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Team Writing For Television is a level 9 Module I deliver along with my colleagues Dr Jill Jamieson and John Quinn as part of the Film Making & Screenwriting and Broadcast Production Programmes at the UWS Skillset Media Academy Ayr Campus.
We investigate the theoretical underpinning of shows such as David Simons’s The Wire , True Blood (Ball 2008), and Sky Atlantic’s Boardwalk Empire, and then apply these lessons to the practical task of writing a long running TV series.
This year we are by the fact that for the first time this year we will be using Twitter at the core of our delivery. We will be using #TWFTV hashtag to allow students to receive feedback, for them to feed forward and also to reflect on their learning experience on an ongoing basis .You can read the preliminary results here on the BCI Research-Teaching Link. This innovative online discourse both in class and outside should hopefully provide us with an instant two way creative relationship between staff and students.You’ll be able to follow developments on Twitter by simply performing a #TWFTV search so there will be no hiding place from negative or positive feedback.
The students are all skilled in using Screenwriting Formatting software (such as CeltX and Final Draft, ) and have learned elementary Screenplay narrative structure in previous Modules such as Introduction to Scriptwriting and The Short Film. In week one they took part in an initial skills audit where we assessed their likes, dislikes, preferred genres and technical skills . From this data we have formed them into nine hopefully coherent teams whose task is to create the Bible for a long running TV Series. Each of the teams nominates a scribe whose task it is to record and publicise the discussions and action points of the individual groups online in a WIKI on our VLE , Blackboard.
The cohort of 68 students are now about to enter week seven of the fifteen week TWFTV process. What started off for all of them in the first week was a 30 second elevator pitch of their own individual idea. Gradually, as the classes go on, each individual student’s creative idea has been honed down to one per team, and the teams are constructing a Bible, Series Arcs, Character Arcs and outlines for each individual episode of their Team Project.
Over the next few weeks they will work on their project,using the creative grid system to develop their Team Bible into a coherent 15 minute pitch which they will then deliver to Industry Professionals from the BBC, STV and MG Alba on Monday 18th of April.
In this way, Work Related Learning is embedded right across this level 9 module. (It’s worth noting that some of our best writers have gone on to work professionally on Shows such as River City and Waterloo Road.)
After the pitching session in week 10, each team member then writes an individual Episode of the Series. They also contextualise their learning by researching and writing a 2,500 word essay on a specific theoretical aspect of Team Writing. The end product is an entire scripted season of a long running Television series, from opening Episode, to the Final springboard to the second series.
As the Module rolls out, I’ll blog most weeks on the development process.
The description of the location of a scene and the way in which the movement of the camera is described on paper is one of the most vital parts of a screenplay. Yet for all it’s importance, it seems to be one the poor relations of the practical screenwriting world. Why this should be I don’t know. Description is the first part of a script a reader sees, and if a script, especially a spec script, is a selling document, then the way that you invite your reader into the world of your drama through describing the scenes is a vital part of that marketing process. If you get the description and the scene setting wrong, you risk writing a boring script that won’t get past the reject pile on the first readers desk.
A script which doesn’t get produced is a dead document. It’s not like a poem or a short story or even a novel. It’s a partly finished plan of a film which never got made; a telephone message never listened to; a technical drawing for a fabulous palace no maharajah ever built. It’s the saddest loneliest piece of work in the creative world. I should know. I have lots of them lurking in boxes and shelves all round my study.
But, wait. It gets worse than this, because if you never manage to get a script actually made, you will never become a better screenwriter. Trust me on this. Only by seeing your mistakes up on screen , by watching them through clenched fingers , do you ever really ever learn not to make them again. To become a better screenwriter, getting the script produced isn’t the most important thing, it’s the only thing.
So if you want to at least get past that fearsome threshold guardian, the first reader, then you have to engage them immediately , and the way to do that is through your description. Make them want to turn the pages right to the end by writing taut spare muscular description which draws them in to your story. I can’t write it for you, but here are a few thoughts which might lead you in the right direction.
But before we start, what exactly IS description?
For me, I think of description quite simply as “what the camera sees”. No more , no less. I constantly see scripts written by inexperienced writers which spend line after line describing incidents, details and action which will never actually feature in the finished film. I don’t like laws and rules of writing normally. Any good writer breaks rules, that is what they are for. But there is one rule which I think you should always adhere to. I call it……
No see? No write!
