Category: Writing Page 22 of 24

“It is happening again. It is happening AGAIN.”*

Those of you with good memories (or who have access to the blog archives, I guess) will remember that around this time last year I announced my intention to take part in National Novel Writing Month .

The aim of this free-to-join-in scheme is that, for the month of November, you try to write a novel of 50,000 words during the month of November, at a rate of around 1700 words a day. The key thing is that you turn off your internal editor, you don’t go back and do redrafts, but that you get the first draft of a (short) novel down on paper or screen. There are no real prizes, other than the sense of satisfaction (and community – both virtual and real; check the Forums on the site), and for many people it’s a way of finding out if indeed they do ‘have a book in them’.

Last year I did very poorly indeed at reaching my goal in NaNoWriMo (as it’s affectionately known), to the extent that my word count, when compared with the stated aim, was very much within the definition of ‘nano’: a measly 3000 words out of 50,000.

Even more embarrassing, though, is the fact that I wasn’t even aiming to write a complete novel, but to use the event as a catalyst to complete a novel I’ve been working on for several years now, which has the working title of ‘Coming Back To Haunt You’. I’m just over halfway through, and I know what happens at the end, and all the characters, so it’s really a case of getting my backside onto a seat and writing the thing down (I do first drafts longhand). And then when that’s over I want to write another novel, which has the working title of ‘The Body Orchard’, and ideas for which keep coming to me when I’m brushing my teeth, on the tube, etc, and which I’m rather excited about.

All of which rambling is a long way round for me to say that yes, I’ve signed up for NaNoWriMo again this year (and will no doubt lob a graphic up on this ‘ere blog to note the fact in November), but the aim is rather different; I’m going to try to charge to the end of ‘Coming Back To Haunt You’ by Halloween, and then use November and NaNoWriMo as the focus for at least getting a goodly chunk of ‘The Body Orchard’ on paper.

Will I achieve any of this? I don’t really know, but the stories are there in my head, and I have pens and paper, as well as time I know that I just fritter away, so all the pieces are there, and we’ll know who to blame if I don’t get it done, won’t we?

*The Giant from ‘Twin Peaks’, which (in case I haven’t mentioned it before) is my favourite TV series of all time. And not just because Sherilyn Fenn’s in it. Honest.

I Only Hope The Applauding Audience Doesn’t Start Shouting ‘Author! Author!’ (Ahem)

In a change to previously-advertised arrangements, I will now not be attending the performance of my Urban Myth at the Urbis centre in Manchester tonight.

‘Tis a pity – I was looking forward to seeing what the performers do with it, but … well, to be frank, the organisers kind of dropped the ball in terms of letting we finalists know who won; there were ten of us, and the winner would have their hotel room paid for, which is a pleasing notion, but one that would certainly have affected my plans to travel there. I can’t afford to take this afternoon off work and tomorrow morning as well (I get paid on a daily rate), so if I was going to be given a hotel room, then I could arrange to stay there overnight and travel back to London in time for work on Friday. If not, however, I needed to arrange to get to Manchester for the 6pm performance, then home again before the trains stop running, or before it gets so late it’s actually early.

To that end, I called the organisers the other week, and asked if they knew when the result would be announced, as it would make a difference to my plans to attend; the lady I spoke to was very friendly, but didn’t know, though she gave me an e-mail address to send the query to. I did so, and after a day or so of waiting for a reply I resent the e-mail, this time to a general address on their website. After another day or two had passed, I got a reply stating that the winner had been chosen – it’s ‘Pencil Suicide’ by Daniel Gent (click here to read it, along with the other finalists). My congratulations to Daniel on winning, and for a sharp bit of writing. I like it.

However, the cost of getting the train to Manchester and back in one day (so as to only lose a half-day of paid work) would have been something in the region of £60, and I really can’t afford that, so I won’t be attending tonight. The Urban Myths performance is a multimedia event, though, so there’s a possibility of related material being uploaded on the Web Pages of the Interactive Arts course whose students who are performing. I’ll let you know if I hear anything.

Of course, if you’re going to the event, please let me know how it went, and yes, if you could tell me what the ‘Light’ myth was like, I’d be very grateful. I’m very chuffed indeed to have been one of the finalists, and really not worried about not winning, but I do feel slightly thwarted in my attempts to attend, if that makes any sense. Still, even if I don’t get to see my work performed, I can only hope the audience like it, and that the performers have some fun with it.

