Unequal pay for writers

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I was once asked to write something overnight, someone had let somebody down, something had changed, I don’t remember. But I do remember being asked to name my price and I doubled what this company usually paid me.

That’s very nice and I felt very good for about a pixel of a second because while they said yes, they said it with such obvious relief that it was clear they’d have gone far, far higher. For the sake of any claim I make of being a professional writer, I need to tell you that I then billed for that emergency rate for every single project I did for them.

Here’s the thing, though. The writer in me can go into paralysed circles over what I should be paid. The human being in me can go into a rage when, for instance, women writers are being paid less than men.

There’s no but in that one, incidentally and obviously. Women, men, equal pay, not one but, not one question, not one ever.

But.

That’s about minimums. And I’ve been in conversations this week where I think there was a belief that it should apply to maximums, too. There was definitely a moment where an idea of capping writers’ pay so no one could get more than some amount came up and wasn’t shot down instantly. These were writers suggesting this and there were circumstances, it didn’t come out of nowhere, but I said to them and I’ll say to you, no.

No caps. Every other bugger wants to limit our pay, we can’t enable them to do it.

There’s something British about this. I’ve been thinking about it all week and it reminds me of how in the UK, you don’t tend to haggle. The price is the price, you pay it or you don’t, it’s not that common to negotiate. I’m the same, I tried it once over a fridge or something and got nowhere.

Anyway. I think the logic was that if you are writing a one-hour drama for primetime television then it’s the same job for everyone. Takes the same time, is physically the same amount of words and pages, of course it should earn the same money.

I’m too polite to say this aloud myself, so please take the rudest word you can think of and prefix it with the phrase fucking bollocks.

Men and women, yes, of course, you must not, you cannot be paid more or less just because of which genitals you happen to have. Age, too, I’d definitely agree that a writer’s age is no more an important factor in fee negotiations than their shoe size.

I hesitate over experience, a bit. There is an increased rate for writers when they are experienced and there are good reasons for it, good and practical reasons, but I’ve also known writers who’ve written for years and just aren’t all that great at it. Still, experience, if I don’t back that as vehemently as I do the men/women equal pay issue, I’m not against experienced writers being paid more.

Where I will stand and if necessary fall is over this presumption that writing a one-hour drama is the same regardless of who you are.

Let’s say that you are not a writer, you’re a producer and you are now producing a series. You commission me to write one episode and you commission Phoebe Waller-Bridge to write another. There are immediately, instantly two very clear things you and I know both about these two episodes.

First, with deep and miserable regret, we both know that her episode is going to be better than mine. She’s a better writer than I will ever be, although I’ll be damned if I’m not going to try.

Second, you also know that she’ll be paid more than I will.

Of course she will be and of course she should be. She’s better than I am. I can’t comprehend an argument where I should be paid the same as her. She’s better, her script will be better, the show will be better, it is worth it to you as a series producer to pay more for her work.

That’s where people get this wrong, I think, and it’s where writers get it wrong, I’m afraid. We talk a lot about how important we are to drama because, well, there ain’t any drama without writers. But at the same time we deeply undervalue ourselves and where minimum rates are fair, maximums are not. It is worth a show paying more for certain writers, just as on a pretty infinitely smaller scale, it was worth it to that company to pay me more when they needed something written overnight.

Writers do feel undervalued and we are, certainly. There are actors who claim to have invented your characters, for instance. Even good actors are more likely to thank a director than a writer, although actually I get that: by the time the cast is on board, writers can be gone to the next project. Of course you’re going to bond more with the people you actually work with.

I just think writers undervalue themselves too. And in making a case for fees that assumes all writers are the same, are of the same talent and worth, is not standing up for our rights. It’s more like being colonised.

I think this is the killer argument and apparently I’m wrong as writers I talked with this week were not even injured by it. Still, it’s this and it convinces me at least: if you don’t pay a great writer more, some other show will and you’ll lose her.

Missing Holby City

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I already miss the BBC’s now-cancelled Holby City show, but chiefly in the way I’ve been missing this hospital series each week for two decades. It’s a soap and those just don’t hold me, so I’m not a viewer, I’ve no concern about it being ended so abruptly. I have a lot of concern for its writers, and all its cast and crew, but – sorry – I’m not going to notice when it’s over.

Except I do feel I owe it something.

Holby City is not the cause of my realising it’s better to write television drama than it ever is to write about television drama, but it was one key pixel in that realisation because of what happened at its launch, some 22 years ago now.

