UK Writer Winter 2009 by Tom Green

THE WRITERS’ GUILD MAGAZINE

Winter 2009

WRITING FOR THE ARCHERS

UNDER THE MUD Roy Boulter takes a film from Garston to Hollywood

Editorial and Communications Committee: Edel Brosnan (Chair), Zoë Fairbairns, Tom Green, Jayne Kirkham, John Morrison, Darren Rapier Opinions expressed in UK Writer are not necessarily shared by the Writers’ Guild Free to members of the Writers’ Guild. Subscriptions (4 issues per year): £25 Original design: Graham Lester George Origination: edition periodicals www.editionperiodicals. co.uk Print: Hastings Printing Co Ltd ISSN 1748-9385

For back issues of UK Writer contact the Guild office

CONTACTS

NEW GUILD MEMBERS

Office Tel: 020 7833 0777 Fax: 020 7833 4777

Full Members

www. writersguild. org.uk Bernie Corbett General Secretary corbett@writersguild. org.uk Anne Hogben Deputy General Secretary anne@writersguild. org.uk Erik Pohl Admin Assistant erik@writersguild. org.uk Susan Wood Personal Assistant to the General Secretary susan@writersguild. org.uk Tom Green Editor, UK Writer tom.green2@gmail. com

Peter Byrne Trace Currall Deborah Espect Peter Fudakowski Simon Grover Mary Hogarth Alexander Holmes Patrick Homes Chris Johnston Rob Johnston Stuart Kenworthy Michael Maynard Ed McCardie Joan Osbaldeston Tom Pakinkis Rosemary Pooley Mark Tuohy

Candidate Members Tessa Adrian Stephen Archer Paula Ashcroft Peter Boothby Sandra Branco-Williams Simon Caira Susan Clarke Emily Corcoran Madeleine Coulson Stephen Davis

Cover picture: Jasmine Mubery as Angel in Under The Mud Photographer: Solon Papadopoulos

UK Writer is published by the Writers’ Guild of Great Britain 40 Rosebery Avenue, London EC1R 4RX

2 UK Writer Winter 2009

Adisa Djan Francesca Drew Roger Dunn Shannah Eagles Jonathan Eley Emma Excell Stephen Hope-Wynne Tine Van Houts Wai Yuen Lee Andrew McGrath Thomas Nash Jan Newlands Nicolette Pearce John Quinn Mike Reynolds Thomas Salmon Doreen Williamson Paul Weston-Wogan

Student Members Anna Clarkson Candice Clements Petrona Donegal Linda Dunscombe Sheridan Humphreys Veronica Low Richard Mazaheri Cara Moore Antoinette Scott Jeremy Wadzinski

EDITORIAL

CONTENTS Underneath The Archers

The aims of the Guild’s new good practice guide, Writing Film, are plainly stated:

■■To encourage co-operation and good working relationships between writers and other filmmakers

Three writers recall scripting Ambridge life plus the first miscellany for the show

■■To enhance the rights and status of writers in the development and production process and, in particular, to safeguard original work

From Garston

20 to Hollywood

■■To offer practical guidance as to what writers should expect, seek or accept in negotiating contracts and working on scripts

Roy Boulter explains how a community writing project became a critically acclaimed feature film

■■To help writers on very low budget films to work creatively and fairly, through use of a Joint Venture Agreement. It’s a practical document that should become required reading for screenwriters and producers – a high profile launch at the Screenwriters’ Festival last month gave it the best possible start. Although the state of the British film ‘industry’, such as it is, is frequently lamented, there is, in fact, a huge amount of filmmaking taking place in the UK. While the mega-productions with international finance, such as the Harry Potter and Bond films, might grab the headlines and the box office takings, thousands of other films get made. It’s rarely easy. But, as several articles in this issue of UK Writer describe, with a combination of the right script, good collaboration and a huge amount of tenacity it is possible to get a film made and, just as importantly, seen. Perhaps if the media were to give a little more coverage to the burgeoning short film scene they’d find that there was more about British film to be optimistic about. But at least now, with digital film and online distribution, it is becoming a little easier to bypass the previously all-powerful distributors. As Mark Jackson says (Filmmaking in Fraserburgh, page 28), the important thing for a screenwriter is ‘to keep telling stories’. Tom Green Editor

Long road to a short film

Graham Lester George on writing Washdays

The indie

26 dream

Writer-director Maeve Murphy talks to UK Writer

Filming in Fraserburgh

Mark Jackson filed the rejection letters and started to make films

Rhyme and reason

Kevin McCann on the benefits of taking poetry into schools

REGULARS 4 News 12 Obituaries 14 Edel Brosnan 15 Julian Friedmann Correction: The cover photo in the last issue of UK Writer should have been credited to Geraint Lewis

Peer to peer

Blogger ‘Miss Pitch’ reviews the peer review websites

Tweet tweet!

Martin Day explains why writers should take notice of Twitter UK Writer Winter 2009 3

NEWS

Guild good practice guides for film and TV T

he Guild has published good practice guides for those who work with writers

moment for the Writers’ Guild. Now more than ever writers need to understand the deals they

in film and TV. The booklets have

are making and the contracts they are signing.

been sent to members with this

Terminology, fees, credits, rights . . . our new

mailing of UK Writer and can also

booklet sweeps away the mysteries and

be downloaded from the Rates

gives screenwriters a clear and realistic route

and Agreements section of the

map through the jungle of the film industry.’

Guild’s website. Writing Film – A Good Practice

Working With Writers – A Good Practice Guide for TV Programme Makers is based

Guide is a comprehensive ‘how-to’

on an earlier Guild publication by Tony

document that aims to bridge

Read.

the gap between the art and

‘It’s a response to Guild members’ many

the business of screenwriting. It

problems and queries,’ said Guild TV

stresses that to be a success in the

Committee Chair, Gail Renard. ‘Television

industry you need more than just a

production and its personnel are

great script. Careful collaboration

constantly changing and it’s imperative

with other key players is impera-

that we’re all singing from the same hymn

tive to ensure a script’s successful

sheet.

completion and financial viability. ‘With this Guide, we’re encouraging screenwriters to roll up their sleeves and get involved,’ said Olivia Hetreed, the screenwriter behind

‘The new version of the guide explains what members can expect every step of the way of the production process. It also advises how TV production personnel should work with writers, so there can be reasonable

Girl with a Pearl Earring, and Chair of the Guild’s Film

expectations on both sides – though writers

Committee. ‘It’s not enough to

should always remember that profession-

be good at writing scripts to be

alism is a two-way street.

successful in the industry. In order

‘The good practice guide covers

to see your work through from

everything from a writer’s first ideas, to

first draft to completed film, and

progressing to treatments, outlines and

be appropriately acknowledged

scripts. It also advises on commissions,

for your involvement, you need

rewrites and, importantly, explains when

to know the business and build

you should be paid (or, sadly, not.) It

strong working relationships.’

outlines the writer’s role in production

She is concerned that writers can be isolated and not know

and post-production, including screenings and awards ceremonies, though it’s up

what to expect: ‘Screenwriters can

to members to write their acceptance

be worryingly naïve or simply grow

speeches themselves.

so desperate to see their script in production that they sign up to

‘The Guild asks that everyone, both writers and production personnel, read

horrible contracts, giving up all their

and respect our new TV guide. Our

rights for little or nothing.’

common goal, as always, is to make the

Bernie Corbett, General

best television programmes possible and

Secretary of the Guild, added: ‘The

to enjoy the journey along the way. We’re

launch of the film guidelines is a big

hoping the new guide makes that easier.’

4 UK Writer Winter 2009

NEWS

GUILD LAUNCHES BOOKS CO-OP By Nick Yapp OVER THE past 10 or 15 years, the cult of celebrity it increasingly difficult for book writers to find a way of bringing their work to the attention of the book-buying public. Admittedly, at the same time, it has become much easier to self-publish or publish online, but the big problem has always been to find

‘after years in the making’, the Writers’ Guild Books Co-operative has finally been established. It is registered at Companies House, has a brand new logo, and

original radio drama script broadcast during 2008) – Goldfish Girl by Peter Souter, produced

produced by Judith Kampfner, Corporation For

website.

the old Hollywood days,

The Tinniswood Award Winner (for the best

Recommended – Far North by Louis Nowra,

other than on a writer’s own

for, as they used to say in

Tinniswood and Imison Radio Awards.

The Tinniswood Award Highly

publicising such books,

may well have been solved

he Writers’ Guild and the Society of Authors have announced the results of the

by Gordon House for BBC Radio Drama.

a way of marketing and

Well, the big problem

PHOTOS: MATT CROSSICK

publishing and the trimming of publishers’ lists have made

Radio award winners

Books

the inaugural meeting is scheduled to take place in early 2010 – keep an eye on the Guild’s email bulletin for further details. Membership of the Co-operative will be restricted to members of the Guild who have already self-published a book. In return for a joining fee and an annualsubscription – neither of which have been fixed yet as they will initially depend on how many writers sign up for the scheme – members of the Co-operative will be able to have their books posted on the Co-operative’s website, with the opportunity to include information about their books and their careers, and with links to their own websites. In a way, it’s like the windows or shelves of a bookshop. Anyone who goes online will be able to see what members of the Co-operative have on offer and will be able to order and pay for the books they want. It’s a new application of the old principle that ‘In union

Independent Media The Imison Award Winner (for the best original radio drama script by a writer new to

1 Tinniswood

radio, broadcast during 2008) – Girl From Mars by Lucy Caldwell, produced by Anne Simpson

Award winner

for BBC Northern Ireland

Peter Souter

Awards of £1,500 (sponsored by the ALCS and The Peggy Ramsay Foundation) and digital radios (donated by PURE) were presented to the two winning writers by film director and writer Mike Hodges at a ceremony in London. Girl from Mars was Lucy Caldwell’s first radio play. As a playwright she has won the George Devine Award 2006 and as a novelist she was shortlisted for the inaugural EDS Dylan Thomas Prize. Peter Souter was formally the worldwide creative director of one of the biggest advertising agencies in Britain. Goldfish Girl was his second radio play. Also on the shortlists for the two awards were: Tinniswood Award The Switch by Ali Smith (David Jackson Young, BBC Scotland) The Heroic Pursuits of Darleen Fyles by Esther Wilson (Pauline Harris, BBC Radio Drama, Manchester) Imison Award Flaw in the Motor, Dust in the Blood by Trevor Preston (Toby Swift, BBC Radio Drama) Cobwebs by David Hodgson (Gary Brown, BBC Radio Drama) All the shortlisted and winning plays will receive a further broadcast on BBC7 during January 2010.

there is strength’. The obvious advantage to members of the Co-operative is that their books will stand among others, come to the attention of a far wider internet public, and be more easily available. Any book-writing members of the Guild who’d like more details should email: info@writersguildbookscoop.co.uk ■■ The Writers’ Guild Books Co-operative website is at writersguildbookscoop.co.uk

7 Imison Award winner Lucy

Caldwell receives her prize from Mike Hodges

UK Writer Winter 2009 5

NEWS

Theatre assessment reveals concerns about new writing L

ast year Arts Council England (ACE)

■■ the increasing difficulty in putting on

embarked on a Theatre Assessment to

gather an up-to-date picture of theatre in

and families.

new writing

Developments have included:

■■ the shortage of writers being supported

England. In particular it looked to identify changes that had occurred in the theatre

■■ increase in good work for young

to create work for bigger stages

audiences

■■ a lack of opportunity for second

sector since the Theatre Review of 2001 and

productions of contemporary plays

the additional £25 million that ACE invested

■■ the difficulty playwrights face in earning

in theatre organisations from 2003 onwards. The findings, based on a consultation

■■ work for young people and families is more respected ■■ much greater investment in work for

a living wage

early years and teenagers

■■ a lack of female playwrights

led by Anne Millman and Jodi Myers (to

■■ repertory theatres have started to

■■ producers intervening with rather than

which the Writers’ Guild Theatre Committee

supporting the writing process

contributed), have now been published as

■■ lack of support for new writers of

ACE’s Theatre Assessment 2009.

embrace work for young people. However, concerns remain, including: ■■ the lack of work for 7-to-12-year-olds

musical theatre

The report identifies several emerging

■■ work for children and families being

■■ the difficulty of making Grants for the

themes for ACE’s attention. It says: ‘The

squeezed out of venues focussing on

Arts applications.

development of a new approach to touring

income generation

The section of the report dealing

is a major priority to ensure that audiences

with new writing explores many of these

countrywide have access to high quality work,

concerns in more detail. For example: ‘There

touring companies and venues are able to

was a widespread view among practi-

plan ahead strategically and our investment is

tioners that while there had been a growth

applied where it has most impact.’

