Great! I've finally finished the second entry, and it's sitting in a brown envelope waiting to be posted. I'll send it tomorrow.
I've enjoyed writing this one very much, and prefer it to my first entry. I must admit, editing, and then checking for errors, and checking again, did my little nut in, though I'm glad I was so thorough because I found one or two glaring holes.
Good luck to anyone who's entered, and let's hope one of us at least, will be cracking open the champagne, come May. I'll crack open a bottle in April, if I'm shortlisted.
Showing posts with label ALFRED BRADLEY BURSARY AWARD MASTER CLASS. Show all posts
Showing posts with label ALFRED BRADLEY BURSARY AWARD MASTER CLASS. Show all posts
Monday, 9 February 2009
Saturday, 31 January 2009
Update On Second Entry To Alfred Bradley Comp
Well, I've now written 44 pages...and loved every minute of it. For some reason, this radio play has been easier to write than the first one. I like this one better, so whether that's the reason...Anyway, I just need to go through and edit...perhaps a few times, then read it out to check for time length.
Then I'll be sending it off to the BBC comp, and on to the next project, which is going to be a spec for a tv comedy drama, with an outline for possible future episodes.
I sound all confident and knowing, eh? Not at all. I've never written a tv spec script before, but I'm looking forward to trying a few things out. I have the idea. Can I make it work? We'll see, but I'll have a darned good try.
Wil keep you informed.
Then I'll be sending it off to the BBC comp, and on to the next project, which is going to be a spec for a tv comedy drama, with an outline for possible future episodes.
I sound all confident and knowing, eh? Not at all. I've never written a tv spec script before, but I'm looking forward to trying a few things out. I have the idea. Can I make it work? We'll see, but I'll have a darned good try.
Wil keep you informed.
Tuesday, 20 January 2009
Notes From The Masterclass
I thoroughly enjoyed the masterclass in Manchester. Here are some notes I penned:
They're a bit random, but here goes.
STORY
* Don't clone what you hear - try something different.
* What makes a good afternoon play? Story...story...story! Story sells a play, so tell a good one. Look at these pointers to work out if you have a good story:
* What's the concept/premise or hook?
* Is it interesting? Encapsulate in your mind what your story is about.
* Whose story is it? Make sure you know.
* What is the inciting incident that changes the path of your characters' journey?
* How does the lead character change over the course of the script?
* What is the climax/resolution? You need a satisfying ending, or one that fits with the play.
* Is your idea fresh, unique, or an exciting twist on a familiar story genre? Put a spin on it.
* What makes it a play for radio?
* Do we want comedy in drama? YES!
* The first TEN PAGES are crucial.
* Set up your world, your characters, but keep focussed.
* Give us a flavour of what is to come.
* Create a narrative hook to get us listening.
* How do you start the story? Make it ALL story.
* Don't be too expositional.
STRUCTURE
* Radio is more akin to film - setting stuff up, so think film, not theatre.
* The three act structure tends to work best.
* Think of the story as a series of steps.
* Balance the highs and lows and build to a climax.
* Does each scene earn its place? Is it needed, and what function does each scene have? if it develops character whilst moving the play along, fine.
* Show don't tell. Put your scenes in action rather than telling.
CHARACTER
* Make your characters realistic - beware stereotypes.
* Inhabit your characters and develop convincing relationships between them. How do they behave through your eyes?
* Add conflict.
* You can have characters talking to themselves about conflict between each other (internal conflict) - inner voice, inner conflict. But, beware inner voice - people tend to use it to tell the story.
* Don't reveal character in blocks - thread them throughout the play.
* Don't have LOTS of characters - or characters of all the same age/gender.
* Don't put too many characters in one scene.
* No bad language, or it must be very mild. Try not to swear at all.
* No sex or violence for the afternoon play.
DIALOGUE
* Don't be too obvious (on the nose dialogue). You don't need to explain story points or character points.
* Character comes from the convictions and reactions of the character - character doesn't come in statements.
* The inner voice is all about inner conflict - some things can only be done inside the head. If it can be done without the inner voice, do it without.
SETTING
* Is the play in the past or future? The afternoon play is about news, features, contemporary Britain. Why would you set it in the past or future, unless there's a strong reason?
* Beware guardian angels - Heaven and Hell.
* Beware too much back-story. Try not to use flash-backs, unless it ADDS to the story.
