Dear Jez
Thank you so much for applying to take part in THE STORY WORKS. I’m really sorry that it has taken us so long to come back to you but we’ve been inundated with applications, which made it enormously hard to make decisions.
You were longlisted, but I’m afraid that we have now taken the difficult decision not to shortlist you. I hope it goes without saying that this is no reflection on you at all, just a response to the overwhelmingly high level of experience in the writers who came forward.
We’re planning to set up open sessions with some of The Story Works speakers at the Edinburgh International Film Festival in June, so please keep an eye on our website if you're interested in coming along. I hope very much to see you at the Festival.
Very best wishes,
Kate Kate Leys
Project Director
The Story Works
Edinburgh International Film Festival16th - 27th June 2010
Email: thestoryworks@edfilmfest.org.uk
______________________________________________
To be honest I wasn't holding out much hope for this one as I always felt there would be quality applicants with more experience, that this scheme would probably be looking for. Nevertheless, cool to be longlisted (whatever that means!)
Anyone get any better news from this or any other schemes knocking about? Do let us know
Thursday, 18 March 2010
Thursday, 11 March 2010
Great Ormond Street Film Project
I don't know much about this apart from what is on the page. But it seems like a fantastic, ambitious project, worth getting involved in if you can.
Go see the Kid in the Front Row for more details.
Please keep me posted if you do.
Go see the Kid in the Front Row for more details.
Please keep me posted if you do.
Friday, 5 March 2010
The Writers Academy - So now we know
Screenwriter and author Janice Day attended the John Yorke Q&A last night - here's what she had to say...
I went to the Writers’ Room talk on the BBC Academy at the Drill Hall last night and everything became clear. There are usually about 600 submissions and only eight places available.
Conclusion: we haven’t got a cat’s chance in hell of getting in.
There was the usual token writer on the panel who was accepted through a series of fortunate events. She apologised for her good fortune. How does that help us wannabes? It’s her lucky break. We haven’t had one.
But all bitterness aside, here’s the gist.
There are three ways of becoming a Beeb writer.
1. The Academy takes on eight applicants a year. It’s gruelling and intense but pays £300 a week for thirteen weeks and if you get in you are guaranteed a shot at writing an episode of each of the four BBC continuing drama programmes: Holby City, Casualty, East Enders and Doctors.
You need to know them and really want to write for them, just like the psychotherapist’s light bulb really wants to change.
Here’s the good news. You don’t need an agent to apply and you can now apply if you have ever had a professional commission, not necessarily a broadcast. They want to know that you’ve collaborated with someone in order to produce something and that you have been paid. Even a play at your local church hall, where you’ve charged admission, would qualify, said John Yorke, who runs the scheme. So quick, book that church hall now. You’ve got until mid-April to put on a show.
2. If you don’t have an agent, send a sparkling script to the Writers Room. They get about 10,000 scripts a year and 5% are passed on to ….
3. …Someone who runs the shadow scheme for East Enders, whose name completely escapes me. My excuse for not writing down her name is that if you don’t have an agent, you can’t submit to her. And if you do have an agent, your agent will know her name and what she does. If your agent doesn’t know it, then you need a new agent.
4. You can also submit – via an agent – directly to the four shows.
I know. That’s four ways, not three. Count yourself lucky.
Conclusion: we need to write a good script with a strong original voice. Oh no! Not that old chestnut!! Why can’t we write bad scripts with a forgettable voice? I’m much better at that.
Janice Day
www.allchangeproductions.co.uk
http://gettingitoffmychest.co.uk/blog
Follow her on Twitter http://www.twitter.com/janiceday1
I went to the Writers’ Room talk on the BBC Academy at the Drill Hall last night and everything became clear. There are usually about 600 submissions and only eight places available.
Conclusion: we haven’t got a cat’s chance in hell of getting in.