■■ an emphasis on well known titles and big brands, especially for commercial touring ■■ continued lack of coverage in national newspapers. Following the publication of the Theatre

in development of writers there had been

Assessment, Barbara Matthews, Director

Though it notes that new forms of

a reduction in the amount of work commis-

of Theatre Strategy at Arts Council England,

theatre have developed over the past

sioned and produced. This was particularly

said: ‘The Theatre Assessment has enriched

decade, the Theatre Assessment is

linked to changes in the touring circuit, and

our understanding of the English theatre

clear about the value of the written play.

perceptions that it had become increasingly

sector and will help us determine our future

‘Traditional playwriting and theatre-making

difficult to place ‘straight’ plays.

strategy, inform our investment decisions

attract large audiences and English artists

‘Respondents observed that a focus on

are rightly world renowned for their work.

process rather than outcome has left some

‘We want our theatres to be bold and

We gave grants to new writing of nearly £12

writers out in the cold, without support to

ambitious. This assessment has shown us

million through grants for the arts between

draw them into the collaborative approach.

that the additional confidence and resources

2003/4 and 2007/8 and will continue to

On the positive side, respondents identified

the Theatre Review generated enabled many

place a high priority and offer high levels of

the development of individual skills through

theatre organisations to do exactly that. The

support to text-based work.’

collaborative working.’

However, the consultation process

and focus our development capacity.

task facing us all is to keep making progress,

The report states that ‘there was much

in spite of the economic recession, and to

revealed a number of concerns about new

agreement that progress had been made in

ensure that as many people as possible are

writing including:

a number of key areas’ in work for children

able to enjoy the results.’

National Theatre Wales has announced the programme

in locations across Wales. Talking to The Guardian,

may be 100 years late, but better late than not at all.’

for its first year. Plays will be

Dai Smith, the chairman of

Guild member Gary

in English and, according to

Arts Council Wales, said: ‘We

Owen is among those

the launch brochure, ‘rooted

have been putting our toes

commissioned for the launch

in Wales, with an interna-

in the water for too long. It

season. His new play, Love

tional reach’. There will be 12

was inexcusable, outrageous,

Steals Us From Loneliness,

new shows, one each month,

that we did not have a

will premiere in Bridgend in

plus one spectacular finale,

national theatre for Wales. It

October 2010.

6 UK Writer Winter 2009

Gary Owen: New play will 1 open in Bridgend

NEWS

3Guild General

Secretary, Bernie Corbett (second left), on a panel at the World Conference of Screenwriters in Athens

We start from here Gail Renard reports from the first World Conference of Screenwriters

’ve just spent five days in Athens, as a WGGB delegate to the First World Conference of Screenwriters. Writers spoke with

a passion I hadn’t heard in a long time. I felt so inspired that if I weren’t already a writer, I’d immediately become one. Audrey O’Reilly, Chair of the Irish Playwrights and Screenwriters

and PR, the word ‘writer’ is being replaced by ‘storyteller’ and ‘creator’ by ‘rights holder’. Both of these new terms significantly alter writers’ legal and moral rights. We can’t allow this to happen. There was also a general concern about collection societies. Not enough of the money writers earn ends up in their pockets and there is little transparency. An extreme case scenario explained that commissions can first be taken by the foreign countries where writers’ work is shown (perhaps 10%), on top of which there can be

Guild, reported that never has less work been available, yet never

‘voluntary’ cultural deductions (in Poland, for example, it’s an addi-

has the Irish Guild had so many new members. They’re beating down

tional 15%), then foreign taxes as well as the writer’s own collection

the door, for the simple reason that you can’t stop writers writing.

society’s commission of another 9% or 10%. That’s before writers

Olivier Lorelle, writer and co-president of UGS in France agreed

have paid their agent’s commission of an additional 10-15%, which

that our goal was ‘to write the impossible script’, not just the possible

means they’ve lost a sizeable chunk. At this rate, writers will soon be

ones that can be turned out easily and with a template. ‘We want to

paying for their work to be shown.

do work we’re proud of and that will change the world,’ he said. Writers’ work is coming in fascinating new forms as digital media

It was also pointed out that in some collection societies screenwriters are, to their detriment, greatly outnumbered by scientific

develop and we must be open to it. Writer/ producer/ director

and academic writers; and some Canadian screenwriters have to

Yomi Ayeni is doing an innovative interactive reality experience,

fight attempts to divert some of their money to directors. All this is

Breathe. Check it out (www.breathewith.me), but it comes with a

making others rich, but not professional writers. Dr. Eva Obergfell, a

warning: get too close and you might run out of air.

Professor of Law at Aachen University, Germany, said: ‘We need a

Opportunities are limitless with digital media; conversely, it’s made the world smaller and given writers everywhere common

new form of collection societies. We have to make it better.’ The time has come for the International Writers’ Guilds (IAWG)

problems, for which we must find common solutions. For the first

and the Federation of Screenwriters in Europe (FSE) to redress all

time, high and low earners share the same interests. Digitally our

these imbalances. A common aim was declared: to work for the

work will have an infinite shelf life (also known as the long tail) but

dignity of writers worldwide and to assert our common rights

we must be paid for it, in both the present and the future.

and goals. A new global organisation for writers was envisioned.

We were reminded that the WGA strike two years ago enhanced

Together it would represent 25,000 writers around the world. That’s

the status of writers worldwide, and taught producers and broad-

a lot of Writer Power. It won’t happen tomorrow, but it would be

casters that writers mean business. We need to build upon that. As

glorious if it did.

Lowell Peterson, the executive director of WGA East said: ‘No one will give you anything you haven’t the strength to take for yourself.’ And there are many problems writers have yet to address. There was a call to end the possessory ‘auteur’ credit that directors have taken in recent years. It was suggested any time ‘a film by’ credit

The conference ended with a video message from Frank Pierson, a former Writers Guild of America chair and writer of the films Dog Day Afternoon, Presumed Innocent, Cool Hand Luke and many others. ‘There was a time when the writers’ blocks in the studios were bigger than the producers’ blocks,’ Frank said. ‘There was a time when

rears its head, it should be changed to ‘a film directed by’. Or

in the commissaries everyone wanted to sit at the writers’ tables... Now

better still, as the recent release Cloudy With A Chance of Meatballs

we write in isolation in our rooms. We’re losing sight of our strengths.’

boasts: ‘A film made by everyone’. WGGB General Secretary, Bernie Corbett, warned we should also be careful of language. In journalism, lobbying, presentations

He asked us to remember that ‘no one gets paid till the writer is done. That’s our strength.’ ■■ Gail Renard is Chair of the Guild’s TV Committee

UK Writer Winter 2009 7

GUILD AWARDS 2009

The winners of the 2009 Guild Awards were announced at a ceremony in London on 29 November. The shortlists can be found on the Guild website. Television comedy/ light entertainment Guy Jenkin and Andy Hamilton for Outnumbered

Television drama series Toby Whithouse for Being Human

TV continuing series Coronation Street episodes written by Carmel Morgan, Chris Fewtrell, Damon Rochefort, David Bowker, David Lane , Debbie Oates, Jan McVerry, Jayne Hollinson, Joe Turner, John Kerr, Jonathan Harvey, Julie Jones, Lucy Gannon, Mark Burt, Mark Wadlow, Martin Allen , Martin Sterling, Peter Whalley, Simon Crowther, Stephen Bennett

(Pictured: Chris Fewtrell, Simon Crowther, Mark Wadlow, Joe Turner, Jan McVerry, Jonathan Harvey)

Feature film screenplay newcomer Eran Creevy for Shifty

8 UK Writer Winter 2009

Best theatre play Juliet Gilkes Romero for At The Gates Of Gaza

Best theatre play for children and young people

Radio drama Katie Hims for The Gunshot Wedding

Brendan Murray for Scarlet Ribbons

Terry Pratchett

Video games Radio comedy/ light entertainment

Outstanding contribution to children’s writing

Andrew S Walsh for Prince of Persia

Lifetime achievement Andrew Davies

Dave Cohen Richie Webb and David Quantick for 15 Minute Musicals

Best feature film screenplay Steve McQueen, Enda Walsh for Hunger

Television short‑form drama Peter Moffat for Criminal Justice

Pictures: Simon Denton/WGGB UK Writer Winter 2009 9

NEWS

Theatre encouragement awards ANNE HOGBEN/WGGB

he Theatre Committee of the Writers’ Guild of Great Britain is pleased to announce the winners of its fifth annual awards

for the encouragement of new writing. Members were asked to

nominate anyone who had given them an exceptional experience in new writing during the previous year. The winners are: Sarah Brigham, Associate Director, Dundee Rep Nominated by Neil Duffield: ‘Sarah commissioned me to write a play, Twice upon a Time, that could be performed by a large cast of 14-to-18-year-olds. The unique feature was that Act 2 should have a completely different cast to Act 1. Never having done anything like that before I saw it as a challenge! Sarah was terrific to work with – helpful, supportive and full of ideas. She set up a series of meetings between myself and the young people as part of the process which turned out to be enormously useful. Sarah regularly commissions other theatre writers, most notably for the Playhouse Project – an annual new-writing project which involves Dundee Rep, York Theatre Royal, Plymouth Theatre Royal and Polka. I can’t recommend her highly enough. Dominic Dromgoole, Artistic Director, The Globe Theatre

Back row, left to right: Frank Bramwell, Arnaud Mugglestone, David James (WGGB Theatre Committee Chair), Neil Duffield and Bill Hopkinson Middle row: Sarah Brigham, Gemma Nicol, Angharad Jones, Kevin Dyer and Bernie Corbett (WGGB General Secretary) Front row: Jane McNulty, Mark Ravenhill and Laura Ford ance. It is largely because of Angharad and Laura’s support and insight that I

Nominated by Nell Leyshon:

have committed fully to my writing, which is now a hugely important part of

‘Since he took over at The Globe Theatre, Dominic has chosen to be a

my life.’

champion of new writing, and has programmed new plays on the main stage as part of his season. This is allowing a range of writers, including myself, to

Bill Hopkinson, Director/Dramaturg

work with much larger casts, work on their stagecraft and stretch their experi-

Nominated by Jane McNulty:

ence. At a time when many theatres are working in a more development-led

‘Bill proved an intuitive, wise, sensitive and understanding dramaturg to me,

way, Dominic’s approach is refreshingly free of bureaucracy, and he places a

helping me immeasurably as part of a Northwest Playwrights’ Professional

great deal of trust with the writers. His passion and enthusiasm for writing on

Playwrights’ Development process in developing my play Our Lady Of The

such a large scale is infectious.’

Goldfinches. As a TV writer fairly inexperienced in writing for the theatre, I found his help crucial in shaping my play. He ‘got’ what I wanted to say and his

Kevin Dyer, writer

suggestions were never less than inspiring. His encouragement has meant that I

Nominated by John Moorhouse:

have the confidence to move on – I hadn’t been able to do this before as bad

‘In the past twelve months I have been shortlisted for The Writers’ Guild

experiences of writing soaps had dented my confidence as a dramatist.’

award for best play for children and young people, the Adrienne Benham Award and won the North West Playwriting Award and I would have

Arnaud Mugglestone, Director

achieved none of this without the help and encouragement of Kevin. Indeed,

Nominated by Frank Bramwell:

it is highly unlikely that I would ever have written a play at all without his

‘I met Arnaud while working on a short play for the First Draft Theatre Company

continued and unstinting support. Kevin is an excellent writer himself and yet

and he has since been both director and dramaturg of three of my produc-

always finds the time to help and support other writers. I recommend him

tions. His astute and perspective insights into my particular style of writing

for this award without reservation.’

have been extremely beneficial to the development of my work. Working closely with a writer, from the initial conception to the final production, is never

Fifth World Theatre Company of Derby (Angharad Jones and Laura

easy but Arnaud has approached each project in a very sensitive and, above

Ford)

all, honest way, picking up instinctively on the energy patterns within the

Nominated by Paul Buie:

writing and, where possible, suggesting alternative approaches. And all this

‘Fifth Word produced my play Painkillers, culminating in three weeks of

without losing sight of what is the end goal of all writing: giving the audience

performance at the Edinburgh Fringe and a tour of England. Although a

the best possible chance to gain insights and entertainment from the work.

recently-formed company, they could not have been more supportive of me

Arnaud’s talent has helped release the inner potential of my writing, enabling

as a new writer, nor more inspirational and creative, helping to shape the piece

my work to resonate strongly and forcibly with the audience, as witnessed in

as it developed over time and then providing a wonderful, polished perform-

their reaction to last year’s Shooting Clouds.

