...The awards night organised by the Irish Playwrights & Screenwriters Guild to celebrate Irish writers is on May 10th in The Sugar Club and the more of us can make it, the better the night will be.
It's always a good night, a chance to catch up with fellow writers and dress up just a little... (The dress code is Writers' Chic... You can see what this is in photos from last year on the Guild website. I MUST learn not to kick my leg up and across photos. It just doesn't look as smooth as it feels at that late stage of the night when photos seem to be taken!) )
Anyway, tickets are 15 euro for members and 25 for those who haven't yet paid subs this year...More details are at http://script.ie/zebbies/z2012/ztickets/
Showing posts with label Writers. Show all posts
Showing posts with label Writers. Show all posts
Thursday, 12 April 2012
Tuesday, 20 March 2012
Second Success for the Animation Networking Group
March 12th, an empty room in Temple Bar fills with the hum of conversation and networking at its finest -- good conversation, interesting people, nobody actually selling anything but enjoying each other's company and making connections.
We had another great group -- some managed to make it back from the first but, as usual, we all ran out of time and I'm not sure we all managed to talk to everyone but that's why the network is growing.
All being well, I'm planning another for April 30th. Which seems miles away but dates can creep up on padded toes in a very underhand way when life is busy! So, if you want to come, let me know and I'll put your name down. It is a fantastic way to make connections. If the energy in the room and the sheer heat of the space was anything to go by during the first two, something good will come from it.
And a huge big thank you again to the Screen Directors Guild of Ireland, to Birch and Angie who came along on the night, for the wonderful space.
We had another great group -- some managed to make it back from the first but, as usual, we all ran out of time and I'm not sure we all managed to talk to everyone but that's why the network is growing.
All being well, I'm planning another for April 30th. Which seems miles away but dates can creep up on padded toes in a very underhand way when life is busy! So, if you want to come, let me know and I'll put your name down. It is a fantastic way to make connections. If the energy in the room and the sheer heat of the space was anything to go by during the first two, something good will come from it.
And a huge big thank you again to the Screen Directors Guild of Ireland, to Birch and Angie who came along on the night, for the wonderful space.
Friday, 10 February 2012
The Next Animation Networking Event for writers and animation directors...
Yup, it's a snappy title. I can't help them - they just flood from the keyboard!
Anyway, following on the success and popularity of the first networking event, I'm organising another one to take place on March 12th in Temple Bar.
The purpose of these events is to bring writers and animation directors together and see if we can't start collaborating with each other on various projects from shorts to features to series to, even, books. Who knows? There was so much creativity in the SDGI Screening Room the last time that if I hadn't called it to a close, I suspect we might still be there now! (Okay, slight exaggeration.)
There will be another event six weeks later on April 23rd and I'm hoping that we can get a Facebook Page up for on-line networking after the next one. There is a waiting list from the last event on Jan 31st but if you want to be part of the momentum, let me know.
Anyway, following on the success and popularity of the first networking event, I'm organising another one to take place on March 12th in Temple Bar.
The purpose of these events is to bring writers and animation directors together and see if we can't start collaborating with each other on various projects from shorts to features to series to, even, books. Who knows? There was so much creativity in the SDGI Screening Room the last time that if I hadn't called it to a close, I suspect we might still be there now! (Okay, slight exaggeration.)
There will be another event six weeks later on April 23rd and I'm hoping that we can get a Facebook Page up for on-line networking after the next one. There is a waiting list from the last event on Jan 31st but if you want to be part of the momentum, let me know.
Tuesday, 31 January 2012
The Animation Networking Event is now officially and enthusiastically ALIVE!
The inaugural meeting last night of the Animation Networking Event - yes, we are on the hunt for a title for the group, all suggestions welcome - was a fantastic night. So many talented and enthusiastic people in one room, all with the desire to collaborate. Writers came from every field from theatre, animation and soap with a desire to work on ideas from horror shorts to pre-school TV, from post watershed TV series to features and competition shorts. The animators came from backgrounds in modelling, 2D, stop motion, 2.5 D, flash, concept design, games...
Best of all, everyone was of the opinion that the bringing together of our two species - animators and writers - should have happened a long time ago, can only lead to good things - maybe in two days, two months, two years... and that the group was overwhelmingly worth developing into a viable and long-term critical mass...
