In my experience as a script editor, I am always on the lookout for a script that I love and when I find it, I will get behind it 100%. The Channel 4 course puts this into action – we take 12 writers who have all demonstrated their ability by writing a wonderful script and work with them, teaching them about the industry, developing a new script with them. With this behind them , their chances of getting work in the film and TV industry are greatly enhanced.

For me the bottom line is that ultimately, if your script is good enough, it (almost) speaks for itself. There’s no point worrying about all the other stuff until you have written a wonderful script.

But once you have, you need to work at seeking out the script editors and producers who can support your work.

Q. BBC Writers Room–>Doctors–>half hour soap (Eastenders etc)->one hour soap(Holby etc) –>more serious one hour show (Silent Witness etc)–>The Holy Grail (Your Own Show) seems to have been a common career model for a while now. Do you think it’s A. Still viable? B. Helpful for the quality/variety of writing?

This seems to be the textbook route into the business but because it is the textbook route there are a lot of people trying this route!

However, no two writers have had the same route into a career as a screenwriter. So be imaginative and try all sorts of different routes. Identify your strengths and passions as a writer and follow them. Don’t go down this acknowledged route if you’re not passionate about Doctors, Eastenders and Holby.

I don’t think writing for soaps is unhelpful for the quality of your writing. Writing the best episode you possibly can of any series is a real skill. The more series you write on, the more you will learn about how to do it, the better you will become at it.

Q. How important is a familiarity with the theories of screenplay structure? Isn’t it good sometimes to just throw away the rule book and just WRITE?

A familiarity with all the theories of structure is a good thing – even if sometimes you need to make the decision to abandon/subvert the ‘rules’. Story structure is such an important part of good story-telling; and so many scripts that don’t work, don’t work because they ignore very fundamental rules of good story-telling.

However, you’re right. Sometimes it’s very liberating to just trust your instincts and write. Some very valuable material can come out of instinctive, creative, unfettered writing.

Q. Can writing be learned? Or is it only the naturals who really deliver?

That’s the $64m question! I think you need a certain ability, intelligence and instinct for story-telling to be a good writer. But learning about it from the right people and books can be an enormous help and can transform and elevate the quality of your writing.

For me, good screenwriting is about the story you’re telling. A huge part of the craft of screenwriting is recognising a good story when you see it.

Q. How soon can you tell you are reading a good or a bad script?

A good script, usually within the first half page. On the other hand, you can often recognise the signs of a bad script within the first half page too! But I’d say certainly within the first ten or so pages – there are of course exceptions but not many. Which illustrates how vital the first few pages are when you are submitting your work professionally.

Q. Can you give us some basic mistakes you see a lot of new writers making?

Decent, readable presentation is vital – so many writers get this wrong. It’s the easiest part of the process to get right. If the presentation makes the script harder to read than it should be, it’s not a great sign for the more important qualities of the script.

Clarity – of writing and presentation. I read too many scripts that are baffling and hard to understand. Help the reader – make sure, for instance, that the reader can really build a picture, visualise what you want them to visualise from the directions.

Too much exposition revealed too early in a story. If in doubt – withhold. Good story-telling is predicated on mystery and intrigue – don’t give the audience too much information too early, keep them guessing. Information about character and story that feels prosaic and expository at the start of the script can often feel exciting when revealed much later in a story!

Q. Should British writers be writing big Hollywood style specs? Or should they be trying to do a Shane Meadows/Andrea Arnold?

They should identify what they’re good at and write that. Very, very few writers will be equally adept at writing these two completely tonally different sorts of scripts. As a writer you need to know your strengths and write to them! This is one of the keys to being a successful screenwriter – know your strengths and play to them.

Q. I’ve written a brilliant spec movie script. What should I do with it?

If you have got good quality feedback and are completely confident of its brilliance, and if you haven’t got a literary agent, try and use it to get yourself one. And use your contacts to get it read by people in the industry with clout – if it is brilliant it should open doors for you.

Q. So much is talked about networking. Give us three places/events/societies you think it’s worth spending your time and money joining.

Do try and mix with/meet other writers. Writing is a lonely business and it’s important to get the support/solidarity of other writers. Seek out local writing groups and meet with other writers to share your ideas and experiences.

Look out for events like the London Screenwriters Festival. Keep looking at places like the BBC writers room website that publicise screenwriting events. BAFTA does a series of talks by industry people that is really very interesting. And go to film festivals – the London film festival for example is a great opportunity to see a lot of exciting new films in a short space of time, often films that don’t find a UK distributor that you would never otherwise get the chance to see. I have seen so many inspiring films at the LFF in the last few years – several of which I have heard nothing about since.

Q. Has TV drama changed in the last ten years?

Yes there’s less of it! At the same time though, there are now many more channels, and as writers you need to be far more savvy about who’s looking for what. For instance BBC drama used to be about BBC1 & 2. Now it’s also about BBC’s 3 + 4 – you need to be aware of the different profiles of these Channels and what they’re looking for; you need to be aware of the on-line shows like E20 and The Cut; and you need to be aware of the sort of show that might appear on E4 rather than C4 (Skins).”

***

Thanks Philip. Fascinating, and thought provoking!

If anyone has any questions, feel free to drop them into the comments box below – and just a reminder, if you want to find out more about the screenwriting courses that Philip and I run (the next one is in early February) you can get more details here:

http://www.screenwritinggoldmine.com/screenwriting-workshops

{ 10 comments }

The other night I saw Sherlock Holmes (the 2009 version, credited to Michael Robert Johnson) and a few other writers. I thought it was funny, smart, ultra-enjoyable, with some great set pieces.

Even if the story lacked a little muscle, and even if it had a number of tremendously hammy lines, and even if the antagonist kept vanishing, and even if it all felt rather coincidence driven, and even if there were actually a couple too many stand alone set pieces that didn’t carry the story forward, and even if it was all a little bit of an exposition nightmare at the end…. well, I’ll be honest, I absolutely loved it. I was actually sad when it finished because I wanted to go on watching it.

Compare that to the experience we had as a family just three hours before. Waiting for the Sherlock DVD to arrive, we started watching The Wedding Planner, (Pamela Falk, Michael Ellis) on TV.

Interested at first, we quickly all subsided, until we were all sitting there in sad silence. This lasted for about twenty minutes, until finally we could stand it no longer, and, en masse, as if communicating through some invisible telepathic channel, we stampeded to grab the remote control and change channel.

The Wedding Planner stank. Why? Where do I start? But headlining its many failings was that it TOTALLY failed to surprise.

Though the opening 20 minutes made perfect sense structurally, there was practically nothing on screen that wasn’t familiar. Nothing that hadn’t been done before in every other rom com you’ve ever seen. No curve balls. No new conflicts. No new angles on romance. No surprises.

That reminds me of a very basic writing commandment, that I don’t think I mention enough:

“BE INTERESTING!”

On a minute by minute basis give us stuff we haven’t seen before.

Handle this new stuff with a bit of wit and style.

If you’re doing that, then you can get away with the most massive structural flaws.

Remember, screenwriters are entertainers first, theoreticians second.

{ 0 comments }