writing

Over on Self Distract this week

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If you've come to me through any connection with my book, workshops or lectures on The Blank Screen, well, hello. But now let me tug your arm a bit and lead you to a couch where we can have a cup of tea, a biscuit and a natter. It's a couch called Self Distract and as I run out of steam with this metaphor, it's a more personal blog than The Blank Screen and it is not about productivity.

Actually, it is. Often. It's me and Self Distract was very much part of the route to the book and suchforth. But it's official aim is to cover what we write about and what we write with – when we get around to writing. It's unofficial aim is to bend your ear a bit, have a chat and, seriously, biscuits. Always the biscuits.

Self Distract comes out every Friday morning and this week's one came out of a talk I gave last night and a right stumper of a question someone asked me. This new post is called There are no rules in scriptwriting, but if you break them, it doesn't work.

I hope you like it. Your turn to bring the tea next week.

I must be a great writer, I get up early.

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Hand on heart, I'm having trouble adjusting to getting up at 5am to write. Given that today is the 190th time I've done it, I may have to accept that I never will figure it out. Alternatively, I'll have to accept the old man concept of naps.

But the problem is at the end of the day and during the evening, it's fine when I get up and often it is fine actually getting up. Not today, as it happens, but often. Okay, sometimes. Alright, once. Once I fair bounced out of the bed. Madness.

However, I think my getting up early like this works as much because the phones don't ring – and I cannot call anyone – as because it happens to be the time that suits my writing. In my head I'm a late-night jazz kind of guy, possibly without the jazz, but in my typing fingers I'm an early riser.

I know you can't equate the time you get up to the quality of your writing, but that hasn't stopped a lot of people trying. Now comes what may hopefully be the definitive analysis. It's got to be definitive because it doesn't come up with an answer. It just shows you a lot of facts. A lot:

We ended up with a roster of thirty-seven writers for whom wake-up times were available — this became the base data set, around which we set out to quantify, then visualize, the literary productivity of each author.

Take a look at Brain Pickings' gorgeous infographic about famous writers and what time of day they got up out of their beds, the lazy bastards.

UPDATED WITH AUDIO: The Blank Screen on BBC Radio WM today

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15:48 Listen to the show here: 25 minutes, MP3 And the book we talk about is my The Blank Screen (UK edition)

12:17 GMT UPDATE I had a blast on BBC Radio WM. If the listeners who phoned in had half as good a time, then they were robbed. Audio to follow later UPDATE ENDS

Just a quick note to tell you that I'm going to be on BBC Radio WM's Adrian Goldberg show some time between 11am and noon talking about The Blank Screen book and how we writers can get going, can get off our backsides and write.

BBC Radio WM is the Corporation's local station for Birmingham and the West Midlands. I actually started my career there doing work experience in the 1980s so it's always a particular treat to be on it.

If you read this before 11am GMT then you can catch it streaming live and I'll update this with a link afterwards.

Always assuming I don't make an eejit of myself in it.

The Blank Screen book:
UK paperback
USA paperback

Ask for what you want and ask it now, ask up front

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I do talk about this in my book, The Blank Screen: Productivity for Creative Writers but I’ve just now, this minute, had to put it into use for a new reason. When you want something and you’re emailing somebody to get it, say so right at the top. Line one.

The reason I give in the book is that we’ve all had emails where we’ve wondered what in the hell this person wants. And when they do that very British thing of working up to the point by reminding you who they are, how we met, how, gosh, you said some day you could send me something, maybe, hello, it has an unintended effect. I read all this about that time we met in ‘Nam, how we stole a taxi together in Saigon and wrote Les Mis 2 together and as it goes on, as it gets ever more specific, I can’t help but worry. This is going to be big, I think. This is going to be really serious. This may be trouble.

And then they just ask for a link to the book. (Here, have the UK link and the US one too. It’s no trouble.)