I don’t know if this is still the case, but back then the BBC had gutted one floor of its office building in Elstree and turned it into this Holby City hospital. It was slightly surreal, I was used to going up in that lift and stepping out to see various people in their various offices, now you step out into a ward. I remember being very impressed with the thoroughness of it all, with how it was immediately obvious you could shoot from any angle you needed and there would be little or no time lost setting up anything.

What I don’t remember is how it was lit. I’m sitting here, talking to you, fully able to walk around that set in my head but not able to make myself look up to its ceiling. I don’t remember noticing a ceiling full of lights, but I may just have not noticed.

I will have been impressed by the set and to this day I remain impressed by set designers and dressers. I will also have been impressed by the ten or so other media journalists I was with, though in that case I’m not still impressed. Inside of twenty minutes, I felt I’d gone native: I was rooting for these television drama people and I was embarrassed by the journalists.

Sometimes you pick sides, sometimes the sides pick you.

So there I was – nuts, I can’t remember if I were there on behalf of BBC Ceefax, BBC News Online, or Radio Times. It was one of them, anyway, and we were shown around the ward, then seated for the group interviews.

Ten journalists or so, seated in a semi-circle on the ward, with each main actor being popped down in front of us in turn.

What I most clearly recall is George Irving, who played a grumpy surgeon on the show when it started. First journalist asks: “Did you ever want to be a surgeon in real life?” He gives them a nice quote, saying no, but talking about how inspiring surgeons are.

Next journalist: “when you were a child, did you dream of being a surgeon?” He found some different way to answer.

Third journalist: “Would you have liked to be a surgeon?”

Then it was me and I do remain proud of this. I asked him whether he felt it was going to be hard sustaining his curmudgeonly character over a long series and without it becoming repetitive. Of course he said no, but what I can picture now is how he uncrossed his legs, sat forward, visibly thought about his answer, and told me something of his process and a hint of how they had plans for the character.

Fifth journalist: “When a child you were, a surgeon did you want to be?”

He sits back, re-crosses his legs, gives a quote about how inspiring surgeons are. I’m sure it was hard for each actor to sit there in their turn, facing all these faces, but I’m equally sure that they didn’t need to think hard about their answers, most of the time.

For I want to tell you that nine of the ten of us asked about bloody surgeons and I’m pretty sure I’m right. But I can’t come up with another five variations on that question.

There was another actor who got nine identikit questions from everyone and I know that’s everyone except me, but I can’t remember what I asked her. What I know is that because she was a woman, her questions were all about her relationship with someone. Apparently everyone knew she’d just broken up with somebody or other and that was crucial to the coverage of this new soap.

For some reason, and truly who knows why, I got to do a separate interview with her afterwards. That might be why I don’t remember my question in the semi-circle, I may not have got to ask anything there because it had been arranged that I would get ten minutes with her afterwards. Cannot remember why. Completely blanked. Come on, it’s near as dammit a quarter of a century ago.

But I can still see her to my left as we walked away from that semi-circle and over to a quiet part of the set. I’m not sure how I phrased it, but on the way I know I basically said that I hoped she was okay after this apparently incredible break up but –– I don’t think I said this rudely –– I wasn’t interested. I was interested in the show, in the character, in the drama. Wasn’t sure why the others were so obsessed.

“I know, right?” she exploded. It was deeply flattering, like what I’d said was a pinprick that burst a balloon and she now knew she could say what she really thought. “Who the fuck cares about my break up?” she said. I couldn’t now tell you anything else she said in the actual interview, I haven’t a clue what I wrote, but I liked her hugely and you would too.

You’ve noticed that I haven’t said her name, though. I’ve just got an odd sense that saying it would be bringing up the relationship, whatever it was, or that she might not appreciate my quoting an off the record remark. All these years later, I cannot tell you an off the record remark and who said it. I’m clearly being professional and it is not that for some reason today I’ve I’ve entirely forgotten her name.

I could look it up, I know I’d find her quickly. But then I could probably look up what I wrote and I don’t want to go there. I may still do a lot of feature writing on different topics, and I may even still do some media writing, but I’m not who I was back in, er, 1999 or whenever.

And that day on the Holby City sets was part of changing me, of making me choose a side. Which is why, if I weren’t already, I was then often on the wrong side of moods at places like Radio Times. Much as I loved RT, there would so often be times at RT and at BBC News Online when people there were frustrated that they weren’t being told something key about a new drama.

Whereas I would be right there in the same spot saying no, don’t tell me anything, hide things, lie to me, do whatever you can to make the drama surprising and compelling. I did then and do now despise soap magazines that splash headlines like “Shock Pregnancy” or “I killed him!” before those things happen in their shows. The magazines are told this stuff in advance, knowing it will be featured, because it’s believed that it builds excitement for the show and I think it does the opposite. You don’t have to watch anymore, so you don’t.

