Category: Writing Page 13 of 24

As I Know He Reads The Blog, I’d Like To Acknowledge That My Brother – Though He’s Not Imaginary Like Donald Kaufman – Also Does His Job Jolly Well

There’s a poll currently running on the Writers’ Guild Blog : “Do you believe in writers’ block?”

The two answers given are ‘Yes, it’s all too real’, and ‘No, it’s just an excuse to procrastinate’, and if you want to, I think you can still vote, so if you feel strongly either way and want to make your opinion known, follow the above link and click away.

I’ve been mulling it over a bit, partly because of the question asked by the WGGB, partly because of this post by Andrew ‘They Call Me Mister’ Tibbs, though mainly because I’ve recently rewatched Adaptation, a good film which is certainly worth seeing (if you haven’t already done so).

As you may well know, the film tells the story of screenwriter Charlie Kaufman’s struggle to adapt the book The Orchid Thief by Susan Orlean into a screenplay, and interweaves the tale of the book itself with his writing struggles (with something that certainly looks like writer’s block), to the point where the film is ultimately more about that than the content of Orlean’s book (though that just be me preferring the tale of the storyteller than the flora-seller). In the film, Kaufman stares hopelessly at the blank page in his typewriter, wrestling with both problems of story and his own self-worth (made all the more prominent by comparison with his [imaginary] twin Donald, who has enormous success with his own more obviously populist script).

It reminded me rather of the post on Andrew’s blog, which refers to the recent Charlie Brooker programme, wherein a number of writers talked about the importance of actually getting down to writing – Tony Jordan puts it most straightforwardly when he says ‘A writer writes – the clue is in the name’ – and quite a few of them talked about how they’d write without necessarily knowing where they were going with the story. Andrew wrote about how the opposite of this can be to want to plot everything down to the smallest detail, and how that can lead to constant procrastination from the act of getting words down on the page – which is part of Kaufman’s problem in Adaptation.

I’m inconsistent in whether I plan things like mad or just dive into a story (though I invariably like to have an end in mind, lest I should go on writing for ever), although one thing I’ve realised is that it’s better if I keep my story ideas to myself; not for fear of plagiarism, but for the more mundane reason that if I get all giddy and intoxicated with the tale and end up blurting it out (usually in a half-baked form), that tends to dilute the need to write it down because – even on that pathetic level – part of me feels I’ve told the story. God only knows how I reconcile that with pitching and query letters, but I tend to make sure my first draft is finished before I get to that stage.

Anyway, I don’t really have an opinion as to whether Writers’ Block is real, though in a strange way I suspect that’s because I’ve rarely been in a position where my failure to words on paper has been like a kick to my sense of identity. I’ve only occasionally been called upon to write under that kind of pressure (well, outside of work, where the stuff I write about is usually non-fiction, though some might disagree). If I was a paid writer, I can well see that finding the well of inspiration had run dry would be akin to a bout of mental impotence – you want to do it, you know you can do it, but the more you think about it, the less likely it is to happen.

I wish I was more advanced in my writing career than I actually am – and I’m well aware that I’m the only one, ultimately, who can do anything about that – but in a way it does mean that the pressure is lower; by analogy, if I can’t be bothered to go out for a run (as has been the case more often than not since the clocks went back, and I have the waistline to prove it), I don’t have a coach or team who I’m letting down, and who’ll shout at me if I jeopardise my personal advancement, but if you’re a writer by trade, there are a lot of people who you could feel you’re letting down (as well as yourself). I can see why it could be a more pernicious situation if you feel you just can’t find it within you to write (or indeed run), so I wouldn’t want to say it’s not real just because I (fortunately) haven’t experienced it.

The main thing that keeps me from writing as much as I should, or should like to, is the tiresome and predictable issue of, you guessed it, time; again, I’m aware that I could squeeze in more writing and less loafing, and so for me at present this is a bigger challenge than Writers’ Block, though of course that may change in the future.

So, in summary, my concerns: Writers’ Block? Not yet. Writer’s Clock? You bet.