But there is also the fact that saying what you want right at the start is a difficult writing task. Especially today. I had to write to my agent with all sorts of issues. All good, you understand, but just the sheer volume of things to discuss about new projects, things I want him to do, things I should’ve told him I’d already done.

The more I thought about it, the more I could think of other issues I needed to cover. It’s fine to think I should pick one and only email about that, leave the rest to another day but this is a real job and a real email about a real thing. Anything like stripping it down would be a correct writing exercise but not what he or I needed. Too much, too intertwined, too complicated.

So I started with line one. What I want.

There is always something that you want most, there is always something that you want first. So I wrote that down.

And having written it, every single other thing fell into place. It turned out to be what I call a three-biscuit email (it’ll take him those and some tea to work through the things in it) but as a reader today he will fly through the email and know exactly what is going on and exactly what I’m after.

Because I spent so long thinking about the first line, the rest of the email poured out of me in a flash. 

It’s a big deal for me, it’s a complicated subject, but wallop, that email is done and I’m on to the next thing. Specifically I’m on to talking to you. And now I’ll just pop off to get some breakfast. I’m starving and saying all that about biscuits did not improve things.

Write this down, it helps

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Tomorrow is the first of December and at some point during the day, I will email a report of all I've done throughout November. Nobody has asked me to do this, nobody is waiting for it, nobody will do anything with the report. But it helps me enormously to write it down and to have someone to send it to.

Earlier this year I earned a place on Room 204, a programme run by Writing West Midlands for up to 15 writers who are of a certain standard, who are based in the area, and who need something for their careers. It's a very deliberately formless kind of year that you get with this scheme: it's not like there are lessons or there are, I don't know, tests. Instead, you get a year connected to this group and can make of it what you need.

I've made a lot of it. It's done a huge amount for me, it's given me a new career in presenting and two of my books this year came out of chats I had with them.

But this isn't about me, it's about you. And I want you to have the thing that I got from Room 204 which particularly helped me, which I think may particularly help you.

It's this. Right at the end of my first meeting with the Room 204 folk, we talked about the rest of the year and it was mentioned that if a month goes by without us happening to work on something together, I should just keep them up to date with what I've been doing.

That's quite clear, quite easy, and I deliberately took it the wrong way. There hasn't been a month, I don't think there's been a week, that I haven't been doing something with Room 204, for them, or ignited by their work, but still at the end of every month, I tell them what I've been doing.

I also tell them now that there's no need for them to read the emails. I'm sending it to you, I say, but I'm writing it for me.

Because simply writing down in a clear, coherent and sometimes very long email what I've done in the month makes me realise what I've done in the month. Written these articles, been published here, pitched that, got filmed for this, sometimes it's a giant list of things. There's no question but that it reads like I'm boasting.

But that's fantastic. What have I got to boast about? Apparently, monthly, quite a bit. It's nice to safely boast to good people because it's great and unusual and wild to realise that you have something you could boast about.

Only, if I have – so far – sent each of those monthly report emails off with a certain satisfaction – that is only one of the three huge, huge benefits to me of doing them.

The second is that I look at the email as I'm compiling it and I remember what I've done. You do this, I know you do: you finish something and you're off away on to the next. We don't look back much, do we? Being a productive kind of person means always rushing on to the next thing, getting stuff done and out, getting on with what we so long to get on with.

Stopping to look back across the last month is a waste of time but it is an extremely useful waste of time. I'll start to write to Room 204 that it wasn't a good month because my mind will be on the failures, the rejections, the various and many problems that come up. But then I'll write something like “Made chair of the West Midlands Screenwriters' Forum” and think, okay, that wasn't bad. Unexpected. And I thnk it'll be a lot of work, but it wasn't bad. And then I'll remember that a pitch worked out. I'll remember that this is the month I finally got paid for that thing I did.

By the end of the email, I've changed my mind about the month. I'm feeling vastly better. So far, anyway. Some months are better than others but I've still yet to have a really bad one. I'll let you know how that goes.

