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Katie Morag fans should note that Stuart Hepburn, Martin McCardie Sergio Casci and Lindy Cameron of Move On Up TV have been nominated for Best Children’s Screenplay in the British Screenwriter’s Awards as part of the London Screenwriter’s Festival . We all owe a great debt to Mairi Hedderwick for her fantastic books, and to Director Don Coutts and his Cast and Crew. If you are fans of the CBeebies and BBC Childrens series about the adventures of the wee girl from Struay, you can vote by clicking here. VOTE FOR KATIE MORAG
Over the last 4 years, the University Of The West Of Scotland has hosted regular Weds Afternoon collaboration workshops in our TV studios at UWS Ayr.
In that time over 400 participants, the majority of them International Students from countries all over the world have participated in the workshops. These student volunteers have collaborated together to record, edit and present the work of the BA(Hons) Contemporary Screen Acting Degree students .
Full details of the StudioLab process can be found here
I am pleased to announce that next Wednesdays StudioLab will be the 100th session . We will have a film crew down to record events . Look out for details of how we plan to celebrate our 100th Birthday .
Contemporary Screen Acting Students in our recent Rail Safety project
In schools and colleges all over the country, students interested in the Performing Arts are thinking about what their next step should be.
There have been lots of exciting developments in the performance subject area at University Of The West Of Scotland in the past year.
We have formed a teaching partnership with the Gaiety Theatre in Ayr.
We have brought BA (Hons)Musical Theatre in-house to our £81 million campus in Ayr.
We have a brand new Technical Theatre Degree delivered through our partnership with the Gaiety .
Most importantly, all our Performance-based degrees are now 3 year Honours with entry levels at second year (Level 8) as well as third year (level 9).
All degrees require an audition, but students can apply to the courses in second year with :
3 Advanced Highers BCC or plus English at Higher level and Maths at Standard Grade 3 or above, National 4 or Intermediate 2.
3 A levels BBC or
An HNC (120 points) or
A B Tec 4 or
Intermediate 2 or
An International Baccalaureate (IB) Diploma: 28 points.
All our degrees also have a level 9 entry with an HND or equivalent to our DRAMA UK recognised degrees.
With all this expansion, we want the best students to come to UWS Ayr. Every year , more and more students apply through UCAS, and the standard of work and quality of candidates is increasing.
Two of our students from Edinburgh College, Emily Barr and Jennie Walker have made a short video about life at UWS.
If you have any contacts at your old college or know of any British or Overseas students who might be interested in a 3 year honours degree, please share this post with them so that they can get an idea of what it’s like being a student at UWS Ayr.
Also, here are the links for anyone of your friends or relatives who may be specifically interested in our 3 years honours degrees.
BA(Hons) Musical Theatre
BA(Hons) Contemporary Screen Acting
BA(Hons) Technical Theatre (subject to validation)
Please feel free to share this and spread the word to your old colleges , colleagues or friends. If you think that your old college would like a visit from UWS staff to talk to students, then please let us know too.
Any questions, email [email protected]
StudioLab is a unique crossover project which allows University Of The West Of Scotland students from across all programmes in the School Of Creative & Cultural Industries to collaborate together to create a live recorded TV Programme.
Over the past 7 weeks, as part of their CSA Research Project, 4th Year Contemporary Screen Acting Students have been tasked with creating a 30-45 minute piece of TV Drama. They are devising , workshopping , and will finally record this programme live on Weds 11th December.
To do this requires the support and help of students from other programmes to chronicle and record the work. We will be continuing with StudioLab next Trimester at UWS so if you are a student in the UWS School Of Creative & Cultural Industries and are interested in taking part as a Designer, Producer, Director, Runner, Camera Operator, Musician, Digital Artist, Screenwriter or whatever your chosen specialism may be, please come along to our first meeting.
Every Weds, 1.30 PM TV Studio 1, UWS Ayr.
Please email me at [email protected] to book a place.
ASFF 2013 Now Open for Entries
An exciting opportunity for students at University of the West of Scotland. Aesthetica Short Film Festival 2013 is now open for entries, and they would love to hear from Film students at University of the West of Scotland!
They are looking for films of 25 minutes and under to screen at ASFF 2013: an innovative international film festival that presents a fantastic opportunity for University of the West of Scotland students.
