...an excellent writer and a good bloke.
Nobody deserves the stupid crap the morons have been firing at him.
It's a story. And it is a bloody good story. The fact that it generated such a fantastic level of emotion is a tribute to its quality. The fact that James has been forced to write this
http://jamesmoran.blogspot.com/2009/07/stepping-back.html
is a tribute too. Perversely.
I look at it this way: Torchwood Children of Earth was a very upsetting piece, it was real. The people in it behaved as people would. And it's not pretty.
In my opinion we all have bad things lurking inside, some of us can deal with it, we can acknowledge that under certain circumstances we might behave in bad ways, while hoping we won't. However those people who attacked James are those who cannot face the truth. They attempt to deny it by attacking the person who stood up and said "look, this could be you". (I know it wasn't just him but James has been the public face over the last week.)
Regardless of the type of attack, regardless of any so-called justifications for their attacks, it comes down to one thing: This TV show - this entertainment - threatened to show them what they were really like, and they couldn't take it, they had to lash out.
This is why there is no sense in trying to reason with them. For a start the thing they claim to be the problem isn't actually the real problem, and second, the damage has already been done and cannot be undone. They don't know what the problem really is, because if they did ... then it wouldn't be a problem.
RTD has done it before with Second Coming, though the reaction was less intense.
For what it's worth, James, I think you and the others created one of the best TV experiences I have ever had. It was utterly brilliant.
What's on the turntable? "When Tomorrow Comes" by the Eurythmics from "Revenge"
Showing posts with label torchwood. Show all posts
Showing posts with label torchwood. Show all posts
Sunday, July 12, 2009
It's not SF if it's good.
Regular readers will know that I get annoyed by ignorant snobs who think SF and Fantasy are intrinsically bad.
What's worse are those who try to redefine something as "not SF" if it is somehow good. My tally is currently as follows:
Of course there are great writers like Iain Banks who enjoy telling their literary audience how much they also enjoy writing SF. I hope it makes them squirm.
(Another annoyance are people who, due to their ignorance, cannot tell the difference between SF and Fantasy. Referring to SF as Fantasy is not too bad, obviously it is "fantastical", but I mean the ones who call Fantasy, SF. Like a rather silly woman in Broadcast magazine this week.)
I've not been feeling well this weekend. Hence the rant.
What's on the turntable? Nuffink
What's worse are those who try to redefine something as "not SF" if it is somehow good. My tally is currently as follows:
- "Battlestar Galactica" is not SF because it is a socio-religious-political drama about people.
- Ursula Le Guin's "Left-hand of Darkness" is not SF because it's a superb commentary on life and prejudice.
- The literary author of the novel about a future Earth where pollution has destroyed the environment - but it's not SF because she doesn't write SF. (And how dare you suggest such a thing.)
- There is move to redefine the late great J. G. Ballard as "not an SF writer" because he was great; now that he is also "late" they think they can get away with it because he's not around to argue.
Of course there are great writers like Iain Banks who enjoy telling their literary audience how much they also enjoy writing SF. I hope it makes them squirm.
(Another annoyance are people who, due to their ignorance, cannot tell the difference between SF and Fantasy. Referring to SF as Fantasy is not too bad, obviously it is "fantastical", but I mean the ones who call Fantasy, SF. Like a rather silly woman in Broadcast magazine this week.)
I've not been feeling well this weekend. Hence the rant.
What's on the turntable? Nuffink
Saturday, July 11, 2009
Torchwood
Well. That was - phenomenal.
The Daughter missed the last episode last night - she's watching it on iPlayer right now with headphones. I saw the expression on her face during the earlier bit with the civil servant and the gun. Now she's crying, just like I did last night. Just as the Teacher did when she watched it this afternoon (she missed last night as well).
I hope I can write like that one day.
(Oh and welcome to Lisa.)
What's on the turntable? The excellent Poirot theme tune, I'm doing research.
The Daughter missed the last episode last night - she's watching it on iPlayer right now with headphones. I saw the expression on her face during the earlier bit with the civil servant and the gun. Now she's crying, just like I did last night. Just as the Teacher did when she watched it this afternoon (she missed last night as well).
I hope I can write like that one day.
(Oh and welcome to Lisa.)
What's on the turntable? The excellent Poirot theme tune, I'm doing research.
