Must Watch: Phenomenal Trailer for Duncan Jones's Moon! It looks really good.
LINK TO MOON FILM
Friday, 10 April 2009
Thursday, 9 April 2009
Twitteroooooooooo
Yes, I'm finally Tweeting on Twitter. You can follow me by clicking the Follow Me link on the right hand side of this Blog.
It's an experience...unusual...exhilarating...informative...crazily ubelieveably mad as a hatter...Alice in Wonderland...and I feel like I'm through the looking glass...
It's an experience...unusual...exhilarating...informative...crazily ubelieveably mad as a hatter...Alice in Wonderland...and I feel like I'm through the looking glass...
Sunday, 5 April 2009
Eastenders - The Danielle Episode!
EASTENDERS - SPOILERS FOR THOSE WHO HAVE TAPED THE SHOW OR SUMMAT!
I've loved the whole Danielle/Ronnie storyline, but to be frank, I was getting a little bit tired of the will she tell, won't she tell dragging-it-out scenario. Yes, it was great each time she almost told Ronnie: "You're. My. Mother!" Archie lied his socks off saying he'd told Ronnie, then he hadn't, then he had. So frightened was he that Ronnie would find out that he lied about Danielle having died years ago, that he was prepared to KILL Danielle. I thought that showed the measure of our Archie, really, really well.
So, I was pleased when the biggie finally happened. I thought the dramatic writing was excellent, the acting superb, the directing wonderful. That wedding reception in a transformed Vic, was so realistic, from the background soothing music, to Billy and his attempt at a best-man speech.
I almost sobbed when Ronnie chased after Danielle, and said: "Baby." Wow. The car accident was realistic, and I found myself screeching at the screen: "NO! NO! NO!" God, I wanted that girl to live.
Or did I?
What would the aftermath have been like if she'd lived? Okay, she could have been in a coma for a while. We could have watched as Ronnie tootled along to the orspital with flowers and tears. Would that have been dragging it out again? Yes, I think so. What then? Wake from the coma? Saunter into the sunset hand in hand?
But what about the dramatic conflict?
What about Ronnie's character? She's cold, vulnerable underneath it all, damaged goods, and that's what I LIKE about her.
If she'd lived and Ronnie and Danielle had attempted some kind of relationship, it would have had to have gone wrong, or not live up to expectations, or SOMETHING, because where's the drama in that? Where's our wounded Ronnie?
Happy endings? Yes, sometimes, and there are plenty on tv, some in Eastenders too, though they tend not to remain happy for long - or they aren't without their conflicts. But that's Eastenders, and if you look at most of the other British soaps, they're exactly the same.
Take Coronation Street: We have alcoholic Peter Barlow, Steve and Becky's wedding gone wrong, dastardly David Platt who once tried to murder his mother, and much, much more. But Coronation Street is a gentler soap, for all that conflict. It just is. And there's more comedy in the Street. In Eastenders there's more dramatic tension, but there's irony there, black humour. I love it.
More on this later.
I've loved the whole Danielle/Ronnie storyline, but to be frank, I was getting a little bit tired of the will she tell, won't she tell dragging-it-out scenario. Yes, it was great each time she almost told Ronnie: "You're. My. Mother!" Archie lied his socks off saying he'd told Ronnie, then he hadn't, then he had. So frightened was he that Ronnie would find out that he lied about Danielle having died years ago, that he was prepared to KILL Danielle. I thought that showed the measure of our Archie, really, really well.
So, I was pleased when the biggie finally happened. I thought the dramatic writing was excellent, the acting superb, the directing wonderful. That wedding reception in a transformed Vic, was so realistic, from the background soothing music, to Billy and his attempt at a best-man speech.
I almost sobbed when Ronnie chased after Danielle, and said: "Baby." Wow. The car accident was realistic, and I found myself screeching at the screen: "NO! NO! NO!" God, I wanted that girl to live.
Or did I?
What would the aftermath have been like if she'd lived? Okay, she could have been in a coma for a while. We could have watched as Ronnie tootled along to the orspital with flowers and tears. Would that have been dragging it out again? Yes, I think so. What then? Wake from the coma? Saunter into the sunset hand in hand?
But what about the dramatic conflict?
What about Ronnie's character? She's cold, vulnerable underneath it all, damaged goods, and that's what I LIKE about her.
If she'd lived and Ronnie and Danielle had attempted some kind of relationship, it would have had to have gone wrong, or not live up to expectations, or SOMETHING, because where's the drama in that? Where's our wounded Ronnie?