ASFF 2013 is a unique chance for budding filmmakers to connect with new, worldwide audiences and interact with some of the biggest personalities in the film industry today. Over 200 films will be screened at this unique event, in 15 iconic locations across the historic city of York from 7-10 November 2013. It’s a fantastic opportunity for students to showcase their work in an impressive setting to an international audience. High profile ASFF attendees in 2012 included representatives from Warp, BAFTA, Channel 4 and Raindance.
In addition to great exposure at the festival, the Winner will receive £500 among other prizes and screenings at a number of other UK festivals; the People’s Choice Winner will receive £250. A shortlist of finalists will be included on the ASFF Sampler DVD, which will be distributed with the December 2013 issue of Aesthetica Magazine, the international arts and culture publication. Finalists will also be included in an editorial feature in the magazine, which has a worldwide audience of 140,000.
They’ve already had a great response from a range of organisations and filmmakers, both nationally and internationally, and ASFF 2013 is set to be their best yet!
Click here to download a poster to be displayed or to request printed flyers please email Eva Helen here [email protected]
They are happy to provide more information and images, so please get in touch.
Entry is £15 and the deadline for submissions is 31 May 2013. For more information, please visit www.asff.co.uk.
PO Box 371
This video was created by University Of The West Of Scotland students to publicise and market their Contemporary Screen Acting Degree.
If you have a Higher National Diploma or equivalent in a Performance -based subject, then this two year top up Degree Programme is designed for you.
Contemporary Screen Acting At UWS
I have wrtitten previously about the setting up of our UWS collaboration project “Studio Lab” at our new Television Studios at University Of The West Of Scotland in Ayr . We have now reached Week 3 of the project and it is developing at a breathtaking pace.
Ten 4th year (level 10 ) Contemporary Screen Acting Students have worked on creating the scenario, characters and script of a live recorded studio production of approximately 30-60 mins in length. Readers will, I hope, appreciate that this is a substantial piece of work.It will be recorded “as live” at UWS Ayr Studios on December 5th. It will be directed by professional TV Director Michael Hines , who as well as being one of Scotland’s leading directors, also lectures on our Camera Acting Techniques and Screen Drama modules. All the improvisational materials and exercises are being been recorded , edited and disseminated online to the performance team by volunteer Film Making & Screenwriting students as part of this crossover collaboration. The volunteer recording team have put in literally hours of work to ensure that the acting team have the material in an edited form in order to reflect, and then deepen the characterisations which will be eventually reflected in an improvised shooting script to prepare for the live recording.
As the project progresses closer towards shooting, Broadcast Production students will become more involved, so that by the time we record, I expect a team of about 20 strong production team to be part of the behind the scenes efforts to capture the live recording of this experimental drama. Thus around 30 UWS Creative Industries students will have had the chance to take part in an authentic hands on experience which we hope will arm them for the challenges of the Professional Creative Industries.
We have now reached week 3 of the project. So far students have worked on Object, Situation and Interactive improvisations. This has produced approximately 3 hours of edited material. The first part of each session is taken up by watching, discussing and reflecting upon last weeks material. All the edited material has been previously posted on a closed Facebook Group where all the participating students, both voluntary and assessed, take part in creative online discussions through the week.Screen Acting students are tasked with creating three dimensional authentic characters with a backstory, personna, and psychological underpinning which will propel them into the creation of a fully integrated live drama.
Having now gathered a wealth of material, students are engaged in the process of “locating” the precinct within which the final production will be based. Will it be an airport? An institution? A city street? A Spaceship? Inside John Malkovich’s head? The decision of what, where and how the precinct will be will evolve over the next two weeks, so that by week 6, students have a firm grasp of the creative parameters of the project. By weeks 7 and 8, the now located script will be further improvised, developed and honed. At this point, UWS Screenwriting students will distill all the material into a developing script, so that by the time we get to the Technical Rehearsal in Week 10 on Nov 28th, we will have an agreed shooting script which fully reflects the creative input of all participants. We are then planning a final screening in our Campus HD 7:1 Movie Theatre in Week 12.
Next trimester, all the Contemporary Screen Acting students are tasked with writing a 4-6,000 word Ethnographic survey of the lived experience of the entire process. This part of the process is has been devised and delivered by my colleague Dr John Quinn at UWS.
The combination of the two processes, Recorded Artefact and Ethnographic Survey will combine in a 40 Credit Module to complete the Contemporary Screen Acting Research Project. We plan to have all student work submitted in a digital form and be deliverable online in the first ever truly paperless I will update progress with the StudioLab project as it develops.
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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.