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!

Chapter One of the Novel in Progress (aka The New Nipper)

I have given myself nine days, including today, to rewrite 23 chapters, an epilogue and a prologue. Actually, I like the prologue... but I'm just not sure I need it. Or that maybe I only need it 'cos the start of Chapter One is weak? In which case, it needs more than a rewrite, it needs a re-think. Maybe I need to start later, keep something back, add a bomb disposal squad or and earthquake... (I'm thinking back now to Sam Goldwyn's advice, "Start with an earthquake and build up to a climax".)

But then I have to be careful what I do. Too much action and it wouldn't be the story of a girl who is about to turn 13 and whose family cause her enough problems to make earthquakes seem benign. The prologue is very much an introduction to her and the most important relationship, at least for now, but it's good to question everything.

In Chapter Three there's a character I'm thinking of jettisoning completely. Around Chapter 12 there's a major problem with the span of time. There are other characters - and a cat - that I haven't used enough. Various chapters seem to work wonderfully well but aspects in them need more research. Others feel clunky and overwritten. I have three Mondays in a row in one, which is ridiculous. And many of these stem from issues that were not issues in the film script on which it is based. Now, instead of lying down quietly and rolling a rug over themselves, these self-same issues are wearing pink neon striped tights on their heads and jumping up and down.

The only elements that are not up for question are the piranha Ponchinello and the plot.

But can I do it all in nine days when it's already nearly three pm on Day 1?

Punky is in The News!!!

Tune in to tonight's Six-One News on RTE1 to see Punky officially launched.

Put together a packed room of adults, children and adults who are still children at heart; add a few short speeches, a blue rabbit called Oggie; present with a couple of episodes of what we believe is the world's first mainstream cartoon with a central character who is not only fun and loveable but also has Down syndrome - and stir gently ... The result: a wonderful, quite fantastic celebration of what can happen if you are lucky enough to get that germ of an idea before anyone else, to be pushy enough to create the world around that idea and believe it has to be made, to get support when you need it - (Irish Film Board Development Loan, such a lovely pre-Christmas bit of news in 2007) - and a producer - Gerard O'Rourke of Monster Animation who truly believed it had to be made ...

It was a fantastic event, so much absolute and happy positivity in one room!!! It was on Radio 1's lunchtime news too - don't think I'll ever get used to hearing my own voice on radio though but this is such a wonderful whirl and I could get used to that!!!

Free scripts....

Prompted by my fellow screenwriter's call to look again at competitions - Caroline Farrell, see www.script.ie - I went foraging in some spare moments - yes, those 'moments' that last half an hour and when I was MEANT to be honing a script. There is some interesting stuff out there but these are not competitions for first drafts. I imagine, given most of them have a fee, that there is fierce competition and that you only send your strongest work ever.

But some of them have interesting newsletters, even if you're not at that stage yet. The BlueCat Fellini Awards, for example, just launched their 2011 competition today but they also have a newsletter that looks interesting. From today's version, I was able to download The Big Lebowski, Jerry Maguire and Forrest Gump. The excuse for letting us access these is the search for good one liners.

I'm always telling my students to read, read, read scripts... It is the best way to learn, to absorb the craft, to challenge yourself to come up with something as fresh/ different/ visually and narratively compelling...but it's hard to find time and I hate reading them off screen but now I'm inspired. (ie: My computer is now filling up with scripts I want to read!)

I will set aside time to read the first ten pages of at least three scripts today and to read at least one full script each week. I'll use it as a way to break up the writing day. Might even allow myself a coffee while I do it and I'll try to learn to enjoy reading off screen. It's too expensive to print out every script.

Anyway the BlueCat Fellini Awards are for screenplays, features and shorts. it costs $60 and you upload your script in pdf, which saves the hassle of printing and the cost of postage. Sometimes I love computers!!

For 8 and 1/2 days in January 2011, leading up to Fellini's birthday, January 20th, they will be accepting material. This is the part I like: "Each script will receive TWO ANALYSES, plus the numerical scores we use to judge your screenplay."

Five winners will be chosen and each winner will receive a MacBook Pro plus Final Draft software, or the cash equivalent. Each winner has the option to select cash for either or both prizes.

Finalists will be announced on April 15th, and the five winners will be awarded on May 15th. All analyses will be returned by April 1st.