Happy endings? Yes, sometimes, and there are plenty on tv, some in Eastenders too, though they tend not to remain happy for long - or they aren't without their conflicts. But that's Eastenders, and if you look at most of the other British soaps, they're exactly the same.
Take Coronation Street: We have alcoholic Peter Barlow, Steve and Becky's wedding gone wrong, dastardly David Platt who once tried to murder his mother, and much, much more. But Coronation Street is a gentler soap, for all that conflict. It just is. And there's more comedy in the Street. In Eastenders there's more dramatic tension, but there's irony there, black humour. I love it.
Friday, 27 March 2009
A Bit of Good News
I'm happy to say that I've just sold a story to My Weekly magazine.
I've previously had a bit of story-selling success with The Weekly News, but this is the first magazine I've sold a story to. As soon as I got the e mail yesterday, I wrote another! Needs tweaking and all that, but I'll be sending that one soon, and hoping for a second hit. It all counts and it really fires me up, having some small success. Makes me want to keep on writing those stories. Short stories are brilliant for making you tighten up your story, with beginning, middle and end. Good practise for me now that my sights are set on radio or tv drama, or maybe even theatre.
I've previously had a bit of story-selling success with The Weekly News, but this is the first magazine I've sold a story to. As soon as I got the e mail yesterday, I wrote another! Needs tweaking and all that, but I'll be sending that one soon, and hoping for a second hit. It all counts and it really fires me up, having some small success. Makes me want to keep on writing those stories. Short stories are brilliant for making you tighten up your story, with beginning, middle and end. Good practise for me now that my sights are set on radio or tv drama, or maybe even theatre.
Monday, 23 March 2009
Change Of Plan
I've done this before, changed my mind about what I'm going to work on. In the post below, I said I was going to work on a spec tv series, but I just wrote a short story, and it's given me an idea for either a radio play, or perhaps five fifteen minute related stories that might be suitable for radio.
Sigh...I just have to go with what feels more important, and the radio thing does for some reason.
Sigh...I just have to go with what feels more important, and the radio thing does for some reason.
Thursday, 19 March 2009
Next Project: TV Spec Series
I have the idea, and have already written a brief first episode outline. I heard somewhere on the blogoshpere that it's best to write what you're passionate about, what fires you. I've always done that, really, though knowing why something fires you like it does, is another mystery. People say write what you know, which I think is correct, but it doesn't have to be know as in, you write about an alcoholic, so you should have had an experience of, or with an alcoholic. Not necessarily, say I.
We've (probably) all seen an alcoholic, so we know how they behave, even if we've only seen one on film. We know emotion like love and hate and greed and lust etc, so we put what we know of those experiences (and others) into everything we write, and that, to me, is writing what you know.
Anyway, I'm quite excited about this series idea. I'm going to get it all down, do some character studies, then write the first spec episode. If there's a comp out there, I'll send it in. if not, I'll send it to BBC Writersroom.
We've (probably) all seen an alcoholic, so we know how they behave, even if we've only seen one on film. We know emotion like love and hate and greed and lust etc, so we put what we know of those experiences (and others) into everything we write, and that, to me, is writing what you know.
Anyway, I'm quite excited about this series idea. I'm going to get it all down, do some character studies, then write the first spec episode. If there's a comp out there, I'll send it in. if not, I'll send it to BBC Writersroom.
Wednesday, 4 March 2009
Age Matters?
Does it heck!
There are a few conversations happening at the moment on various Blogs, about this very subject. An editor has apparently said that she wouldn't take on a new writer over the age of thirty-five!!! What? Is she living in cloud cuckoo land my dears? There are more older people than there are young - and that's rising my friends.
Writing transcends age. I bet a good writer could write a piece and nobody would be able to tell if that person is twenty five or sixty five. Now I could begin to say that mature people have more life experience, more mulled maturity, therefore are richer writers, but I won't, because to me it don't matter a fig. And a great big SADDO to those to whom it does matter.
There are a few conversations happening at the moment on various Blogs, about this very subject. An editor has apparently said that she wouldn't take on a new writer over the age of thirty-five!!! What? Is she living in cloud cuckoo land my dears? There are more older people than there are young - and that's rising my friends.
Writing transcends age. I bet a good writer could write a piece and nobody would be able to tell if that person is twenty five or sixty five. Now I could begin to say that mature people have more life experience, more mulled maturity, therefore are richer writers, but I won't, because to me it don't matter a fig. And a great big SADDO to those to whom it does matter.
Tuesday, 24 February 2009
Ha Ha ha ha Ha ha ha!!!!!!...
