Writer’s Block: myth or truth? No idea. I’ve never had it.

Then again, I’ve never had bubonic plague. Just because I’ve never had it doesn’t mean it doesn’t exist.

(Mind you, I don’t think that Writer’s Block can be caught off fleas.)

Still, last night I sat down to write and bugger me if I couldn’t get the words down onto the page in anything like a satisfactory way.

I’m at the Diving into a Cold Swimming Pool moment that lives between the end of planning a script and the blank, ugly stare of an empty Final Draft window.

Last night I stared into the face of Final Draft and blinked first.

I know all about first drafts, okay? Dash it off, just write the sodding thing. Get to the end, start again, throw 90% out of the window, doesn’t matter, you’re on the road. I know all that.

Still, I couldn’t proceed. I’ve probably been planning this one for too long.

It’s a bit like rehearsing an opening phrase in your head before approaching a useful new contact at a networking event. By the time you’re face to face with Mrs Important Person you’re gabbling like a coked-up loon and the well-practiced words are slipping down the inside leg of your trousers and into your sweaty shoes like greasy fried eggs.

It doesn’t do to over-plan.

So I shut the laptop and called it a night.

Best thing I could have done by far. As I went to sleep the old grey matter was churning in an unpredictable way, throwing up the dust and stones of less-travelled neural pathways.

This morning, on the way to work, an utterly new story popped into my head. A perfect little short film script, ten or so minutes in duration.

Just the very ticket.

This lunchtime I turned the scribbled notes (made at rest, not whilst driving, officer) into a first draft script. It got more wonderfuller in the writing, which is always a joyous thing.

So, you can chalk me up one short film script to the good. It’s called Witchcat. I’ll tell you more about it when it’s had the corners knocked off it and been buffed up to a decent sheen.

Now I can head back to what I was meant to be writing last night and just get the hell on with it.

In other news, today I are mostly have been listening to Zooropa. That’s the suburb of U2 where my musical taste house is.

Attended a course hosted by the fabled Adrian Mead on Saturday and I’m pleased to report it did what it said on the tin.

Now I have a bigger, cleverer range of tools that I can use to scale the screenwriting career mountain.

And I also have a much better idea of how hard the climb is going to be.

Still, much better than slowly circling the mountain crablike a mere 50 feet off the ground, which is what I’ve been doing so far.

I met up with David Bishop, Lucy Vee, Michelle Goode, Kai Savage and other luminaries such as Alexandra Denye (who is shortlisted for the Alfred Bradley Bursary Award this week – good luck, Alexandra) and Kulvinder Gill. Plus a whole bunch of other writers who are all chipping away at their personal coalfaces. Hi everyone.

Hi especially to all those people who said “Laurence Timms? Don’t I know you from somewhere? Don’t you write a blog or something?”

I’m not going to regurgitate everything that I learned there. The ever-efficient Michelle and Lucy have already done that in spades.

What I will do, though, is share my new goals. We did some work on goal-setting in the course. Here is the fruit of my endeavours.

Short Term – One Week

  • Re-read Making It as a Screenwriter
  • Revisit my unfinished feature script, Yummy Mummy
  • Stop planning and start writing Magick, the script I’m lining up for RP this year

Medium Term – Three Months

  • Have a target shortlist of agents
  • Have polished drafts of Bailiffs, Bones and Magick done and dusted
  • Have a revised version of Yummy Mummy planned out

Long Term – One Year

  • Have a polished draft of Yummy Mummy done
  • Have a television credit to my name
  • Make myself irresistible to agents

These objectives are meant to be entirely within my control. Achieving them should not depend on anyone else’s say-so. Clearly the last two absolutely do.

But writing for television is what I’m all about, so it’s damn well going on there as an objective. Otherwise this is all just so much farting in hurricanes.

As for getting an agent…yeah, I know it is not utterly utterly necessary, but at the same time there’s a shedload of stuff agents do that I don’t want to be doing myself. Mainly because they do it a lot better and more persistently.