A Public Service Announcement

Given that the Post Office are currently striking (those of us who’ve been subject to their rather interesting interpretations of ‘delivery’ might say it’s hard to spot the difference), it’s been announced that South West Screen will be adopting a pragmatic approach to applications for their Digital Shorts deadline (12th Oct). Which is a good and sensible thing, if you ask me.

Thanks to Martin Adams for letting me know this, and asking me to pass it on.

As They Used To Say In ‘Nemesis The Warlock’ in 2000AD, Spread The Word

Lucy of Write Here, Write Now has asked me to pass on the fact that, and I quote from her e-mail, “The winner of SW Screen’s Screenwriter Development Competition has been delayed and will now be announced on October 16th instead.”

Please amend your diary accordingly.

Okay, Lucy, I’ve done what you asked. Now can I have my money?

Yes, I’m Advocating You Join the Kit-Kat Club

Many years ago, I was helping an ex-girlfriend (those of you who know me well can readily guess who I’m talking about) to type up her final college dissertation. I’m quite a fast typist to this day, and was certainly one of the faster typists in my circle of friends at the time, and as she was struggling to get it done on time (and probably in some pathetic attempt to make her re-consider my ex- status; I hadn’t grown a spine or self-respect at that point in my life), I offered to help out.

Helping out involved not only typing in the contents of the dissertation, but also staying late into the night (well, the early morning really) and helping her move great chunks of text around in order to restructure the work to increase its comprehensibility (it was an English Literature dissertation, so I’ll leave you to make your own remark about whether that effort meant I was inherently on a hiding to nothing). Anyway, this meant I was there until about 3am, by which point my eyes were stinging with screen burn, my hands were aching, and of course, I was tired (never a good thing for me; my judgment goes wonky when I’m excessively tired or hungry). I said we should stop and take a break – get a cup of tea, or whatever – but she insisted we ploughed on.

It’s a dilemma you often come across in work situations, I find: you have to get X done by a set time, and you’ve been slogging at it as the deadline approaches, but you really fancy a cup of tea or coffee or a biccie or similar, but that’ll take ten mins and you really don’t have the time. What to do?

The answer, simply, is: For God’s Sake, Take A Break. Take ten minutes away from whatever it is that’s eating your time (and very possibly your mind), and you will work far better afterwards. A cup of tea, a nap, a visit to the loo, or just staring out of the window can be just the thing to pep you up a bit, and that’ll mean that the work you do thereafter will be much better. In fact, in the same way that I maintain that if you’re thinking about staying up all night, your thought processes are clearly frazzled and you ought to go to bed, I’d say that if you’re unsure if you should just ‘power through’ and try to meet that deadline, the answer is almost certainly no.

All this came to my mind because I’ve been working quite hard the past few days (hence the absence of posting) to make sure that my entry for the Red Planet Prize is ready for the start of October. But on Wednesday morning I was feeling (in much the same way that I’d been concerned my characters are spending too much time in one location) that I’d been spending too much time in the minor details of the story and was losing sight of the overall arc of it, and so I decided to take the evening off.

Lo and behold, when I clicked the Red Planet site on Thursday morning to see if there was any news on the competition, there was a note there (see previous link above) saying about how they’d be contacting people in mid-October. So as well as feeling better about the screenplay, I have a couple of extra weeks to fine-tune, polish and tweak it, should they want to see more.

Incidentally, the ex- got a very good mark for her dissertation, and when I said something like “I like to think my contribution played a small part in that”, she denied that I’d been involved at all in it, the ungrateful wretch. Still, we all know what happens to people who are rude on their way up, don’t we?

You Don’t Hear About Agrarian Myths Very Often, Do You?

Regular readers may recall that I’m one of the finalists in the Manchester Literature Festival Urban Myths Event.

Well, for those of you who can’t make it to the city on the night in question to see the event, and for the couple of you’ve who’ve asked to see my urban myth, you can now see the entries here – if you click the link, mine is the eighth one down.

I’d be interested to hear what you think of it, so please feel free to post a comment. Oh, and I don’t know yet which is the winning entry, but I’ll be sure to let you know either way.

A Winner ! And, Er… A Non-Winner

Congratulations are due to David Bishop for winning the 2007 PAGE Screenwriting Awards with his script ‘Danny’s Toys’. I won’t pretend to have read the script in question, but I’ve met David once or twice and he’s always been a friendly chap, and if you read his blog on a regular basis it’s painfully obvious that he’s one of those smart cookies who is able to apply his mind both to the creative and the practical side of writing. Well done to him, I say!