There was the usual token writer on the panel who was accepted through a series of fortunate events. She apologised for her good fortune. How does that help us wannabes? It’s her lucky break. We haven’t had one.
But all bitterness aside, here’s the gist.
There are three ways of becoming a Beeb writer.
1. The Academy takes on eight applicants a year. It’s gruelling and intense but pays £300 a week for thirteen weeks and if you get in you are guaranteed a shot at writing an episode of each of the four BBC continuing drama programmes: Holby City, Casualty, East Enders and Doctors.
You need to know them and really want to write for them, just like the psychotherapist’s light bulb really wants to change.
Here’s the good news. You don’t need an agent to apply and you can now apply if you have ever had a professional commission, not necessarily a broadcast. They want to know that you’ve collaborated with someone in order to produce something and that you have been paid. Even a play at your local church hall, where you’ve charged admission, would qualify, said John Yorke, who runs the scheme. So quick, book that church hall now. You’ve got until mid-April to put on a show.
2. If you don’t have an agent, send a sparkling script to the Writers Room. They get about 10,000 scripts a year and 5% are passed on to ….
3. …Someone who runs the shadow scheme for East Enders, whose name completely escapes me. My excuse for not writing down her name is that if you don’t have an agent, you can’t submit to her. And if you do have an agent, your agent will know her name and what she does. If your agent doesn’t know it, then you need a new agent.
4. You can also submit – via an agent – directly to the four shows.
I know. That’s four ways, not three. Count yourself lucky.
Conclusion: we need to write a good script with a strong original voice. Oh no! Not that old chestnut!! Why can’t we write bad scripts with a forgettable voice? I’m much better at that.
Janice Day
www.allchangeproductions.co.uk
http://gettingitoffmychest.co.uk/blog
Follow her on Twitter http://www.twitter.com/janiceday1
Wednesday, 24 February 2010
Stranger on a Train
Last Friday I was on the train heading to Leicester Square - and I spotted someone reading a script. I see enough of them to recognise one from afar but obviously don't see people often reading them on trains. I was curious, so after weighing up the weirdo factor, (mine not theirs) I decided to take the MP3 player off and actually talk to someone. A real person. In the flesh. Not on facebook or anything.
So we had a chat. Turns out this person is an actor. We've stayed in touch and who knows what the future holds.
It's fun this talking to people lark. Might try it more often.
Anyone else got weird, networking esque stories?
So we had a chat. Turns out this person is an actor. We've stayed in touch and who knows what the future holds.
It's fun this talking to people lark. Might try it more often.
Anyone else got weird, networking esque stories?
Monday, 22 February 2010
Tuesday 23 February: New producers guide to UK Film Finance
This event is tomorrow so not much time to sort out a ticket etc. I won't be able to go cos can't get off work but seriously recommend writers try to attend too. Why? Because there will be producers there. In a room. With doors. And hopefully locks. Go talk to them.
17:00 New producers guide to UK Film Finance
Princess Anne Theatre, 195 Piccadilly, W1J 9LN
As any independent producer knows, it's a tough market for getting a film made in the UK. Yet films do get made.
Join us for this free BAFTA event to listen to some of the key players from the UK film finance sector talk through the current landscape for new and emerging producers in the UK. We'll quiz our panel on how independent films found finance in 2009 and look at what funding options and strategies are available to new producers now. Speakers include: Paul Brett (Presecience Film Finance), Abigail Payne (Harbottle & Lewis), Luke Randolph (Managing Director, IFG Limited).
Places are free but please note that should we reach capacity, BAFTA will be offering stand-by tickets to a waiting list 15 minutes before the event starts. If you book a ticket you must therefore collect it at least 30 minutes before the event begins to avoid disappointment.
Tue 23 17:00 Book Tickets
17:00 New producers guide to UK Film Finance
Princess Anne Theatre, 195 Piccadilly, W1J 9LN
As any independent producer knows, it's a tough market for getting a film made in the UK. Yet films do get made.