I said soaps can’t seem to hold me but there was a trial in Coronation Street once. Big thing, national interest, I want to say Deirdre Barlow. Not sure. But even though I don’t follow that soap, like millions of other people, I was drawn in to watching it because of this story of an innocent woman on trial over some false accusation. Until the producers said publicly that they would never let an innocent character go to prison.

Oh.

Screw that, then, what’s on the other channel?

That was another pixel in the picture, I realise now. It wasn’t one where I was on the side of the show, but was where I knew very clearly what drama meant to me and how revealing something early destroys it. It was one where I had very clear and strong drama opinions. It was also where I found again that there is this difference between soap and drama, plus which side of that I wanted to be on.

But at risk of going further away from Holby City, I’ve also realised that I can vividly see the real moment when I knew where my heart lives. Again, I should be able to work out the date really easily and I daren’t, but what I see when I close my eyes is where I was sitting in a BBC newsroom, this time definitely working for Radio Times.

I can see all the people around me, all the equipment, I can hear the sound of that huge room and feel that chair I was sitting in. And I can see the book I’m reading. The Writer’s Tale by Russell T Davies and Benjamin Cook – who was a Radio Times writer too – which was about the making of Doctor Who.

The book is a quite an incredibly intense read which, in its first edition, included scripts and drafts of scripts from the series. (Which reminds me: I’ve now read 1,928 scripts in my at-least-one-per-day lark. I should re-read some Doctor Who ones.)

But the majority of the book is an email conversation between its two authors. Which means every few paragraphs, you get a typical email heading with the subject –– plus the date and time.

I’m reading the book and there’s a bit I recognise. Some big decision being made about a particular character in the show and I was actually pleased in that moment, because I remembered writing about that decision for RadioTimes.com.

And then I noticed the date on the email.

Whatever it was, I knew immediately that it was pretty much precisely one year before I’d written my breaking news story about it on Radio Times.

And that’s when I knew. I’m not there yet, not even all these years later, but in that moment I knew I wanted to be making the drama decisions instead of writing about them an entire year after the fact.

Of course it helps that Radio Times, BBC Ceefax and BBC News Online later chucked me out but even if they hadn’t, I’d started down a road that would’ve seen me leave anyway.

And yes, it’s chiefly because of Doctor Who and that one single email.

But it’s also because of Holby City and my one single day on that show’s sets. I won’t miss the show as a viewer because I simply never got into watching it, but I do owe it something.

Stupid count

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For six weeks now, I’ve been counting the days until today when I could say to you that I’ve read 2,000 scripts –– and I’ve blown it. I’m not sure why I was proud enough of this trivial fact that I wanted to boast at you about, but seemingly I did and seemingly I was going to preen for some reason. Instead, on slightly closer examination, I have to tell you that I’ve miscounted and today’s script was only the 1,899th.

Yes, I have just filed my tax return. No, I’m not now terrified at all.

Look, I’ve read a lot more than 2,000 scripts in my life. I love reading them, I always have, it’s just that on December 23, 2017, I read a piece by Lorenzo Colonna on Hayley McKenzie’s Script Angel site which suggested reading a script every day. I can see me now, at this keyboard, thinking yep, good idea, I’ll do that. Since then I’ve read at least one script every single day and after the first year of it I wrote about the ten lessons I felt I’d learned from what I believed was 620 but who knows now, could’ve been 12.

I keep a list of what I’ve read and after the first while, also a link to where I read it if it’s online. It’s from examining that list that I discovered the miscount, but I was examining the list in order to hopefully be useful and I can still do a bit of that. I can recommend scripts and moreover, I can recommend sources for scripts. Let me do two sources and two specific scripts from those sources.

So while I see no reason you should ever trust me again about numbers, I believe that of my 1,899 in-a-row script reading, 318 were from my favourite site, TVwriting. I’m honestly a bit surprised it wasn’t many, many more because that is my go-to site when I just want something good to read.

Another 105 were from the BBC Writersroom script library. I can’t say I’ve cleaned the BBC out since if I disliked a script to a show’s first episode, I skipped the rest. But still, I open that library page and it’s sometimes hard to find something I haven’t read. Certainly I’ve vacuumed up the entire radio drama, radio comedy and television comedy scripts.

I will press on, though, even beyond 2,000 when I finally get there in at most another 100 days. And let me offer this as another lesson from reading scripts: I may have read some stinkers, but there amazing pieces of writing just waiting for us all online.

The internet’s faults are legion, but there are gems, too. Including these two. It is completely unfair to pick out two scripts but no one said writing has to be fair, or at least nobody any good.