10 UK Writer Winter 2009

‘No man but a blockhead ever wrote except for money’ (Samuel Johnson) The good doctor’s observation may not be the

broadcasters and scriptwriters.

whole story, but it will strike a chord with many

As specialists, we have a complete understanding of

professional authors and journalists. The creative

relevant tax legislation and many years’ experience

process can be highly gratifying, but the financial

in helping clients to minimise their tax liability. When

aspects of your career are fundamentally important.

appropriate, we also advise in areas such as pensions,

Experience suggests, however, that many writers

investments and financial planning generally.

do not have the time or the inclination to become

If you would like further information about the

embroiled in tax calculations or financial planning.

Authors and Journalists Team, we would be delighted

This is where we come in. The Authors and Journalists

to hear from you. We would be glad to arrange

Team at H W Fisher & Company is wholly dedicated

a preliminary meeting, naturally without cost or

to writers. Our clients include authors, playwrights,

obligation, so that we can discuss your circumstances

poets, national press and magazine journalists,

and review ways that we may be able to help.

H W Fisher & Company Chartered Accountants Acre House, 11-15 William Road London NW1 3ER Tel 020 7388 7000 Fax 020 7380 4900 E-mail bkernon@hwfisher.co.uk

www.hwfisher.co.uk

OBITUARIES FRAZER HARRISON/GETTY IMAGES

1 Frank Deasy receiving his Emmy Award for the final Prime Suspect: The Final Act in 2007

Frank Deasy 1960-2009

creenwriter and Guild member Frank Deasy has died at the age of 49.

Born in Dublin, Deasy’s credits include Looking

After Jo Jo, Real Men, England Expects, The Passion and the final miniseries of Prime Suspect, for which he won an Emmy award.

Troy Kennedy Martin By Jonathan Sale

n 1962 Troy Kennedy Martin, who has died aged 77, created

Z Cars, writing the first nine episodes of the groundbreaking

realistic police series and returning in 1978 to polish off the last

one. In 1969 he scripted The Italian Job, which remains one of the

Speaking to the press, actor Dougray Scott

most popular British movies of all time. At a screening years later,

said: ‘He was quite simply the most extraordinary

he observed the audience joining Michael Caine in yelling out the

and brilliant writer I have ever worked with and

familiar lines such as ‘You’re only supposed to blow the bloody

one of the most extraordinary and beautiful men I

doors off!’ Both of these works are regarded as major events

was blessed to have met. Whenever I spent time or

in screen history.

talked with Frank I always felt the warmth, wisdom

Innovative and influential, Kennedy Martin showed that quality

and sheer joy of life that I remember getting from my

drama could be accessible. His nuclear thriller, Edge of Darkness

own father. That’s how special he was to me.’

(1985), one of the key television works of the decade, was

Deasy wrote about his liver cancer in The

repeated on BBC1 a mere 10 days after the final episode had been

Observer just days before he finally received a liver

transmitted on BBC2. His ITV production Reilly: Ace of Spies (1983)

transplant. Though the transplant came too late to

was also highly praised and was one of several works screened at

save his life, the publicity surrounding his story led

his 2006 British Film Institute retrospective.

to a surge in demand for organ donor cards. Jane Gogan, Commissioning Editor for Drama,

Kennedy Martin was born on the Isle of Bute, off the west coast of Scotland. His father was an engineer and his mother a

RTÉ Television, told the RTÉ website that: ‘Frank

teacher. Moving frequently because of the second world war

Deasy was a writer for television and film who

and his father’s work, his was a talented and creative family. His

brought a tremendous honesty and passionate

younger brother, Ian, is also a scriptwriter, the creator of two other

intensity to his work. Professionally Frank was

police series, Juliet Bravo and The Sweeney, as well as many other

coming into his own, working on a range of projects

works including the recent critically acclaimed play Berlin Hanover

that were all major subjects: the Medicis with BBC,

Express. Their surviving sister, Mo, was a member of the folk group

a film project with Ridley Scott based on Philip K

the Tinkers.

Dick’s The Man in the High Castle and, closest to his

The family established themselves in north London, only to

heart, was Gaza, a film that will star Helen Mirren.

have the household income, never large, halved by the death of

He was also preparing to start on a project for RTÉ

Troy’s mother when he was 15. The Catholic church helped to keep

following a family across 100 years.’

them afloat, and Troy went to Finchley Catholic grammar school,

12 UK Writer Winter 2009

DUNCAN BAXTER/THE TIMES

middle of the script, as he sometimes did.’ His work was powerfully – but not overtly – political. He was not agitprop. He joined the Labour party and went on anti-war marches. He was critical of the bureaucratic direction he felt the BBC had taken over the last 30 years. At a meeting during which the then director general, John Birt, asked a gathering of scriptwriters for their thoughts, he showed that, however affable in person he was, it was just as well that he had not taken up diplomacy as the day job. ‘Well, you see John, actually you’re a Leninist,’ he informed Birt. ‘You’ve replaced a rigid and uncreative bureaucracy with an even more rigid and less creative bureaucracy.’ Oddly enough, this did not torpedo his BBC career. A talented, generous and agreeable man, he was dedicated to his work. He married the Z Cars cast member Diane Aubrey in 1967 and remained devoted to their two children after their divorce. He moved out of the flat in Notting Hill, west London, where he had lived during most of his career, and spent his last two years in Ditchling, West Sussex, after Luke Holland’s television series A Very English Village had alerted Kennedy Martin to the attractions of the

1932-2009 followed by Trinity College Dublin. According to Ian: ‘Troy’s first plan after national service would have been the Foreign Office, but he did not have the right back-

area. Had it not been for his sudden illness, he would have been speaking to the local film society at its forthcoming 40th anniversary screening of The Italian Job (he had no connection with the less iconic remake of 2003, starring Mark Wahlberg). He is survived by his children Sophie and Matthew, his grandchildren Tomas and Ella, his brother Ian and his sister Maureen. John Caughie writes: Troy Kennedy Martin’s death is a reminder

ground. He must have picked up the idea that a slim volume of

of the importance of a tradition of popular and risky televi-

poetry or novel would get him in.’ A novel was in fact written, Beat

sion drama over the last 50 years. From his six-part anthology

on a Damask Drum (1959), but this was not what kickstarted his

Storyboard (1961), produced by his co-conspirator James

career. ‘Troy wrote an article about boy soldiers in Cyprus and the

MacTaggart, Troy’s aim was ‘to tell a story in visual terms’, breaking

BBC asked him to come in and talk about turning it into a play,’ his

free of a theatrical naturalism in which stories were told by actors

brother recalled.

talking while the camera looked on. ‘We were going to destroy

Based on his own experiences during national service as an

naturalism, if possible, before Christmas.’ His article for Encore in

officer with the Gordon Highlanders, this became the television

1964, Nats Go Home!, was a manifesto for a television drama that

play Incident at Echo 6, screened in 1958. It began a long CV which

mattered, experimented, and aspired to be bigger than the box

is about to become even longer with the release in January of the

that contained it.

Mel Gibson film version of Edge of Darkness. Although Kennedy

The creative edginess of Edge of Darkness lies in a narrative

Martin did not work on the movie, it is based on his television

in which something real is at stake; a script that takes risks with

series and has the same director, Martin Campbell.

credulity; performances and a visual style that keep faith with the

Other films included Kelly’s Heroes (1970), Red Heat (1988),

risks; and an ethical seriousness that inscribes what is at stake on

Hostile Waters (1997) and Red Dust (2004). Two of his Wednesday

the emotions. The sheer volume and availability of television invite

Plays went out in 1965 and a five-part adaptation of Angus Wilson’s

formulae and familiarity. It requires a rogue imagination to shake

The Old Men at the Zoo was transmitted in 1983. He also wrote

the routines loose, and Troy provided that kind of imagination.

episodes of many series such as Redcap and The Sweeney, as well

Edge of Darkness embodies an avant-garde sensibility in a popular

as the film Sweeney 2 (1978). Two further scripts remain unfilmed:

thriller, stretching the conventions without quite breaking them, and

Troppo, a South Seas environmental thriller, and Ferrari, which

pushing on the boundaries of what popular television can do.

captured the life of the motor racing champion Enzo Ferrari. ‘Very often he wrote ‘spec’ – uncommissioned – scripts,’ recalls

Just before his diagnosis with a brain tumour and lung cancer, Troy delivered four feature-length scripts for the global warming

his agent, Elaine Steel. ‘With Edge Of Darkness, the BBC didn’t know

thriller Broken Light, inspired by James Lovelock’s Revenge of Gaia.

what they were getting. It started out as a thing about the Knights

To be continued...

Templar. When he was talking to aspiring film writers, he would

■■ Francis Troy Kennedy Martin, scriptwriter, born 15 February

say that you shouldn’t write to a formula. You should start writing

1932; died 15 September 2009

where you felt like writing, and that might mean starting in the

UK Writer Winter 2009 13

Necessary pain T

elevision is often accused of chasing the

first dotcom bubble burst in March 2000 – wiping

zeitgeist, so those of us who write for television

out $5 trillion in paper profits worldwide, in just 18

should wear the scars of the past 18 months with

months. Yet more than 50% of dotcoms lived to fight

pride. For, in the current recession, we were the

another day, and one of the lessons they learned

canary in the coalmine, choking on the toxic fumes of

was that content is king. Commercial television could

budget cuts and declining ad revenues. Where we

learn a lot from its online rivals.

led, the rest of UK Plc soon followed. Where we go

That lesson isn’t ‘Hey, let’s buy an overvalued

from here is anybody’s guess.

site called Friends Reunited, then sell it at a massive

Paid work dried up as long-running shows were

loss’(mentioning no names, ITV), it’s that when

cancelled and even a ratings-winner like The Bill was

you’re in a funding hole, it’s a bad idea to save

cut back from 100 episodes a year to 50. TV writers

money by cutting back on making programmes.

blew the dust off their unfinished novels and spec

The other lesson ITV could learn is to read the

screenplays as they waited for the phone to ring.

online fan sites – it might be pleasantly surprised.

Broadcast published numerous guides to surviving

Because when ITV does condescend to make new

the downturn. Bafta hosted a panel discussion on

scripted comedy or drama – Benidorm, Primeval,

the crisis in drama. One thing that everyone has acknowledged during this, the toughest year that most of us can remember is that the BBC is the last bastion of scripted drama. I don’t feel any blind loyalty towards the BBC – I abhor the current crackdown on edgy humour and strong language, and I wish it would stop pandering to the ban-this-sick-filth brigade. But the BBC dominates British scripted comedy and drama because it is the only major broadcaster with a serious commitment to making it. And it has a dominant online presence because it was the only British broadcaster to anticipate the rise of the internet, and to invest properly in its website. Attacking the BBC for its failures is fair enough, but we have to make sure we speak up when it’s attacked not for failure but for success. In many respects, the spotlight should really be on the decisions made by the BBC’s commercial rivals. At the time of writing, the shortlist for the Writers’ Guild Awards had just been published; by the time you read this, the results will have been announced.

More than 50% of dotcoms lived to fight another day, and one of the lessons they learned was that content is king. Commercial television could learn a lot from its online rivals

Lost In Austen or Murderland – it does it very well. Meanwhile, the Guild continues doing what it does best: ensuring that writers’ rights are properly defended in the brave new digital world, with new guidelines for writers working in animation, online drama and online content. In October, the new good practice guide for film writers and producers was unveiled at the Screenwriters’ Festival in Cheltenham, and the revised good practice guide for television writers also went live. Plans are under way to launch a new book-publishing co-op for Guild members. We continue to negotiate better rates for writers in theatre, radio and television – a major accomplishment in a difficult year. A few years ago, the midwife who delivered my daughter tried to reassure me by describing a contraction as ‘necessary pain’. I nodded in agreement at the time, but only because I wanted another shot of diamorphine. In retrospect, of course, I can see that she was right. And perhaps television’s current crisis is another form of necessary pain. The television industry has to stop ignoring

The venue for this year’s award ceremony is the Free

the online world, and it has to stop finding it so

Word Centre in The Guardian’s old archive building in

terrifying. If it wants to compete, then it has to get

Clerkenwell. This part of London was once the home

back to doing what it does best – making decent

of medieval scribes – the eponymous clerks – and

■■ Edel Brosnan

programmes – and it has to adapt to a future that’s

is now a hub for new media firms building a brave

writes for radio and

not just multi-channel but multi-platform.

creative world online.

television. She is Chair

It needs to remember what internet entrepre-

While television seems paralysed by fear of

of the Guild’s Editorial

neurs found out the hard way in the dotcom crash:

the future, that future is, in fact, already here. Fans

and Communications

no matter how big or small your budget, content is

of ancient geek history will remember the day the

Committee

the only thing that matters.