If the camera won’t see it, then the writer shouldn’t write it. End of.
Pause for effect as your forehead furrows.
“Me no Leika !“ , I hear you cry. “ I am not a camera, I am a writer. I want to drink in and communicate the richness and depth of the humanity I see unfolding in front of me in all these wonderful locations I have researched populated with unforgettable characters I have created acting out original pulsating stories. I cannot be constrained by the arbitary needs of a mere optical instrument!”
Oh yes you can.
You are writing a plan for a film, and films are a technical exercise in creativity, so your task as a screenwriter is to describe and create only what the camera, and hence your audience, will see. Think of your script like an architect’s plan. If you need to design the cellar because under the house because that’s where we meet the bogey man , then put it in the screenplay.But if you are not going there, don’t . From the first scene to the last, you are describing what the director will shoot within the camera’s frame, because that is what the viewer is going to see, and that is what you will describe in your screenplay. That is why the frame is first dimension of screen description, so lets talk about it.
We are organic creatures . We tend to think in tones, themes, loose images, deep metaphors. How do you write about a thing as prosaic as a right angled, rectangular frame? Quite simply this, if you have decided to write a script,( and believe me, it’s not the most obvious thing to do in the world), then you have to think of telling the story within the frame. Here’s how you do it…..
Don’t be embarrassed at this bit. Go to your location,(or one like it ) and stand where you would like the initial point of view to be from , then take your thumb and forefinger of one hand at right angles and with the thumb and forefinger of the other hand, make a rectangle at arms length, and select the frame. You now have a wonderful steadycam at your fingertips. Your job as the screenwriter is to describe what the camera will see, as it moves and follows the action of your screenplay within that frame. But it’s not as simple as that, because not everything in the frame is of equal importance. This brings us to the second dimension of description, the rank.
It’s not vital that you literally know how to compose a shot. Don’t get too hung up on zooms and pans and close ups .That’s the director and DOP’s job . What IS important is that you rank what the camera will see in order of importance. In other words if the crucial content of a scene is that fact that there is a dead body lying in the middle of it, then don’t spend too much time describing the curtains. You are the writer, and you have to decide what’s important in the scene, and then describe it. The director will shoot it the way she wants to , but at least you made the initial decision about what is important in the scene.
But as well as the frame, and the rank, there is a third dimension in description. Yes, you guessed it. Time.
You may not hear it, but from the moment your screenplay opens, a clock is ticking. A timeline starts as you remorselessly tell your story in the present tense as it happens. (and yes, flashbacks are told in the present tense too!). A painting can hang in a gallery for a hundred years, frozen until the watcher looks at it, a poem sits snugly in its book waiting to be opened and read, as fresh as a daisy, but a screenplay is not frozen like that. It is a dynamic document, where each line is a second or two of very expensive screentime, and you have to be constantly aware of the constraints of this.
With that screen clock ticking remorselessly, eating up your reader’s(and hopefully your audience’s) patience, you must master the third dimension of Screenwriting description as efficiently and quickly as you can.
So to sum up Screenwriting Description. Describe what the camera will see, in the order that it is important, and at the time that the narrative demands.
I had a wonderful creative afternoon in Hawick on the 30th of October with my colleagues at the Eildon Tree New Writing Festival. The festival, organised around the Borders New Writing Magazine, is a celebration of the past 11 years of new writing in the Scottish Borders. The three hour practical TV Writing Workshop I held included creating ideas, narrative structure, script formatting and how to get your script marketed in these straitened times.
The workshop was attended by amongst others, a documentary film maker embarking on his first fictional drama, a poet looking to create a short film, an actress developing her career options, three 21 year olds making a sketch show, as well as a couple of novelists and short story writers for good measure.
As usual with these events, I learned more from them than they did from me.
There is a vibrant creative writing community in Hawick and it’s surrounds, and it was a privilege to be asked to share their hospitality in the environs of the wonderful Mill Tower building. I am indebted to Tom Murray, Julian Colton and Carol Norris of the Eildon Tree for their invitation, and to the attendees for their energy and creativity.
There is an interview with me by Tom Murray in the latest copy of “The Eildon Tree”. Page 10.