...That's what I hope they'll do when they read the three sketches I've just e mailed to 7 on 7, the BBC sketch competition. Somehow, I doubt it. It's not that I haven't any confidence in my ability to write a sketch, just that comedy is so subjective isn't it?
I watched a video of a short sketch, on a Blog the other day, supposed to be funny, but I couldn't see anything funny about it at all. To me, it was completely and utterly puerile.
There are some good sketches on tv (to my mind) that I can laugh at, but some leave me cold. I wonder how mine will leave the readers...stone cold, luke warm, or red hot??
We'll see.
Ill tell you what made me laugh out loud all the way through: Jerry Springer The Opera. I didn't see it live, just on tv, but it was the funniest thing...
I watched a video of a short sketch, on a Blog the other day, supposed to be funny, but I couldn't see anything funny about it at all. To me, it was completely and utterly puerile.
There are some good sketches on tv (to my mind) that I can laugh at, but some leave me cold. I wonder how mine will leave the readers...stone cold, luke warm, or red hot??
We'll see.
Ill tell you what made me laugh out loud all the way through: Jerry Springer The Opera. I didn't see it live, just on tv, but it was the funniest thing...
Tuesday, 17 February 2009
So...You Can Write Can You?
This post is prompted by a conversation over at Helen's Blog.
Now, it's true that many people, when confronted with the fact you're a writer, will say THEY too CAN write, or SHOULD write, or WOULD write...but...and the conversation over at Helen's Blog is going to be really funny and witty.
But what I find, is that people always want you to spell out (metaphorically speaking) what you've written. I don't know about you, but I hate doing that! I can never explain it properly in words, to non-writers, or even writers if I'm honest. Gawd, I'll have to improve if I'm ever going to pitch at some stage. It always ends up sounding so lame (to my ears) and I forget what the heck I've written and why.
Then you get the IDEAS person, who can't wait for you to finish your ramblings so they can tell you their much BETTER idea.
No wonder I tend not to tell people I write, because they keep asking you how you're doing..nothing published yet?...or...how long have you been writing?...when you tell them a number of years, they gasp and can't understand how you haven't MADE it yet...Grrr.
The worst experience for me was with the woman who runs the local Post Office. I handed over a M.S to be posted and she looked at the address, asked me what I'd written, then what else I'd written and told me I'd probably end up as successful as J.K. I mean, this from a woman who hasn't read any of my stuff...unless she sneaked a look-see. But how can I live up to her expectations???
Now, it's true that many people, when confronted with the fact you're a writer, will say THEY too CAN write, or SHOULD write, or WOULD write...but...and the conversation over at Helen's Blog is going to be really funny and witty.
But what I find, is that people always want you to spell out (metaphorically speaking) what you've written. I don't know about you, but I hate doing that! I can never explain it properly in words, to non-writers, or even writers if I'm honest. Gawd, I'll have to improve if I'm ever going to pitch at some stage. It always ends up sounding so lame (to my ears) and I forget what the heck I've written and why.
Then you get the IDEAS person, who can't wait for you to finish your ramblings so they can tell you their much BETTER idea.
No wonder I tend not to tell people I write, because they keep asking you how you're doing..nothing published yet?...or...how long have you been writing?...when you tell them a number of years, they gasp and can't understand how you haven't MADE it yet...Grrr.
The worst experience for me was with the woman who runs the local Post Office. I handed over a M.S to be posted and she looked at the address, asked me what I'd written, then what else I'd written and told me I'd probably end up as successful as J.K. I mean, this from a woman who hasn't read any of my stuff...unless she sneaked a look-see. But how can I live up to her expectations???
Theatre Play Or Radio Play?
I finished the second radio play for the Alfred Bradley Award, and thought I would try writing a theatre play for The Fringe Marriott comp. Anyway, as I started writing, I realised my new scribblings had to be written in radio play format.
So I've written ANOTHER radio play, though I might adapt it for theatre, so I have both formats.
Where to send the new radio play? It's shorter than the previous two, running at about thirty minutes. I can either expand it and send it into Writersroom (though I have one aleady in the hands of Writersroom, so will wait to see what happens with that) or send it to a different comp, though can't find any other radio comps at the moment.
I think I'll adapt for theatre and get it off to the Fringe Marriott, then I can always send it as a radio play, somewhere, at some point.
I really enjoyed writing this latest play, and it's very different to the last two. I'm enjoying experimenting with structure and language.
With my previous plays, I've tended to go the traditional route, straightforward story-telling, A to B kind of thing, But this latest play is a bit different, in that there's a flashback scene and quite a bit of inner thought from characters.
