Over on the Voidships channel

There's a new entry on my Voidships blog about how I came to write Winter so it's a blog that probably also belongs here 'cos it's about writing.

I have an entry for the Red Planet prize which I'm just sprucing up - how's yours?

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What's on the turntable? Something by Tangerine Dream

The Mystery of Suspense with a side-order of Sex

Writing 101.

The concept called Dramatic Irony sounds complicated. It isn't.

It's when the audience knows something one or more of the important characters in a story doesn't know. As in Hitchcock's bomb under the table[1], if the audience doesn't know it's there and it explodes, that's a surprise. If the audience does know it's there and it doesn't explode... the fact the audience knows is dramatic irony, the effect it causes is suspense. Though it only causes suspense if it's got consequences, the bigger the consequences the better the suspense.

Bombs generally have consequences.

Suspense is a very good thing, it keeps the audience on the edge of their seat. It enforces their participation and without audience participation a story is worthless.

Mystery is the opposite of suspense, being just something the audience - and one or more important characters also doesn't know. Hopefully the audience wants to know, but they don't and the story hinges on it, then it fails.

I'm getting interested in this stuff because I've nearly finished Winter and I'm heading into the "let's analyse the story scene by scene using screenwriting tools and see how we can make it better" stage.

In Winter I'm reasonably happy with the suspense factor - even though it's based on a mystery. The audience knows that the protagonist has a major secret, it's a mystery although it's almost certainly something bad (good things are seldom any use). The audience also knows that this secret is going to make something bad happen to one of the other characters. Eventually.

And I wrote my first sex scene which was an interesting experience. It only occupies half a page (this is a script after all) but it does the job it needs to do.

But what's even more interesting was how to get the two characters from strangers to making love in 30 pages. For that I did some research and found the 12 Steps to Intimacy[2] which, like all things, are guidelines rather than rules.

Have you written your first sex scene yet? How was it for you?

[1] http://en.wikipedia.org/wiki/Themes_and_plot_devices_in_the_films_of_Alfred_Hitchcock

[2] http://terryodell.blogspot.com/2010/03/12-steps-to-intimacy.html

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What's on the turntable? "Spare Some Love" by Renaissance from "Prologue"

When I say "Oh dear"...

I realise my empty last posting needs some explanation. I mean I could delete it but where would the fun be in that?

Fun? Not feeling very fun-ny today I must admit. This is not because anything bad is happening in my life, it isn't. Just had a bad night a combination of the weather suddenly turning hot and humid (just for a couple of hours), people just down the way having friends round and making just enough noise to prevent sleep, cats deciding to take objection to other cats, and our dog taking exception to the cats taking exception to each other.

Very sad. So I'm tired, hence the unfunny feeling.

The "Oh dear" was because I was going to make a comment about how I had completely failed to make any further posting about the London Screenwriters Festival. But the inter-tubes in the place I'm staying decided to behave badly and that was as far as I got. Except I managed to post it.

Not very exciting at all.

London Screenwriters Festival

I went to others of the sessions of course, nothing truly major stuck in my mind. Ellin Stein's session on editing down scripts was interesting enough; and the one on a new way of analysing scripts was passingly interesting, though the speaker was primarily selling his products - and his clientele is directors rather than writers.

I can sum up what he said: The key moments of a script are when a character perceives something different in their environment.

I think, on the whole, it's a valid tool for directors, is it a valid tool for writers? No idea. I'll have to try it out.

I had a go at the Pitch Factor on Saturday evening. It was fun and I was rubbish - but considering I wrote the pitch on the back a cigarette packet half a  minute before speaking that comes as no surprise. (I'm lying professionally here. It was a note pad, and I wrote it half an hour before.)

I also had a Speed Pitch session booked, which was also a bit poo. But I was similarly unprepared. No surprise there then.

I went to the Writing Fantastical TV session which had a good panel and the overwhelming advice was - smuggle it in. Of course, as I read elsewhere, it's ludicrous if TV commissioners say "oh that last SF TV series really bombed we won't do any more of those". After all, do they, when a cop show bombs, say "We won't do any more cop shows?" No, they don't.

There was also the Writing for Comics, another good panel and something I knew nothing about, so I was suitably enlightened. Interesting.

And, of course, I met new people and generally had a good time. So I'll no doubt do it again.

Family Drama

So, the Boy has been doing exams (his school push them through early GCSEs) so it's been a bit a stressful time for him. But he has come out the other side safely.

For the drama exam (part of English Language) they had to write their own 5min script based on Saving Private Ryan. Scripts is something we know something about so he got the job in his groups. (Actually it makes no sense, this is a drama exam so he gets nothing for the writing - surely they should just give them a script?)

Anyway, without going into detail, there was much to-ing and fro-ing with this script. He wasn't sure what to do, so we discussed conflict in scenes. His first version barely made 90 seconds. Then he got something sorted that was long enough. Then he found that his part was too short so had to add a completely new sequence into the scene, but we discussed what could be done and came up with something he liked and he wrote it.

I'm currently working away from home during the week so the Teacher (okay, that's potentially confusing - when I say "the Teacher" I mean my wife, not his schoolteacher) helped him clean up the spelling and grammar. And then she wanted to put some additional instructions into the action lines and the Boy says "No, mum, you can't do that, that's director stuff."

There humour. (For the sake of completeness, yes, I know, in stage work the writer is god, so "director stuff" would be fine - but that wouldn't be funny.)