Submissions will start to be accepted on Tuesday, January 11th at Noon.

I have no idea how hard it is to be noticed in a competition like this but there's always a chance. And a deadline is a wonderfully strong motivating force!

Might be worth a look at the website? And definitely at the newsletter!

Waiting for the call...

In twenty minutes, I'm due to be interviewed by Skype by a New York based network called Family network about the origins of my series PUNKY.

I'm as nervous as a kitten and it's ridiculous! It's not as if I don't know the answers - I only spent three years developing Punky and her world!

Fortunately, I don't even have a webcam - I barely have Skype! - , so I don't have to worry about what I look like. And I am so happy to have an opportunity to talk about this idea that I lived with and sweated over and fought for and which is finally in production.

So where did it come from? There were germs sown when my sister Karen, an occupational therapist in the Central Remedial Clinic would bring children home that had special needs. One autistic boy smashed my little red kettle. I couldn't understand why the rules were different for him than for me.

Then there was the fact that my mother made no secret of the fact that she worried all through the pregnancy that there might be something wrong with me. She had seven other children. She was 46 and a quarter when I was born. She was told I'd be a fool or a genius. She always said she hadn't made up her mind yet!

In more recent years a friend of mine told me stories about her younger brother, David, who had Down's syndrome. I loved them. I loved his perspective of the world. The way he interpreted it and could make the mundane, make things we take for granted, fresh and new.

My partner has a son who is severely autistic. My daughter was six when they met and she really didn't know what to expect. She tried to make him notice her, to talk to him, but she was a child and under his radar. It's only in the last ten months that he has registered her and she has been so thrilled every time - when he stopped after she called him, when he almost-sort-of 'hugged' her! -, when he pointed out that we were leaving her behind. He knew she was one of the family.

But the relationship he and his sister have is really special. I've never seen anyone so loved as he is and he is mad about her. It's probably because of her that he hugs and loves to be cuddled - on his terms.

But it's not easy being the sibling of a child with special needs and I decided I wanted to explore that relationship. Honestly, with humour and in a way that would make children more accepting of difference. They begin that way. It's only as they get older that they become judgemental.

But I also wanted to tell stories, to create a world, from her perspective. I wanted her to be the lead, I wanted her to decide how we interpreted the world and what was happening in it.

And so Punky, albeit in a slightly different incarnation, began. She emerged in a very funny animated short that hasn't been made yet. Then she dived into a live action/ cgi film script but there were too many stories in it for it to work fully. When I started toying with the TV series element, I knew I wanted it to be funny, to be honest, to be imaginative and to fell real, albeit as a cartoon. As children enjoyed the entertainment, they would be learning to accept difference.

The Irish Film Board weighed in with their support in the form of a Development Loan in 2007. I worked with Barbara Slade (Rugrats, Angelina Ballerina) as script consultant and then worked with Aidan Hickey for a while. But it was a hard one to get right - to work as a commercially attractive series a producer would feel able to make, and yet live up to everything I wanted from it.

Gerard O'Rourke of Monster liked the sound of it and the talks began. He supported it long after another producer would have turned tail and run because he really, really believed in it. Jason Tammemagi liked it too and came on as Director and so the saga began to roll towards the full scale production that is taking place now.

A Fresh Gale and Cold Chicken: The reading

We have a date, tied down, for the rehearsed reading of my new stage play about George Farquhar: Sunday 27th June, 5pm in Smock Alley/The Boy's Theatre.

There’s a fantastic atmosphere in the space but what adds to the magic of the event is that we are bring Farquhar to life again a few steps away from the main theatre in Smock Alley, where he himself performed in 1696/7 and 1705.

The Boys' School is a really interesting space, for those of you who haven't seen it yet. For the reading, there will be just 45 seats, plus standing room at the surrounding balcony – you’ll understand when you get there - so if you want to come, and it's free, can you let me know? It should be an evening of pure theatre, dramatic, powerful, emotional and entertaining!

The reading will run about 75 minutes – which means I managed to cut out about 8,000 words - with a chance for feedback and a glass of wine afterwards.

We hung out in the space yesterday, to see how the script would work. We blocked out some of the scenes – not too much, it is a rehearsed reading – but it’s a shame to waste the very unique space.

Best of all, when everyone had gone, I sounded out some of the scenes myself standing on a church pew, on a table, on the stage and it was pretty powerful stuff. Possibly one of the very few times I’ve ever wished I was a man, so that I could perform it.

