London Screenwriters' Festival 2011 - prelude

So much to say, so little time.

I am going to LSF'11, this week. I got onto the speed pitching on Sunday, and miracle of miracles I also got the Advanced Mentoring session (which is going to start with Dragon's Den-style pitching and cross-examination from the floor) with Gub Neal on Friday. This is all good.

I know pitching is a very scary thing, and people will tell you it's all down to preparation. I don;t think that's right really, of course it helps to be prepared - and I'm not going in unprepared. But there is something vastly more important: emotion.

You could be apathetic, imagine what response that would get. You could be tearful. You could plead. You could be plain scared. You could be snide and superior. You could be angry. Antagonistic. You could be anxious. Bored.

Any of those and it would be an utter disaster. You could be a bit interested, a lot interested, cheerful - those would be better.  But there's only emotion that really works: Enthusiasm and it has to be genuine.

If you can't be genuinely enthusiastic about your own work, you're on to a loser. I'd probably argue that you could get away with a minimum of preparation, as long as you're enthusiastic. Your idea still has to have merit, of course.

This year I'm not relocating to a nearby hotel, because my latest contract has me in a room in Kensington, London. So no additional costs incurred - nice. But I won't be heading home at the weekend to see the family which is not so nice.

Last weekend I was intending to get all the pitches and one pagers done. I didn't. So this evening I rushed out after work and bought a nice little Epson printer that takes the same inks as the one I have at home. Excellent.

So what have I been writing? Well the planning on Winter web-series has been going very nicely but I've had to hold fire on that for the LSF'11. I did a tidy up on my feature Rebel set in the same steampunk universe as Winter in fact it happens at almost the same time. I'll be pitching Rebel in the speed-pitching.

For the Advanced Mentoring I'm pitching Monsters (SF action thriller TV series) still my favourite after all this time.

There's also the deadline (the day after the LSF'11) for the Channel 4 screenwriting course which I completely failed to get into last year. For that I'm sending my broadcaster-friendly detective series Mara though I'll give that a brush-up first as well.

And that's it.

I don't know if I'll be supplying a day-to-day rundown on the LSF'11 this year, I'm going to be a lot busier than usual. We'll see how it goes.

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What's on the turntable? "Always somewhere else" by Steve Hackett from "Highly Strung"

What are your characters doing?

It's been a while since I wrote a blog exclusively on writing, the craft of. And that's what this is.

I've been reading "The Tools of Screenwriting" and finding it a very useful book indeed. I'm not one for formulas (except Aristotle) but I'm always keen on tools for the screenwriting toolbox - they don't necessarily make things easier but help you to incorporate those things that make your writing better.

This isn't a review and I'm not going into depth (you can buy the book) but this afternoon, as I travelled home on the train, I've been working on something that came from just a single sentence in the book:

"Determine the actions that reveal character and move the story forward first."

I'd been working on character background for the web series Winter and applying various other tools (such as Bill Martell's "just come up with scenes, lots of scenes, more than you need") but when I came across this gem I put all those aside.

There are three main characters in Winter and I knew the overall arc of the story (I had roughly plotted the acts and there is an earlier draft), so I sat down with the Protagonist and went "What does she do first?" and wrote it down, then I went through the whole story listing her actions that drive the story forward and reveal character.

The thing I observed was that nailing it down to the specific actions could not help but reveal character - a character is what they do - and character is story. It was a revealing experience to go through and nailed the story so much better than I ever had before.

Then I did the same for the other two characters. After all they are the protagonists in their own stories.

All in all it was a very productive couple of hours - I highly recommend it.

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What's on the turntable? "Will you love me tomorrow?" by Carole King from "Tapestry"

Well I never

Hard on the heels of my last post about the nice producer, I got an email from an agency who asked to read a sample script - and then I got an email from someone in the BBC also wanting to read a script.

So that's three in a week. Gosh.

Screenwritery fun

I'm a bit late to the party on this one but just in case you missed it Two Philips are sunning a weekend of screenwriterly goodness - unfortunately, because I'm late, the early bird discount does not apply. Sorry:

Early Bird Discount - Last Few Days – A reminder

“The Authoritative Guide to Writing – And Selling! – a Great Screenplay"

Sat-Sun 24th and 25th September, 10am - 5.30pm Central London

You just have 1 day left to book your place at the Early Bird discount rate. Full price

will apply after SEPT 9th .

The seminar comprises two intensive, interactive days, designed to focus your

creativity, your screenwriting skills and improve your networking.

It's run by two very experienced practitioners: Producer/Script Editor Philip Shelley

(Waking The Dead, BBC; Inspector Morse, ITV), who also runs the Channel 4

Writers Course and the script-consultant.co.uk website, and Screenwriter Philip

Gladwin (Trial & Retribution, The Bill (both ITV ), who also owns and runs the

Screenwriting Goldmine website.