I, on the other hand, have been notified that I didn’t win the Acid Theatre Monologue Writing Competition , which I entered recently. Still, they were good enough to let me know swiftly, and of course it means I now have a 30-minute stage monologue in my portfolio, and I learned a few things both whilst writing and researching it, so it was far from wasted time.

As For My Own Appearance… Well, It Must Be A Face – It’s Got Ears

Are any other writer-types going to the Writer’s Guild BBC Event on Thursday evening ?

I am, and if you want to say hello, please don’t be shy – I’ll be the tallish one in the suit (yes, going there straight from work).

If you are going, please feel free to leave a comment here, or drop me a line at john@johnsoanes.co.uk. It’d be good to put faces to some of the names I see onscreen so regularly.

Didn’t ‘Frantic’ Magazine Claim It Was “Number Two In A Field Of One”?

You may recall I mentioned that I’ve sent off an entry to the Red Planet Prize a couple of weeks ago.

Well, unsurprisingly, there’s been a lot of interest – indeed, Red Planet head honcho Tony Jordan says “We’ve had around two thousand entries to the competition…”

If you entered and are feeling a bit glum about the odds of you winning, or even making it through to the next round, then think about how this lady must feel.

Stop Right There, Thank You Very Much

As I’ve probably mentioned before, I’m looking at soaps (or, if you prefer, ‘continuing drama series’) with a writerly eye nowadays – looking for plot developments, characterisation tricks, and the like. In watching Emmerdale and EastEnders, though, merely from a viewer’s perspective, I’ve noticed that there are a couple of storylines which have dragged on rather too long – or at least, too long for my interest level (if you watch the shows, you might have guessed the ones I’m talking about, but if not, they are the King Murder plotline, and the whole Bradley-Stacey-Max thing).

As I say, I feel they’ve gone on longer than is interesting (the King murder has been running since the start of the year, I think, and I think the ‘love triangle’ has been going on for much the same time), though others may disagree. But it set me to thinking about the extent to which TV shows can run stories before they become uninteresting. Friends, for example, had a lot of favourable audience reaction (not to mention ratings success) with the whole Ross-and-Rachel will-they-won’t-they thing, but I think most people would admit that they exhausted that goodwill by the time the series ended. The X-Files, similarly, kept going long after the ‘conspiracy’ aspects of it had ceased to engage the audience (by which I mean catching either interest or ratings). Because I could guess what was going to happen when Daphne and Niles got together in Frasier, and thought it was the wrong direction for the show to go, I bailed out at that stage, and I think other people have told me I was wise to do so.

Other programmes come to mind, too – Moonlighting and Cheers both had the will-they-or-won’t-they romance storyline, as did Lois and Clark (though for me they dealt with the loss of that plotline well, immediately introducing another, utterly logical, element when Clark proposed to Lois: her answer, if memory serves, was “Who’s asking – Clark or Superman?”, which kicked off a different plotline). According to rumour, my favourite TV series of all time, Twin Peaks, was not intended to reveal who killed Laura Palmer; that was to be the hook which drew the audience in, with David Lynch apparently not intending for the killer to be revealed at all. The revelation of the killer, even the most rabid fan (and by that I mean me) would cheerfully admit, wasn’t necessarily followed by the immediate replacement of a similarly compelling storyline (I think co-creator Mark Frost has conceded this).

I’m not pretending I have any kind of answer or conclusion on this, though I remember Joss Whedon (creator of Buffy and Firefly), in relation to keeping the audience interested, said something like ‘I need to give [the fans] what they need, not what they want’, and he does seem willing to kill off popular characters (even, famously, ones shown in the title sequence) to keep things from getting stale. And thinking about it, Alan Moore, comic writer, magus and possibly possessor of one of the finest creative minds on the planet, says (in the documentary ‘The Mindscape Of Alan Moore’*) that the creator shouldn’t give the audience what they want, because they don’t KNOW what they want – if they did, they wouldn’t be in the audience, they’d be a creator. Good points both, I think. Maybe the best route is to respond to audience feedback only insofar as it doesn’t involve milking a plotline or playing to the gallery?

Of course, many of the above notions are frankly staggeringly subjective, and tricky to define. Anyone have any more defined measurements of such things? Please post them in the comments if you do…

*I say this with conviction, as I watched the sequence in question just last night.

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