Tuesday, July 07, 2009
The Editor's Pen
I finished Tec last night after that burst of inspiration courtesy of Torchwood. It really was excellent, I love having my expectations exploded. (Have you ever had yours exploded?)
So I've printed up Tec and I'm hitting it with the red pen - there are two, possibly three (even four), reasons for not waiting a couple of weeks: I've been writing so slowly I've become disconnected from the beginning anyway. I'm still inspired. I feel I need to practice editing stuff more quickly after writing: 17 years as a magazine editor does give me some help in that area. I need to clear the decks for the new stuff and the existing things are beginning to pile up. Red Planet will get announced soon and, assuming the format is the same, this is my entry.
Five reasons.
Nobody expects the Spanish Inquisition.
By the way, commiserations to those who missed on the Writers Academy.
Only three days to the CBBC/Writersroom announcement.
What's on the turntable? "Free Man in Paris" by Joni Mitchell from "Hits" compilation
So I've printed up Tec and I'm hitting it with the red pen - there are two, possibly three (even four), reasons for not waiting a couple of weeks: I've been writing so slowly I've become disconnected from the beginning anyway. I'm still inspired. I feel I need to practice editing stuff more quickly after writing: 17 years as a magazine editor does give me some help in that area. I need to clear the decks for the new stuff and the existing things are beginning to pile up. Red Planet will get announced soon and, assuming the format is the same, this is my entry.
Five reasons.
Nobody expects the Spanish Inquisition.
By the way, commiserations to those who missed on the Writers Academy.
Only three days to the CBBC/Writersroom announcement.
What's on the turntable? "Free Man in Paris" by Joni Mitchell from "Hits" compilation
Monday, July 06, 2009
Inspirational
Torchwood: Children of Earth - why I want to write for TV?
To do something like that.
'Nuff said.
What's on the turntable? "Blue" by Joni Mitchell from "Blue"
To do something like that.
'Nuff said.
What's on the turntable? "Blue" by Joni Mitchell from "Blue"
Friday, May 22, 2009
What which? Eh?
I have popped my 15 min test script combining Being Human and Torchwood characters on to my Shooting People website for anyone to read - click the link of the left - don't forget it's just for fun.
What's on the turntable? Nuffink
What's on the turntable? Nuffink
Thursday, April 30, 2009
Evening off
As my reward to myself for finishing Scriptfrenzy successfully I'm having the evening off and just watching some TV. And catching up on my email.
Due to my Internet problems I haven't had any email for 2 days and it all came flooding through this evening once the gates were opened - and, as I stepped delicately through the sea of messages, picking my way through the flotspam and jetspam. I came across the report on my fun Being Human/Torchwood 15-minute crossover script. See this for full details.
I have to admit that, after my little debacle with Unit X, I had suffered a little from self-doubt. Was it possible I only had two good scripts in me? I didn't actually believe it, but those little niggles can be hard to squash (even with the heel of your shoe). Besides you can't let something like that stop you. Pah!
So what was the result? It got what you might call a 6/10 - characterisation and dialogue good for all the Being Human characters (particularly George) and Jack Harkness from Torchwood, but less so for Ianto and Gwen. Lots of nice Wizard of Oz references; and basically a fun read.
BUT, viewed as real script, the plot was more Torchwood style so didn't do the Being Human characters any favours and 15 pages really isn't enough for character depth when you have seven major characters (don't forget the baddie: Mrs Wormwood from The Sarah Jane Adventures).
I've decided to get another opinion on this - not because I disagree, I completely agree - but one viewpoint (even one as good as Philip Shelley) is never enough. Not even for this - because you need to be able to compare and contrast viewpoints to extract the full meat.
However it does answer one really important question: Can I write in the voices of characters from someone else's show? Apparently I can.
This is good.
(I'd be lying if I didn't admit that I have spent some time re-doing my background research on my next project, Tec . Have to put together a nice complex plot.)
What's on the turntable? "Hunter" by Bjork from "Homogenic"
Due to my Internet problems I haven't had any email for 2 days and it all came flooding through this evening once the gates were opened - and, as I stepped delicately through the sea of messages, picking my way through the flotspam and jetspam. I came across the report on my fun Being Human/Torchwood 15-minute crossover script. See this for full details.
