Your first ten pages need to shine.
Lucy V Hay from Bang 2 Write focused on making the first ten pages of our script shine. During this session, I asked how to make the first page sing while gradually introducing the story and characters. It’s a challenging task; some rewriting is necessary to achieve the right balance. I found more information about the first ten pages on Lucy’s website, including an extract from a previous LSF session regarding script reading and what readers look for. This aligns with what I used to look for when editing an online publication: a hook, absence of clichés, excellent writing, and so on. We are all familiar with this list, yet we often hesitate to rewrite our openings to include them (or is that just me?).
There are two groups of writers.
Corey Mandell, a lecturer at UCLA Film School, mentioned that many students and graduates often struggle with character and dialogue or story development.
He says an intuitive mind creates excellent characters but often struggles with structure. Such individuals are dreamers who view characters as their friends. Conceptual writers are skilled with storylines but struggle with dialogue and characters.
Corey encourages people to dream freely and think intuitively. He advises writers to envision themselves as their character, write a journal entry from that character’s perspective, and brainstorm ten adverse events that could happen to the character.
He advises us to figure out the conceptual aims of the story first. I have heard this before: to work backwards from the ending, but as a ‘pantser’, I haven’t yet tried it.
Even professional writers find notes challenging.
Venetia Hawkes, author of ‘We have some notes…The Insider’s Guide to Notes, Script Editing & Development’ told us we go through stages when we receive notes on our script. She highlighted what various famous screenwriters have said about receiving feedback. They have all found it challenging. Tomm Moore outlines three stages of receiving notes—anger with the person giving them, anger with yourself, and then action.
Stage one can be relieved by speaking to your friends, going to the pub or seeking solace from other screenwriters. Stage two involves handling the self-doubt, distinguishing whether you listen to the notes, and finding a supportive voice and atmosphere to exchange notes.
Stage three focuses on moving forward with your script. We should focus on what excites us about our story and have the courage to maintain our creative vision. When other people ask questions, it can lead to a new understanding of our character or plot. Stories can be told in different ways after the first draft. As I rewrite my first novel, this lightbulb moment certainly rings true.
Never give up.
Lucy Linger from Linger Longer Film interviewed Katya Meier from Zenka Films. Katya gained acceptance into a writing scheme but was repeatedly told that no one would be interested in a film featuring a middle-aged lead and was advised to take twenty years off her character’s age. Despite this, Katya forged ahead and filmed a pilot of her TV series. Katya adapted the film to present it as an independent production and posted the pilot on a streaming website that connected it directly to the audience. The project included elements of crowdfunding and determination, highlighted in an article in The Guardian. This reflects what Venetia Hawkes shared about having the courage to uphold a creative vision.
Never pitch an unfinished script…
Joey Tuccio, CEO and co-founder of Roadmap Writers, advised us not to pitch a script we’re in the middle of writing unless we can finish it quickly, as people in the industry move around frequently. He recommends only discussing a nearly complete script so you can send it off promptly. This resonated with me because I submitted one piece of writing and mentioned another in progress. An agent expressed interest in hearing about the latter, but she left the agency for maternity leave and found another job. When I finally tracked her down three years later, unsurprisingly, she had lost interest.
…And say thank you.
Joey also addressed the face-to-face pitch skills necessary for a successful business deal. I had never considered underlining the pitch with the words ‘thank you’ to signify you have finished, to eliminate the awkward silence that can follow.
Joanne Simmonds is a disabled and neurodivergent writer living in Somerset.