The University Of The West Of Scotland’s School of Creative and Cultural Industries Knowledge Transfer Partnership (KTP) is aimed at producing an innovative training video on discrimination at work. The project is designed as bespoke piece of training for our partners, leading Glasgow law firm, Law at Work, and is now entering a crucial phase in Week 7.
UWS graduate and KTP Associate Chris Young has delivered a 20 page research dossier on Innovative Training Videos which was discussed at our last programme meeting at our partner Law At Work’s HQ in Glasgow. This impressive body of research will provide the creative team with the theoretical underpinning for the next stage of the process. It is this critical research based approach which makes the KTP unique in terms of it’s impact on our creative educational practice and the service that we can provide for industrial partners such as Law At Work.
In the light of our discussions, Chris is now finalising the shooting script of the web-based training video. With a planned screentime of 20 minutes, and a cast of 12, this is a major undertaking for Chris as a first time professional director. Camera, lighting, sound , makeup, and catering have all been finalised for the weekend shoot, and if the script outlines are anything to go by, we are looking forward to a fantastic piece of work from Chris and his production team.
The final draft of the script will be ready by Friday 29th of October, casting will have been finalised by Wednesday 3rd November, ready for the shoot on Sat and Sun 6th and 7th of November. The KTP team are taking over the entire floor of Law At Works offices for two days in order to shoot the video.
Post production is slotted in at UWS Ayr for the two weeks after this, with a planned delivery of the final product to our clients Law at Work on 22nd of November. As luck would have it, the filming of the new video takes place at the same time as Law At Work are undertaking a complete re-branding of their website and corporate identity. It is planned to coordinate the launch of the video with the new website in the new year. The timing for all of this could not be better.
It has been a challenging process for all involved, particularly since this is the first ever KTP embarked upon by the School Of Creative And Cultural Industries.
These are exciting times for all those involved in this unique project. There’s no doubt that this will lay down a marker for the sort of creative engagement with industry which the UWS Skillset Media Academy plans to roll out in the future.
Hi Everyone . Passing this on from Linda Campbell at Write Camera Action
CAST CALL: “Here’s Our Future in Front of us” written & directed by Jessica Mcdermott, shoot scheduled end November 2010. Leads cast but she requires a waitress. FEMALE, 35-55. Those of you who saw this workshopped may remember it’s a speaking part and a hilarious cameo role for someone. Interested parties contact Jess with headshot and c.v. at [email protected]
WRITERS CALL: Man vs Woman is a new sketch show looking to add writers to their team. This s a quality production last performed by George Drennan, Karen Bartke, Andy Clark and Viv G. They are looking to bring in a select group of writers and to to increase the number of actors to establish a regular sketch show. Sketches usually feature a male and female actor but this isn’t a hard and fast rule – as long as it’s funny, and a bit different from the stuff you usually watch on Scottish tv. Currently no fees for sketches used but they are approaching broadcasters early next year so it could be a great launch pad for new work.
SKETCH SHOW: The last Man vs Woman show at the Glasgow Comedy Festival in March went down a storm and the next one is happening in Nov. COME ALONG, have a great night and get a feel for the vibe of the show. Nov. 6th at the State Bar, Glasgow £6/£5 consc. Doors open 8pm with show starting at 9pm. Send sketches to . See link for sketch from last show http://www.youtube.com/watch Sex Games.
IMPROV SHOW: starring our very own Liam Hughes and others in an evening of innovative improvisation at Highlights venue, 11 Renfrew St, Glasgow. 28th October £5, £7 Dooropen 7p.m. close 7.45pm show starts 8pm £5, £7. Renfrew St.
IMPROV SESSIONS: Philip Larkin, the improv coach (among many other talents) was part of the great work at WCA Oct Improv sessions, and will come along to further WCA sessons as and when his commitments allow. In the meantime, for those who expressed an interest in attending Philips weekly sessions in Glasgow please contact him directly at [email protected]
AUDIENCE REQ’D: Free tickets available, simply book your bum on a seat. National Loterry ‘In it to win it’ with Nick Knowles Sat/Sun/Mon 13/14/15th Nov. You against the Nation with Steve Jones, Frid 5th Nov. Contact hhtp://bums-on-seats.co.uk/ hhtp://bums-on-seats.co.uk/current_shows.shtml or [email protected]
David Gillick is a fourth year Performance student at the University Of The West Of Scotland in Ayr.