Come Into The Lounge And Bring Your Backpack, I’m Going To Ramble About TV

There’s an article about the Shannon Matthews trial on the Guardian website which I think makes for very interesting reading, and though it’s quite lengthy, I urge you to have a look at it. Go on, I’ll wait here…

It triggered two thoughts in my mind, the first of which is that it’s perhaps revealing that the liberal Guardian should effectively be implying that the existence of a ‘state support framework’ can lead to some people becoming so reliant on it that they effectively become shielded from taking responsibility for their own actions. I can understand this, though – in a perhaps silly comparison, I think you can see this in any workplace or shared home, where some people don’t wash up their mugs or whatever because they’re so used to someone else tutting and doing it for them; on a wider level, I’m sure that there are people for whom more than mere crockery is involved, and who make a certain number of major decisions about their life – or don’t make the decisions at all – on the basis that someone will probably be there to catch them if they fall. Not so much a Nanny State as a substitute Mummy state in some cases, I fear. Anyway, that’s the social aspect of my thinking on it.

The other thought that it stirred was related to the effects of the media, and more particularly of the responsibilities of those involved, especially writers. The sentence in the article which triggered this was

“Her body language was borrowed from the daytime talk shows she rarely missed. She carried herself in court just as she would have done had she been on Jeremy Kyle’s stage with a caption underneath her reading ‘FIVE MEN LEFT ME WITH THEIR KIDS’.”

Now, I don’t know if this is entirely accurate in the case in question – it’s more editorialising than reportage – though I think lurking behind it is a notion which has occurred to me more than once; the idea that programmes such as The Jeremy Kyle Show, by their presentation of the sensational as everyday, can give the impression that they’re telling the viewer that “this is the way the world is”.

If you watched shows like this all day (and even with the limited number of TV channels I have access to, it seems pretty possible to do so, with all the Trishas and Jezzas and Montels and Rickis and Sally Jesses circulating on the schedules), you could easily get the idea that the best way to deal with disagreement is to shout at each other, and that the world is awash with self-serving folks whose only ambition is to obtain money and fame and have as much sex with as many people as possible without any concern for the consequences (anyway, if there’s a kid involved, then you can always have a DNA Test special to drag their ‘deadbeat dad’ into the spotlight).

There are quite a few people in the world who are like this, sure, but I’d like to think they’re not in the majority – but the prevalence of them on TV could easily lead to the impression that this is how ‘everyone else behaves’. And if everyone else is just going to try to screw you over (in whatever sense), what’s the point in you trying to be honest, or loyal, or whatever? “If you can’t beat ’em”, and all that.

I’m simplifying, sure, but I think there is a bleed between items portrayed in the media and reality; not only within the news and factual programmes where you can see items become very important very quickly only to drop off the agenda with equally startling speed (remember how SARS was going to kill everyone?), but also in fictional programmes and films. On this side of the screen and in the streets, it’s not tricky to spot people wearing Matrix-style coats, and large numbers of people appear to believe that they’re in a music video at any given time, and indeed I think this relates to the way people interact as well – soap operas all too often portray arguing and shouting and throwing things as the only way to resolve disagreements, and fidelity as an option, and so on, and I do wonder how often people look at these portrayals of the world and this yes, that’s how the world is.

I’m not saying that TV programmes shouldn’t present the world in this way – firstly, I wouldn’t presume to say what should and shouldn’t be done, and secondly I’m well aware that most of these elements are inserted into storylines to create conflict and drama (though the two should not be seen, as all too often seems to be the case, as being synonymous) – but I do wonder if this created world of never-ending conflict and rowing both presents an overly negative depiction of an ostensibly real world, and also means that dramas are constantly needing to up the ante to make things seem ever more dramatic; EastEnders famously had a huge ratings success with the Den-Angie marriage breakup story, which consisted of human-level actions (rows, presentation of divorce papers) played out in fiery language and with the occasional ‘dramatic’ scene (Angie’s attempted suicide), but now the major storylines tend to involve more visibly dramatic events such as murder (Emmerdale’s Tom King storyline, which I think is still unresolved after over a year), a man sleeping with his son’s wife and being buried alive by his wife by way of revenge (EastEnders), and a character being mown down by a driver hired by a jealous love rival (Coronation Street).