Bottom line: be prepared for a lot of hard work. Heh, that’s never bothered me. In fact, the only thing that scares me is doing a lot of hard work on the wrong thing. That ain’t going to happen now.

If you read this far down this blog entry you’ve got to the good stuff. Well done. Now I’m going to give you the 37 most important things that I discovered yesterday. Use them wisely, young padawan.

The 37 Steps to Screenwriting Success.

  1. Success as a screenwriter is in your hands. Nobody else is going to do it for you. Get up off your arse. Work hard.
  2. Keep writing. Don’t be afraid of rejection. You will get rejected, many times.
  3. Improve constantly. Seek feedback. Learn from your mistakes.
  4. Anyone who picks up your script is going to ask themselves “Why should I read this:?” Don’t give them any reason not to.
  5. Don’t, whatever you do, ever ever let anyone see a script with speellling or grammer mistakes in it.
  6. If you are sending your stuff to the same small list of mainstream contacts over and over again and you’re getting nowhere, then find some new targets.
  7. The film and television business is not just the US and the UK. There are film agencies and production companies throughout Europe. Find them. Ask them if they’re looking for scripts written in English. You might be surprised.
  8. Try to do things that other screenwriters are not doing. Have an alternative plan. Research. Be creative.
  9. This is a referral business. Producers and script editors are very unlikely to read unsolicited scripts that appear out of the blue. Get recommended.
  10. Don’t be an arsehole. To anyone. If you are, it’ll be noted and you’ll be marked out. As an arsehole. In a small industry. That works on recommendations. Think about it, sunshine.
  11. Be indirect. Don’t doorstep big producers. Get in touch with up and coming DoPs who want to direct. Find people who are into the same stuff that you’re writing. Cultivate relationships. Offer short scripts for filming.
  12. If you’re writing for film, get yourself to festivals like Cannes, Berlin, Galway Film Fleadh. Plan ahead, organise meetings, beg for five minutes with people. Be in the minority of writers who get out of their pits and deliberately put themselves in front of people.
  13. Learn how to network. It’s not as hard as it looks. Get in quick, say hi, ask for a little time, don’t pitch. Even give the impression of being busy. Everyone is fascinated by people who appear to be busy.
  14. After meetings, send a thankyou postcard just to cement the relationship. Even if the meeting ended in a ‘no thanks’.
  15. Repeat after me. What do agents want? Product they can sell and writers who are ready. Is your product sellable? Are you a one-script wonder or a goldmine? Are you prepared to work hard, be presentable, turn up on time and not be a wacko? Tick these boxes and agents will pay attention to you. Eventually.
  16. Get onside with Agent’s Assistants. They do all the hard script reading work. Not just the slush pile, but all the submissions from writers who are already on the books. They work long hours, evenings and weekends. And yeah, guess what? They often become agents themselves. That assistant you were dead polite to on the phone last year? She’s an agent at ICM now. Hmm. How about that? Wonder if she remembers you?
  17. Agents will ask you this: “What kind of work do you want to do?” Have a well-thought-out answer prepared. “Get paid millions for my first draft blockbuster feature script” is not a well-thought-out answer.
  18. Script Editors are worthwhile contacts. Their responsibilities often include finding new writers for their shows. That could be you, eh? Identify the script editors that work on the shows you’d love to write for.
  19. Script Editors generally don’t take unsolicited scripts. They don’t have time to deal with a slush pile. Get a strong referral or get an agent.
  20. Write yourself one big balls script that you know will never be made. It’ll be massive, shiny, expensive, cast of thousands. Make it utterly brilliant. Unfeasibly expensive, yet brilliant. Could be a feature, could be a series, could be a one-off. Make it good. Showcase your craft. Think big. It’s your calling card.
  21. Don’t screw up meetings by being a nutter, being unprepared or putting an early draft script on the table. You only get one chance. Make it count.
  22. Do something that makes you stand out from the crowd as a writer. Collaborate. Make a short. Sell yourself. Think about what you have to offer, what you know that nobody else knows. Be a runner on set. Cultivate contacts. Go to courses, enter competitions.
  23. Think of yourself as a one person business. Always ask yourself why anyone should pay you to write rather than all the other writers.
  24. There’s only one of you. You haven’t been cloned. Therefore you have a unique viewpoint. Sell that.
  25. Make sure you have a strong spec script library: a low budget short or feature script that could be made collaboratively; a factual-based drama with unique perspective; an adaptation (avoid rights issues by creating a contemporary version of an ancient myth); a script aimed at younger age groups (hard to do well, but a lucrative market); a broad appeal feel-good family feature.
  26. Diversify your writing. Theatre. Online. Games. Radio. Research, ask, investigate. There are hundreds of theatres, theatre groups, commercial websites, webshows, games producers, radio stations, radio production companies. Someone, somewhere, needs something writing.
  27. Learn how to pitch.
  28. Contextualise your pitch. Don’t just describe your script in stark terms. Sell the sizzle, talk up the brilliance, make it your own by talking about the experiences that led you to write it.
  29. Make sure you demonstrate that you are the only person who can write this script, that you are the only person who knows this subject in sufficient depth to deliver the goods.
  30. When pitching, you will be asked these questions: “Why do we need this story now?” “What can we make this story say about the world?” Have an answer. Think yourself into their shoes.
  31. Put energy into your pitch. Believe in your story. Maintain clarity.
  32. If it’s a formal pitch meeting rather than an ad hoc chat, use visual props to leave a lasting impression: mood boards, handouts, posters with character names. Do not suggest actor names. Do not use actor photos or even stock photos of people in your pitch. You are not the casting executive.
  33. Stop emailing people. Pick up the phone. Emails can be deleted. A voice on the phone is harder to ignore.
  34. Be polite and gracious.
  35. Be persistent.
  36. Do your research.
  37. Be tenacious.