If you’re a screenwriter who is looking for new inspiration after the summer

slowdown, and if you want to learn some very specific and highly effective

techniques for writing – and selling – a great screenplay, then this two day workshop

is for you.

If you are interested in finding out more, and seeing some of the excellent

feedback we got from our inaugural course in July – and booking before the

Early Bird discount runs out this Friday – please follow this link for more information:

http://www.screenwritinggoldmine.com/seminars.htm

I know from personal experience that  Philip Shelley knows his stuff.

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What's on the turntable? "The Chain" by Fleetwood Mac from "Rumours"

When things are good

Just received confirmation from a producer that he does indeed like a feature script of mine. And likes it to the point that he is interested in moving forward with it. Which is nice.

Of course it's the nature of the business that the magnitude of said "movement" will be zero for months - and possibly forever. That's not being critical, I'm very happy about it, but you can't eat hope or promises (and he didn't promise anything).

It just is what it is: a producer is interested enough to want to move forward but he's busy on his current project.

Cool.

It's another step forward, and if he likes one script, others may well like other scripts of mine.

Onwards and upwards.

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What's on the turntable? "Inside" by Jethro Tull from "Benefit"

What's happening, you know, like socially?

It's been nearly a month since I last blogged, which is a rather long time for me, and writing did not form much of the reason why I've been quiet.

I've just been very very busy. And still am. But I thought I'd write a summary of what's happening in my universe. Just so you know I'm still alive. But where to start...

In the past few weeks I've started to use Twitter (@adaddinsane) I spent several weeks just researching it, reading everything I could about it - before I even created my account. I thought this would be wise, no point blundering in and making more of a fool of myself than I already do.

So that went off fairly smoothly, I don't tweet much and as suggested by the things I've read I certainly don't mention what I'm eating or bodily functions.

It's an interesting medium and the important thing to realise is: you will miss stuff. It doesn't matter. My main purpose in getting an account was to see how useful it would be as a promotional tool. I concluded it would be very useful indeed.

Then I got a Google+ account (you can only get one by being invited currently, it's still in beta, only has a few million users). And then I got a G+ plug-in (SGPlus) which allows me to read and post to both Facebook and Twitter just from G+. So I do.

G+ is different again from either Facebook or Twitter. It's more solid and its controls for privacy are far more intuitive than either FB or Twitter. Soon SGPlus will allow me to access my LinkedIn account as well. G+ also integrates with all your other Google products, like GMail, PicasaWeb and so on.

But again, I'm looking at these things from the viewpoint of promotional tools when we start to promote our steampunk Voidships project. Which is all very exciting.

On a personal note the Daughter has been to Bolivia and returned alive. You can see some of the pictures on her  Bolivia page on Facebook. She worked in two places, the first did not involve animals directly but they were building holding pens - hard manual labour, in high temperatures, in the jungle.

The second stage did involve animals, and she worked with an ocelot called Ob (oh-bee, ocelot b). The ocelot has to be walked every day, but will never be released back into the wild as she was rescued from being someone's (extremely inappropriate and dangerous) pet. A bit bigger than a domestic cat, behaves like a domestic cat until she decides to take a piece out of your arm.

It may have been said elsewhere, the Daughter would like to be a professional actor - and has done quite a bit of stage (and some TV) in the past. Well she has finally got an agent, a proper one (hurrah!). Plus, though 20, she looks 14 so can work without the legal restrictions imposed on under 16s.

We went to the Edinburgh Festival and saw many many performances, some good, some less so, and some completely off the wall.

Having an affinity for Japanese culture (our whole family) we had to see "Samurai Grandma" if you read the reviews on the referenced page you'll see there was audience participation. There were less than 10 people in the audience when we saw it. Guess who ended up on stage ... twice. Luckily I revel in playing the fool in public. Gave the family a good laugh.

All I can say is: Watch out for that devilish Kitchen Penguin!

The Boy is a musician, he plays the tenor horn in a brass band, saxophone (most recently in Bugsy Malone, where he was also on stage) and so we visited an educational show called "Blues!" covering the highlights of the history of blues music in one hour. We were blown away. So blown away that we went to see it again.

We also went to see comedy rock band Axis of Awesome who were excellent live - reminded me of Morecambe and Wise: so well rehearsed it looked improvised. It's the Boy's birthday and tomorrow we buy him an electric guitar. He'd like a drumkit too ... maybe next year, after we sound-proof the cellar.

The Teacher has been working with early years for the past few years, but she's moving to Year 2 which has meant a lot of work. But she's so sorted she sat down to do some work, and then realised she's already done it.

Today is the last day of my current contract, I start the next one on Tuesday, in Bristol for a week and then back home for the rest. I could get used to this working from home lark.

And that's about it. Now I have to do more paying work.

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What's on the turntable? "Drifting" by Clannad from "Atlantic Realm"