His Creative Project is a Mockumentary Film called “Queer Street ”
He is looking for male actors to play larger than life characters in this black comedy based on the lives and loves of the participants of a fictitious Glasgow gay scene.
They all constitute a group of misfit males trying to conquer and control Glasgow nightlife.
Think Rocky Horror meets the Sopranos with a bit of Stellar Street thrown in.
David is also looking for one male actor who is comfortable in front of the camera and would be the TV interviewer of this Mockumentary.
David is hoping to start workshopping this on the 15th of November at UWS Ayr or in Glasgow, whatever suits majority of the cast.
David says that ” I wont be forcing anyone to perform outwith their comfort zone, as I know some budding actors may be put off by the sound of the material and theme of the film…all I want is to make a funny film about a bunch of Glaswegian gays”
If you think you might be interested in the project, or know someone else who is , please email David Gillick at the address below as soon as possible and he will get back to you.
Due to the three year success of workshops at Write Camera Action, with such fantastic writing, talented cast and enthusiasm from all directors/producers and participants involved, it has sparked some amazing collaborative no/low-budget projects being made. WCA would like to encourage and support more independent productions with two new initiatives:
1. Open Script Competition
All scripts entered will be given feedback. A winning script will be voted by the panel to be produced sourcing cast and crew from WCA and affiliated groups, with equipment provided by Moniton Pictures. The finished film will be ready for festival entry and be a calling card for all parties involved, with the writer retaining copyright of all material included.
Submissions open from 18th Oct. 2010. Deadline closes 14th Jan. 2011. The entry fee of £15 per script will generate the funding to produce the winning script. More than one entry is not only allowed – it’s applauded! The winning script will be announced at WCA networking night at CCA on 29th Jan. 2011. Entry criteria and more details on request from
2. WCA presents a night of Film screenings & Networking
A lot of you have embraced the ethos of WCA and have formed collaborations to get those ideas work shopped at WCA actually produced, with some currently in production, WELL DONE! Some of you are still thinking about it, WELL DON’T! Now is the time to get them made, get them finished and let’s show them! WCA announces an evening of film screenings from WCA collaborations to be held on Friday 22nd April 2011 at the CCA with networking at the CCA bar afterwards.
The evening will be open to the public with specially invited industry guests. It will be ticketed to generate two cash prizes, 1) for the winning film voted for on the night by the guest panel, and 2) the winning film of the public vote from the audience. More details and reminders next year but this early announcement will allow people to get their films finished and/or into production in time to enter.
Submissions open from 30th Nov. 2010. Deadline 31st March 2011. Collaboration can mean utilizing mailing list, casting, crew, work shopping etc. Entry criteria and more details on request from Tickets £10, limited and available from CCA Box Office.
The Eildon Tree, the Borders New Writing Magazine is celebrating ten years of new Writing from the Scottish Borders and beyond.
I will be leading a practical Screen Writing Workshop session at the Tower Mill at 1.30 on the 30th of October.
This workshop is for anyone who ever wanted to write for the screen but was afraid to ask.
Full details for registration and times are here.
Tower Mill, Heart of Hawick
Helen Mackinnon of the MG ALBA sponsored FilmG short film competition will be visiting the UWSAyr campus on Wednesday. In room A 103 at 4 pm on the 13th of October she will throw down a challenge to all local film makers. Can you create a 3 to 5 minute short film in the medium of the Gaelic Language? One of our students, Lynn Stewart took the challenge last year and won!
You don’t have to be a fluent speaker in Gaelic but you DO need to be interested in filmmaking. If so, you should give the FilmG shorts competition a go!
Don’t worry if you don’t have any experience in making films. FilmG have a range of training initiatives available to you and if you need help with your Gaelic check out TàlantG on the FilmG Website to find a talented Gaelic speaker who can help you with your film. If you already work in the industry, as long as you don’t have a broadcast credit as a producer or a director you can enter.
This year’s theme is ‘Lamh an Uachdar’ (The Upper Hand). If your film is distinctive, imaginative and engaging, you could win some fantastic cash prizes, as well as make important industry contacts, that could help you towards a career in broadcasting.
As usual the FilmG’s prizes are fantastic, you’ll be hard pressed to find a film competition in the country that can match this.