It’s fairly easy to poke fun at the glossy US soaps of the 1980s such as Dynasty, which had season cliffhangers featuring a wedding where terrorists broke in and shot (apparently) everyone, or where an alien spacecraft abducted one of the cast (okay, that was in the spin-off, but you know what I mean), and even to mock more recent soaps such as Passions or Night And Day for being ‘unrealistic’ and straying into the realms of the un-tetheredly fictional, but I think that you don’t have to look at the more extreme cases before you can argue that the storylines in current ‘reality-based’ drama could be more in line with the lives people actually lead.

If – as often seems to be the case in soaps or ‘continuing drama’ – you want to tell a serious story which actually informs the viewer about (to take recentish examples) being the parent of a child with Down’s Syndrome, or dealing with being HIV-Positive, then that’s going to be all the more powerful if it takes place in a locale that has some resonance with the viewer.

Last night’s episode of EastEnders focussed on their storyline about child molestation within a family unit, and whilst I think it was really quite well-written (with the exception of one line about being ‘used and abused’, which troubled me as I couldn’t decide if it was in-character cliché for Bianca or just too ‘on the nose’), I feel it’s more plausible if this sort of storyline doesn’t take place in a street where people bury their spouses alive or every third character has ties to the London Gangland (who, on the basis of recent episodes of Emmerdale, are opening branches – or at least nightclubs – around the country).

I’m not pretending to have any kind of well-formed solution to offer here, and I certainly wouldn’t want to be prescriptive about what can and can’t be put into fiction or media (other than to say “anything and everything”), and I’m sure I’m not saying anything new, but the above notions are currently churning round my mind like socks in a tumble dryer; I guess I’m perhaps driving vaguely towards the idea that writers may have ‘reponsibilities to the audience’ in some way, or perhaps that it’s simply important for stories to have a certain consistency of theme and tone, but as I seem to have lost myself rather in the tangle of these notions, in lieu of some neat conclusion, I’ll instead ask: what do you think?

They Took The Words Right Out Of My Keyboard

In the light of the current trend for attacking the BBC, I was intending to write a strongly worded post on this topic, but it seems that the Writers’ Guild of GB has rather beaten me to it.

I urge you to read their recent Response To Ofcom’s Second Public Service Broadcasting Review – here’s the final paragraph, which I particularly liked:

“Manufacturing industry has been decimated; shipbuilding, mining and
steelmaking have disappeared; construction is grinding to a halt; the railways are in chaos; the financial services industry has an uncertain future, or perhaps no future. Public service broadcasting – and in particular the BBC – is one of the last areas in which we can truly be said to lead the world. Today it is at risk as never before. If we allow public service broadcasting to collapse, the only activity left in which Britain excels will be in waging foreign wars.”

…Nicely put, I feel.

No, Not The One from Sesame Street Who Lives In A Dustbin

In case the link I provided to the screenplay for The Dark Knight wasn’t to your tastes, or it merely made you want to see more scripts, answer me this: how would you feel about access to PDFs of the scripts for the films fighting for the Oscar for Best Original Sceenplay and Best Adapted Screenplay?

You’d like to see them, you say?

Why then, clicken sie hier, meine kleine leser, and once again wander backstage at the magic show, and get a few insights into how it’s done.

Writers On TV, Talking About Writing For TV

You might have seen it last night, but if not, I can heartily recommend the latest edition (3/6) of Charlie Brooker’s Screen Burn, doing the rounds on BBC Four.

It’s an extra-length episode, and instead of his usual incisive (and frequently rightly abusive) commentary on TV and media, Mr B chats to a number of high-profile writers, specifically:

– Russell T Davies
– Sam Bain and Jesse Armstrong
– Tony Jordan
– Paul Abbott
– Graham Linehan

So, I think you’d agree, people who are worth listening to when it comes to the business of writing. They talk about ideas, dialogue, characters, and give a few bits of advice.

If you missed it last night, fret not! Tis repeated on BBC Four at the following times:
Friday 5 December, 11.45pm – 12.35am
Sunday 7 December, 11.30pm – 12.20am

And if you’re all tech-knowledgy and have access to the BBC iPlayer, you can probably access it right now (if you inferred that I haven’t installed iPlayer yet, you’re quite right).

Definitely worth a watch if you have any kind of interest in writing for TV – or in writing generally, really.

Though We Should Never Forget That Mr Sheen Also Portrayed Greg Stillson In The ‘Dead Zone’ Film, Who Also Became President…

I try to avoid writing about dreams I’ve had on the blog, because… well, mainly because it’s usually rather dull hearing about other people’s dreams.