So there's the little bit of boasting, just enough to feel a teeny bit good, and then there's the other psychological thing of changing my mind about how it had been a bad month.

The third thing is that I can't do this monthly email in one go: I forget too much, far too much, of what I've been doing. So as I do things, I add a swift line to an OmniFocus To Do task. Just jot down two words, enough to remind me, anything.

And that always prompts me to find something else to add to the list. All the way through the month, this drive to have something else to add is with me. I wince to tell you this but I have made calls solely so that I could say something like “Pitched to British Council” on my monthly list.

And, sometimes or even quite often, that call works out.

So tomorrow I will be writing my unasked-for, unneeded yet boastingly boosting and useful monthly report about myself and my work to Room 204.

Give it a go, would you? It will help you too.

Weekly self-distraction: It’s your fault

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This is cross-posted from my personal Self Distract blog. Each week I cover what we write and what we write with, when we get around to writing. It's sometimes about productivity but it's also about drama and the issues of writing. You can read it every Friday here. This one is also specifically about Doctor Who and you can read a collection of Self Distract Doctor Who blogs plus new journalism including a detailed interview with the Restoration Team and the history of Who in Radio Times in my book, Self Distract.

Here be spoilers. Well, there be spoilers: down there, a lot of spoilers a bit of the way down the screen. If you haven't seen the 50th anniversary special of Doctor Who, please do. Go watch it. It's very good.

All I ever want from a story is to be caught up in it to the exclusion of anything else. That's all. Analysis and whathaveyou, that can come later if it must. Just scoop me up, please. And Doctor Who: The Day of the Doctor did exactly that. Job done.

Only, I'm surprised that it did because at its core is something that goes against a thing. I was going to say it goes against a drama principle of mine, but nuts to drama principles: if it works, that's your principle right there. But we tend to have issues that colour our writing, things that we come back to because we're trying to find them in ourselves, beacuse we're trying to mine them for others or maybe just because we're good at them.

And I have one thing that is guaranteed to appeal to me, utterly certain to get me obsessed, and which you break at your peril. Yet Doctor Who broke it and worked. I don't know how. Let me tell you that right up front, if you can call this the front when I've already rambled on at you a ways. I want to explore this and see if I can figure it out because it matters to me.

Here's what it is. If you wanted to get all academic about it, drama is about obstacles. I seriously do not know why you would want to get academic if that means boiling down the richness of drama into a checklist with only one thing to check, but it's not unreasonable to say drama equals obstacles. Fine. Someone is faced with something, that is or at least that can be drama.

But for me, it's really only drama when the thing they face is their own fault. Having something done to you, that's awful. It's powerful. Having something done to you and it is entirely your own fault, though, that's wonderful. It's not that I'm especially in to my characters being punished for something and it's only a little bit that I am in to the genuine meaning of tragedy: a tale that ends badly because of something within the lead character. It's specifically the point that if this terrible thing is your own fault, you could have prevented it – and now there is absolutely not one single thing you can do to put it right. You can't undo the past. This is the real reason I am forever coming back to the issue of time in my writing: the regret, the permanent regret for things lost and things done badly. You can't rewrite history, not one line.

Except in Doctor Who. This is where the spoilers start.

The day in The Day of the Doctor is the one where the fella ended the Time War. This was a huge and so far never seen portion of Doctor Who history: immediately before we saw Christopher Eccleston's Doctor, there was this war, right. War between the Daleks and the Time Lords. And it was ended by the Doctor. We slowly came to learn that though he ended it – so far, so Doctor-heroic-like – there was something of a cost. The war was ended only by the complete and total destruction of both sides. Time Lords and Daleks, all killed. All killed by the Doctor.

Cor.

