Sofia’s Diary was a real inspiration to me when planning and creating the transmedia strategy for my Decision Book Series, so I was DELIGHTED when the show’s creator Nuno Bernardo approached me to write a guest post for B2W! This is a real treat for you Bang2writers on using the power of transmedia to engage your audiences, so enjoy! When I sat down to write Sofia’s Diary, my first Web series, back in 2003, I had no real scriptwriting experience, let alone transmedia writing experience. So, for me, it was always going to be a process of trial and error. As… Read More »5 Ways Transmedia Can Help Scriptwriters
So I’m off on my travels all day today to London for the fourth annual London Screenwriters’ Festival! Tonight I’ll be at the networking and registration drinks. Come and find me and practice your networking skills or pitches on me. That’s right – I ASKED FOR IT, C’MON! But before you do, watch out for these pitch killers or I’ll blast a klaxon in your face! FRIDAY Tomorrow, in the morning I will be in the Final Draft Marquee, ready to answer delegates’ questions as an LSF Roving Expert. There is a whole fleet of us, you can’t miss us:… Read More »#LondonSWF 2013 – On My Way!
Delighted to have the brilliant Sally Abbott on the blog today to tell us about her work as a TV screenwriter in continuing drama – amongst other things! Sally is a real powerhouse and has been involved in all SORTS of things over the years and this summer dips a toe in feature filmmaking too. She offers some fab insights into the industry and writing that I really agree with, but I won’t spoil it for you. Read and enjoy! 1) If you could describe yourself in 3 words, what would they be and why? Obsessive – which is a polite… Read More »Women & Writing # 4: Sally Abbott, TV Screenwriter
The energy, commitment and sheer track record of the speakers at this week’s BBC Future Fiction Summit left one thing in little doubt: The digital revolution is not just here, its rapid expansion is fast setting the agenda for screenwriters, independents and major broadcasters alike. An opening Q&A with YouTube’s Rosie Allimonos (Head of Content Partnerships) brought home the impact online viewing is having on drama production. A recent addition to its viral and VOD platforms, YouTube’s original content via its funded channels is extending the platform’s reach far beyond its traditional user base. And, judging by the views they’re… Read More »BBC Future Fiction Summit: What Next For Drama?
Welcome to Dumpsville, population: you. Getting fired from a writing gig – or being told they won’t be commissioning you again – is never fun. Sometimes the end is a blessed relief after weeks or months of miserable, fruitless toil. Other times it’s a bolt from the blue, and that’s much worse. Some freelancers just get months of radio silence and delays until, eventually, they realise there isn’t another job coming their way. I’ve been fired from a writing gig, but I’ve also been a commissioning editor, dispensing with the services of other creatives. So, why do writing commissions go… Read More »5 Reasons Why Writing Commissions Go Awry
Dialogue, dialogue, dialogue … I see writers obsessing over this element of screenwriting all the time. Yet the reality is, this the least important element of your spec script. Don’t believe it? Here’s 5 reasons why: 5. Structure & character is where it’s at. When I’m writing script reports, there are two things I report on, again and again and again: structure and character. Why? Because these two elements are the most important of your spec script. Good structure is paramount in keeping the reader’s (and thus the potential audience’s) interest – and character motivation is key in achieving this; it… Read More »5 Reasons Dialogue Is Overrated
Vexentrix asked about TV Spec Scripts of existing shows this week on Twitter and it’s something I’ve talked about with British writers many times in the past, so I figured it was time to write an official post about it. In the US, it’s common for a writer wanting to break into TV to write a spec of episode of that actual show and send it in, in the hope of grabbing the producer’s attention and getting a commissioned episode. Here is a list of 2011 specced US Comedies and another list of 2011 specced US Dramas. We don’t do… Read More »UK TV Spec Scripts
Yeah, yeah, yeah – soap is writing by numbers, a load of crap, blah blah blah. You finished? Good. I’ve long been a fan of Hollyoaks. I was in right slap-bang in the teenage target audience when it started, so have literally grown up with it. I’ve watched it transform itself from just a few characters with the likes of Ruth, Lewis and Tony – the latter the only remaining original cast member – to what it is now, via multiple blowings-up of local pub The Dog In The Pond and its nightclub across the road The Loft; copious amounts… Read More »Surprising Characterisation: A Tale of Two Psychos
NO SPOILERS PRESENT It’s the 50th Anniversary of Corrie tonight – and *that* infamous tram crash is coming! I for one CANNOT WAIT… Coronation Street has been my favourite soap since I was a little child – and it’s possibly my favourite TV programme, full stop. The brilliance of Corrie is it’s all about the characters – nowhere on television can I find characters, esepcially women, I identify with as much. Can’t wait to see what the response of the current cast – Rita, Emily, Molly, Deirdre, Leanne, Carla and especially the fabulous Becky. On this basis then, when the… Read More »Guest Post: Writing for Soaps and Television Drama Series by Yvonne Grace
Static scenes often slow down your story and cause problems with your structure, especially in screenplays. But what is a static scene and why do they cause such issues? Here you go: 1) Chains of dialogue Very often this is due to CHAINS of dialogue, exchange after exchange going on and on for pages and pages. In cases like this, it’s always wise to not let dialogue run away with you: just because it feels good to write lots of dialogue, doesn’t mean it should ALL be there. As I always say — ALL scripts have too much dialogue. Think of… Read More »What Is A “Static Scene”? (Plus What To Do About Them)
Gone are the days in which television was derided as the inferior cousin of film. When I first started writing I recall many of my colleagues pouring scorn on soaps, drama series and even serial dramas, especially when I was still at university: there was no “emotional truth” there apparently; all the writers doing it were hacks; it was one big sausage factory, end of. Yet in the last five years — less, even — all this appears to have changed. Once my spec pile would have consisted solely of shorts and features — now I have spec television scripts… Read More »Decision Time: Television or Film?
Two days at the Soho Theatre in Dean Street for The Script Factory’s take on TV drama. Mornings featured lectures by Rob Ritchie: four-act structure, handling multiple storylines, writing to immovable deadlines, dialogue vs. pictures, rules and conventions of British TV drama formats… and that was just the first morning. As ever with Script Factory courses, participants receive a helpful binder of notes covering the content in great detail. I’ve heard some Script Factory presenters simply read these notes out, which is dull, but Ritchie was far more adept, rounding out the printed content with explanation, anecdote and reminder, deftly… Read More »Guest Post: The TV Forum at The Script Factory by Hilary Wright