ALL THUMBS on deck... One week to opening night...

Poster design by Pam Lockey

A slightly twisted comedy about love... and thumbs.
One particular thumb. 

A very particular thumb.
In a jar.
And Lena, she was minding her own business. 

She had work to do, cleaning the lab, night after night....

But love stories never begin the way you expect them to... 

                                 ... and Lena was never one to waste an opportunity... 

My new play, ALL THUMBS opens in the International Bar, 23 Wicklow Street, Dublin 2 

on Feb 29th, running until March 12th. It's the story of a under-appreciated, hot blooded 

woman who steals a thumb from a lab, grows a man and keeps him hostage. 

Like I said. A love story.

Small wonder many of my friends and associates wonder about me!

It runs on a variety of dates:

29 Feb - 4th March  and 7th March - 11th March (ie Monday to Friday ) at 7pm....
And from 2-5th March (Weds to Sat) and 7 - 12th March (Mon to Sat) at 1pm.

The International Bar itself is listed as one of the top ten pubs in the whole of
Dublin... great atmosphere; a deeply historic and unspoilt pub. There will be special
deals such as soup and a sandwich for a fiver for those attending the show.

Photo by Barbara Henkes

And this is the amazing Julie Lockey who has taken hold of 
my script, throttled it kindly, won it over - it was hers from 
the minute she read it - and who, from Feb 29th at 7pm, will 
bring my lovely Lena to life. Facebook/allthumbsplay; on twitter @allthumbsplay or #allthumbsplay.


 Bookings : 086 1663363 or allthumbsplay@gmail.com

REVIEWS FOR PAST PLAYS BY Lindsay Jane Sedgwick

A bit about me. Determined to be a playwright from a young age. First really really bad play written when I was 16. Since then, things have improved. Now officially an award-winning playwright and screenwriter with 13 productions of stage plays that include the Focus Theatre, Smock Alley, Theatre Upstairs, Waterside (Derry), Cork Arts Theatre and BBC Radio 4. 

Possibly best known in the screenwriting field of the creation of PUNKY, an animation series which broke new ground globally simply because the main character was a child with Down's syndrome. (Played wonderfully by Aimee Richardson) 

FRIED EGGS: Theatre Upstairs;  Aug 11-22^nd 2015

"The two characters are portrayed with remarkable skill by Karen Connell, who conveys 
the neurotic core of Eloise and the sensuous indulgence of Lulu with beautiful understatement. 
A lot of credit must go to the careful staging, directed by the author, Lindsay Jane Sedgwick." 
- Michael Moffatt, The Irish Mail on Sunday

"Sedgwick’s script plays with the fragility of the human psyche whilst also engaging the 
audience for its 60 minute running time. This is, beneath the surface, a complex tale of
how we either consciously or unconsciously deal with trauma and the impact it can have 
on our lives."
- David Keane, The Public Reviews

"This slow-paced, deeply emotional and very organic play tells us a story of “two selves”. 
The last piece of the season is surely going to be one of the most memorable ones."       
- Yana Patrakova, Unforgettable Lines

"The writing is powerful, the subject matter gripping, and the performance by Karen 
Connell is winsome and compulsive. A brave and engaging piece of theatre, do yourself 
a favour and take some time to see it."   
- Caroline Farrell, The Librarian's Cellar 

SALT ON OUR SKIN: Feb/Mar 2013 in Smock Alley Theatre

Audience feedback:

“Excellent, exciting, beautiful new piece of writing.”

“Absolutely brilliant.... Gut wrenching.”

“Great show, beautifully written and performed. Lindsay’s writing is poetic and I found 
myself smiling aloud...”

“A beautifully crafted little gem. Mesmerizing. Deserves a longer run.”

BY MR FARQUHAR: Sept 2013, Waterside Theatre, Derry.

Audience feedback:

“BY MR FARQUHAR was a complete and utter joy to watch."
"[We were} totally and and utterly captivated throughout."
"Truly beautiful... A privilege to see it. It deserves to be seen by many, many more 
audiences "

FUR DOESN’T HURT Cork Arts Theatre and tour 1997

Brilliantly written play...Fascinating… language which is rich and full of 
powerful imagery.”

 - The Examiner, Oct 1997;

“Magnetic...a masterpiece of unusual, highly dramatic yet entertaining theatre 
that will live long in our memories.”

- East Cork newspaper, Nov 1997

TRADE ME A DREAM:

Focus Theatre, Dublin, 1997.

“Gripping psychological drama… a startlingly good piece of writing.” 

  -           Emer O’Kelly, Sunday Independent

Cork Arts Theatre, 1996

“A terrifying piece of theatre. I have a feeling this is not the last time we will see 
this play. It deserves to be done again and again.”

- Don McMullin, Adjudicating Judge

“An absolutely superb thriller. The writing was very tight, very intense.”

-      June McCarthy, Judge, Ibid.

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.

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.

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.

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!

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!!

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!

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...

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

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!

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!

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

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!

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...

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 !!

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!!

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.

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!

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?

A New Proverb...

"A man sitting in the stars has nothing to reach..."

Yup, my daughter, newly-12 is coining proverbs. This is her favourite though.

I'm thinking it connects back to the verse my mother used to quote at me if I ever moaned - and which I have therefore levied on my poor daughter from time to time - and which is so, so true:

Two men looked out through prison bars
One saw mud, the other saw stars.

Not that you're ever able to always control or avoid those days when the mud seeps in between your toes and splatters down your neck from a height but it gives hope that those days will pass; that if you can look for the bright yellow of a dandelion growing through a crack in the pavement, then everything will level out again and even become good.