Best Drama Short: £2,500
Best Factual Short: £2,500
Best Student Film: £1000
Best Performance :£1,000
Best First-time Director: (Industry) £1,000
Best First-time Director: (New Entrant) £1,000
Best Student Director: 1 month paid work-placement with media company
FilmG Theme Award: £1,000
This year there’s an added a work-placement prize for the best student director. If you are a student this could be your chance to get a foot in the door and get hands-on experience working in the industry.
Don’t forget, that the competition can open doors for you in the Scottish media industry. The BBC ALBA commissioners will be looking at every film submitted, and national organisations such as Scottish Screen, BAFTA Scotland and BBC Scotland attend the awards ceremony and are happy to chat and give advice on how to pursue a career in the industry.
Helen will be holding a meeting open to all in Room A 103 at 4 pm on Weds 13th at the University Of The West Of Scotland Craigie campus. Please come along, even if you are not a Gaelic speaker you may be able to become part of a team who have the chance to win the cash prizes.
- Dialogue is the last resort. Use anything else to tell your story before you resort to dialogue. You might often hear of actors on the set who look at a whole paragraph of carefully crafted dialogue then turn to the director and say “ I can do that with a look.” They are usually right
- Listen. Many new writers often say “ I can’t write dialogue”. What they really mean is that they have not developed an ear for naturalism. They have not honed the art of listening to what people really say. So. listen, listen, and listen some more. Every human being in the world is a master of writing the dialogue of their own narrative. It is the screenwriters job to learn how to create those characters in their head , who can literally tell them how to “write” their own lines. So listen to what the real folks say.
- Differentiate. Every character in your screenplay should have a distinctive “voice”. You would never cast clones in a screenplay, so why do inexperienced writers make all their characters sound the same? It’s because they haven’t really grasped the fact that no two people ever look or talk the same way…unless it’s a Kraftwerk biopic you’re writing, or the opening speeches at a North Korean Communist Party rally.
- What do they want? People talk for a whole variety of reasons, but a very good way of fleshing out your first draft is to ask yourself what each character’s wants are in the scene, and what are they going to say to get what they want.
- Hide the truth. Human beings rarely say exactly what they mean. Indeed, the classic moment in many screenplays comes at the second act turning point where for the first time in the entire script, they finally DO say what they mean. “The truth? You can’t handle the truth!” So…don’t write on the line…write round it, write under it…write over it…and choose very carefully the point in your screenplay where your characters finally tell it how it is. It will be a powerful moment if they’ve been hiding it for the past 4 reels.
- Information is not enough. If all your lines are about is providing information, then you might as well use graphics or a dancing dog in the background with a sign round it’s neck. Dialogue should be part of the action, part of the character, part of the forward movement of the narrative. Write dumb reportage as dialogue and the director will cast dumb reportage actors. You want your lines to be spoken by the best actors available, so give them something more than “ Excuse me sir there’s a phone call for you “.If it’s only information, think of another way of providing it rather than dialogue.
- Don’t tell us what we already know. Dialogue is not there for the good of the characters, it’s there for the audience. If you just saw the heroine pistol whipping the bad guy and tying him to a passing vehicle with a barbed wire lasoo, don’t start the next scene with her telling her boyfriend “Hey, I just kicked the Mekon’s butt and sent him down the highway on the back of a Garbage Truck”. We’ve seen it , we don’t need told it again. I was once informed by a very bad writing coach that I should “Tell them, tell them what you’ve told them, and then remind them what you told them.” Nonsense. Make the audience work. Make them listen. Tell them once in dialogue, and then use images, tone and action to underscore it, not more dialogue.
- Keep it lean. Think of words like money in a skinflint’s bank.Don’t spend a single penny more than you have to . Unless your character is a verbose chatterbox, use as few words as possible to tell the tale. No successful screenplay ever used too FEW words. But lot’s of mediocre ones have far too many.
- Sharpen your sword. Good dialogue is like a fencing match. Attack, parry, riposte, with the final stab right at the heart of the opponent. Even if they are getting along, characters should be constantly vying for supremacy in the cut and thrust of crackling dialogue. Think of Bogey and Bacall , Curtis and Lemmon, McKenzie and Patterson. Who are the last two guys? I heard them ripping the proverbial out of each other at the game the other night. Those guys could WRITE!
- Surprise yourself. Never trust the first idea. Sure, write it down in your first draft, but when you go back and read it over you will often realise that it’s pure corn fed cliché. The girl’s in love?…have her say “I hate you.” And then kiss the guy. Result.