Anyway it all went off well and he got the equivalent of an A grade for the drama part - I'd have given him the same for the writing, but I'm a bit biased.

Winter Blog

I am also instigating yet another blog - just a sucker for punishment - this one is specifically about writing the web series Winter which is going very nicely and I have some observations to make (well, I think they're interesting - others may differ.)

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What's on the turntable? "The Third Hoorah" by Jethro Tull from "Warchild"

Oh dear

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What's on the turntable?

London Screenwriters' Festival Day #1

In previous years I've made lots of notes and done a blow-by-blow account of this and similar events. I'm afraid that's not going to happen any more - at least not in detail. There are a couple of reasons for this: they are filming almost all the sessions so if you have access to the site you can see most sessions - even ones that conflict; and because once upon a time I was completely ignorant of screenwriting, but now I know a bit so I don't feel the need to make copious notes.

Also, as it happens, I missed most of the first day. I was there but the whole afternoon was taken up with the Advanced Mentoring session with major international TV producer Gub Neal (he has also produced three films but, as he said, that world is just weird).

On the previous night I had been afflicted by a proto-migraine, I don't get migraines (the lie down in a dark room and feel like you're dying kind) any more but if I've not slept properly for a few days I get the beginnings of a migraine, a headache which can get very painful unless I'm careful (chocolate helps).

Anyway I went to the London Screenwriters' Festival pre-launch thingy to get my event registration complete and to deliver some pitches I'd printed out for someone else. I didn't stay. Got back to the flat, watched the final episode of The Fades (quite good); practised my pitch again despite the headache; and then got an early night.

I knew I'd feel better in the morning and I did.

So then came the rushing around ensuring I had everything I needed for the Advanced Mentoring. I did not forget anything, and I remembered set up my computer with a new backdrop - the CGI shot from the Monsters trailer we'd done, created by the Director Chris. As I say that's a CGI shot, we weren't allowed on top of a skyscraper at night, it was actually shot in the cellar of my house.


I wanted it as the backdrop so I could have my computer open and displaying it as I did my pitch. I also download the trailer. I was in two minds about showing the trailer but decided to show it at the end of the pitch. I had all the leave-behinds printed - hey, I was taking this seriously and Gub is one of the biggest TV producers around.

So what was it we were doing? We'd been told it was a kind of Dragon's Den thing, each of us would pitch in turn to the rest of the group who pretended to be producers. Each was allocated five Monopoly money notes (5 x 100 units) which they could decide to invest in the pitched project. If the project got 1000 units of backing it could move ahead.

It's a nice game and worth copying because it's just like the real world - only a certain amount of money to go round and if you commit all your money then even if a better project comes along ,,, it's too late. Very instructional.

I listened to the first two pitches and terror began to set in, it wasn't that those pitches were especially good or not, it was that they weren't anything like what I'd prepared. And I knew some of the people around the table had been to the pitching training the day before, just not which ones. One of those pitches made it to the 1000, so went through. Worse and worse.

What to do? Could I change my pitch on-the-fly into something resembling what these other two had said? I was sweating, what to do? In the end I did the only thing I could do. I decided that, well, this was just a training session and I was here to learn, so I did it the way I prepared it.

I got up, set up my machine with the picture and did the pitch, fluffed it in a couple of places but not seriously. Then played the trailer. Gub's note on the pitch? "Very good pitch, don't use the trailer." Never had my flabber been so ghasted. And then? Everybody round the table just said it was great, that they really got the characters, crazy Dom threw in all his money, and I got the 1000 easily.

Why did Gub say don't use the trailer? In fact he'd said it for the same reason I was in two minds about using it: Because another producer, the inestimable Philip Shelley, had told me once not to direct any potential producers or financiers to the trailer. Not because it's bad, but because when someone reads the script (or gets pitched to) they have created an image in their imagination, if you show them the trailer that replaces what they've imagined and becomes the level of what they expect - I'm paraphrasing but that's essentially it.

Well, now I've been told twice, I won't do it again.

And so it went, another three pitches and one more person through to the final round.

The next round I had not prepared for, at least not directly, but I have to attribute my success to my friend Liz, for whom I had to print out the one page pitches mentioned earlier. I took one look at her pitches and went OMG my written pitches are nothing like this - and she's done an MA in screenwriting. (Are you sensing a pattern here?)

But it had meant that I had created a super-trimmed-down version one page pitch.

Gub announced that now he would pretend to be a TV commissioner for a broadcast company and we had to do a short pitch and then get grilled by him as to why he should help fund this project with a view to putting it into production.

I grabbed my super-new one-pager and used the first few lines with a few amendments, off the top of my head. He asked searching questions - I had answers, so thank you to all those people on the Intertubes who saw my request for difficult questions, they ensured I had an answer for everything.

Ultimately all three of us were sufficiently convincing - bearing in mind that this was make believe I got commissioned for further development for Sky 1, someone else got Channel 4 (for a very "difficult" piece), and the other was ... ITV?

Mind you, as Gub said afterwards, that was the easy version. But it's a game I'd like to play with the big boys :-)

We'd certainly been put through the mill and it was awesomely educational. I learned something: I actually love pitching.

(I did see a couple of sessions today and I would write about them but it's late and I need my sleepy-byes.)

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What's on the turntable? "Life Burns" by Apocalyptica from "Apocalyptica" - you can't go wrong with heavy metal cellos.