I invariably find that my dreams are just a tangle of events and fleeting thoughts from the day, as the mind winds down and shuffles its papers like a newsreader about to knock off for the day, but I thought I’d share the following. If nothing else, it’ll give you an indication of the shape of the inside of my head, as unhealthy as it might be.

So: I dreamt that I was attending a writers’ meeting for the TV show The West Wing, where we were all called on to pitch storyline ideas for the forthcoming season. Of course, since I have no idea what the majority of the writing staff look like, the other writers and the showrunners were depicted by members of the cast – as the head of things, Aaron Sorkin was played by Martin Sheen, and so on.

Adding to the confusion is the fact that although I think it’s one of best-written shows in recent years, because Channel 4 burned off their episodes of TWW in all manner of strange places (different channels) and times (post-midnight at one stage, 8pm at another), I haven’t actually seen it beyond the stage when John Goodman comes along. So the storylines I was pitching were all being put forward without any certainty as to whether they might already have been done – though as I was also aware that Mr Sheen, like Mr Sorkin, was not in the boss-chair towards the end of things, it was as if I was pitching at some point in the show’s past.

Anyway, I woke up, and was amused by the fact that I had, in the dream, been pitching pretty good ideas at a moment’s notice (I suggested one storyline for Will Bailey which had Joshua Malina nodding as if to say he understood), bewildered at the way that my mind had chosen to depict behind-the-scenes folks with on-set equivalents, and reminded how I’d promised myself that, once I’ve completed the Christmas shopping this year, I was planning on buying myself the West Wing DVD boxset by way of reward.

And then, less than an hour later, I opened a magazine and saw an advert saying the boxset is now 75% in certain locations.

All right, Mr Subconscious, I get the message. No need to hammer it home.

Red Planet Prize – Second Round Announcements

Well, I gather people have started hearing if they’re through to the next stage of this year’s Red Planet Prize.

I haven’t heard anything, so I guess no news is bad news, right? But maybe it’s a case of ‘not heard yet’, so I’ll just keep clicking F9 to refresh my e-mail Inbox for a few more hours yet.

I know David has made it through, any other folks heard good news? Congratulations if you did.

UPDATED TO SAY: They sent an e-mail this afternoon, which is good, as it stops me wondering if I’d missed a vital e-mail. A nice touch, I think, as whether it’s yes or no, it prevents me waiting needlessly.

Six Days To Write Six Words – Six Words To Sum Up A Lifetime

In case you hadn’t seen it, or had forgotten that the deadline was looming, just a quick note to remind you that The Guardian Six Word Memoir competition closes on midnight on Sunday.

I’ve entered it (though I don’t think I can provide you with a direct link to my contribution, the site seems slightly oddly set up), and I found it fun, though it is actually slightly challenging – though it’s tempting to put something irredeemably flippant (which, some might say, would be in line with my life as lived so far), I also felt slightly as if I ought to try to do it properly… whether I succeeded in this, I guess others will ultimately decide.

Anyway, if you haven’t had a go yet, why not do so?

(Link swiped from Laura, I should confess.)

BBC Radio Drama Q&A

So, as mentioned last week, last night was the BBC Writersroom Radio Drama Q&A, at a BBC building near Marylebone here in London. It was being recorded, and a transcript was mentioned, but in the meantime here’s my report on it – it’s not a full breakdown, but hopefully it’s of interest.

The event was hosted by Kate Rowland of the BBC Writersroom, and featured Sarah Daniels and Kwame Kwei-Armah, both of whom have written extensively for radio as well as stage and screen. Both of them were articulate and amusingly candid, and gave a lot of useful insights into the business of writing. Talking about how he got into writing in general, Kwame said that as an actor he realised the best way to play the roles he wanted would be to write them, and that he had a need to create the stories he wanted to see.

Sarah, in reference to the radio medium, said that she felt it was the best medium to write for, because as a writer you had the freedom to take the story anywhere in space and/or time, as there’s a sound effect for everything you could possibly write. She stressed, though, that it was important to focus on writing good drama rather than thinking in terms of writing for radio, as there could be a tendency to overdo the FX side of things.