14 UK Writer Winter 2009

JULIAN FRIEDMANN

You’re not all right, Jack W

hen I look back at my years on the Executive

are dropping lower and lower so that the recom-

Council (EC) of the Guild, the abiding

mended 2.5% of the budget for the writer’s fee

memory is of the regular discussions about how to

is often on a par with the fee for an episode of

attract well-established writers who did not belong

EastEnders.

to the Guild.

The turbulent economic times we are living

This difficult challenge still needs to be faced.

through are undoubtedly having an effect – for

Is it that the Guild does not serve their needs? Is

many writers 2009 has been an annus horribilis.

it that the fees are too high for those writers earning

So what’s a writer to do? At this year’s

very well? They almost all have agents whom, it is said, take care of business for their clients – so why, they might wonder, pay a kind of commission to an organisation to which their agents might not deem it

Cheltenham Screenwriters’ Festival, there were more

Julian Friedmann

important to belong?

sessions than ever about the mechanics of surviving as a business person, covering areas such as tax, negotiating skills, PR, websites, networking and ways of earning a living by diversifying your writing output.

I have never been a trade unionist, in that I have

These sessions were packed out, not only with

never been someone who believes in the sanctity of

newcomers. Several established writers told me that

trade unions. They have their role; in some industries

they needed to talk to their agents about changing

they were the only means by which the workers, the

some of the deal structures they were used to

so-called ‘disenfranchised’, could gain a semblance

signing. Others were surprised by the passion of PR

of security. During the Thatcher years they were

queen Kate Adamson who explained why and how

perhaps more effective than during the Blair/Brown

writers could improve their status by better use of

years. Perhaps their time is about to come again.

social networks and other techniques.

However, when it comes to freelancers and

So Cheltenham worked as well for the experi-

vulnerable individuals who are, frankly, at the mercy of buyers in this extreme buyers’ market, unions such as the Writers’ Guild have a vital role to play even if some writers don’t realise it. In my time on the EC I watched the Guild manage the relationship between writers and the TV broadcasters superbly, ensuring that all writers were able to get regular increases and better contracts. It still

enced writer as for the newcomer: that is why there

When it comes to freelancers and vulnerable individuals who are at the

were 80 sessions in four days, more than any one person could attend,

mercy of buyers in this extreme buyers’

with some geared to

market, unions such as the Writers’

leading writers.

Guild have a vital role to play

However, no matter what individual writers

did not stop many complaints about ill-treatment,

can do by themselves, ‘I’m all right Jack’ is not really

especially on soaps and series – but here, too, the

that useful when recession strike. Writers can and

Guild is campaigning to improve matters.

should unite as powerfully as possible.

In film it was another matter; the producers

Which brings me neatly back to those high

effectively refused to come to the table. Fortunately

earners who have not yet joined the Guild.

the Guild’s Film Committee, led ably by Olivia

The experience they can bring as members will

Hetreed, have come up with a stimulating document

add to the Guild’s gravitas and increase its ability to

– the Writing Film good practice guide – that should

improve conditions for writers. Joining is, therefore, in

lead to a far more rational discussion about how

their self-interest. They should not be relying on their

writers and producers could relate to each other,

peers, or even worse, new writers, barely earning

recognising that once an agreement between them

anything, to enable the Guild to continue its work.

is made they are both on the same side, trying to

The Guild’s recruitment campaign over the past

make the best film they could.

year or so, led by David Edgar, has been a real ■■ Julian Friedmann

success. In theatre, a number of big names who

oping agreements and guidelines that benefit writers,

is editor of

were not members have seen the light and joined up.

the anecdotal evidence suggests that the number of

TwelvePoint.com

But in TV and film there are still too many absentees.

career writers in TV and film are in decline.

and an agent at

Not joining the only organisation capable of

Blake Friedmann

improving the terms and conditions for scriptwriters

Literary Agency

is, it seems to me, a sublimely irrational act.

Yet, while the Guild has moved forward in devel-

TV work is getting harder to come by as drama and comedy budgets contract. And film budgets

UK Writer Winter 2009 15

THE ARCHERS

UNDERNEATH THE ARCHERS

Behind the scenes of the world’s longest-running radio soap as it prepares to celebrate its 60th anniversary next year

The delight is in the details ‘Y

ou’re writing what?’ I couldn’t understand why people were so surprised that there was

a book to be written based entirely on the archives

of The Archers – to me it wasn’t just an interesting idea, but an obvious one: a ‘Miscellany’ of what had been established about Ambridge and its inhabitants over nearly 60 years. When I started work on the production team in 1980, The Archers continuity system was typed and handwritten on thousands of index cards (20,000, in fact). They were kept in a set of miniature wooden filing drawers with domed brass handles, labelled with such things as : ‘Characters living: A ’ (there were a lot of As, obviously) or, more ominously, ‘Dead and Gone’.

Archers writer Jo Toye explains how her passion for the programme led her to write the first ever ‘Miscellany’ of the show

first script I worked on in studio – the death of Doris, mother of Phil, mother-in-law of Peggy and ‘Gran’ to the rising generation of Shula, David, and Elizabeth (Kenton was away at sea and rarely heard). But I soon realised. A distraught listener phoned to ask where to send the wreath and when a DJ from a midWestern radio station (the news had spread across the Atlantic), started ringing up for a daily update on Ambridge events, such as the fallout over the pickled walnuts in that year’s Flower and Produce Show. (These bizarre conversations continued for more than a month, until the day John Lennon was shot, on December 8, 1980. Unaccountably, that was deemed a more pressing story.) After four years, by now steeped in The Archers, I wrote a trial script anonymously and put it on the editor’s desk. When a writer left the following spring, I joined the writing team and soon had the joy of adding to the archive myself. Nigel was up to high jinks in his gorilla suit, as Mr Snowy the ice-cream vendor and as a swimming-pool salesman; Eddie released a country and western record, got involved in a shampoo-bottling scam with Nelson Gabriel and was sick in the Bull’s piano. And I got a royal commis-

The cards had been the idea of the programme’s first production assistant back in 1951. In those

sion when, hearing that the Duke of Westminster was

days there were only two writers – not much room

to appear as himself at a Grey Gables charity fashion

for confusion, you’d think. But guess what ? Writers,

show, Princess Margaret wanted in on the fun, too. Over the years I’ve been writing, the storylines

though following agreed storylines, have a nasty

have dealt with every possible human drama –

habit of making things up.

love, death, betrayal, jealousy, births, deaths and

Writer One had patriarch Dan Archer announce that his favourite meal was steak and kidney pie;

marriages of course, but also rape and its aftermath,

Writer Two had him favouring chicken and leek. The

racism, drug use, abortion and criminal justice. The

only solution was to record not just major events – a

■■The Archers

tensions of family life under stress from illness, young

plane crashing into Dan’s barley or Phil’s romance

Miscellany by Joanna

children, elderly parents, too much or too little work

with Grace – but also the fact that Dan smoked a

Toye is published by

and lack of money, opportunity or housing have to

pipe, was vice-president of the cricket club and

BBC Books, priced £9.99

be interwoven with cows with bloat, Brookfield’s

■■The Archers is

new pasture system, and the boardroom machi-

broadcast Sunday –

nations at Borchester Land. Meanwhile the fete,

always wore a nightshirt, never pyjamas. I goggled at all this information. I’d come to The Archers late: it wasn’t a listening habit in my

Friday on BBC Radio 4

Flower and Produce Show, Harvest Supper and the

childhood, partly because we’d lived abroad. I first

at 7pm with a repeat at

Christmas production all have to be set up, run up

heard the programme at university, when I shared a

2pm the next day. There

to and have a new twist added – all in individual

house with people who’d grown up on it and who,

is a Sunday omnibus

episodes lasting just 12½ minutes, containing

away from parents and the dreaded conformity they

from 10 – 11.15am. It

two or three main stories and multiple ‘mentions’,

represented, now found it a sort of comfort blanket.

can also be heard online

and using on average five or six scenes and six or

on the BBC iPlayer.

seven characters.

At first I had little sense of the significance of the

16 UK Writer Winter 2009

In 1994, I wrote the first of five Archers novelisations, including a trilogy retelling the main storylines from 1951-2000 for the programme’s 50th anniversary. In 2001, I co-wrote The Archers Encyclopaedia. As we edited and compressed a vast amount of information to fit the word count, the value of the archive impressed itself on me again. What grieved me was the neglect of this potential Tutankhamun’s tomb of information. Some of its treasures do, it’s true, make it on air – everything from the reason for Shula and Usha’s latent mutual resentment, to Lynda’s previous battles over footpaths. But thousands more little gems are buried away: unless I excavated them they might simply be forgotten. Perhaps you could have lived without knowing that Bert and Freda Fry bought their Ewbank

1 1996: Pebble Mill studio

ARCHERS TIMELINE

1950 Whit week: trial week of episodes broadcast in Midland region only.

carpet sweeper together when Argos first opened in Felpersham, but as the Howard Carter of The Archers, I feel I have a duty to bring it to your attention. Want to know the design of the floral carpet that graced St Stephen’s one year? It’s in the book, complete with a sort of ‘paint-by-

1951 January 1: national transmission begins, initially for a six-week run.

numbers’ illustration of the red cow of St Modwena.

1955 Phil Archer’s young wife Grace dies in a stable fire in an episode that coincides with the opening night of ITV television network – 20 million listeners mourn.

Interested in the varieties of soup served at

1957 Phil marries Jill – the Brookfield dynasty will continue! 1967 Peggy and Jack’s daughter, Jennifer, has illegitimate baby, Adam. Father not named. 1967 Borchester mail van robbery. 1971 The show’s founding editor, Godfrey Baseley, retires. 1976 William Smethurst joins writing team. Later, as editor, he reintroduced Nelson Gabriel, introduced Nigel Pargetter, Caroline Bone (now Sterling) and the Grundys and focused on Brookfield’s new generation: Kenton, Shula, David and Elizabeth.

Brookfield harvest picnics? See Page 111. Digging through the archive presented joys and sorrows. The joy of finding, in full, Marjorie Antrobus’s recipe for Yemenite pickle and the fact that there were so many recorded mentions of Nigel’s jackets that they merited an entry of their own had to be set against the frustration of the ‘lost years’ of the fete and Flower and Produce Show and the detective work needed to fill in the gaps. More recent years – the archive only started to

1980 Doris dies.

be computerised in 1994 – presented a different

1986 Dan dies.

challenge. I risked being buried in – or possibly, if I

1991 Editor Vanessa Whitburn joins. She casts Debbie and brings in an Asian solicitor, Usha

printed it off, by – the sheer volume of information

1993 Susan Carter jailed for attempting to pervert the course of justice for hiding her criminal brother Clive. This leads to the Home Secretary, Michael Howard, being questioned about the number of women in prison. 1994 Shula’s husband, Mark, killed in car crash, leaving Shula pregnant following IVF treatment.

that could now be stored. What charmed me above all, though, was the care with which it had all been crafted, and it made me realise why, quite apart from the challenges it sets the writer, I love the programme so. Way back in time, a scriptwriter had once written, for whatever reason – perhaps it was a salient plot

2000 Phil retires, prompting inheritance wrangles. David takes over Brookfield.

point, or it demonstrated a deep-seated character

2001 David’s wife, Ruth, survives breast cancer.

trait, or perhaps it was just an expression of a

2002 Ruairi, the product of an affair between Jennifer’s husband, Brian, and Siobhan Hathaway, born. Siobhan later dies; Jennifer agrees to take on Ruairi. 2006 Civil partnership ceremony for Adam and his partner, Ian Craig. 2009 Current stories include fraudulent dealings of Lilian’s partner, Matt; Jack Woolley’s Alzheimer’s; proposal for a community shop. Cast characters now number 70, with numerous ‘unheards’.

personal aversion – that Phil had refused a meringue. Not just that, but someone else had bothered to write it down. This kind of attention to detail is what has made The Archers a complete, authentic and believable world – and has to be part of the reason for its success.