Phew.
Best of all, everyone was of the opinion that the bringing together of our two species - animators and writers - should have happened a long time ago, can only lead to good things - maybe in two days, two months, two years... and that the group was overwhelmingly worth developing into a viable and long-term critical mass...
Phew.
Wednesday, 25 January 2012
FEW PLACES LEFT FOR ANIMATORS
INAUGURAL ANIMATION NETWORKING EVENT
Next Monday 30th at 7pm, the first networking event to bring together a group of writers and animators takes place in Temple Bar. Limited by space, there are three spaces remaining for animators.
The initiative will, hopefully, become a monthly event – there is great interest on both sides and a waiting list of writers and animators for the next event – but we do need to make sure there is an even mix of writers and animators for the idea to work. Hence we need three more animators for this event so we can get this series off the ground.
My hope is that these evenings will bean opportunity for animators and animation directors and writers interested in or already writing in animation to meet in comfort, with a cup in their hand and get to know each other. The meetings will last about two hours and there is no cost involved. The hope is that various collaborations and partnerships may form that might lead to new, creative and wonderful work in animation. We have great writers lined up for this one and a waiting list of writers and animators for the ones to follow. But we need three more animators to come on next Monday .
The initiative is supported by The Irish Playwrights and Screenwriters Guild (IPSG) and SDGI.
All animation directors and writers working or interested in working in animation are welcome; if you can’t make this one, let me know you’re interested and I’ll put your name down for the next one.
Next Monday 30th at 7pm, the first networking event to bring together a group of writers and animators takes place in Temple Bar. Limited by space, there are three spaces remaining for animators.
The initiative will, hopefully, become a monthly event – there is great interest on both sides and a waiting list of writers and animators for the next event – but we do need to make sure there is an even mix of writers and animators for the idea to work. Hence we need three more animators for this event so we can get this series off the ground.
My hope is that these evenings will bean opportunity for animators and animation directors and writers interested in or already writing in animation to meet in comfort, with a cup in their hand and get to know each other. The meetings will last about two hours and there is no cost involved. The hope is that various collaborations and partnerships may form that might lead to new, creative and wonderful work in animation. We have great writers lined up for this one and a waiting list of writers and animators for the ones to follow. But we need three more animators to come on next Monday .
The initiative is supported by The Irish Playwrights and Screenwriters Guild (IPSG) and SDGI.
All animation directors and writers working or interested in working in animation are welcome; if you can’t make this one, let me know you’re interested and I’ll put your name down for the next one.
Thursday, 19 January 2012
THE PERFECT MAN...
... The Attic Studio have confirmed that they will do a reading of my romcom on Jan 31st. Having seen the calibre of the acting overall during just two visits to its below ground basement home in Filmbase, I'm getting pretty excited.
I've learnt in the past six months how much, as a writer, I can get from a reading of any of my work but especially something that doesn't quite work. With this script, feedback on the first draft was very positive by three of the four readers, but what was interesting was that there was little agreement about what was wrong. What one reader loved, another hated... Which is why this reading is so important to me.
I need to hear it to know for myself what works. To garner feedback from actors, other writers, directors that I can spin around in my head and use to figure out what I need to change or work on or maybe even, if I'm lucky, how to make it great!
And I have 24 hours to complete the rewrite. Why am I blogging? To spur myself on!
To all who are currently in the midst of a rewrite, GOOD LUCK and COURAGE!
I've learnt in the past six months how much, as a writer, I can get from a reading of any of my work but especially something that doesn't quite work. With this script, feedback on the first draft was very positive by three of the four readers, but what was interesting was that there was little agreement about what was wrong. What one reader loved, another hated... Which is why this reading is so important to me.
I need to hear it to know for myself what works. To garner feedback from actors, other writers, directors that I can spin around in my head and use to figure out what I need to change or work on or maybe even, if I'm lucky, how to make it great!
And I have 24 hours to complete the rewrite. Why am I blogging? To spur myself on!
To all who are currently in the midst of a rewrite, GOOD LUCK and COURAGE!
Tuesday, 17 January 2012
INAUGURAL ANIMATION NETWORKING EVENT
Animators need writers and writers who like to write animation scripts need someone to bring them alive.
