Wolves And Apples Event

I’m going to be speaking at the appropriately-named Wolves And Apples writers’ event in Leicester on the 3rd of November. It’s a day for writers interested in writing for children, in any medium and across all genres, with writers, publishers and producers talking about the industry, breaking in, and giving advice and writing tips.

I’ll be talking about Wolfblood and writing for children’s television, which should be a lot of fun.

Lots of speakers still to be confirmed, but you can keep up to date at –

http://www.red-lighthouse.org.uk/category/wolvesandapples/

And book a ticket for the full day of events at

https://www.eventbrite.co.uk/e/wolves-apples-tickets-17367978090?utm_campaign=new_event_email&utm_medium=email&utm_source=eb_email&utm_term=eventurl_text

Maybe I’ll see you there!

Fight The Good Fight

Bob Saenz recently wrote an excellent blog piece about giving notes to a particularly entitled young writer…

http://www.bobsaenz.com/blog/the-mean-old-writer/

And people wonder why professional writers are reluctant to read their work, even when they’re close friends! Believe me, we’ve all had similar reactions to our attempts to help, though they’re rarely quite that bad…

But what interests me here is the misunderstanding implicit in this young writers’ reaction. There’s a really fundamental tenet of screenwriting that he’s missing, and it’s this: the people who work with you on your project are not there for your sake, they’re there for the project’s sake. What’s important is not you, but the story.

When the script reader, editor or producer suggests you remove that scene you love, introduce a character you think will never work, cut the budget by setting it on an island instead of in space, they’re doing it for one reason – to get a really good movie or TV episode made out of your initial ideas.

That means that, if you’re wrong about something, they’re going to tell you. And you will be wrong – yes, wrong about your own script! – sometimes. God knows I have been… Sometimes we’re too close to the material to see the wood for the trees, sometimes we don’t have the experience to appreciate that another approach would work better. Sometimes that particular element (plot, character, dialogue) is our weak point, and we need an outside suggestion to buttress it. We’re not always the best judge of our own work, and we’re not going to get it right all the time.

And the reason we employ all these brilliant people is to make the show better, not to make ourselves feel better.

So next time someone gives you notes that are painful – and they will be, sometimes, however tactfully they’re given – remind yourself that you’re not fighting your creative team. You’re on the same side, fighting to make that story as good as it possibly can be…