New Bloody Year for Satan's Boy Child

That was the festive season, then.

Phew.

I've come out alive, but not recognisably human, having managed to seize conjunctivitis from our sweetie daughter. She recovered in two days, whereas decrepit I have so far spent seven days slathering gummy resin from my eyes over every available surface. Plus said eyes are bright scarlet, giving me the look of a minor functionary in the Devil's interventionary bureaucracy, Human Affairs Dept, Shambling and Incompetent branch.

Good thing was I was sent to bed for a couple of days, and with permission just to read and daydream a bit, did more constructive note-making type of work than I would have done in a week of furiously staring at the PC screen.

Another example of NOT FOCUSSING being a key part of the creative process. Look at something other than the problem/idea at hand and stuff bubbles up from the periphery until it demands attention.

At the moment feeling optimistic about the year and projects ahead. But then, haven't started drafting yet...

I started writing In response to Billy's comment on the previous post and decided it was probably better answered here.

Billy -

Who is your agent,

I'd rather not name Big H in case it results in him receiving a deluge of not especially good scripts (along with the downright dreadful), because he deals with enough of a daily deluge already, and I don't want him (or, to be more accurate, his assistant Little A) distracted from the vitally important business of furthering my career. He works for a big agency that's probably close to the top of your list.

they sound like they really know what they are doing.

I should ruddy coco. 10% is 10bloody%, mate

Was also wondering how a writer would go about writing for series such as Spooks, Torchwood, Robin Hood, Linley etc. Do companies expect you to write a spec ep for these series or can you just send in something original as an example of your work?


How to get a gig on the shows you mention:

1) Have a good track record on shows with a vague relationship to the genre of the one in question, and good word of mouth from the script eds/producers you worked with. Be great in the meeting.

2) Have impressed the company concerned while developing something with them (or having play or novel optioned by them) in a similar vein - or in an entirely different vein if you're really really good. And have a track record. And good word of mouth. Be great in the meeting.

That accounts for the vast majority of writing gigs. But, very occasionally, if the company want to take a punt...

3) Be a successful author of popular books in the vein of the show. Have good word of mouth. Be great in the meeting.

4) Be a successful playwright of plays in the vein of the show. Have good word of mouth. Be great in the meeting.

And that's about it. Sending in a spec ep is pointless and will get you nowhere. Sending in something that's original and brilliant and intriguing might - and it's an incredibly, almost impossibly unlikely might - get you a meeting, from which you might - might - start a relationship with a script editor and maybe even - and now we're talking just silly unlikely - some kind of development commission. But you will not get the gig.

Top-rating shows like the ones you mention simply don't commission newbies. Do. Not. Too much money and too much risk involved. My way in will be subject of a later post.