Here’s an opportunity to informally meet your counterpart and, hopefully, strike up relationships that might lead to new, creative and wonderful work in animation
On Monday 30th at 7pm in the Screen Directors’ Guild Screening Room in Temple Bar, The Screen Directors Guild of Ireland (SDGI) and The Irish Playwrights and Screenwriters Guild (IPSG) are inviting writers and animation directors to the first ANIMATION NETWORKING EVENT.
The idea is that animation directors and writers interested in or already writing in animation can meet in comfort, with a cup in their hand and get to know each other. The hope is that various collaborations and partnerships may form that will lead to interesting work in the field. It came about from a Screen Training Ireland gig when I broached the subject of where, as a writer, I could submit animation scripts. There didn’t really seem to be anywhere. Most companies create in-house and if you can’t draw, it can be hard to get a writing paw in the door.
And we need each other. Take PUNKY. I could have rattled around with that idea for years. As I have done with lots of other animation ideas and scripts. But for Monster Animation deciding to put their creative juices into it, it would still be an idea on a page. This, as a writer is frustrating. (Okay, basically, I wish I could draw!) To date, it’s turning into a very successful series that is on the verge of selling internationally in five countries that I know of, won the Producer of the Year Award for Gerard O’Rourke and has been nominated for two IFTAs.
But it seems to be crucial to develop ideas with the animation directors of companies, for the simple reason that if they are employed by a company, they need to be involved in most ideas produced by that company. Bringing a written idea from outside is difficult.
Surely for animators who need new ideas, who haven’t studied screenwriting or find it less interesting than drawing, it must be equally frustrating.
So this new group will meet on a regular basis. All animation directors and writers working or interested in working in animation are welcome; if you can’t make this one, let me know you’re interested and I’ll put your name down for the next one.
Could be fun!! Could be an interesting way to meet fellow writers and animators!! Could be the start of something amazing!!
Here’s an opportunity to informally meet your counterpart and, hopefully, strike up relationships that might lead to new, creative and wonderful work in animation
On Monday 30th at 7pm in the Screen Directors’ Guild Screening Room in Temple Bar, The Screen Directors Guild of Ireland (SDGI) and The Irish Playwrights and Screenwriters Guild (IPSG) are inviting writers and animation directors to the first ANIMATION NETWORKING EVENT.
The idea is that animation directors and writers interested in or already writing in animation can meet in comfort, with a cup in their hand and get to know each other. The hope is that various collaborations and partnerships may form that will lead to interesting work in the field. It came about from a Screen Training Ireland gig when I broached the subject of where, as a writer, I could submit animation scripts. There didn’t really seem to be anywhere. Most companies create in-house and if you can’t draw, it can be hard to get a writing paw in the door.
And we need each other. Take PUNKY. I could have rattled around with that idea for years. As I have done with lots of other animation ideas and scripts. But for Monster Animation deciding to put their creative juices into it, it would still be an idea on a page. This, as a writer is frustrating. (Okay, basically, I wish I could draw!) To date, it’s turning into a very successful series that is on the verge of selling internationally in five countries that I know of, won the Producer of the Year Award for Gerard O’Rourke and has been nominated for two IFTAs.
But it seems to be crucial to develop ideas with the animation directors of companies, for the simple reason that if they are employed by a company, they need to be involved in most ideas produced by that company. Bringing a written idea from outside is difficult.
Surely for animators who need new ideas, who haven’t studied screenwriting or find it less interesting than drawing, it must be equally frustrating.
So this new group will meet on a regular basis. All animation directors and writers working or interested in working in animation are welcome; if you can’t make this one, let me know you’re interested and I’ll put your name down for the next one.
Could be fun!! Could be an interesting way to meet fellow writers and animators!! Could be the start of something amazing!!
Tuesday, 3 January 2012
ARCHANGEL in Dublin for one night only
A fantastic cast is gathering tonight in The Lab, Foley Street to do a rehearsed reading of the pilot script for my tv series, ARCHANGEL. Can't wait!
Last night's read-through was great fun; even some faces in the cast that I hadn't met for over 20 years. Same happened at the new York reading in September. Small world full of talent.
Tonight's event is organised by Anna Olson Nugent and Paul Nugent, as was the reading in the New York Rep... Here's hoping this is a further step towards the series getting made!