UK Writer Winter 2009 17

THE ARCHERS

Writing The Archers Three writers recall their time scripting Ambridge life Chris Thompson

I was confronted by the agenda. Item one was

attended my first Archers script conference

entitled ‘The Big One’. I turned the page to find

at Pebble Mill in December 1993. I already

to my horror that The Big One was Mark Hebden

had experience as a professional writer, having

meeting a sticky end at the wheel of his car. ‘No!’

written several radio plays and cut my TV teeth on

I screamed inwardly. ‘You can’t kill Mark. What

the daytime soap Families. But this was different,

about poor Shula?’ I glanced up, expecting my

this was The Archers. The Crown Jewels.

fellow writers to be looking as shocked as I felt.

I had given up my secondary-school deputy

But, of course, they were discussing the perils of

headship in 1989 and regarded myself as a

using mobile phones while driving, in a matter-of-

full-time writer. But 1993 had been a bad year

fact way. (Typically, a story way ahead of its time.)

and I had briefly returned to the classroom as

And then it dawned. I was being offered the

a supply teacher, thinking maybe I’d had my

power of life and death over characters I had

moment in the dimly lit spotlight and would

listened to since childhood. It was an awesome

have to return to the day job.

moment. Once Mark had been dispatched,

During the previous 10 years I had applied

however, we moved on to the Grundys and I

twice to The Archers and received no reply (the

experienced my second epiphany. I could come

producers in question shall remain nameless)

up with scams and shenanigans for the Grundys

but this time, having written a trial script

and get paid for it! What joy it was to be alive!

involving Linda Snell and a facial rash, I got lucky,

As I sat there, the winter sunlight flickering

met Vanessa Whitburn and Jo Toye, and was

in at the window, smiling both inside and out, I

invited to join the team.

heard the unmistakable sound of a helicopter

And so on that December day I entered the conference room on the sixth floor, to be

approaching, and was told that it was Noel Edmonds arriving to record his show. Truly, I

greeted by the woman whom I was replacing on

had died and gone to heaven … aka Ambridge,

the team. Not an auspicious start, but she was

where I stayed for four of the happiest years of

sweet about it and life went on. The other writers

my writing career.

drifted in and I took my place at the table, where

11957: Alan Rothwell as Jimmy

And I never did go back to the day job.

1 1984: Outside recording at

Truly, I had died and gone to heaven … aka Ambridge, where I stayed for four of the happiest years of my writing career. And I never did go back to the day job. ARCHERS Mary Cutler Archers addiction. When we drove out from our MISCELLANY ’d always been an Archers listener, from when Birmingham suburb – just a village in Worcestershire ■■The sound of a gate closing is made by collapsing an ironing board.

■■ Celebrities who have played themselves in the programme include Sir Terry Wogan, Alan Titchmarsh, John Peel, Britt Ekland, Dame Edna Everage and, most recently, the artist Antony Gormley.

18 UK Writer Winter 2009

I was a tiny child. It was my first experience of

when my father was born – into the neighbouring

drama. I remember where I was when Grace Archer

countryside, we were firmly in Borsetshire. We’d play

died – standing on a chair with my ear pressed to

at naming appropriate buildings: that country house

our crackly radio, sunshine flooding into the room,

hotel Grey Gables, that old farmhouse Brookfield. I

and me thinking: ‘No, they can’t do that!’ I remember the particularly horrible thudding sound of the machine that stunned the cows

invented a new game to play with my three small brothers. I was Phil Archer. They were his pigs. Time passed. I wanted to be a writer and as a

before they were slaughtered when Dan’s herd

teenager sold some stories to Jackie magazine (I

was devastated by foot and mouth. I was devas-

bought my winter coat to go up to university with

tated too – I checked in Jo Toye’s invaluable and

the last one). I was going to be a novelist, except

delightful Miscellany to see how old I was when

what I ended up writing was my autobiography

this disaster had taken place and found I was four.

and I doubted that it would sell.

There were happier consequences of my parents’

I decided that being a writer was a fantasy and

Michael Bartlett

though ‘amusing’ could often be fitted in. I had to learn to rein in my flights of fancy,

was briefly one of The Archers writing team in the mid-1980s and it was great fun, even if the

schedule was somewhat demanding. I had been writing radio and television plays

I had to learn to write for other people’s characters, but perhaps the best lesson I learned – and one I carried forward into my

since the early 1970s, but being part of a writing

post-Archers writing life – was economy. To

team was a very different process. I was used to

some extent this is something that every radio

more freedom; even if I had a commission with

writer, or at least every good one, learns very

a delivery date, I still had quite a lot of control

early on. ‘Less is more,’ as the saying goes. But

over how I used my time.

writing pre-planned storylines for a 13-minute

I found the discipline of having to write so much at a fairly fast pace and ensuring that it

slot sharpens that skill and I am still grateful for the experience. At the time I was writing for The Archers I

slotted into other people’s work exhilarating, challenging and, ultimately, limiting – for me

was living in a large town just outside London.

personally, that is.

I had never lived in the country and the

Having said that, the thing I enjoyed most

Grange

agricultural learning curve was steep. Without

was the teamwork. Sitting around a table with

the production team’s special adviser I would

fellow professionals, sharing ideas, bouncing

have been floundering. Now, many years later, I live in a tiny Norfolk

things off each other and jointly developing storylines and characters gave me a great buzz. Ironically, when it came to the writing, those plus points were the things that gave me the

village in the middle of a farming community and I know, though still at second hand, a lot more about farming. I am still a regular listener to the programme

most trouble. I have always been what one critic once called ‘an amusing, quirky writer’

and I love the reality of village life, but living

but working as part of a team, especially on

here has opened my eyes. Until I moved into this

something as well established as The Archers,

village I always believed that The Archers was

meant that there was little room for ‘quirky’;

fiction. Now I know that it is not.

I am still a regular listener to the programme and I love the reality of village life, but living Checkpoint Charlie in Berlin.

here has opened my eyes. Until I moved into this village I always believed that The Archers was fiction. Now I know that it is not.

concentrated on my actual career in teaching. Only

So on Friday evening, after a hard week at school,

I couldn’t quite stop writing. A friend idly remarked

while my young daughter watched Flambards, I

that he was surprised I hadn’t tried writing plays.

wrote, just for fun, the Monday episode to follow

The floodgates opened. I loved writing dialogue. I

my friend’s Friday one. And it was fun. I didn’t

found plays much easier to structure than novels.

know this, but the Archers structure had got into

I started sending my plays to the best market:

my brain. I instinctively wrote seven characters in

radio. I got them back: sometimes with a standard

five scenes – standard for the time. I was told later

letter, sometimes an encouraging one. Once I

that the first decent line was two thirds of the way

even got to meet a radio producer. But I was still a

down the first page. It was, too:

teacher when one of my old school friends beat me to it and started to write for The Archers. Naturally I was fascinated by her first broadcasts. Though it was recognisably The Archers, it

‘Neil: [talking of Eva, the au pair] She can get up a far lick of speed when she’s pushed.’ But who told me this? What happened to the script? How did I become an Archers writer?

sounded like her, too. I wondered what I would

Well, I have to end with a cliff-hanger, don’t I?

find out about my style if I tried writing an episode.

Dum de dum de dum de dum...

ARCHERS MISCELLANY ■■ Norman Painting, who played Phil, was the longest-serving actor in any one role in the world. He died aged 85 in October. ■■June Spencer (Peggy) was also in the original episode. ■■The sound of a lamb being born is actually someone squelching yogurt in their hands, followed by a wet tea towel being dropped on discarded recording tape.

UK Writer Winter 2009 19

UNDER THE MUD

From Garston to Hollywood SOLON PAPADOPOULOS

Roy Boulter explains how a community writing project resulted in a critically acclaimed feature film, Under The Mud

1 Star spotting (part 1): Roy Boulter with Zac Efron in Hollywood (Roy is the one on the right)

o there I was with John Travolta, striding down

and Julie Currie were disappointed by the group’s

the red carpet, heading into the Beverly Hills

reticence, which we put down to shyness. In fact,

Hilton Hotel, while trying to suppress a big stupid

they thought we might be undercover police – who

grin. He’s the legendary star of Grease, Saturday

else would ask them all these questions? The issue

Night Fever and Pulp Fiction – I’m the producer of

was quickly resolved after the session when my

Under The Mud, a feature film written collaboratively

name came up on the credits of Brookside. We

with a group of Liverpool teenagers that cost just

suddenly had credibility.

£45,000 to shoot (less than a month’s fuel bill for Danny Zucko’s private jet). Five years earlier, and a few thousand miles away in the slightly less glamorous South Liverpool suburb of Garston, Under The Mud started as a writing workshop at a youth drop-in centre. The area – politely described as ‘deprived’ – had the highest rate of teenage pregnancies in Europe, but, despite potential ‘distractions’, we managed to attract a group of interested participants. At the first session I and my fellow producers Sol Papadopoulos

20 UK Writer Winter 2009

They thought we might be undercover police – who else would ask them all these questions?

Over the following months we assembled a group of enthusiastic teenage first-time writers and developed an outline. The story, which The Times would later describe as ‘an energetic and surreal account of 24 hours in the life of a dysfunctional family’, featured characters based on the writers’ friends, families and neighbours. However, it owed a lot more to the imagination, with its aeroplane boarding-steps chase sequence, a holy-communion dress with mechanical fairy wings and an ‘imaginary friend’ as the central character (based on one of our

SOLON PAPADOPOULOS

1 Under The Mud writers with Kathy Burke: (left-to-right)Davide Catterall, Tanya Taylor, Natalie Southern, Mick Colligan, Lenny Wood, Howard Davies, Sophia Barlow writers’ real imaginary friend).

years to write and now took a further year to fund.

The story really started to take shape over three

The funding eventually came from drug money.

residential writing weekends. We sat around the

All the usual sources of funding had proved

table discussing, arguing about and laughing through

fruitless; The Film Council and our local screen

every scene, character and plotline. Eventually we

agency both declined to get involved (though they

had a 60-page treatment and a story that we were

would eventually invest in the film). But pharma-

all happy with.

ceutical giants GlaxoSmithKline (GSK), once a major

The problem was how to write dialogue with 15 writers. Improvisation worked well for some scenes and characters, but not others. We tried working in groups of two or three on individual scenes, which I would then give notes on. After countless rewrites, our production line eventually delivered a final draft that the actor and director Kathy Burke, an avid supporter of the project, described as the most enjoyable script she’d read in a long time. Next up was the small matter of raising the budget. This funny little slice of social surrealism had taken two

We sat around the table arguing about and laughing through every scene, character and plotline

employer in the area, had just closed down its factory, leaving behind a social fund, to which we successfully applied. We decided that we’d begin pre-production on April 1 (a deliberate choice) and whatever amount we had raised by that date would be our budget. We had the GSK grant and local social initiatives were also really supportive. For example, South Liverpool Housing Group provided us with two houses: one for the main set, the other for production.

UK Writer Winter 2009 21

UNDER THE MUD The three-week shoot was one of the most exhausting and enjoyable that any of us had ever experienced. The professional crew were aided by the writers, members of the community and anyone else we could rope in. We renovated, decorated and furnished a derelict church, two houses and a landscaped garden. A family were able to move straight into a newly decorated and furnished home after we’d finished. Throughout the shoot we had to beg and borrow. And, though we didn’t actually steal the ‘stolen car’ needed for a scene, it did get us into trouble. A wrecked car was donated by a local scrapyard but the police turned up on location and took it. Apparently it had been pinched that morning and quickly sold on; the scrapyard had even smashed it up to look authentic for us. Luckily the helpful boys in blue provided us with another car and the crucial night shoot went ahead. With an eventful shoot completed, more

A wrecked car was donated by a local scrapyard but the police turned up on location and took it. Apparently it had been pinched that morning and quickly sold on

film. Thankfully, it worked. The icing on the ‘mud pie’ was the score composed by the legendary Pete Wylie of The Mighty Wah! He also contributed five tracks from his classic album Songs Of Strength And Heartbreak, and a further two tracks were provided by my former band, The Farm. A selection of additional songs, chosen during the writing sessions, also needed to be cleared and though we knew it would be expensive, we decided to include them as they were key to the story. That was a decision that would eventually prove costly but, for now, the film was finally finished and we were ready to tell the world. Invitations started coming in from film festivals. The response from our first, in Victoria, Canada, was amazing, with the film likened to early Mike Leigh: ‘A fiercely funny and achingly compelling portrait of a working class Liverpool family’. Blimey. Several trips followed – we invited writers whenever we could

fundraising meant a long wait before the edit. Then,

raise money or afford to pay for them ourselves.

thanks to a development executive Marc Boothe

We visited places as diverse as Northern Ireland,

championing the film, the UK Film Council finally

California, Keswick, Colorado, Cambridge, Cannes

came on board.