It's only by trying new things out that you find YOUR way, or the right way for a particular play, I suppose.
If anyone knows of a radio play competition besides the Alfred Bradley, or 7 ON 7comedy sketch comp, let me know.
So I've written ANOTHER radio play, though I might adapt it for theatre, so I have both formats.
Where to send the new radio play? It's shorter than the previous two, running at about thirty minutes. I can either expand it and send it into Writersroom (though I have one aleady in the hands of Writersroom, so will wait to see what happens with that) or send it to a different comp, though can't find any other radio comps at the moment.
I think I'll adapt for theatre and get it off to the Fringe Marriott, then I can always send it as a radio play, somewhere, at some point.
I really enjoyed writing this latest play, and it's very different to the last two. I'm enjoying experimenting with structure and language.
With my previous plays, I've tended to go the traditional route, straightforward story-telling, A to B kind of thing, But this latest play is a bit different, in that there's a flashback scene and quite a bit of inner thought from characters.
It's only by trying new things out that you find YOUR way, or the right way for a particular play, I suppose.
If anyone knows of a radio play competition besides the Alfred Bradley, or 7 ON 7comedy sketch comp, let me know.
Monday, 9 February 2009
Playwriting Competition - The Windsor Fringe Marriott Award
Cancel what I said about starting a spec script for tv. I'm going to try and write a theatre play for this competition:
The Windsor Fringe Marriott Award LINK TO BBC WRITERSROOM.
Deadline: 5th March 2009.
I have the idea...
The Windsor Fringe Marriott Award LINK TO BBC WRITERSROOM.
Deadline: 5th March 2009.
I have the idea...
Second Entry To Alfred Bradley Now Finished!
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.
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.
Sunday, 8 February 2009
Being Human - BBC 3 TV
Anyone watched this yet? I missed the first couple of episodes, but caught it tonight after hearing good things about it.
I'm so glad I watched it. It's a kind of modern-day vampire/werewolf/ghost story, with lots of human elements for the not so human cast. I think that's why it works. A comedy/drama that follows the lives of a werewolf, a vampire, and a ghost, all living in a house together. What a great idea.
There are, or have been lots of other-wordly type tv shows. When people say don't try to copy or write something that's gone beore, they don't necessarily mean don't write ABOUT those types of things, rather, just give your story and characters a new and unique slant. This is other-wordly, set in OUR world, so we have the ordinaryness of everyday life, with an extraordinary side to it.
Gripping tv.
If you want to watch catch-up episodes courtesey of the BBC, click on the LINK below:
BBC iPLAYER LINK.
EPISODE 1 SCRIPT, courtesy of the BBC LINK BELOW:
EPISODE ONE LINK.
I'm so glad I watched it. It's a kind of modern-day vampire/werewolf/ghost story, with lots of human elements for the not so human cast. I think that's why it works. A comedy/drama that follows the lives of a werewolf, a vampire, and a ghost, all living in a house together. What a great idea.
There are, or have been lots of other-wordly type tv shows. When people say don't try to copy or write something that's gone beore, they don't necessarily mean don't write ABOUT those types of things, rather, just give your story and characters a new and unique slant. This is other-wordly, set in OUR world, so we have the ordinaryness of everyday life, with an extraordinary side to it.
Gripping tv.
If you want to watch catch-up episodes courtesey of the BBC, click on the LINK below:
BBC iPLAYER LINK.
EPISODE 1 SCRIPT, courtesy of the BBC LINK BELOW:
EPISODE ONE LINK.
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.
Sunday, 25 January 2009
What To Do When The Muse Vacates the Premises
After reading a post on a friend's Blog, about being in a funk with writing, I thought I'd try to find out what happens to a writer when they can't seem to write any more.
With me, it's when a lack of confidence kicks in and I think that everything I write is totally and utterly rubbish. It does happen, and I don't know why. Usually, it's when I've finished something, that at the time of writing seemed so GREAT! when I go back to it, the doubts start to creep in. Then (as happens with me) it's that time before sleep when all my insecurities kick in and the muse laughs at me, that raucous, mocking laugh, as though to say, "You thought I was feeding you witty dialogue, brilliant description? Well think again you sad witch!"
It's always worse at night, in bed. Then I'll get up, go back to my piece and think, hey, so what? I like it, so there's a chance somebody else will, too.
I tend to just write any old thing when the muse is having one of her off days. I write and write and write. Even if it doesn't make a whole lot of sense, it's still writing, getting over that hurdle, that invisible force that's trying its best to thwart you. It can't do you any harm if you write, can it?