Last night's read-through was great fun; even some faces in the cast that I hadn't met for over 20 years. Same happened at the new York reading in September. Small world full of talent.
Tonight's event is organised by Anna Olson Nugent and Paul Nugent, as was the reading in the New York Rep... Here's hoping this is a further step towards the series getting made!
Wednesday, 16 November 2011
NaNoWriMo - satisfying but tough to do!
Back on target. Edging towards the 26,000 word mark on this the 16th day of National Novel Writing Month.
It's hard. Harder than I expected, but easier too. Harder to keep going but more enjoyable when you do. It has reminded me of why I write - because I love words!
Having a meter ticking over helps. I love calculating my new daily 'score' of words - I think I do it every few pars on some days. In 'stats', you can calculate your wordage by day and see what day, if you continue at that pace, you will finish; also how many words you need to write every day to reach the goal of 50,000 words by November 30th. (I think we may have a few extra crucial hours too, it being calculated in American time!)
Probably it appeals to the geek in me that needs numbers going upwards to feel the progress. Unless it's a Visa bill. Not so good when it keeps getting higher.
I took for my template a first draft screenplay that isn't working. Without really referring to the script except for snatches of dialogue that I then rewrite completely, I have just gone with the flow and I type up whatever seems to present itself. Chain of consciousness. A conscience suddenly talking. A monologue on why people fall in love. A foray into the background of a character and questions he asked that weren't answered when he was four and a half.
It's one of the most refreshing, tiring and satisfying exercises in that my other projects are also getting the benefit because my brain is being forced to create without worrying about whether it is any good. I find the words are flowing more freely on the other work I have to do, that I'm editing more clearly, that I get through work that has to be done without agonising over how long it will take.
But of course I have a sneaky hope it might be okay... if not in this draft (no, definitely not in this draft) then in the future. At least I will have the bones of a novel to pick over.
As for the screenplay, part of me is thinking the novel is better for the story while another part is seriously hoping that by writing it up as a novel, I can force the structure of the story to heal itself...
It's hard. Harder than I expected, but easier too. Harder to keep going but more enjoyable when you do. It has reminded me of why I write - because I love words!
Having a meter ticking over helps. I love calculating my new daily 'score' of words - I think I do it every few pars on some days. In 'stats', you can calculate your wordage by day and see what day, if you continue at that pace, you will finish; also how many words you need to write every day to reach the goal of 50,000 words by November 30th. (I think we may have a few extra crucial hours too, it being calculated in American time!)
Probably it appeals to the geek in me that needs numbers going upwards to feel the progress. Unless it's a Visa bill. Not so good when it keeps getting higher.
I took for my template a first draft screenplay that isn't working. Without really referring to the script except for snatches of dialogue that I then rewrite completely, I have just gone with the flow and I type up whatever seems to present itself. Chain of consciousness. A conscience suddenly talking. A monologue on why people fall in love. A foray into the background of a character and questions he asked that weren't answered when he was four and a half.
It's one of the most refreshing, tiring and satisfying exercises in that my other projects are also getting the benefit because my brain is being forced to create without worrying about whether it is any good. I find the words are flowing more freely on the other work I have to do, that I'm editing more clearly, that I get through work that has to be done without agonising over how long it will take.
But of course I have a sneaky hope it might be okay... if not in this draft (no, definitely not in this draft) then in the future. At least I will have the bones of a novel to pick over.
As for the screenplay, part of me is thinking the novel is better for the story while another part is seriously hoping that by writing it up as a novel, I can force the structure of the story to heal itself...
Thursday, 10 November 2011
Jameson Dublin International Film Festival/ Untitled
What a mouthful!
Okay, we have till Monday to submit a one page synopsis, a logline and CV for a new feature idea to the Irish Film Board/ JDIFF for their UNTITLED competition. The theme this year is 1916, which really stymied me for a while but I have pulled an idea roughly together that would be such FUN to write. They want lateral thinking, but it has to be historically accurate - tell that to Neil Jordan re Michael Collins!
But here's my problem - they lure you in with this competition called UNTITLED. But then you have to give it a title. Is that a carrot/ stick thing? As I am woefully disastrous with titles,it would be so nice if they didn't need one...