(Sol shot a Royal Television Society award-winning

Unfortunately, timing issues resulted in us having

documentary on that trip), and even Hollywood,

to submit a cut to them that we weren’t happy with.

where we rubbed shoulders not just with John (Mr

Having the film narrated by the imaginary friend

Travolta to you), but also with Brad Pitt, the Afflecks,

character, which had seemed so funny and clever at

Zac Efron and Michael Sheen.

script stage, just didn’t work. The central focus of the

Back home, things weren’t running so smoothly.

film was an empty space on screen; it was confusing.

Endless visits to distribution companies resulted in

The cut was rejected and with it went hopes of further funding. The film sat on a shelf for a year

the same outcome: they loved the film, but with no

Star spotting

big names it would be prohibitively expensive to

(part 2): Under The

market. Getting word to the film’s audience would

to make an award-winning documentary on the

Mud writer Mick

be difficult – though they all acknowledged that

history of air warfare, and me to write, including

Colligan (almost) with

it did have an audience, and potentially a big one.

an episode of Jimmy McGovern’s The Street (a

John Travolta

Ultimately, it was too much of a gamble.

while Sol and I went off to earn some money – Sol

We eventually reconvened, reinvigorated, and watched the film with a fresh eye. The year’s break was the best thing that could have happened. We had always maintained that the film had no central character; ‘the family’ was the main character. Wrong. Only Magic, the family’s unofficial lodger, was actually pro-active: he fought to keep everyone together, he set out to ‘win the girl’ and was the catalyst for almost everything that happened. It was his story. How clever were we! Fortunately, the actor playing the role of Magic, Lenny Wood (also one of the writers), had turned in a great performance. A day of reshoots resulted in us book-ending the film with two new scenes, beautifully setting up and resolving his story. Our editor, Liza Ryan-Carter, then skilfully reshaped the

22 UK Writer Winter 2009

SOLON PAPADOPOULOS

total education).

SOLON PAPADOPOULOS

1 The Potts family in Under The Mud: (left-to-right) Lenny Wood, Lauren Steele, Lisa Parry, Andrew Schofield, Jasmine Mubery, Dave Hart, Adam Bailey The stunning Liverpool Philharmonic Hall hosted

passed a screener on to an acquaintance who fell in

the premiere, which was followed by a big party.

love with the film and decided to invest in its release.

But with no distribution deal, the film remained

The first job was to clear that soundtrack. Our

unseen. The Guardian described it as ‘maybe the

music supervisor from Of Time And The City, the

best British film you’ll never see’. We were convinced

fantastic Ian Neil, cajoled, harried and charmed the

that it at least warranted a release but we couldn’t

publishers and record companies, and cut the bill by

even put it out ourselves since the initial quotes to

two-thirds – but it meant a DVD release only.

clear the music came to nearly double what the film had cost to shoot. Another year passed and Sol and I produced our second feature, Of Time And The City, directed by Terence Davies, which was a critical hit at Cannes and around the world and a success at the box office. The two films couldn’t have been more different, in every sense. Fate finally conspired to get Mud released. After a chance meeting, an old school friend of Sol’s

More than seven years after the first workshop, Under The Mud is finally available

And so, more than seven years after the first writing workshop, Under The Mud is finally available – although self-distribution, increasingly the only option for micro-budget UK features, is difficult and time-consuming, like everything else on this film. We’re still in touch with the writing team. Some continue to write, some act and some have just got on with their lives. But, like us, they are all very proud of Under The Mud. ■■ www.hurricanefilms.net

UK Writer Winter 2009 23

SHORTS

The long road to a W

hen Washdays won Best Film at the Rushes Soho Shorts Festival this summer it felt like

a vindication. The idea for this film, written by me and brilliantly directed by Simon Neal, had started five years ago when I was writing for Doctors, the

continuing drama series on BBC1. To cut to the chase,

Graham Lester George on writing Washdays

website from an ‘award-winning commercials director’ asking for short scripts. I didn’t have a script, but I did have this idea, so I emailed him the outline. His response came quickly. ‘I have read over 100 [scripts] in the past few weeks from an earlier posting on Inktip.com, and I’ve got

it was rejected by my then new script editor, we fell

to say that Washdays is hands down the best idea I

out over it, I called him something (unprintable here),

have received. It’s a beautiful character study of the

and I was sacked from the programme. But a good idea is never wasted, so it stayed

little boy, and that moment when his mum realises what it is that her son has stolen, the mixture of

in my virtual bottom drawer until the autumn of

emotions that she and the audience will feel; I don’t

2007, when I saw a posting on the Shooting People

think you can ask for anything more from a script, short or otherwise.’ Flattered isn’t the word! I can’t speak for others, but that kind of praise is what gets this writer out of bed for the other 364 days of the year. And once we got down to discussions and I learned that Simon intended to shoot on 35mm, I wrote the first draft borne aloft on angel’s wings. The first draft of many. But I’m getting slightly ahead of myself here. The first thing we did was draw up a contract. Although

24 UK Writer Winter 2009

This was the place. We were now into late spring 2008 and, armed with photographs supplied by Simon, and images from Google Earth to give me a sense of the place, I wrote further drafts based around the possibilities that the now final choice of location offered. At one stage the script was running at 16 pages, but as the pre-production planning got under way, it became clear to Simon (who was funding the film from his own money) that a 10-minute film shot on 35mm was all he could stretch to. His notes had hitherto been thoughtful and logical, but now they became brutal as he hacked away at my favourite scenes, most loved characters and treasured dialogue. It was painful. But as I mentioned before, Simon is a commercials director, and one thing commercials directors are better at than most is brevity. Telling a story in 30 to 40 seconds takes great skill and discipline. By comparison 10 minutes must have felt almost like a feature. I trusted him and it paid off. By the end of the process my script was eight pages long – half its original length – and as tight as a drum. Shooting was scheduled for the last three

short film

days of August 2008, but there was small problem remaining; the right boy to play Kyle, the lead part, had not been found by the week before the camera was due to roll. The shoot would have to be postponed unless a minor miracle happened. Luckily one did. An 11-year-old by the name of Kieran Dooner turned up at Simon’s office to audition on the Tuesday and was, as can be seen in

this was a no-pay gig – or more accurately a

the finished film, a perfect fit for the part.

‘possibly jam tomorrow’ gig – there were other issues

I was on location for the whole of the shoot,

to be addressed at a professional level, licensing the

both as writer and as the stills photographer, and

use of the script and our respective credits. With

it was a terrific experience. The atmosphere and

the very generous (given that there was nothing in

relations between all members of the highly profes-

it for him) help of my agent, Julian Friedmann, we

sional cast and crew was excellent.

reached a formal agreement for a one picture deal

Special mention must go to the aformentioned

and equal credit.

Kieran Dooner, who I believe has a great natural

With those important matters finalised, we

talent for screen acting. To Carys Lewis, who played

discussed possible locations: the first was Somers

Chris, his mum, superbly. To Simon, who directed

Town (before Shane Meadows got there), looking at

brilliantly. To the director of photography Nic Morris

the possibilities that the housing estate, the canal and

BSC, who shot the film beautifully. And last but not

whole King’s Cross area could offer. Ramsgate was

least Dan Cleland, of Another Film Company, who

another, with its coastal setting and Dreamland, the

did a terrific job producing.

recently closed fun-fair site.

As well as winning Rushes Soho, Washdays was

Each of these generated several script drafts.

recently awarded Silver in The Smalls Film Festival,

But finally Simon happened to drive past the Alton

and has been Officially Selected for several events

Estate in Roehampton. A 1960s-built mixture of

including the Encounters Short Film Festival in Bristol

high- and low-rise, conceived, with all the misplaced idealism of its time, from the seeds of Le Corbusier’s arrogant theories about how people should live.

and the New Orleans Film Festival . It is also eligible

Kieran Dooner in

Washdays

for submission to Bafta for this season’s Short Film award, so fingers crossed.

UK Writer Winter 2009 25

THE WRITER-DIRECTOR

It was the indie dream UK Writer meets the writer-director of the award-winning Beyond The Fire

1 Maeve Murphy

orn and brought up in Northern Ireland, writerdirector Maeve Murphy co-founded theatre

Her first feature, Silent Grace, was released in 2004

1 Silent Grace

and her second as writer-director, Beyond The Fire,

How did it feel when you finally had

won the Best UK Feature award at this year’s London

the first public screening?

company Trouble And Strife before moving into film.

Independent Film Festival.

Really frightening! It was at the Curzon in Mayfair and the place was packed. Fortunately the film

UK Writer: Congratulations on winning the

went down well but it was noticeable that people

Best UK Feature award for Beyond The Fire. It

wanted to talk mostly about the style of the film

must have been great to get such recognition.

rather than the subject matter. It’s a love story

Maeve Murphy: Thanks – yes, it was

about two people who have been raped and

fantastic to win. The film has dominated

I sensed that the audience after the screening

my life for a while now. It really is genuinely

were shying away from the subject matter.

independent, with no money from any of

However, in May this year, the Ryan report

the established funding structures until a

– looking into child abuse in institutions in

grant from the UK Film Council right at the

Ireland – was published and since one of

end. In many ways it was the indie dream:

my characters, Sheamy, had been raped as a

making the film I wanted, in the way that I

boy by an Irish priest, there was suddenly a

wanted and then ending up picking up a

lot of focus on that aspect of the film.

prize at a film festival. How did you approach that subject How did the film come about?

matter when you were writing?

I started developing it with an American

I decided that I didn’t want to involve any

producer, Dean Silvers, which is partly why

children in flashback scenes. I was worried

we weren’t well-positioned to get UK and

that, even if nothing was shown, just to

Irish funding. So, once the script was written,

involve them in the film might somehow

we started by shooting for one day, then

be exploitative. The question for me was

showed the footage to financiers to get more

how we can remain compassionate and humane

funding. We ended up making the film in three

while also seeking justice. I didn’t realise when I

shoots over the course of about 18 months.

was writing or directing the film that it would prove

26 UK Writer Winter 2009

1 Scot Williams and Cara Seymour in Beyond The Fire controversial, but at the end there’s a scene when the man forgives the priest who raped him, and that has caused a lot of strong reactions. Has the film been shown in Ireland? It’s been shown in Northern Ireland and will be screened at the Irish Film Centre in Dublin towards

Even when I was co-writing plays, I knew I wanted to make films

my first short, Kiss, and that became a calling card when I went looking for finance for my second. Like much of my work, people either seemed to love it or hate it, but it got into some film festivals and some people at the British Film Institute liked it – they awarded me the money for the next one.

the end of this year. After a screening in Belfast I

Were you conscious of trying to make

did a Q&A that was also broadcast on BBC Radio

shorts that would attract attention and

Ulster. It was just after the Ryan report had been

money to help you to build a career?

published and there was almost a lynch-mob

Not at all. I’ve always just made the films I wanted

mentality towards people who had committed

to make. By the time I’d got a few shorts under my

crimes against children. And there were people who

belt I was well-known enough to get some funding

didn’t like the fact that Beyond The Fire ends with

together for a feature, Silent Grace. We didn’t have

forgiveness. For me the film’s ending, while showing

enough money to finish it when we started filming

the tragic institutional failure of the Church to deal

but we managed to get a completion grant from

with the paedophile crisis, represents a moment of

the Irish Film Board to see us through. In some ways

personal resolution for Sheamy. He finds a way to

Beyond The Fire was like starting all over again, since

move forward and let go of the past by forgiving

it was my first feature film in England.

his abuser. He is no longer carrying hatred in his heart and has broken the cycle of abuse. However,

Like most independent film-makers you’ve

like many victims, he is not taking Father Brendan to

clearly had to spend a lot of time getting

court. This is a reality, however hard it is to stomach.

funding for films and then promoting

Katie, the other lead, does go through the legal

them – does that frustrate you?

process, and gets a conviction against the man who

It’s not ideal. I’ve been a producer on both my

raped her, but Sheamy chooses not to. The film

features, out of necessity. But I’d like to drop that if I

closes with some of the shocking statistics about the

can. It just takes up too much time.

scale of the abuse that has taken place. And what about your next projects? You started off in theatre – how did

I’ve got several films in development, both as a

you make the move into film?