* Try not to use long time frames. Be careful of moving from the past to the present. clearly signpost.
* Setting can be anywhere.
* Car chases are rubbish - you can't picture them.
MOST IMPORTANTLY
* Play to your own voice.
* The BBC looks for original voices that will stand out on radio.
* For the Alfred Bradley comp - NORTHERN VOICE!
* Take risks and be original.
* Be bold! Go for it!
* Write, re-write and re-write again.
* Send them the best draft you can.
* Less is more on direction. You can suggest songs, but the producer usually overrides, unless it's essential for the story.
YOU CAN SEND IN TWO ENTRIES EACH FOR THIS COMPETITION - AROUND 7,000 WORDS OR 44-50 PAGES. IT'S AS WELL TO READ OUT YOUR PLAY AND TIME IT TO AROUND 44 MINUTES.
They're a bit random, but here goes.
STORY
* Don't clone what you hear - try something different.
* What makes a good afternoon play? Story...story...story! Story sells a play, so tell a good one. Look at these pointers to work out if you have a good story:
* What's the concept/premise or hook?
* Is it interesting? Encapsulate in your mind what your story is about.
* Whose story is it? Make sure you know.
* What is the inciting incident that changes the path of your characters' journey?
* How does the lead character change over the course of the script?
* What is the climax/resolution? You need a satisfying ending, or one that fits with the play.
* Is your idea fresh, unique, or an exciting twist on a familiar story genre? Put a spin on it.
* What makes it a play for radio?
* Do we want comedy in drama? YES!
* The first TEN PAGES are crucial.
* Set up your world, your characters, but keep focussed.
* Give us a flavour of what is to come.
* Create a narrative hook to get us listening.
* How do you start the story? Make it ALL story.
* Don't be too expositional.
STRUCTURE
* Radio is more akin to film - setting stuff up, so think film, not theatre.
* The three act structure tends to work best.
* Think of the story as a series of steps.
* Balance the highs and lows and build to a climax.
* Does each scene earn its place? Is it needed, and what function does each scene have? if it develops character whilst moving the play along, fine.
* Show don't tell. Put your scenes in action rather than telling.
CHARACTER
* Make your characters realistic - beware stereotypes.
* Inhabit your characters and develop convincing relationships between them. How do they behave through your eyes?
* Add conflict.
* You can have characters talking to themselves about conflict between each other (internal conflict) - inner voice, inner conflict. But, beware inner voice - people tend to use it to tell the story.
* Don't reveal character in blocks - thread them throughout the play.
* Don't have LOTS of characters - or characters of all the same age/gender.
* Don't put too many characters in one scene.
* No bad language, or it must be very mild. Try not to swear at all.
* No sex or violence for the afternoon play.
DIALOGUE
* Don't be too obvious (on the nose dialogue). You don't need to explain story points or character points.
* Character comes from the convictions and reactions of the character - character doesn't come in statements.
* The inner voice is all about inner conflict - some things can only be done inside the head. If it can be done without the inner voice, do it without.
SETTING
* Is the play in the past or future? The afternoon play is about news, features, contemporary Britain. Why would you set it in the past or future, unless there's a strong reason?
* Beware guardian angels - Heaven and Hell.
* Beware too much back-story. Try not to use flash-backs, unless it ADDS to the story.
* Try not to use long time frames. Be careful of moving from the past to the present. clearly signpost.
* Setting can be anywhere.
* Car chases are rubbish - you can't picture them.
MOST IMPORTANTLY
* Play to your own voice.
* The BBC looks for original voices that will stand out on radio.
* For the Alfred Bradley comp - NORTHERN VOICE!
* Take risks and be original.
* Be bold! Go for it!
* Write, re-write and re-write again.
* Send them the best draft you can.
* Less is more on direction. You can suggest songs, but the producer usually overrides, unless it's essential for the story.
YOU CAN SEND IN TWO ENTRIES EACH FOR THIS COMPETITION - AROUND 7,000 WORDS OR 44-50 PAGES. IT'S AS WELL TO READ OUT YOUR PLAY AND TIME IT TO AROUND 44 MINUTES.
Wednesday, 10 December 2008
I'm In On The Alfred Bradley Masterclass
Great news! Had a confirmation e mail today, that I'm in on the masterclass. We can pitch ideas, too. Urgh! Argh! Eeek! Never pitched in my life before, but I'll be doing some delving to find out tips on pitching, because I'm determined to have a go.
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