Anyone want to swop synopses before the weekend and give mutual feedback???
Here's the link to the information too: http://www.irishfilmboard.ie/irish_film_industry/news/Deadline_for_Entries_to_the_Successful_Screenwriting_Competition_UNTITLED_Extended_to_November_14th_/1778
Okay, we have till Monday to submit a one page synopsis, a logline and CV for a new feature idea to the Irish Film Board/ JDIFF for their UNTITLED competition. The theme this year is 1916, which really stymied me for a while but I have pulled an idea roughly together that would be such FUN to write. They want lateral thinking, but it has to be historically accurate - tell that to Neil Jordan re Michael Collins!
But here's my problem - they lure you in with this competition called UNTITLED. But then you have to give it a title. Is that a carrot/ stick thing? As I am woefully disastrous with titles,it would be so nice if they didn't need one...
Anyone want to swop synopses before the weekend and give mutual feedback???
Here's the link to the information too: http://www.irishfilmboard.ie/irish_film_industry/news/Deadline_for_Entries_to_the_Successful_Screenwriting_Competition_UNTITLED_Extended_to_November_14th_/1778
Wednesday, 9 November 2011
NEW dedicated PUNKY blog...
http://punkyandhercreator-lindsayjsedgwick.blogspot.com/
I have so many files of articles and pictures and feedback from around the world that I've decided to make a home for it all. Also, she's out there now, knocking on receptive doors and looking for international homes so it's a way of celebrating her progress as she goes.
Please comment - and let me know your own personal story - if you have one - of PUNKY.
And if you're looking for another animation series, let me know cos I may just have the perfect one for you!
I have so many files of articles and pictures and feedback from around the world that I've decided to make a home for it all. Also, she's out there now, knocking on receptive doors and looking for international homes so it's a way of celebrating her progress as she goes.
Please comment - and let me know your own personal story - if you have one - of PUNKY.
And if you're looking for another animation series, let me know cos I may just have the perfect one for you!
Tuesday, 4 October 2011
Serendipity - grab hold and don't let go.
Well, the haze has shifted and the revised ARCHANGEL script has travelled cyberly to a producer in New York who knows Dick Wolf (Miami Vice, Law and Order etc) and has contacts in CBS etc. He was at the reading on Monday 26th September and really liked the writing.
Who knows where it might lead? There's a portfolio of other material ready to trail in its wake if anything does. And I have a feeling it will, in some form.
After all, he only came to the reading because an actor, Con Horgan, invited him along. I met Con at a party on the 52nd floor of an apartment block on 39th Street the night before (Sunday). (What a view!)
It was a party for the First Irish Festival in New York hosted by the Irish Consul and I was only there because I went to a series of readings the day before run by Origin Theatre Company and met George Heslin - who heads that company and created First Irish five years ago. He invited me along. (I'll be sending him scripts too, theatre this time, that he might pass on to other companies.)
But I was only there because a friend of mine (Suzanne Geraghty) was performing part of her piece at this event and introduced us.
And this only happened because I arrived in New York on the Friday - torrential rain - for the reading of my script on Monday at the Irish Rep Theatre. This event was occurring only because an actress called Anna Nugent had liked the script enough to set it all up...
And she only saw the script because I met another actor for coffee in Galway in July - Gary Hetzler - who voiced my first animation character, WULFIE, in 2008. I'd made contact again with a Cork director who wants to make Archangel the week before and mentioned the frustration on having a producer and a director and yet being unable to move it forward.
Gary had a (greyhound, apparently they sleep 18 hours a day) and a good friend in New York who was campaigning to get her own Detective series...
So I sent it off as soon as I got home.
I didn't know anything would happen in this chain of events before I booked. It all fell into place once I had.
And I nearly didn't make it to Galway for the Fleadh - to pitch feature scripts - at all.
So chin up, these waves of serendipity are out there waiting to pick you up. Enjoy the ride!
Who knows where it might lead? There's a portfolio of other material ready to trail in its wake if anything does. And I have a feeling it will, in some form.
After all, he only came to the reading because an actor, Con Horgan, invited him along. I met Con at a party on the 52nd floor of an apartment block on 39th Street the night before (Sunday). (What a view!)