The Day of the Doctor undoes this and if you'd told me that before I saw it, I'd have thought again about going to the cinema. I read an interview with Steven Moffat on DigitalSpy this week that ran in part:

It was about a year ago. I remember thinking, 'What occasion in the Doctor's life is the most important?' Well, it's the day he blew up Gallfirey. Then I tried to imagine what writing that scene would be like and I thought, 'There's kids on Gallifrey and he's going to push the button? He wouldn't!' I don't care what's at stake, he's not going to do it. So that was the story – of course he never did that, he couldn't. He's the Doctor – he's the man who doesn't do that. He's defined by the fact that he doesn't do that. Whatever the cost, he will find another way. So it had to be the story of what really happened, that he's forgotten.

I see his point and he wrote it superbly in the show, but I'm mithered. I detest beyond measure the way that a soap, for instance, will get a character into a dramatic situation and then pull back at the last moment to say it's all right, really. It wasn't him. It isn't her. They're dreaming, whatever. Go away. I'm never watching again. So having this thing in Doctor Who that we know was big and then showing us it being even bigger but then taking it away, it shouldn't have worked for me.

I think it's that bit about 'I don't care what's at stake'. For me, the drama was in how there were these stakes that required him to do this. Now, actually, I have to play this both sides because a huge amount of the drama – can you quantify drama like this? a good 43% was angst, 12% personal torture and so on – was to do with how he had no choice. But if the Doctor has no choice, that is big and huge and enormous but it isn't the same as him having a choice and making the decision anyway. If the Doctor presses the big red button, everyone dies on Gallifrey. If he doesn't press it, everyone dies on Gallifrey anyway because the Daleks are attacking very thoroughly.

There is the fact that they're attacking because presumably they're seriously hacked off at the Doctor so nearly efficiently destroying all their plans, ever, so the whole attack is his fault. I'll have that.

So with this storm of issues going on, it does all come down to the small moment, the huge yet tiny moment where he has to do this or not do it. The fact that he does speaks to me about the stakes of the story but it also completely engages me in this Doctor character. The fact that he doesn't do it, that takes most things away. It reduces the stakes, because somehow he's now got a choice, and that reduces the character for me.

Except, maybe it worked for me, worked in this one story, because Moffat could undo the destruction of Gallifrey, he could rewrite one very big line of history, yet do it in such a way that the Doctor was left with the same burden we thought he had.

Doctor Who often reunites various different Doctors and there is always the issue of why a later one doesn't remember all this from when he was the earlier guy. The Day of the Doctor makes many little nods to this and does explicitly state that the Doctors' time streams are out of sync and that neither David Tennant's Tenth Doctor nor John Hurt's Nth Doctor can possibly retain the memory of what has happened. It's plot convenience and it's what has always happened before, but this time the lack of memory means that John Hurt's Doctor and David Tennant's and up to a point Matt Smith's one all believe they destroyed Gallifrey. They carry that burden for four hundred years.

Four hundred years. That's enough carrying of blame and regret and fault even for me.

Good people doing bad things. That's what chimes with me. Making irrevocable choices. That's me. But I thought it was a rule, an inviolate rule of drama that you do not ever undo a character's bad choices, you do not give them a reprieve, you do not give them an escape. The drama is in living with the things you cannot live with. And The Day of the Doctor says bollocks, William.

Quite right too.

 

Me and NYT on Microsoft Word vs Apple Pages

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Last Friday, I went to open a Microsoft Word document someone had sent me and found that I didn't have Word on my machine. It was a true shock: I've had Word on everything since the 1980s when I began writing about word processors in various computer magazines.

What's more, I realised why I didn't have it. When I'd installed OS X Mavericks on my MacBook Pro it had found some problems with the hard disc. Serious, creaking, get out fast problems. So I had it reformat the whole drive and sort things out. I'd backed up everything, I backed it all up again just in case, fine. But apparently I hadn't remembered to put Word back on afterwards.

