Fictional Skies

It's never wise to write a script solely for a competition. The only thing on your mind being: The Reward & Winning Write a script because you enjoy the process; are interested in the exploration of story, character and form; saying something about the human condition; forming an emotional and entertaining journey; and developing as a writer and person. Not because you want to pimp it out to a competition and get something back. Script competitions are great for a previously completed script that may be ready or just needs a rewrite/polish. They are ideal for an experienced writer who has a body of spec work and is looking for some recognition and a way forward. They are also good for beginner writers entering once or twice to test the waters, or for fun as a screenwriting hobby. If you get a kick out of the process and thrill of writing a script for a competition: enjoy the challenge and creating to a deadline. Keep on doing what you're doing. But keep i...

The story of Facebook and its rise and rise and rise fascinates. Most success stories and personal achievements inspire, but this one is different. That has only deepened over the last week as I received The Social Network on rental and have watched it four times. That includes 2 x film watch, 1 x with David Fincher commentary and 1 x with Aaron Sorkin & cast commentary. Even after four watches, I am more drawn to and compelled by the film than ever - as well as the origin of Facebook's success story, filmmaking, the industry, business and people in general. Ultimately it's about people: their personalities and desires; their talents and flaws; their failures and achievements. Everyone is the same under the surface but different and fascinating in their construct and actions. As writers, the more we experience, observe and learn about people the more informed, realistic and powerful our writing becomes. Facebook's Success  Ultimately what I feel the succe...

" Every single Pixar film, at one time or another,  has been the worst movie ever put on film.  But  we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'"  - John Lasseter    A Day in a Life  Bringing Inanimate Objects to Life 

I look at my read/write/watch routine on a weekly basis and often identify a common thread: I write more than I watch and watch more than I read.  Writing overshadows them both by some way which I think it should. But have felt that reading less than watching could be a weakness and imbalance in my routine. Should we be reading more than we watch?  Balanced Reading  I often read a script on my day off which is two days a week, but note, I do say 'often' because other things can get in the way and sometimes I miss the chance to get one script in a week. My desk and writing environment with two whiteboards chock-full with notes screams " Writing! Writing! Writing! " whenever I am there or nearby. But not so much " Reading! Reading! Reading! " Of course, if we are to write well - we must read. However, not to the extent that if you wanted to impress a producer - instead of doing so with your excellent script you reveal that you've read 2...

Two and a half months in and things are progressing nicely. Project Spacebound has a first draft and soon-to-be-announced Project Nightingale has an outline for its pilot episode. I found myself working on the first draft of Project Spacebound for three days during the week. Then at weekends developing and doing the prep work for Project Nightingale. I prefer prep work at the weekends because it's more relaxed and there's more time to give. Plus the prep work should be developing quicker than the script draft. So it worked out nicely. Adapting to Change  As previously mentioned , I have three projects set aside for the year and two of those have already begun. But I've decided not to bring the third one into the mix just yet. Again, like discovering the stacking projects method at the last moment, this decision was much the same. I'm comfortable with two projects going at once and really enjoy it. But feel I need to gain experience with two projects and see...

This book has taught me a lot. In fact, I taught myself screenwriting with the third edition before going to university to study it, as a result: didn't learn anything new on the craft for the first two years. Luckily, I wasn't going there to be taught the craft. This is a  great book for beginners and is there to prevent you from rushing into things and suffering the potential side effects: Start writing a feature screenplay of Roman epic proportions: get stuck four pages in and give up.  Jump straight into theory/methods from intermediate + material from Syd Field, Blake Snyder, Robert McKee, John Truby, etc: get a headache, overwhelmed, and possibly get writer's block before you even start.  Religiously follow professional screenwriter blogs and websites for advice, how to info, craft insight, competitions, success stories, agents, spec sales, box office, and so on: feel worse off, more insecure, develop a severe migraine and/or inferiorit...

By Tate Taylor. Based on the novel by Kathryn Stockett. This screenplay has been on my to read list for a few months and caught my eye after seeing its trailer. It looked like an interesting and moving story of a black maid who spent her life serving others. To this: I wondered what hardships she must have faced and how did she get through it. So with interest and hopeful expectations. Did it deliver? The verdict is: Yes and no. Well, it depends... The story takes place in South America in Jackson, Mississippi during the civil rights movement of the sixties and centres on black maid, Aibileen, in her fifties, as her dutiful and oppressed routine is disturbed when an aspiring author wants to enlist her to expose the hardships local maids face at the hands of their white employers. Aibileen is coy on stirring up trouble and doesn't want to rock the boat, although, raw feelings within her find the offer tempting. The screenplay was enjoyable, often dramatic, good-humoured...