It was a party for the First Irish Festival in New York hosted by the Irish Consul and I was only there because I went to a series of readings the day before run by Origin Theatre Company and met George Heslin - who heads that company and created First Irish five years ago. He invited me along. (I'll be sending him scripts too, theatre this time, that he might pass on to other companies.)
But I was only there because a friend of mine (Suzanne Geraghty) was performing part of her piece at this event and introduced us.
And this only happened because I arrived in New York on the Friday - torrential rain - for the reading of my script on Monday at the Irish Rep Theatre. This event was occurring only because an actress called Anna Nugent had liked the script enough to set it all up...
And she only saw the script because I met another actor for coffee in Galway in July - Gary Hetzler - who voiced my first animation character, WULFIE, in 2008. I'd made contact again with a Cork director who wants to make Archangel the week before and mentioned the frustration on having a producer and a director and yet being unable to move it forward.
Gary had a (greyhound, apparently they sleep 18 hours a day) and a good friend in New York who was campaigning to get her own Detective series...
So I sent it off as soon as I got home.
I didn't know anything would happen in this chain of events before I booked. It all fell into place once I had.
And I nearly didn't make it to Galway for the Fleadh - to pitch feature scripts - at all.
So chin up, these waves of serendipity are out there waiting to pick you up. Enjoy the ride!
Friday, 16 September 2011
Punky's producer is European Producer of the Year
Gerard O'Rourke, the producer of the series I created, PUNKY, has just, in the last half hour been awarded European Producer of the Year at Cartoon Forum in Poland on the back of Punky! RTE got the Broadcaster of the Year award for young people's programming - I'm sure I have the terms wrong - and Punky's part of that too.
But fantastic news for Gerard - he pushed so hard to make this series and it wasn't easy!
But fantastic news for Gerard - he pushed so hard to make this series and it wasn't easy!
Wednesday, 14 September 2011
ARCHANGEL to Visit New York City
In less than two weeks, on September 26th, in New York City, there will be a table read by some fantastic Irish actors of my feature-length pilot script for a series I developed called ARCHANGEL back in 2002. It is being hosted by the Irish Rep Theatre in Manhattan and I'm heading over because this was one of my favourite projects and still has more than enough legs and originality to run and run. It nearly made it into production back in the early days but someone lost out.
In recent years a NI producer has been trying to get it made, a Cork director has tried and is still trying, and now, thanks to actress Anna Olson Olson Nugent (https://www.facebook.com/AnnaNugentTVcop), this event is happening. And in the last place on earth I imagined it would!
Maybe now all the pieces will come together and it will get made?
Originally billed as a 'female Cracker', Archangel features a detective inspector called Rebecca Gabriel who is sent from the PSNI in Belfast to swop places with a colleague in Dublin. She manages to pick up a goose along route, based on an aggressive 'guard-goose' my Aunt Joan had for years. The whole twist on it was that Rebecca relates to the crims rather than the victims because of an incident in her past, but she would never allow herself to admit this -- at least not yet. Her partner is a hot lawyer representing the scum of Dublin whose sixteen year old daughter is about to turn up unexpectedly and stay....
I've set up a separate page to try and talk about writing, starting with this at https://www.facebook.com/pages/Lindsay-Jane-Sedgwick-Writer/117962409020
In recent years a NI producer has been trying to get it made, a Cork director has tried and is still trying, and now, thanks to actress Anna Olson Olson Nugent (https://www.facebook.com/AnnaNugentTVcop), this event is happening. And in the last place on earth I imagined it would!
Maybe now all the pieces will come together and it will get made?
Originally billed as a 'female Cracker', Archangel features a detective inspector called Rebecca Gabriel who is sent from the PSNI in Belfast to swop places with a colleague in Dublin. She manages to pick up a goose along route, based on an aggressive 'guard-goose' my Aunt Joan had for years. The whole twist on it was that Rebecca relates to the crims rather than the victims because of an incident in her past, but she would never allow herself to admit this -- at least not yet. Her partner is a hot lawyer representing the scum of Dublin whose sixteen year old daughter is about to turn up unexpectedly and stay....