And here was the reason that the shock was the slap it was: it must be a month, it could be six weeks since I installed OS X Mavericks. So I'd not needed Word in all that time, not needed it or wanted it or assumed I should use it, for at least a month.

What's more, I looked at this document and it was open. My MacBook had seen that I'd didn't have Word and so it had just opened the document in the word processor I did have, Apple's own Pages. I now had the choice of schlepping off to find my Word installer or just getting on with my work so I just got on with my work.

Now, this was one Word document in a project that had involved slightly over fifty of them and I'd done the giant part of the work on my iMac which does have Word and I did use Word. This was just one last document that came through late and I was going to have to send it back as Word; if there had been all fifty left to do this way, I'd have installed Word. I think. But for one job, I just accepted that there would be a final convert-to-Word step when I was done.

I like Pages. I've always liked it. I was on a bus when I got the idea for writing a book about productivity for writers and I wrote the first thousand words of it right there on my iPad in Pages. Perhaps because I'd started it there, I carried on. There was also the fact that mentally I was associating my iMac with the 150,000-word book I was writing about Blake's 7 and I was associating my MacBook with a Doctor Who audio script that was due at the same time. But whatever my psychological reasoning, it was still that I'd pick up the iPad to carry on writing The Blank Screen and that meant it was still the case that I'd write it in Pages.

At that stage, the project was chiefly about getting the ideas down and exploring how to convey it. I later moved all the text to Word to send to my proofreaders, I then moved it to Apple's iBooks Author to do one version. I moved it all to Adobe InDesign to make the paperback and the Kindle versions. But for bashing in the words, Pages on my iPad was perfect. The best word processor is the one you've got now but Pages did that Apple thing of staying out of my way while I concentrated on my writing.

So I did go from liking it to being quite the fan and I was aware of this. I didn't notice that it had supplanted Word on my MacBook. I'm trying to think how much else I must have written in Pages on that machine without thinking about it. Certainly a few radio reviews for Radio Times magazine. Definitely several invoices. Must be a lot, but I just can't remember the word processor I used for what.

All of which is nice for me and I could just recommend Pages to you in the certain knowledge that you already have a word processor and have no need to move to a new one.

But Pages just went through a big change. It became free for new users, for one thing. I've said before that I find the free Google Docs a bit clunky and ugly yet I like it more every time I see that price. I do wonder at the decision to make it free: it's obviously very nice for new users and I've no problem with the fact that I bought my copies because I've had a huge amount of use out of it. Yet if you make something free, you do devalue it.

I remember a friend complaining that Word, at the time, cost several hundred pounds and saying why on a Earth would it? “It's only a word processor!” I suggested that she try making one and she'd then see what an enormous job it was. She didn't appreciate the brilliance of the work that had gone in to just a word processor that cost hundreds of pounds. She didn't believe me when I reported that Microsoft had up to then spent a billion dollars developing it. (True.) How much less would she now regard a free word processor?

Curiously, the word free gets people buying, so to speak, and I'm sure it gets people devaluing the word processor, but it doesn't stop anyone bitching about problems. In this case they're right: the new, free version of Pages for Mac in particular has issues.

The key aim of Apple for this release has been to make Pages on the Mac work the same and work with the same documents as Pages on iPad and iPhone. Fine. It also has this thing now where I can send anyone a pages document and they can open it – not through conversions, not through any fiddling and actually not just opening the document either. They can open Pages. Whether they've got it or not. Whether they're on a Mac or a PC. Click on the document I send you and, if you want, you're reading and editing it in Pages in your Web browser.

Apparently it is startlingly marvellous to all of us who get what is happening and can see how hard it is to do – but, infinitely more importantly, for those who do not happen to understand all that's happening, it is just a Pages document. They have no need to tell the difference between owning Pages the application and running Pages in their browser. That is a truly remarkable accomplishment and it is how computers should be: our work is what matters first. It's also a true sea change from the Microsoft approach which makes everything just difficult enough that you appreciate and you value all the company is doing for your money.