I agree with my friend, who said the winter months have a lot to answer for. I definitely feel better during spring and summer. I keep threatening to get one of those lamps to boost my ailing brain cells. Anyway, the trick, is, I feel, to fight it. Fight the nasty, sarcastic muse. Let her know who's boss! Remember, this feeling won't last for ever. Not if you keep at it.
Don't give in to those negative feelings that creep up, because if you're anything like me, once you become prolific again, you can't remember what it was like not to.
If this sounds like my writing is a dangerous and psychologically damaging exercise, think again. I absolutely love it, warts and all.
I'd be interested to know how others beat the writerly blues.
With me, it's when a lack of confidence kicks in and I think that everything I write is totally and utterly rubbish. It does happen, and I don't know why. Usually, it's when I've finished something, that at the time of writing seemed so GREAT! when I go back to it, the doubts start to creep in. Then (as happens with me) it's that time before sleep when all my insecurities kick in and the muse laughs at me, that raucous, mocking laugh, as though to say, "You thought I was feeding you witty dialogue, brilliant description? Well think again you sad witch!"
It's always worse at night, in bed. Then I'll get up, go back to my piece and think, hey, so what? I like it, so there's a chance somebody else will, too.
I tend to just write any old thing when the muse is having one of her off days. I write and write and write. Even if it doesn't make a whole lot of sense, it's still writing, getting over that hurdle, that invisible force that's trying its best to thwart you. It can't do you any harm if you write, can it?
I agree with my friend, who said the winter months have a lot to answer for. I definitely feel better during spring and summer. I keep threatening to get one of those lamps to boost my ailing brain cells. Anyway, the trick, is, I feel, to fight it. Fight the nasty, sarcastic muse. Let her know who's boss! Remember, this feeling won't last for ever. Not if you keep at it.
Don't give in to those negative feelings that creep up, because if you're anything like me, once you become prolific again, you can't remember what it was like not to.
If this sounds like my writing is a dangerous and psychologically damaging exercise, think again. I absolutely love it, warts and all.
I'd be interested to know how others beat the writerly blues.
Tuesday, 20 January 2009
Blog Colour Scheme
What do you think of the latest colour scheme? White background, black text and blue and purple headings?
This is the third colour scheme since I started the Blog. I began with a pink background with purple text (I think!), then a black background with white text. And now this.
I don't know what's the matter with me, I rarely decorate at home!
This is the third colour scheme since I started the Blog. I began with a pink background with purple text (I think!), then a black background with white text. And now this.
I don't know what's the matter with me, I rarely decorate at home!
About My First Radio Play Entry For The Alfred Bradley Award
Well, my first entry should be sitting on a mat somewhere, deep in the bowels of the BBC. I wrote a fair few drafts, and quite a few times, when I thought all was finished, squeaky clean and sparkling, I placed the script in the envelope. Funnily enough I didn't seal it, so I must have had an idea I'd be taking it out again.
Yes, I had a few mind-blowing ideas and had to slip out the script, re-do bits and pieces, add on a little, then...finally...I felt I could let the script go.
My play is quite a simple idea, but I think I 've been a bit ambitious with it, too. It has twists and turns and there are a couple of, let's say, unusual elements in there.
I have no idea if this is what they're looking for/any good/playable on radio. That's because I've never written a radio script before, apart from the script I handed in at the Writersroom Roadshow. So it's all trial and error, and in a way that's how it has to be, until somebody sees something good in my work. I'll know, then, if I'm on the right track. I hope it'll be soooooooooooooooooon.
I've started my second comp entry. I did really well, with fifteen pages just flowing from...somewhere. I'm too tired to continue tonight but hope to write at least another fifteen pages tomorrow. It's all here, right inside my head, and completetly different to the first entry.
Yes, I had a few mind-blowing ideas and had to slip out the script, re-do bits and pieces, add on a little, then...finally...I felt I could let the script go.
My play is quite a simple idea, but I think I 've been a bit ambitious with it, too. It has twists and turns and there are a couple of, let's say, unusual elements in there.
I have no idea if this is what they're looking for/any good/playable on radio. That's because I've never written a radio script before, apart from the script I handed in at the Writersroom Roadshow. So it's all trial and error, and in a way that's how it has to be, until somebody sees something good in my work. I'll know, then, if I'm on the right track. I hope it'll be soooooooooooooooooon.
I've started my second comp entry. I did really well, with fifteen pages just flowing from...somewhere. I'm too tired to continue tonight but hope to write at least another fifteen pages tomorrow. It's all here, right inside my head, and completetly different to the first entry.
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.
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