I've set up a separate page to try and talk about writing, starting with this at https://www.facebook.com/pages/Lindsay-Jane-Sedgwick-Writer/117962409020
Saturday, 10 September 2011
Tips From a Master - Gill Dennis
Just added a page with some of the tips handed out by Gill Dennis, the scriptwriter of Walk The Line, who worked on Apocalypse now, who has a long and esteemed history as a screenwriter, tutor and mentor in the film industry...
Thought they might be of use.
Also, typing them up has reminded me of the very many useful notes within each tip... Makes me want to start all over on so many scripts, sob!
Thought they might be of use.
Also, typing them up has reminded me of the very many useful notes within each tip... Makes me want to start all over on so many scripts, sob!
Thursday, 8 September 2011
Archangel in New York City!
On September 26th a group of enterprising and talented actors are getting together to read through the feature-length pilot script for my series ARCHANGEL at the Irish Rep Theatre in Manhattan.
It's called The Changling. Over the years it was shortlisted for the Tony Doyle Bursary by BBC NI, it was being considered for production by first ITV and then the BBC. There is a director who has wanted to do it for years, at least one producer who loves the socks off it; another director who gave great advice but I couldn't really shrink it down to fit RTE's Storyland pitch.
Thing is, I love the characters and the world; there's a detailed treatment of the whole shebang that I think, mostly, works... but I wrote it in 2003. I have no idea how it will sound in 2011. So, it's exhilarating and slightly nerve-wracking and I am so curious to see how it goes...
It's called The Changling. Over the years it was shortlisted for the Tony Doyle Bursary by BBC NI, it was being considered for production by first ITV and then the BBC. There is a director who has wanted to do it for years, at least one producer who loves the socks off it; another director who gave great advice but I couldn't really shrink it down to fit RTE's Storyland pitch.
Thing is, I love the characters and the world; there's a detailed treatment of the whole shebang that I think, mostly, works... but I wrote it in 2003. I have no idea how it will sound in 2011. So, it's exhilarating and slightly nerve-wracking and I am so curious to see how it goes...
Monday, 11 July 2011
On being Compared to Coppola ... sort of!
Two of my scripts - PIA and PIGPEN just got into Round Two of the Page 2011 Awards! There were nearly 4,500 scripts entered so it's fantastic news .
Also just back from teh Galway Film Fleadh and Fair where I had an hour's consultation on PIGPEN with Gill Dennis (veteran screenwriter of Walk The Line, the Johnny Cash movie; worked on Apocalypse Now etc) at the Galway Film Fleadh.
His first comment : "You've led a baaaaad life!"
It's a pretty violent script in parts! Be more worrying if the comment was about a fluffy flick!
Anyway, it was a great hour going through the script; good tangible comments that are easy to implement and I'm looking forward to the rewrite. In terms of my habit of packing action into paragraphs, he referenced Coppola on Apocalypse Now. Apparently, Coppola had kept the script short so it would look less expensive to make. Therefore you had:-
Bombs fall
The temple collapses.
How many weeks, he asked Coppola, do you think that will take to shoot?!
His screenwriting masterclass was great too. He has 12 questions he asks, primarily of himself and then of characters, which can not only provide the energy to give emotional power to a story but will provide you with your character arc for every project, be it a series or a feature script...
Full blog on those questions once I've followed up on all my meetings at the Fair but it was a good week - starting when one producer said they could give me 2 million !!
Also just back from teh Galway Film Fleadh and Fair where I had an hour's consultation on PIGPEN with Gill Dennis (veteran screenwriter of Walk The Line, the Johnny Cash movie; worked on Apocalypse Now etc) at the Galway Film Fleadh.
His first comment : "You've led a baaaaad life!"
It's a pretty violent script in parts! Be more worrying if the comment was about a fluffy flick!
Anyway, it was a great hour going through the script; good tangible comments that are easy to implement and I'm looking forward to the rewrite. In terms of my habit of packing action into paragraphs, he referenced Coppola on Apocalypse Now. Apparently, Coppola had kept the script short so it would look less expensive to make. Therefore you had:-
Bombs fall
The temple collapses.
How many weeks, he asked Coppola, do you think that will take to shoot?!
His screenwriting masterclass was great too. He has 12 questions he asks, primarily of himself and then of characters, which can not only provide the energy to give emotional power to a story but will provide you with your character arc for every project, be it a series or a feature script...