Damn but this is unpleasant weather. What purpose does it serve? Who thought this was a good idea?

Weatherpersons who describe this oppressive heat as ‘glorious summer’ should be made to work in an unventilated non-air-conditioned office at 30 degrees celcius all day long like me.

Then they’d understand the truth. This weather stinks.

You lie on your beach if you want to. You turn yourself into a leather walnut if you like. I’ve got things to do, and this weather is not helping.

If it weren’t for the dire state of their economy, their prediliction for unsavoury offal-based comestibles, the significant risk of being killed by sudden unexpected pyroclastic flow, their impenetrable language and LazyTown I’d move the family to Iceland.

Okay, that’s the weather sorted.

Now will somebody please give me a deadline. I’m begging for one. Having the CBBC compo deadline worked for me. Focussed the mind. Now I’m kind of floating along with three projects, none of which have hard deadlines.

Don’t get me wrong. They all have clearly defined ‘next’ tasks. I know what I need to do. It’s just that…well, I need targets, objectives.

I’m going to have to set myself some deadlines. I can see that.

Hm. Perhaps I ought to wait until after this Saturday’s Adrian Mead seminar. I suspect I’ll come out of that with a metaphorical rocket up my fundament and a very clear idea of what the hell I ought to be doing, and by when.

Yes, that’s a plan. Prepare for Saturday. Set objectives thereafter.

Bonus: just found out that the esteemed David Bishop will be attending on Saturday. I’m looking forward to putting a face to the winklepickers.

Another script done. My CBBC entry Pieces of Dad is done and dusted. Thanks very much to my readers Paul, Kai, Michelle and She Who Shall Remain Nameless (SWSRN).

Bonus thanks to SWSRN for being so damn excitable. You know who you are.

Whatever happens from here on in, it’s another script on the spec shelf.

Pieces of Dad has been a whole lot of fun to write. I’ve been working solidly on it for ten days without interruption and I ought to be if not sick at least dispassionate about it by now. But it still made me laugh a couple of times when I was proofreading it last night.