But I say it's apparently this good because this is what I keep hearing – and I have yet to have the slightest need to use the feature myself.

And the problem many people have is that in order to get this new feature, to get the ability to work across platforms, Apple has stripped Pages down and lost key features. That's what it feels like: really it's more that they started again and haven't built it back up to all it was.

The only thing is, I've no idea what the missing features are. For me in my current work, the only thing I've hit is that it's slightly more of a pain switching on the word count. (The same cross-platform good stuff and missing features bad stuff has happened to Pages' stablemates Numbers and Keynote. I've seen the difference in Numbers and that's more annoying to me.)

Apple promises that it is bringing all this stuff back and, actually, I believe them. This is what they did with the video editing software, Final Cut Pro X. And since it's not causing me problems at the moment, it's easy for me to carry on believing them.

Plus, I like the new look and feel of Pages. I like how I get on with my writing and then if I need something, if I need some tool, I look up and find that tool just about exactly where you'd think it should be. Contrast that to Word where you have a thousand icons and have to hover over them all to see what they do.

When I started writing this to you, I didn't realise how much I wanted to say. I'd found an interesting article in the New York Times that compared Pages and Word and I wanted you to see it. So I wrote the headline “NYT on Microsoft Word vs Apple Pages”. Having now blathered on at you at this length, I've just gone to change that headline to “Me and NYT” on it. And I'm mithered over whether that now sounds as if I wrote the Times article. Sorry for any confusion there.

And if you haven't had enough of musings about Pages vs Word, do take a look at the NYT article: http://www.nytimes.com/2013/11/28/technology/personaltech/pages-scores-technical-knockout-over-word.html?_r=0

 

Tremendous new book about mastering email

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My own book, The Blank Screen, has plenty about when and how to use email so that you get what you want – at least a lot more of the time. And so that you get a lot more time for writing. But David Sparks has just published an entire iBook on emails and it is first class.

I've had email for thirty years and yet before I'd read two chapters of this, he'd changed my mind about the whole thing. I stopped reading long enough to do what he says and then I went right back to it.

Inevitably, there are whole sections that don't apply to everyone: I only use gmail when I have to, for instance, so I've no need of advice on how to make that a better experience. A shorter one, yes. (If you're a gmail fan then let me say first that I know it's very good, I just got burnt with trivial problems that left a bad taste. And since I get such a lot of strong, hassle-free use from Apple's own Mail app, I've not been compelled to try again. Then let me say second and more usefully, you in particular should get this book because it's got oodles of advice on gmail.)

There shouldn't be all that much you can say about email yet it turns out that there is and it turns out to be a very entertaining read. You can hear a lot on the same topic by the same man in the Mac Power Users podcast he does with Katie Floyd but just buy the book. Here's a link to the specific MPU episode: http://www.macpowerusers.com/2013/11/17/mac-power-users-164-tackling-email/

He does say in that podcast that there is a PDF version: listen to it for brief details of that. Otherwise, Email: a MacSparky Field Guide by David Sparks is an iBooks exclusive that you can get here:

https://itunes.apple.com/gb/book/email/id743560201?mt=11&uo=4

 

Bad Days

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When you’re under so much pressure from deadlines that you have to hold your chest. When you’re so lost for which urgent project to start next. The last thing you need is a book to read. But the first thing you need is a chapter.

Take a look at the free sample chapter from The Blank Screen book. If things are really bad today, just read the first page and do what it says. Then come back to the rest when you have time. It will help you.

Here’s the free PDF of Bad Days from The Blank Screen: http://theblankscreen.co.uk/sample/TheBlankScreen_BadDays.pdf

If you’ve read that and you’re looking for the whole book, here’s what you need to know: the UK paperback is right here, the US paperback is waiting thisaway – and there are also UK Kindle and US Kindle editions.

But think about the book later. For now, we need to get you working.

William