Kwane echoed this, adding that due to the absence of visual cues on the radio – he cited the example of one character looking at another knowingly – he enjoyed the challenge of ‘negotiating the medium’, and finding words to convey emotion and the like.

Talking about the opening moments – and for writers, this would equate to the initial pages – Sarah urged everyone to make sure that there was something, no matter what it was, to hook the listeners’ attention within the first couple of minutes. She pointed out that whilst someone who wasn’t enjoying a play would probably wait until the interval before leaving, with the radio it’s all too easy for a listener to switch channels, so you need to hook them in quickly.

Both writers agreed that one of the huge benefits of working in radio was the fact that you invariably worked with one person as Script Editor / Producer, compared to the multiple levels involved in, say, TV. Kwame used the phrase ‘multiple frustrations’ to describe the way that he’d previously had contradictory notes on his non-radio scripts, especially when they came from the same person.

Kwame pointed out that, as opposed to necessarily having to paint some kind of aural soundscape, it was possible to make a radio play very intimate, and he drew attention to how Sarah’s work contained what he called ‘space around the words’, which I thought was a rather evocative phrase (reminds me of the comment about music being the gaps between the notes, which I think was said by Debussy).

Sarah admitted that she’d never been good at getting up early in the morning, and said that one of the best things about being a writer is that “you never have to do ‘really early’ again”, a comment which drew laughter from the audience, even if it was probably slightly tinged with envy.

Discussing the issue of self-censorship (for example, when basing characters on, or portraying, real people), Sarah told about how she’d once removed some rather barbed material from a play she’d written, and it had actually been better for it, though Kwame had a contrary experience; to prevent his central character being too purely and unfeasibly heroic, he’d needed to add in some ‘human foible’ to the character, and had worried that this might have offended the last living relative of the person in question (it hadn’t). He suggested that it was a question of negotiating your overall agenda as a writer – if you have a specific stance or point you want to voice – and how this could be balanced with the needs of the story and the characters. In a similar vein, Kate Rowland added that it was an important skill for writers to be able to self-edit.

Tying in rather nicely with his ealier remarks and bringing things full circle, one of Kwame’s closing comments was that a good question to always ask yourself is “Is this something I’d enjoy?”

And that’s my summary of the event. It was interesting, and did – as I’d hoped – spur me on to get on with the radio play which has been sitting on my hard drive, half-done, for… well, too long. Certainly glad I attended – it cost nothing to do so, and they were dishing out free drinks and notebooks – though it was amusing to spot, as I have at such events before, that my preferred choice of notebook, Moleskine, was very much in evidence. I think they’re really good notebooks, but they do seem to be fairly ubiquitous amongst writers (though that might be testimony to their usefulness).

One slightly disappointing aspect of the event for me was that various people seemed to be less keen to take advantage of the opportunity to ask questions of the proper, living, breathing and more importantly professional writers in front of them, and a bit too keen to ask Kate Rowland questions about the process and policies of the BBC Writersroom – specifically, about issues relating to the rejection of their script, the background of the Writersroom readers, and that kind of thing. I thought this was misjudged, and I actually felt bad for the two writers, as they were sidelined in the overall discussion whilst Kate replied, explaining things which I felt she shouldn’t have had to get into in that forum. There’s enough information on the Writersroom site to answer most general questions, and if you’ve got a specific question about it, that’s something to ask Kate afterwards – like the writers, she was available to chat with afterwards – and as there was a limited timeframe, I felt that this was a waste of time and opportunity – perhaps this is the self-editing so vital in writers that was referred to? (He wrote, at the end of a lengthy paragraph, as the words and irony weighed down on him…)

Anyway, it was a good event, and I even got to chat to Mr Beckley (who’s not one millionth as terrifying as his profile photo might suggest), and bumped into an old workmate (hello Jessica, if you’re reading this), which was a pleasant surprise, as when I worked with her I hadn’t known she was interested in writing.

So, all in all, I’m very glad I went along.

Pay Some Attention To The Man Behind The Green Curtain. Er, I Mean ‘Black Cape’…

Apologies if this is old news, but for those of you who felt that ‘The Dark Knight’ was a very good film, you can now download a PDF copy of the script. Given that it’s hosted on the Warner Brothers site, and it’s a WB film, I’m pretty confident this is legit.

So, to see how it was all done, click here.

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