Getting work done: the nine-day technique

Writers are always being asked how many hours they work, if they sit at the desk from nine to five or allow themselves to skive off from time to time. (We do, it's what keeps us slightly sane. Sometimes.)

Every writer has to find the technique that works for him or her. One writer I've heard of straps himself to his seat. That way, if tempted to move, the belt restrains him and he decides to do a little bit more work first.

The playwright Bernard Farrell once told me he wrote for the same 9-5 hours he'd got used to when he worked for a ferry company. But he added that yes, he was still working when he walked the dog for hours on the beach or gazed out the window.

Creativity is an unpredictable master and sometimes it is a matter of making yourself write, even if you don't like the material you write because it's a craft and you learn by doing.

Which brings me to my technique for getting work done. I don't work 9-5, I don't have any set routine; I often works nights, weekends, sneak into the office when everyone's quiet or occupied; I frequently burn food because I've snatched a few minutes... but the main thing that has helped me get work done in the last year is my nine day writing cycle.

I was always told that a little knowledge was a dangerous thing... it's not true. it is a very useful thing, even if not useful in the way the knowledge itself was intended, and especially if dipped in dark chocolate and marshmallows and left in the fridge for half an hour. (Or maybe I'm thinking of strawberries?)

I have a friend who is studying to be a Shamen but when we shared a house, she introduced me to a smattering of numerology. The one part that stuck is the idea that you can reduce every day to a number between 1-9 - today being the 25th of May, 2010 = 2 + 5 + 5 + 2 + 1, ie a '6'.

Now 6 days are great for family, for meetings, for interaction of any kind. But that's all I remember about 6. I'm sure there are whole websites devoted to '6'. I've a huge number of them in my date of birth and my mobile number so I feel a certain affection for '6', regardless of the Devil trying to hog them all.

And here's the gist that I remember about the value of the days. 1 - good for starting things/ ideas/ adventures/ travel etc; 2 - good for finding the person/ partner/ mentor/ producer/ director that can help you achieve your idea; 3 - communication and creativity; 4 - hard work and graft, not always easy but if you knuckle down, you get a huge amount done on a '4' day.

5 - conflict and confrontation; a bit like the second act of a feature script. Doesn't mean you will fight with someone or fall out over a contract but it means you could, so be on guard, be calm, be prepared. 6, you know. 7 is for wisdom, learning, gaining knowledge; 8 for chasing what's owed to you/ business stuff; and 9 for completion.

And that's the important bit. I give myself cycles of nine days, always ending whatever work I've set myself on that '9' days. It's better than giving yourself a week because you can still, mostly, take weekends off.

And it's a realistic span of days, given commitments and urgent work that leaps onto your lap making mewling sounds. It's not too long and it's not too short.

And, of course, it's a deadline, even if it's self imposed. Especially if the cash incentive isn't there. When it's done, you can tackles something else, or a different part of the same project so you're not tying yourself down to an endless avenue of work on any particular project/ phase of a project, so you keep your mind fresh and motivated.

And sometimes, when a month turns into the next, you get a really long 'nine' days because the last days of one month can go all the way from 1 to 8 and the first date of the new month, because the month has changed, may be 1. So you get to continue that cycle until you hit a 9.

I've found it works anyway.

CONNEMARA DAYS

Roger Moore is returning to the screen in a film called Connemara Days to be made in the west of Ireland this Autumn. It’s a love story running parallel with the making of The Quiet Man, apparently his favourite film of all time. It's being produced by Causeway Pictures.

All being well, I’m lined up to script edit it. The added bonus is that when the producers receive cash to make Connemara Days, they can then pay me to write another feature for them which will be made up North next year.

So far, for the latter project, there’s an exciting director tied in and I believe Hubbard have signed up to do the casting. As a result, there were some interesting names mentioned for the cast when we were developing it last year.

No role yet mentioned for Pettigrew the snail, despite her extensive list of hits such as Honey, I Found a Kid in the Long Grass and Snailspray the Musical.

Connemara Days is the first project to be funded by the the Luxembourg-managed / UK-administered Red Carpet Film Fund, which Sir Roger Moore has joined as Chairman. The Board also includes visual effects maestro Ilyas Kaduji (Harry Potter, Chronicles of Narnia), producer Richard Holmes (Waking Ned, Shooting Fish), production executive Terry Bamber (Quantum of Solace, Gullivers Travels), and respected film lawyer Richard Moxon.