I have to admit that, after my little debacle with Unit X, I had suffered a little from self-doubt. Was it possible I only had two good scripts in me? I didn't actually believe it, but those little niggles can be hard to squash (even with the heel of your shoe). Besides you can't let something like that stop you. Pah!
So what was the result? It got what you might call a 6/10 - characterisation and dialogue good for all the Being Human characters (particularly George) and Jack Harkness from Torchwood, but less so for Ianto and Gwen. Lots of nice Wizard of Oz references; and basically a fun read.
BUT, viewed as real script, the plot was more Torchwood style so didn't do the Being Human characters any favours and 15 pages really isn't enough for character depth when you have seven major characters (don't forget the baddie: Mrs Wormwood from The Sarah Jane Adventures).
I've decided to get another opinion on this - not because I disagree, I completely agree - but one viewpoint (even one as good as Philip Shelley) is never enough. Not even for this - because you need to be able to compare and contrast viewpoints to extract the full meat.
However it does answer one really important question: Can I write in the voices of characters from someone else's show? Apparently I can.
This is good.
(I'd be lying if I didn't admit that I have spent some time re-doing my background research on my next project, Tec . Have to put together a nice complex plot.)
What's on the turntable? "Hunter" by Bjork from "Homogenic"
Sunday, March 29, 2009
Fun script done
There you go, Which made it to 13 pages in the end, in the first draft anyway.
Got stuck at one point and realised that it wasn't working with just the two groups because they are both good guys and there was insufficient plot to have them at each other's throats. Instead I brought in a bad guy from the Sarah Jane Adventures to be the cause of the trouble.
I'm pretty pleased with it as it stands, obviously it needs going through a couple of times and smoothing out. I expect there are additional emotions I can bring out. I also need to see if I can fit in "There's no place like home" comfortably - I really want it and there is one character that can say it but it didn't fit the flow at any point.
Joy joy feeling. Be well, citizen.
What's on the turntable? "I close my eyes and count to ten" by Dusty Springfield
Got stuck at one point and realised that it wasn't working with just the two groups because they are both good guys and there was insufficient plot to have them at each other's throats. Instead I brought in a bad guy from the Sarah Jane Adventures to be the cause of the trouble.
I'm pretty pleased with it as it stands, obviously it needs going through a couple of times and smoothing out. I expect there are additional emotions I can bring out. I also need to see if I can fit in "There's no place like home" comfortably - I really want it and there is one character that can say it but it didn't fit the flow at any point.
Joy joy feeling. Be well, citizen.
What's on the turntable? "I close my eyes and count to ten" by Dusty Springfield
Thursday, March 26, 2009
Which witch is which?
As you can see my progress bar is nearly at 50%, I wrote about 5 pages this evening. This section is a bit dialogue heavy and will need some re-writing to trim it and look to see how to clarify the intentions of the various characters within the scene. (Currently it's a bit wishy washy.)
But the two groups have now met. Handling six major characters is quite tricky but we shall see how it goes. This evening on the train I spent some time looking at the different relationships you can have between Gwen, Ianto and Jack on the Torchwood side as opposed to Annie, George and Mitchell from Being Human.
How could the characters interact? What are the similarities and what are the differences? Where will they agree and where disagree?
There's lots of really juicy character stuff you could do, but I'll have to limit it. There's one particular thing I have lined up, poor George he always seems to end up in pain and poor Jack, always winds up dead...
My US Army expert, we'll call him Robert (because that's his name), got back to me today though I haven't read his notes apart from the introduction. Since I'm working on Which I don't want to get side-tracked back to Unit X until I've got the notes from Philip Shelley as well.
Still he was reasonably complimentary "There are many times that you get the military attitude just perfect. What the soldiers would say, how they would act. This adds to the authenticity, believe me."
Which was nice.
But I know there's a bunch of stuff in store for me, that will be less nice. But I want to get it as right as I can within the framework of the story.
It's also interesting, and this has happened with readers on other stories, how on offhand remark about something they don't consider important reveals that you, as the author, have failed to communicate something critically important.
I tore my hair out in Monsters over the fact that every reader assumed that the main character, Chloe, was supernaturally strong - when she was just using one of the simplest Jujitsu moves to immobilise someone, that anybody can be taught in a few minutes. I'm not 100% sure I ever solved it.