■■ Beyond The Fire is

writer-director and just as a director. I’m not in any

Even when I was co-writing plays with Trouble And

available on DVD from

rush, I just want to make the films I want to make.

Strife, I knew I wanted to make films. I self-financed

lovefilm.com

■■ Full details: maevemurphy.net

UK Writer Winter 2009 27

GETTING IT MADE

Filmmaking in Fraserburgh How I filed away the rejection letters and started making films, by Mark Jackson

’m a writer based in the north east of Scotland. As well as writing a clutch of short films, I’ve taken

feature film projects to Moonstone Screenwriters Lab

and SOURCES2 European Scriptwriting Workshops and been selected for a BBC Radio Drama Masterclass. In 2001, my script Smith was shortlisted for the Tartan Shorts scheme run by BBC Scotland and Scottish Screen but didn’t make the final selection. Seven years later I passed it to Carly Bowie who had recently completed a film course at Aberdeen College lines of dialogue – my idea was to make an almost

1 Mark Jackson: It’s been a steep learning curve

silent movie, not a talkie. Carly was convinced that

Henry Duthie MBE is 85 years old. For many

The script was 13 pages long, with only three

we could do it. Had it been made as a Tartan Short, the film would have had a budget of between £45,000 and £60,000.

has a reputation for putting on quality stage shows.

As it was, we had a budget based on goodwill.

He’d been kind enough to read some of my work in

Our first decision was to make the film in our

the past, so I went to see him. After all, when you

hometown, Fraserburgh. That cut out travel and

live in a relatively isolated place, you have to have

accommodation costs.

a network of people who will give you feedback.

The next question was casting. Smith is about an old man who is terrorised by a group of youths – it’s

Henry Duthie as

Smith

years he has been involved with the Fraserburgh Junior Arts Society, an amateur dramatic group that

Henry was someone whose opinion I valued. We met and discussed the script and then I just

a modern morality tale. So, first off, we needed to

asked him if he would be Smith and if we could use

find our Smith.

his house for filming. He replied ‘yes’ to both. Now we had to get hold of a camera and crew and the additional cast. We got support from the local arts officer with Aberdeenshire Council and their Media Unit but the most difficult thing was tracking down the members of the gang. Getting these young guys to agree to take part was a worry. We had a few who said that they were interested then fell away. Finally, Carly collared a young punk band who said they were up for it. Carly and I then approached shop owners, a local Post Office and the Royal British Legion for the story’s locations. The most daunting thing was the realisation that the buck stopped with me. From being a writer, I had become, by default, the producer, director, runner, driver, sandwich-maker and general stand in – as had Carly.

28 UK Writer Winter 2009

We worked out the shooting schedule. It was to be a three-day shoot: 6am to midnight. It was hard on everyone but Henry was incredible. He was full of suggestions and kept telling the rest of the young cast that he was basing his performance on Tyrone Power. To their credit, they quickly found out who Power was. The main worry was a simple one: would everyone turn up and remember what they had agreed to do? Unfortunately, the first day of the shoot did not get off to a good start. The first two choices of locations were poor ones. There were too many cars and too many people watching, and the pavements were too narrow to allow the crew to work properly. This was the opening morning, and by 9am I was standing in the middle of the set, with people asking me questions that I did not know the answer to. But that passed quickly. It had to. Smith was made with a crew of four: me, Carly,

1 The cast and crew of Stoked

at the Inverness Film Festival. We are still submitting the film to festivals, as short films appear to have only short shelf lives.

Lorna Berridge on camera and Ben Barrett doing

More importantly, Carly and I are building on

sound. As the day went on, we began to click. We were new to this and new to each other, but as a

what we’ve learned. We shot another film, Stoked,

team we began to dovetail.

in October and were much more specific about our

And as we worked and became smoother, I

requirements during shooting.

began to realise that what had started out as words

Unlike Smith, Stoked was written with

on my laptop was now taking shape. With that came

Fraserburgh in mind: the fishing harbour, the charac-

the realisation that in writing the script I had over-

ters, the caravan park and the beautiful beach.

looked a number of crucial elements.

The shoot was longer and the crew bigger, but

A couple of times, I had to fight down panic, as

we stuck with a small cast. Because so much of the

I realised that we did not have the capability to get

shoot was weather-dependent, we all held our

certain shots. We had to improvise as well as we could.

collective breath as the day approached, but our

While I realised some of the problems as we shot, far more was revealed when we got into the editing suite. Editing took six days and was a real eye-opener for me. For every pat on the back you allow yourself, there are at least three laments. You promise yourself that if you get to make another film you will not make the same mistakes. In the edit you get to change your mind about how you are telling the story, or you get it changed for you. Once we had a final cut, including an original theme soundtrack, we had to decide what to do with Smith. The costs had started to mount. Professionalquality copies of the film were needed but they cost money. As does submitting to film festivals. We were very fortunate that the first Aberdeen City and Shire Film Festival was held in July, so Smith was premiered there, alongside Scott Graham’s Shell and Born To Run. In November 2009, Smith was also screened as a preview film before one of the feature presentations

A very experienced writer once told me that, as a writer, you need to get stuff made. I have tried to take that advice to heart. We’ll be making a third short film soon

luck held and the shoot went well. The aim is to make a stronger film that is more fluid – it’s about surfers in the north east of Scotland so it needs that quality. A very experienced writer once told me that, as a writer, you need to get stuff made. I have tried to take that advice to heart. We’ll be making a third short film soon. Smith and Stoked have taught me a lot, but it has been a steep learning curve. It also enabled a group of people to be involved in making a film who otherwise would not have been. That is no small thing. The benefits have been considerable and not just for me as the writer. We have had a lot of support; Aberdeenshire Council and many local people and businesses have chipped in to enable us to get these two films made. Of course, I will still keep sending off my feature scripts and file away the rejections and the ‘Dear Mark’ letters, but, in the meantime, I hope to make another short film and keep telling stories.

UK Writer Winter 2009 29

POETRY IN SCHOOLS

Rhyme and reason

until it was finally wound up. I can’t remember the official reason WH Smith gave, but I suspected that some accountant thought it wasn’t profitable and was therefore worthless. I was sorry to see it end, but it had helped me in a number of ways. I was now getting enough work from schools to be able to change from full-time to part-time teaching and I’d started writing for children myself. Usborne Books had asked the Poetry Society for a list of poets who might want to contribute to a new anthology of poems for children. And it wanted new poems, not reprints of work by people who’ve been dead long enough it isn’t necessary to pay anyone to reproduce their work. ‘Writing poems for kids,’ I thought. ‘Easy.’

Kevin McCann on the benefits – for writer and students – of taking poetry into schools

I rattled off half a dozen verses and tried them out on some eight-year-olds. It was a sobering, painful experience. They told me my poems were ‘boring’. They were right. They were preachy and had no emotional impact. I’d settled for the ‘It’s worthy... that’ll do’ school of writing. I phoned the poet Matt Simpson and we talked

for a good hour or more. He reminded me that all t all started more or less by chance. I’d been

really good poems ‘should recreate an emotion or

teaching English for seven years and had just

an experience for the reader’. He suggested I forget

had my first pamphlet of poems published. I was

trying to write for children and just write what came

booked to do a reading, which was funded by the

to me instead. ‘And avoid contemporary references,’

Poetry Society, and was sent a questionnaire. In

he said. ‘They date your work.’ Sound advice.

the ‘Further comments’ section I said that I’d be

I was back in school the following day and while

1 Kevin McCann:

I stopped talking at

on break duty had to separate two 14-year-olds

children and began

This was funded by WH Smith and a school got two

who were half-killing each other behind the bike

talking to them

poets for two days for free.

sheds. One kept saying: ‘I didn’t mean to hit him Sir, I

interested in joining the Poets in Schools scheme.

A year went by, then one day I got a call asking me if I’d like to work with the poet Pete Morgan in a school in Cumbria. I already knew Pete – no worries about getting on with my co-worker – so

was just messing.’ I was just... That phrase stayed in my head and when I got home, I sat down and wrote:

it was just a matter of getting time off school to go. No problem there either. THAT woman had been

I was just

Prime Minister for only three years, unions were still a

Teaching our cat to swim

force to be reckoned with and the only people who

And suddenly

‘delivered’ were the Post Office and the local dairy. I

The bathroom was flooded

agreed to give up my next 16 free periods and run the bookstall at the Christmas Fair and, in return, the time off was granted. I learned a lot. Pete was a joy to work with. The children were primed and the teachers all knew

Four more verses wrote themselves. It was about as far away from a worthy poem as you could get and, to my amazement, was accepted. Teachers have since told me that its very grimness has given

poetry mattered. Nobody used the word ‘text’.

them starting points for discussions on cruelty and

The only disappointment, apparently, was me. The

how it often grows out of ignorance and emotional

children didn’t think I looked like a poet. It was my

carelessness rather than an intrinsically evil nature.

first booking so I’d actually had a haircut and was wearing my best jacket and a collar and tie. I didn’t make that mistake again. I carried on with the Poets in School scheme

30 UK Writer Winter 2009

‘Avoid contemporary references …’ With that advice in mind, I stopped talking at children and began talking to them. I discovered that the trappings of our respective childhoods were

ANDY FORD

different – when I was a kid TV was black and white, computers existed only in sci-fi films etc – but there were constants. We’d all been worried about the

few more years at most. I imagined that it would

fluff monster that lurked under the bed. The death of

only be matter of time before I was headlining

a family pet was devastating. Being the new kid was

literary festivals and appearing on telly. The airs and

no fun at all. We didn’t like bullies.

graces we give ourselves ! Eighteen years on, I still

My poems began to change. I wrote about ghosts, a pet dog that ‘bites the heads off rats’ but

always been with ‘project facilitators’ who’ve seen schools work as either a nice little earner or a spring-

bullied because you were overweight and how

board into some publicly-funded sinecure. I’ve met a

you were overweight because you were bullied. It

few – a very few – bad teachers. The majority have

was liberating to find that I could write poems for

been hardworking, dedicated men and women

children that I could be proud of as poems.

doing an excellent job despite outside interference. adopted the simple rule of shopping around until

sort of informal research’. All power to you Fin!

I found one that suited. These days I’m with Top of

be so much more than that. Over and over I’ve seen

If you read the article by Philippa Johnston, the director of literaturetraining (UK Writer, Autumn 2009), and want to try schools work for yourself, I have a few extra pieces of advice:

poetry had a real and positive impact on children

■■ Schools pay for your services – give them their

who usually gave up before they’d even started

money’s worth.

bound to fail and, therefore, there was no point in even trying. In one school where I worked for three consecu-

■■ Don’t expect respect – earn it. ■■ Have a look at Ted Hughes’s excellent Poetry In The Making.

tive terms running an after-school poetry club, a boy

■■ Don’t undersell yourself in your flyer but don’t

with learning difficulties improved his reading age

exaggerate either. You’re not an estate agent!

by four years in two terms. And that wasn’t down

■■ Shop around – these days few agencies expect

to me. I was merely a vehicle. It was the profound

you to be under exclusive contract.

effect of poetry itself. Given a writing exercise, an adult will often ask: ‘What’s the point of this exercise?’ Children will write

exercise, an

for the best reason there is: the joy of it. Adults want

adult will

If their piece has an implied subtext, all the better,

often ask,

but they rarely set out to make a point. They just

their work to ‘say something’. Children will just write.

write what comes. I remember one girl writing a poem about Mars. She described the surface as looking like ‘a crumpled duvet.’ Her last two lines read:

exercise?’ write for the

very well indeed.

that problems with spelling etc are no bar to the

because they were convinced that they were

Children will

the Tree (www.topofthetree.info) and it suits me

imagination. In fact, I’d go further. The notion that there’s no wrong answer in

point of this

I’ve worked for a whole host of agencies. I

I discovered that my schools work became ‘a kind

under-achievers begin to shine as they discover

‘What’s the

I’ve had some bad experiences, but they’ve

the Gloom’. I wrote about how lousy it felt to be

I found that writing poetry isn’t just fun; it can

writing

visit schools and still love it.

at night pillows your head and guards you ‘from

And like Fin Kennedy (UK Writer, Autumn 2009)

Given a

In 1991, I finally left teaching altogether to write full time. I thought I’d continue with schools for a

■■ Ditto your Criminal Records Bureau (CRB) check – see if there’s a Play Action Council in your area. Merseyside’s did mine and it was considerably cheaper than everywhere else I’d approached. ■■ Ditto public liabilty insurance. I phoned the Arts Council and they recommended Blake Insurance Services (www.higos.co.uk) – £84 for a jargon-free Creative Arts Policy. And what about my own writing? I still write and publish poems, both for adults and children. One feeds the other. I’ve started storytelling (long

On Mars everything’s red.

saga – some other time), just finished my first novel

and have several schools visits lined up – to prepare

Even the silence.