Principle photography is due to begin - ash cloud willing - in late August, followed by studio work in Belfast, with the support of Failte Ireland, Section 481 and Irish equity. Kevin Connor will direct and the cast includes Sarah Bolger, Stacy Keach, Geraldine Chaplin, Judy Cornwell and Roger Moore himself.

A Fresh Gale and Cold Chicken: on cuts and motivational deadlines

Met with Patrick Sutton of Smock Alley Theatre today and we’ve settled, provisionally, on the week of June 21st to hold the rehearsed reading of my play on Farquhar in The Boy’s School, Smock Alley. It’s a fantastic and unusual venue; a version of theatre in the round where the viewing area is a ramp that ascends around the space several times. It almost feels as if you’re observing a play from the terraces of a tenement building in the 17th century.

Smock Alley is where Farquhar performed before he went on to become the most popular Restoration playwright based in London. It’s also where he nearly stabbed a fellow actor to death on stage but more of that on the night!

Since arranging last week to meet Patrick, I’ve re-written the first act, based on our at-home reading in March. It’s fantastic to be back under its 17th century skin, to be bawdy and bold as well as poignant and witty! Oh and keep the narrative and all the threads flowing freely.

Of course, when I type it all into the computer, some of it will work and some of it will be far less exciting than it appeared when I was scribbling in the margins, but it’s good to have something tangible to put in. Deadlines are fantastic, if occasionally vicious, motivators.

I have agreed to cut the play down from a full length one-man show (we were aiming to follow Simon Callow’s footsteps with his Dickens show) to one hour 15 max. A tall order, but then haven’t I spent the last month crafting seven minutes scripts?!

In some ways, it feels really refreshing. I have been given the freedom to cut everything that isn’t essential, gripping and entertaining... But then I haven’t sat down to try and do this yet, so the pain threshold hasn’t yet been breached.

Since I have a gut feeling the script currently runs close to 100 mins... this means cutting at least 25%. I put the expected pain on a par with the extraction of one, possibly two wisdom teeth and the squashing of seven particularly healthy and shiny cockroaches with my bare feet on a tiled floor in the dark.

It may be a case of keeping two drafts so I don’t feel I’m abandoning favourite sections or speeches. I’m just putting them aside.

But I can’t wait to start. I’ve had a chat with Pettigrew, the Creature of Small Stature, Minimal Dialogue and Varicoloured Shell. She has agreed to assist. The idea is I place her on the script and she’ll mark what needs to go with a gentle slime trail.

The new novel - a difficult and trying birth!

Since nobody ever said this, I wonder how we come by the notion that writing should get easier with practice! Maybe it's a throwback to primary school when we were actually learning to write. Or was it an idea planted by Barbara Cartland, resplendent in pink chiffon lying on her chaise longue dictating to her secretary.

I've three completed books (two fiction, one non-) - unpublished, there's the rub - and yet this new one is mewling and wriggling and kicking its little heels. I'm wondering if this is the difficulty

a) of trying to write another book when you know the others are glaring down from a top shelf; I'd only send one of them out ever again)

b) trying to write an amusing/ witty/ entertaining book or

c) because it is based on some things I cannot hide that actually happened, ie my child. (Who is masquerading a bug and curled up on the sofa writing her own novel. She's only 10; she doesn't 'get' writer's block yet.)

I'm desperately moving it further and further from any resemblance to people I knew and trying to make everything hold together far more than it did in real life. (That was messy. Fun, but messy. The book, instead is simply messy. Which means my house is now supremely tidy and well cleaned and there remain only about 12 of the hundred (very) odd cobwebs that were there before I started rewriting the first draft.)

And given the whole wood/ trees analogy (being too close to the trees, being chased by crazed woodcutters wearing the heads of wolves and playing for days with cute furry little meercats that have set up home at the base of the oldest Oak; yes, it is an unusual forest), I have to plough on to get to another draft.

This means ferreting through all the handwritten edits and scraps of plot and story and dialogue that have come since the first draft was finished and without which, I will never know if the whole thing actually works. On any level.

Next time it will be PURE fiction.

Or impure. All in all, I think that would be far more fun!