And, with Robert, there was a throwaway comment that showed I had got something wrong. It should be relatively easy to fix - much easier than the jujitsu thing. Of course, not being a proper script reader, Robert is offering solutions as well, but I was expecting that so I'm not offended. I asked for his advice and he's giving it, for free.
So. Tomorrow is Friday and I'm not heading home in the afternoon as I usually do because I shall be in work on both Saturday and Sunday. Not a delightful prospect, it can be very lonely here. On the other hand, lots of time for writing in the evenings. Should get Which wrapped up.
What's on the turntable? "Tubular Bells Part Two" by Mike Oldfield from "Tubular Bells".
But the two groups have now met. Handling six major characters is quite tricky but we shall see how it goes. This evening on the train I spent some time looking at the different relationships you can have between Gwen, Ianto and Jack on the Torchwood side as opposed to Annie, George and Mitchell from Being Human.
How could the characters interact? What are the similarities and what are the differences? Where will they agree and where disagree?
There's lots of really juicy character stuff you could do, but I'll have to limit it. There's one particular thing I have lined up, poor George he always seems to end up in pain and poor Jack, always winds up dead...
My US Army expert, we'll call him Robert (because that's his name), got back to me today though I haven't read his notes apart from the introduction. Since I'm working on Which I don't want to get side-tracked back to Unit X until I've got the notes from Philip Shelley as well.
Still he was reasonably complimentary "There are many times that you get the military attitude just perfect. What the soldiers would say, how they would act. This adds to the authenticity, believe me."
Which was nice.
But I know there's a bunch of stuff in store for me, that will be less nice. But I want to get it as right as I can within the framework of the story.
It's also interesting, and this has happened with readers on other stories, how on offhand remark about something they don't consider important reveals that you, as the author, have failed to communicate something critically important.
I tore my hair out in Monsters over the fact that every reader assumed that the main character, Chloe, was supernaturally strong - when she was just using one of the simplest Jujitsu moves to immobilise someone, that anybody can be taught in a few minutes. I'm not 100% sure I ever solved it.
And, with Robert, there was a throwaway comment that showed I had got something wrong. It should be relatively easy to fix - much easier than the jujitsu thing. Of course, not being a proper script reader, Robert is offering solutions as well, but I was expecting that so I'm not offended. I asked for his advice and he's giving it, for free.
So. Tomorrow is Friday and I'm not heading home in the afternoon as I usually do because I shall be in work on both Saturday and Sunday. Not a delightful prospect, it can be very lonely here. On the other hand, lots of time for writing in the evenings. Should get Which wrapped up.
What's on the turntable? "Tubular Bells Part Two" by Mike Oldfield from "Tubular Bells".
Wednesday, March 25, 2009
All the fun of the fair
Well I finally managed to stop procrastinating about 10:00pm this evening, because I really really had to start writing Which.
And I did.
Oh, what a jolly time I'm having - and I've chopped out one of the TV shows I was going to incorporate.
Just because I'm writing something fun doesn't mean that I'm not applying all the tools at my disposal, because it still needs to be good (hopefully).
The TV programmes I'm combining are Being Human and Torchwood. And I've started the story by echoing the opening of Ep.1 of Being Human (script). Cutting to a brief scene in the Torchwood Hub (Cardiff), then an all-action sequence in Bristol.
But the writing tools? As Lucy mentioned on her blog the other day, consequence is everything - everything in your script must flow logically, and as a dependent action, from the previous event. Aristotle, over 2000 years ago, warned against episodic stories, so this has been known about for a while.
In his book "Writing a Great Movie", Jeff Kitchen expounds a technique which helps you to write consequential plot lines. It involves starting at the end and working backwards. You write down the end you want and say "which is caused directly by...". You do this at a high level for the overall action. Then do the same for each sequence within the story. And then even down to individual scenes.
I applied this technique to Which as I came home on the train today. Obviously it didn't take very long because I'm only aiming for 10-15 pages. But the important thing was that I had planned to include The Sarah Jane Adventures in the story as well but, using this technique, it was found to be surplus to requirements.
So there we go. Fun fun fun.
What's on the turntable? "Amarok" by Mike Oldfield (58 minutes in)
And I did.
Oh, what a jolly time I'm having - and I've chopped out one of the TV shows I was going to incorporate.