I’m not going to give myself any time off. Got three projects that need moving forwards; Magick, my entry for the next Red Planet competition, my Leeds project The Kevin and Michael Show, and – most exciting of all – a new collaboration which I’m going to call Project B which I know is the utter knees of a whole hive of bees.

Project B is up first. Got some serious plotting work to do. Now, where did I put my Plotting Hat?

I was lightly chastised by a good blog friend of mine for my blogular laxity of recent times.

So here’s a post. A missive, if you will.

I always find these things hard to get kicked off. You know, just speaking into the void. Once I’m rolling it’s fine. In fact, it’s hard to shut me up.

It’s just the getting started that I find hard.

I’m a little like a Mk. I Ford Fiesta in that respect. They had very teeny tiny batteries under the bonnet, you see. In fact, under the bonnet it was mostly fresh air. Tiddly engine, tiny battery, plenty of space for wildlife to nest.

Many years ago, just after the Dawn of Time but slightly before Time had finished its first coffee of the morning, my mum had a Mk. I Ford Fiesta.

It was red. Most cars were red in those days. There was some kind of government subsidy, I think. Something to do with the European Paint Lake.

We didn’t have the EU in those distant times. EU was the noise you made when your dinner plate turned up with a pile of soggy spinach on it and you knew there was no way on this earth that you were going to get even a sniff of pudding until you had necked the whole gelatinous mass.

No, we had the EEC. The European Economic Community. The EEC always had excesses of consumables: Butter Mountain. Wine Lake. Cheese Escarpment. Milk Pond. Toasted Crumpet Tower. Cheap Spanish Beer Waterfall. The EU doesn’t seem to have any of these. Where did they all go?

Hm. Where was I? EEC…Red Paint Lake…red cars…Ford Fiesta. Hokay, I’m back again.

Well, as was my wont as a 17 year old with places to go and a village-based girlfriend to visit I often borrowed the Fiesta.

My girlfriend hadn’t yet learned to drive. This is an important point to remember as the story unfolds.

I used to drive the 7 or so country miles to her village and pick her up. We’d go driving, maybe buy a burger and sit by the Embankment in Bedford and watch the swans or now and then visit the cinema. You know, boyfriend/girlfriend things. It was very lovely.

One November night we were driving back to her parents house to drop her off and we decided to pull over just before we got there. You know, to say goodbye properly. It wasn’t a layby. It was just the entrance to a field, rutted by tractor tires and muddy with winter rain. No matter – we didn’t have to get out of the car.

So, goodbyes said, I went to start the car.

It wouldn’t start.

Normally in these situations you just keep turning the key until it works.

In the Mk. I Ford Fiesta this wasn’t an option. You got three lives and then it was game over. Three twists of the key.

On the third twist the engine coughed and I thought I’d got it going, but it wheezed and lapsed into silence.

Further turns of the key produced nothing more than the clicking of solenoids.

Oh dear.

Remember that my girlfriend wasn’t a driver. Got that?

We talked it through and the only way out of the mess seemed to be for me to give the car a push and bump-start it while my girlfriend sat behind the wheel and did the appropriate things with pedals and gears.

She was reluctant but gamely offered to do her best. I told her what to do when – at least, I thought I did; I may have been a little hurried with the instructions. I put her fixed expression as she gripped the steering wheel tightly down to the cold night air and the lateness of the hour.

It took a while for me to get the car moving. It wasn’t a heavy beast, the Fiesta, but it was tricky getting it moving on the muddy, rutted ground. By the time the thing was shifting, I was breathing hard.

We only had one shot. The road was flat for a few yards then ran uphill.

“Ready?” I shouted. I didn’t listen for the reply. I just pushed like buggery.

Once I got the thing moving it trundled along at a fair clip. I pushed until I felt ready to collapse, then shouted

“Now!”

“Now what?” came the answer.

“Let the clutch out!” I cried.

She did. The engine coughed into life.