Full blog on those questions once I've followed up on all my meetings at the Fair but it was a good week - starting when one producer said they could give me 2 million !!
Friday, 10 June 2011
Justification of all the Hard Work!
After a few weeks of negatives, a glowing report back from a UK producer on that script I wrestled with earlier this year, Monkey Puzzle Tree:
“It’s lovely; really, really lovely. It was a delight to read. The difference between this and your last draft is stunning. I thought, ‘My God! This is the writer I know’. It’s huge. The changes are so strong – it’s grown leaps and bounds --it was really exciting to read... . You should be thrilled with it. It’s so nice when you’ve done two hours of something and thought, that was a fantastic use of my time. You’ve made my week. I cried. I laughed.”
See, it is possible!
Now to get it made!!
“It’s lovely; really, really lovely. It was a delight to read. The difference between this and your last draft is stunning. I thought, ‘My God! This is the writer I know’. It’s huge. The changes are so strong – it’s grown leaps and bounds --it was really exciting to read... . You should be thrilled with it. It’s so nice when you’ve done two hours of something and thought, that was a fantastic use of my time. You’ve made my week. I cried. I laughed.”
See, it is possible!
Now to get it made!!
Wednesday, 8 June 2011
Food for Thought...
Read an article a while back that has been brewing in the background. Basically the writer* said that all great scripts boil down to the relationship between two characters. Get that right and you have a chance of the story working emotionally.
It got me thinking about my more successful scripts. And some of the feedback on others.
If you pull back on everything and everyone else, pull out those scenes featuring your two main characters and really work on that central relationship, the one that holds up your story, drives it forward or fatally flaws your main character... might it make your story stronger?
*Of course, when I go to dig the article out, I can't find it. I have a feeling it came via the Raindance site but I'll give you the url when I find it.
It got me thinking about my more successful scripts. And some of the feedback on others.
If you pull back on everything and everyone else, pull out those scenes featuring your two main characters and really work on that central relationship, the one that holds up your story, drives it forward or fatally flaws your main character... might it make your story stronger?
*Of course, when I go to dig the article out, I can't find it. I have a feeling it came via the Raindance site but I'll give you the url when I find it.
Tuesday, 24 May 2011
Day 6: On time and writing
What is it with time and writing?
No matter how long you think a piece of work will take, it inevitably takes longer and while this piece of work waits for you to finish, it will make snarling noises, poo on the carpet and shred your curtains. Just to see how you'll react. And it will drink lots of lukewarm coffee, ideally with chocolate and King crisps.
If you take a conservative guess and give yourself heaps of time, then nothing gets done; if you try to restrict yourself to the minimum time + coffee break you think it needs, it will run over into every other part of your life. And you will end up finishing something else instead.
Today chapters 14-19 got a going over. None of them are fully edited but they are all re-modelled so I know, at least, they work chronologically, are cut back where they ran over-long and most of the dull bits have been buried in the back garden under the weeds. All the other chapters took a gentle hammering too - I now have 25 chapters, not 23 - but it was satisfying work.
And I have found out that you don't leave line spaces between separate sections, you centre a 'hash'... This is in case the editor doesn't realise there is meant to be a line space because of the configuration of the print out.
Oh yes, it's coming together--just more slowly than I'd like!
No matter how long you think a piece of work will take, it inevitably takes longer and while this piece of work waits for you to finish, it will make snarling noises, poo on the carpet and shred your curtains. Just to see how you'll react. And it will drink lots of lukewarm coffee, ideally with chocolate and King crisps.
If you take a conservative guess and give yourself heaps of time, then nothing gets done; if you try to restrict yourself to the minimum time + coffee break you think it needs, it will run over into every other part of your life. And you will end up finishing something else instead.
Today chapters 14-19 got a going over. None of them are fully edited but they are all re-modelled so I know, at least, they work chronologically, are cut back where they ran over-long and most of the dull bits have been buried in the back garden under the weeds. All the other chapters took a gentle hammering too - I now have 25 chapters, not 23 - but it was satisfying work.
And I have found out that you don't leave line spaces between separate sections, you centre a 'hash'... This is in case the editor doesn't realise there is meant to be a line space because of the configuration of the print out.
Oh yes, it's coming together--just more slowly than I'd like!
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