Just because I'm writing something fun doesn't mean that I'm not applying all the tools at my disposal, because it still needs to be good (hopefully).
The TV programmes I'm combining are Being Human and Torchwood. And I've started the story by echoing the opening of Ep.1 of Being Human (script). Cutting to a brief scene in the Torchwood Hub (Cardiff), then an all-action sequence in Bristol.
But the writing tools? As Lucy mentioned on her blog the other day, consequence is everything - everything in your script must flow logically, and as a dependent action, from the previous event. Aristotle, over 2000 years ago, warned against episodic stories, so this has been known about for a while.
In his book "Writing a Great Movie", Jeff Kitchen expounds a technique which helps you to write consequential plot lines. It involves starting at the end and working backwards. You write down the end you want and say "which is caused directly by...". You do this at a high level for the overall action. Then do the same for each sequence within the story. And then even down to individual scenes.
I applied this technique to Which as I came home on the train today. Obviously it didn't take very long because I'm only aiming for 10-15 pages. But the important thing was that I had planned to include The Sarah Jane Adventures in the story as well but, using this technique, it was found to be surplus to requirements.
So there we go. Fun fun fun.
What's on the turntable? "Amarok" by Mike Oldfield (58 minutes in)
Thursday, September 11, 2008
What a week!
Talk about ups and downs.
Downs: Work has a been a bit of nightmare. Shouldn't really go into too much detail but there was the risk of people getting kicked out if a certain part of the project wasn't seen to be working by people higher up. Not me personally - but my team is implementing the bit that wasn't considered to be "working". Late nights all round. Had 5 hours sleep last night.
Hence no blog.
Ups: It can now be seen to be working. Big demo at 4:30 tomorrow, everything should be fine. Nobody needs to get fired and I don't have to be responsible for it. Phew.
More ups: On the script front I've wrapped up my Red Planet Prize entry, Monsters, which I've been refining over the past year with the help of script consultant Philip Shelley, plus David Bull and, more recently, Stuart Perry gave the first 10 pages a look over and made some very useful comments. (Lest we forget, the winner of the first Red Planet Prize had worked with possibly the world's most influential script consultant. It's essential.)
If you read Philip Shelley's website you'll see that he offers an extra service to the writers that he really rates: using his extensive contacts to help get them awareness in the market (maybe getting an agent or work). No guarantees, of course, but in this business that kind of patronage is worth its weight in gold.
As it happens I have, off my own bat, managed to secure the willingness of one agency (courtesy of the Screenwriters Festival) and BBC Wales (Dr Who, Torchwood etc) to at least read Monsters. But with Philip's help I hope to get my foot in the door right up to the thigh. (As it were.) And possibly squeeze all the way through.
Definitely a week of contrasts. Life can be fun!
What's on the turntable? "Omie Wise" by Pentangle from "Light Flight"
Downs: Work has a been a bit of nightmare. Shouldn't really go into too much detail but there was the risk of people getting kicked out if a certain part of the project wasn't seen to be working by people higher up. Not me personally - but my team is implementing the bit that wasn't considered to be "working". Late nights all round. Had 5 hours sleep last night.
Hence no blog.
Ups: It can now be seen to be working. Big demo at 4:30 tomorrow, everything should be fine. Nobody needs to get fired and I don't have to be responsible for it. Phew.
More ups: On the script front I've wrapped up my Red Planet Prize entry, Monsters, which I've been refining over the past year with the help of script consultant Philip Shelley, plus David Bull and, more recently, Stuart Perry gave the first 10 pages a look over and made some very useful comments. (Lest we forget, the winner of the first Red Planet Prize had worked with possibly the world's most influential script consultant. It's essential.)
If you read Philip Shelley's website you'll see that he offers an extra service to the writers that he really rates: using his extensive contacts to help get them awareness in the market (maybe getting an agent or work). No guarantees, of course, but in this business that kind of patronage is worth its weight in gold.
As it happens I have, off my own bat, managed to secure the willingness of one agency (courtesy of the Screenwriters Festival) and BBC Wales (Dr Who, Torchwood etc) to at least read Monsters. But with Philip's help I hope to get my foot in the door right up to the thigh. (As it were.) And possibly squeeze all the way through.
Definitely a week of contrasts. Life can be fun!
What's on the turntable? "Omie Wise" by Pentangle from "Light Flight"
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