“Rev it,” I yelled.

She did. But she didn’t dip the clutch. The little car lurched away down the dark country road, headlights off, scared non-driving girlfriend in the driver’s seat. Exhausted boyfriend staggering in the road behind.

“Dip the clutch!” I shouted.

I couldn’t make out her reply. She was too far away.

I’m told that in times of extreme trauma, time seems to slow. Time didn’t slow for me. Neither did the car.

I ran. I ran like a madman, like a youtube downhill car handbrake failure victim. I got level and threw myself in through the driver’s side window.

My girlfriend was yelling incoherently.

“Which one is the clutch?”

It took me a second to work out left from right and her a second more to follow my garbled instruction. But she did it. And she kept the car going, bless her heart.

What we would have done if we hadn’t left the driver’s window open I don’t know.

Reader, that girlfriend is now my wife.

I want to kick off an mob-generated crowdsourced edition of Jesus Christ Superstar using only the power of the Internet.

Who’s with me?

I ordered some Moo business cards today. I’m terribly excited. I had a rather fabby idea about what to put on them. They’re double-sided, you see. You can upload your own images for the ‘back’ of the card and write whatever you want on the other.

I’m not saying anything about what’s on my Moo cards. If you meet me face to face then I’ll give you one.

Then I’ll hand you a card.

Ahahaha.

No, really. If you meet me, ask for one of my cards. Then you’ll see why they are unique.

Damn. Somebody slap me.

In other news, thanks to Jez and Simon for promptly posting notes of tonight’s CBBC Q&A which I was unable to attend due to prior stuff such as

  • work
  • being 50 miles away

Very useful, Mr J and Mr S. I salute you both.

In fact, their notes were so damn useful that I have just kicked my second entirely new CBBC script into touch and started on a third.

Leaving it late, eh? Well, you wanna be a pro, you got to roll with the punches. I aim to get it done, and I will.

Me. Hard work. Like that.

I was doing that crissy-crossy thing with my fingers then, but I realise that you couldn’t see the gesture. Feel free to do it yourself now as a kind of 3D subtitle.

Ready? On 3. 1…2…3

Me. Hard work. Like that.

Nice.

Anyway, this third script isn’t utterly utterly new. The idea came up in a brainstorming session (read lunchtime walk with notebook) a couple of weeks ago. I chose not to develop it. Not sure why I didn’t go back to it before.

It’s been an utter pleasure shooting the breeze with you. I honestly didn’t expect to find you still up this time of night. Here, take the last Jammy Dodger along with you. I’ve had six already.

Mind how you go.

Byee!

Danny Stack made a film.

Now he needs funding to get it through post-production.

He’s going to do it one way or the other. Because he’s like that.

But you can help by donating some cash towards the effort.

But look, this isn’t money into a black hole, you know.

A donation of £5 (via Danny’s blog, on the sidebar, more details here) will get you a copy of his Get Your Movie Made pdf booklet.

Danny was instrumental in the creation of the Red Planet Prize and continues to support it for the good of all us wannabe writers. For that alone I’d have paid the fiver.

But the booklet is worth the money alone. For five of your common or garden pounds sterling you will be given the kind of information that it’d take you months – nay, years – to accumulate. And even then you wouldn’t be sure that you’d got it all, or if you’d got it right.

Five quid and it’s a done job. All that precious info in your pocket.

Now, pull a fiver out of your pocket and take a look. It can get you a piss-poor bottle of wine or a sandwich and a sausage rool from M&S or a glossy coffee table magazine and a fun-size Snickers.

But it can also get you the kind of information that might just change your life.

I know what I chose.

What will you choose?

Spend wisely.

ps you can spend more than a fiver. Want to get a thanks credit? Maybe an Associate Producer credit? Even an Executive Producer credit? Costs less than you think.

Adrian Mead’s Screenwriter’s Career Guide, July 4th, London.

I’m going.

Kai’s going.

Lucy’s going.

Are you going?