I’ll be reading pirate stories, Welsh folktales and I’d sell my soul for an image like that!

researching ecology.

best reason

When I asked her how she’d thought of it, she

there is: the

adopted a long-suffering air – she was eight – and

financially secure and now be looking forward to

joy of it.

said: ‘I didn’t think of it. It just came to me.’ Then she

retiring. But I’m a poet which means, like Oisin in the

paused and added: ‘It was inspiration.’

Irish legend, I have no sense at all.

Of course, I could have stayed in teaching, been

UK Writer Winter 2009 31

ONLINE PEER REVIEW

Peer to peer ‘Miss Pitch’, who runs pitchparlour.blogspot.com, looks at peer review websites for novelists and short story writers

vast and now rather unwieldy forum where writers can spend hours of their lives trying to garner enough ‘bookshelf’ placements to put themselves up the ranks and get on to the ‘editor’s desk’, or spotted by an agent. A quick look in the ‘Good News’ area of the forum (disingenuously subtitled, ‘Got lucky?’ rather than, ‘Got busy and worked your tail off with

nline peer review sites for writers have prolifer-

querying?’) reveals that the women who scored

ated over the past few years. They offer infor-

an agent did so by sending out 125 queries, which

mation, community and the all-important feedback from someone who isn’t your mum. Anonymity

rather takes the luck aspect out of it. HarperCollins has picked up a few novels from

is one of the most appealing aspects of the peer

Authonomy, but the professional critiques it offers

review site, particularly for aspiring writers who

monthly are flagging and some have never been

labour in secret and would struggle to show their work to those around them. Of course, anonymity doesn’t shield you from the pain when a harsh review drops into your inbox. Writing and publishing are wholly subjective industries; rejection and criticism are part and parcel of surviving within them. The major peer review sites differ dramatically in both their aims and the ways they are set up. All will take up more than an hour of your time each week, so it is worth choosing very carefully. Do bear in mind that you will have to put in as much, if not more, as

Every so often an enterprising agent will trawl through it, before becoming bored by the general quality of the unspeakable garbage

you will get out of a peer review site.

received at all. Of course, every so often an enterprising agent will trawl through it, before becoming bored by the general quality of the unspeakable garbage clogging Authonomy’s rapidly hardening arteries. This will take less than five minutes, and the probability that they will find you is so slim it’s just not worth it. I could go on, but I won’t. You can also self-publish through Authonomy, which has teamed up with Create Space to offer this ‘service’. This has long been expected by those watching the site. They are a huge pool

One of the most professional and useful sites is

to turn a resource-sucking site into an earner. Always

Writewords: a good, solid site with a wealth of

useful.

information for anyone involved in writing for the UK market. It has news, jobs, forums and lots of other

YouWriteOn (YWO) started out well. You upload

stuff. Published authors use it, which is a good sign,

your work and earn credits by reading and critiquing

and the quality of the commentary on their forums

that of others. I can see two problems with this:

indicates a higher than average level of intelligence,

first, you can’t choose what you critique, which is

talent and experience. It costs £35 per year, which is

fine, but if you hate fantasy/romantic fiction/literary

within the reach of every aspiring writer. Time spent

fiction and it lands in your inbox, you’re not going to

here is unlikely to be a bad investment.

review it from the standpoint of a reader of fantasy/ romantic fiction/literary fiction, which is what the

Now we come to Authonomy. Not a bad idea.

writer will be, and where they are aiming their

HarperCollins produces a rather splendid site (I love

manuscript.

aspiring authors upload their work. It also added a

32 UK Writer Winter 2009

well is something only you can teach yourself. Feedback gives valuable pointers, but becoming an author is about long, lonely hours spent cracking your knuckles and your pencils, and writing things down

of sitting ducks, ripe for a nudge towards putting their books into print themselves and enabling HC

the antiquated printing block header) and lets all

1 Learning to write

The forums do not look like a very nice place to spend any time: thousands of posts by the same

YOU SHOW ME Six peer review sites: writewords.org.uk Feature articles and online community – costs £35 per year authonomy.com HarperCollins’s community site for writers, readers and publishers youwriteon.com Peer review and publisher tie-ins

self-promoting members is never a good sign. On

the ‘craft’ of writing can do so (and probably do)

the upside, the site has had some successes: The

at writing groups or on an MA course. The fact that

Bufflehead Sisters and The Third Pig Detective Agency

they understand how writing works does not auto-

both came to mainstream publishing through YWO.

matically make them better writers. Some people are

Another book, Caligula, appears to have been written

good storytellers and that’s all there is to it, although

by a man who already had lots of media contacts and

I hasten to add that good storytellers must get their

got his agent though a friend of a friend, which isn’t

spelling and grammar ducks in a row before submit-

the lottery ticket almost every other writer on the site

ting to agents and publishers. The general tone of

is looking for, so I think it’s misleading.

the most active participants in these sites is that of approval seeking. Am I good enough? You will not

Litopia appears to be splendid, apart from the fact

become good enough by spending vast tranches of

that you have to prove yourself to get into it and

time on peer review sites, that I can assure you.

contribute to the forums to earn Brownie points and

give people the chance to get their query package,

and gets things moving, but it has no transparency

or ‘pitch’ reviewed. A bad query turns an agent’s

and the unsettling ‘judged and found wanting’

default setting to ‘no’, which as an unknown author is

feeling of a playground clique. I haven’t got time for

something you want to avoid.

that, so I confess to having no knowledge of its inner workings, but it isn’t for the likes of me anyway. No one at Litopia (as far as I can see, and feel free to correct me) is going to pay you for your writing. You might make a few friends, which is always nice between cups of tea and Word and games of solitaire, but don’t forget that you need a cheque to pay for the gas to boil the kettle. Litopia is the brainchild of agent and former author Peter Cox, whose client list is bizarrely eclectic, but he does seem to engage with the site and new writers. The Litopia Daily and After Dark podcasts are always worth a listen, so it’s probably a cut above the others. The Bookshed also works on an appli-

YOURS... bookshed.eu ‘Created by writers for writers’ – includes open discussion forum litopia.com ‘A writers’ meeting place’ pitchparlour. blogspot.com Blog featuring interviews with writers and discussion of book pitches and query letters

I set up the Pitch Parlour because I wanted to

so on. In theory that’s good as it prevents lurkers

I have kept the pitches and articles short, and post only three times a week, so anyone wanting to keep up with the site can do so easily. Minimal attention is paid to critiquing the writing or the

Many on the sites have not grasped the key part of being a writer: it is a solitary occupation requiring enormous discipline

subject of the writing; the main criteria is the impact the work will have on a reader: the agent. The Parlour is in its infancy, but the response from industry professionals has been favourable and I think this is because of its clear aims (in tutoring aspiring writers to see the difference between their writing as a creative process and their potential career as a business). Apart from my anonymity, the site is transparent in its aims: it’s free, it’s friendly and, so far, it’s proving useful to the writers who submit their work. It focuses on one small part of

cation basis. Writers applying should be aware that

writing life, but perhaps one of the most important:

it is an offshoot of YWO (though, I believe, wholly

getting an agent or publisher to notice your work.

unaffiliated), formed by a small group of writers,

Many of the people on the peer review sites

presumably because they were sick of sub-standard

I have looked at are procrastinating. They haven’t

writing and critiquing. I think it has worked better

grasped the central and key part of being a writer:

in theory than in practice. Once again, if you want

that it is a solitary occupation requiring enormous

to spend time seeking the approval of people you

discipline.

don’t know, and talking to other writers (some of them published) about writing, go for it.

Learning to write well is something only you can teach yourself. Feedback gives valuable pointers, but becoming an author is about long, lonely hours spent

This is a only a small selection of the sites available

cracking your knuckles and your pencils, and writing

to aspiring authors based in the UK, but they are

things down. Then rewriting them. Then doing it all

perhaps the most prominent. My main criticism

again. Then it’s about finding a market for your work

of them (apart from Writewords, which is rigidly

and learning how to present it to that market.

organised) is that they have no clear aim apart from bringing writers together. Writers who want to talk to other writers about

It isn’t about getting bored and opening up a peer review site with lots of other people who can’t commit and talking about how unfair life is.

UK Writer Winter 2009 33

TWITTER

Tweet tweet! Martin Day (@sirdigbychicken) explains what writers can gain from using the free microblogging service Twitter

lack of commissions, I can – all in 140 characters. It’s like a haiku of unfiltered honesty. It might not make

sense to everyone who reads it, but for those who work in TV or publishing or the media generally, there may be an understanding, even a nod of

n order to understand Twitter from a writer’s perspective, I think you first have to see how

it differs from that other social networking site du

sympathy. So, it’s a community, of sorts – a pun-obsessed, self-absorbed community of navel-gazers, perhaps,

jour, Facebook. Once you get beyond the vampire

but a community all the same. And we all need a

games and the quizzes (hey, I’m a freelance writer

community, especially if we’re starving in our garrets

– ridiculous displacement activities go with the territory), Facebook is essentially a way of staying up to date with family and friends. It allows you to swap photos and gossip and generally feel that you

and the only communities we can see from our seats are the fascinating moulds evolving in our coffee mugs. Twitter has its practical side, too. Occasionally a status update will become a plea for help (tech-

know what your mates are up to, even if you can’t

nology queries are common); even more rarely, a

be bothered actually communicating with them (am

complete stranger will send a message (also limited

I wrong to think it’s particularly helpful for us blokes

to 140 characters) that might contain the answer

in that regard?).

we’re searching for – even if it’s only switch it off

Twitter is different. You have

and start again.

to agree to let someone be your

There are, I’m sure,

Facebook ‘friend’; on Twitter,

many more interesting

you can ‘follow’ anyone. One

and vital uses of Twitter

click, and you instantly know what Stephen Fry (@stephenfry)

than this self-help group for hacks that I’ve described. I

and Jonathan Ross (@Wossy) are

loved what happened on

doing, almost every hour of almost

Twitter during the contested

every day. It’s legitimised celebrity stalking, more accurate (and inter-

elections in Iran – very real and practical progress was being

esting) than the gutter press, and you

made and help was being offered even

don’t have to take a bath afterwards to feel

as we tweeted – and I haven’t even

clean.

addressed Twitter’s ability to act as

Fine, you say. Who wouldn’t want to imagine they’re living the life of Fry, or bask a little in its reflected glory? So, it’s another displacement activity – a stream-of-

something of a mini-RSS/news feed – the Media Guardian (@mediaguardian), BAFTA (@Baftaonline) and, of course, the Guild (@ TheWritersGuild) are all worth following. And,

consciousness glance into the lives and minds of

as I live in Somerset, a plug here for South West

random people, most of whom you will never meet.

Screen (@southwestscreen).

Perhaps critics have a point: if Twitter were to vanish

But where else can one find insights and ponder-

tomorrow I’m sure it wouldn’t directly affect my

ings from Douglas Coupland (@DougCoupland)

ability to write (or form a relationship).

rubbing shoulders with the latest from Mike Skinner

However, I would miss the palpable sense of community and camaraderie, and would doubtless be a good deal grumpier as I went about my

of The Streets (@skinnermike), and nuggets of wisdom from the QI elves (@qikipedia),? Get yourself a Twitter account, follow the elves

business. I tend to follow writers and producers

and I can guarantee you will learn at least one inter-

(and seem to have a handful following me), and it

esting thing, every day, and possibly even before

lulls me into thinking that I am not alone. If I want to

breakfast. What other displacement activity can you,

whinge about poverty, deadlines, commissions, or

hand on heart, say that about?

34 UK Writer Winter 2009

‘Join the Writers’ Guild for pensions, legal advice, support, events, contacts – because, as a professional writer, it’s YOUR union’ Lisa Evans (playwright and screenwriter) UK Writer Autumn 2008 35