Join us for this free BAFTA event to listen to some of the key players from the UK film finance sector talk through the current landscape for new and emerging producers in the UK. We'll quiz our panel on how independent films found finance in 2009 and look at what funding options and strategies are available to new producers now. Speakers include: Paul Brett (Presecience Film Finance), Abigail Payne (Harbottle & Lewis), Luke Randolph (Managing Director, IFG Limited).
Places are free but please note that should we reach capacity, BAFTA will be offering stand-by tickets to a waiting list 15 minutes before the event starts. If you book a ticket you must therefore collect it at least 30 minutes before the event begins to avoid disappointment.
Tue 23 17:00 Book Tickets
Thursday, 18 February 2010
BBC Writersroom event: John Yorke Q&A
In case you missed this:
John Yorke, Controller Drama Production & New Talent, will answer questions about writing for continuing drama shows like EastEnders, Holby City, Casualty, and Doctors as well as the BBC Writers Academy in a Q&A session with Kate Rowland, BBC Creative Director of New Writing.
John will be joined by a panel of writers from Continuing Drama and you'll have a chance to ask your own questions too.
The event will take place on Thursday 4 March 2010 from 6:00pm - 7:30pm at The Drill Hall in London, and tickets are free.
The Drill Hall
16 Chenies Street
London
WC1E 7EX
To add your name to the guest list email writersroom.events@bbc.co.uk
Thursday, 11 February 2010
Location, Location, Location
Last Sunday me, co-writer Jonathan Benson and producer/director John Goldschmidt went on a field trip. Actually, we went location scouting. I should clarify. This has absolutely nothing to do with shooting anything. We are still a long way off that. But it became apparent when looking at the last draft, that there was both a lack of visual information in the script, and not a good enough sense of place.
So we went to have a look at one. It may not be the area the actual film is set in, and almost certainly wouldn't be somewhere to shoot in, but for reasons I can't go into, it resonated with the world of the fictional story we had created.
From a writing point of view, I found it really useful. I often find myself in the habit of being able to visualise something in my head, and therefore, because I have managed this extraordinary feet, assume that somehow everyone who reads the script will have the same picture in theirs. This of course is ridiculous. Whilst you have to be wary of the dangers of overwriting, nothing can be assumed. The only way to convey visual images is to write them on the page. I think this is a weakness in my screenwriting and with the help of the others, I am working really hard on this.
Because it doesn't really matter where your story is set. A real place, a fictional somewhere that mirrors a real place, the wild west, outer space or Middle Earth. It's got to be plausible. It's often said that screenwriting is not about making up stories or creating characters. It's about creating a world, and then letting all the rest happen in that place. But it's going to be really difficult to do that if you don't know what your world looks like.
I've got a better idea of the one we're working on now. And the next draft has got to be done this weekend. I hope it pays off.
So we went to have a look at one. It may not be the area the actual film is set in, and almost certainly wouldn't be somewhere to shoot in, but for reasons I can't go into, it resonated with the world of the fictional story we had created.
From a writing point of view, I found it really useful. I often find myself in the habit of being able to visualise something in my head, and therefore, because I have managed this extraordinary feet, assume that somehow everyone who reads the script will have the same picture in theirs. This of course is ridiculous. Whilst you have to be wary of the dangers of overwriting, nothing can be assumed. The only way to convey visual images is to write them on the page. I think this is a weakness in my screenwriting and with the help of the others, I am working really hard on this.
Because it doesn't really matter where your story is set. A real place, a fictional somewhere that mirrors a real place, the wild west, outer space or Middle Earth. It's got to be plausible. It's often said that screenwriting is not about making up stories or creating characters. It's about creating a world, and then letting all the rest happen in that place. But it's going to be really difficult to do that if you don't know what your world looks like.
I've got a better idea of the one we're working on now. And the next draft has got to be done this weekend. I hope it pays off.
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