If you fancy reading a film screenplay, relish Man Up by Tess Morris, which I read on the BBC Writersroom on both January 5, 2018 and August 28, 2019.

Or if, like me, you’re more of a television drama nut, go for the pilot episode of Veronica Mars, by Rob Thomas, which I read on TVwriting on May 31, 2018.

I suppose you can call this educational reading and when I started this lark there was certainly an aim of improving my own scriptwriting. No question, it worked. But also no question, I read scripts for immense pleasure and if you don’t already do that too, I hope you will.

Just don’t bother counting them, it’s too difficult.

Pitch and yawn

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Oh, look, all that happened was that someone emailed pitching to write for me and they managed to be so annoying that I still can’t be certain it wasn’t spam. They were so annoying that I’ve already written to you twice today, venting. At length. It may say something that I’m fine with that writer seeing me this aggravated, but not you. I don’t want you seeing me like that, I don’t want you feeling you have to calm me down.

Honestly, I sound ridiculous. But pitching is obviously important: it isn’t a game, I have to constantly pitch because it’s how I keep a roof over my head and a Mac on my desk. There is no possible way to count how many pitches I’ve done that failed, nor how many got silence in return. Nor, to be fair, how many succeeded.

Oh! I do remember calculating once that on average, I succeeded in 10% of my pitches. So naturally, I moved to pitching in far greater volumes. It’s worked out well for me, but seeing these aggravating emails reminds me that years of doing this mean I think I’ve learned some things. Plus I’ve so often now been on both sides of pitching that I could tell this fella a thing or two.

Eventually, I did.

And yet he kept emailing.

I only had three before I blocked him but a quick lesson anyone could take is that you’re not going to endear yourself by sending a “so what’s happening?” email two days after the first approach. Waiting is hard, but get used to it. I just mostly waited through ten months for a project that then died away, so 48 hours is a blink.

Without picking on this man, though, let me offer a countdown of key things that pitching writers can do that hopefully avoid pissing off editors.

5) Tell me who you are

I don’t mean that I’ll necessarily listen to you more if you’re a famous writer, but I probably would. Or that I’d pay attention because you’re a surgeon pitching me a piece about surgery, but I would. All I mean is that you should tell me your name so I know who I’m talking to.

This fella wrote commendably concise emails but in that short space he called himself by two different names and – this is hard to explain – also referred to himself by a company name. I’m still not sure this wasn’t spam, I’m not really even certain that it was a man since one of the names could be a woman’s. It did all read like it was written by a man, mind.

4) Tell me your great idea

In truth, when you’re pitching to an editor, what you’re really pitching is yourself. You want this to be the start of a long working relationship –– and so does the editor. Finding a writer who knows their stuff, who can write, who has good ideas and also delivers them, that is gold.

There have been times when I’ve pitched an idea pretty blindly, pretty sure that it couldn’t land, but knowing that it was opening a dialogue.

Nonetheless, if you’re going to pitch, you need to pitch an idea. This fella told me he had oodles of them, but he didn’t describe a single one. Rather, he said that he could write me articles that would organically grow my SEO engagement. You see why I thought this could be spam from a company.

Search Engine Optimisation will get you higher up the Google rankings when someone searches on a topic – today. Tomorrow, Google changes the rules and you need a whole different set of SEO tricks. The answer to doing well in Google searches is not to write clickbait conforming to today’s keywords, it’s to have bloody great ideas and write them extraordinarily well.

You do also have to be doing that consistently and over a long time for it to work, but it’s the one way that does mean you keep succeeding. Google is trying to surface useful, interesting pieces and its SEO changes are to try combating people who rig the system by presenting quick crap with clever keywords.

As far as I can decode, by the way, what this fella really wanted was for me to give him ideas that he could then give back to me. Yeah, no, let me get right on that.

3) Read the publication, watch the show

I did have a meeting the other day where the producer was visibly surprised that I’d watched her show first. But if she were surprised that I’d prepared, she had no doubt that I really had. And she had no question that when I said I really liked this particular thing about it, I meant it.

There never is any doubt. If you’re lying that you’ve read something, or if you’re lying that you liked a thing you haven’t watched, it is extremely obvious. I know, for instance, that this annoying writer hasn’t read the publication he was aiming to write for –– sorry, aiming to organically grow whatever –– and that he claimed to love. There were specifics like the way he mentioned a word count that has no relation to what that publication does, but mostly it was just the undertow. The total certainty that the words about loving the publication were bollocks.

A bigger, more overt clue was how he then said that of course we’re getting it all wrong and need him to fix it. What he actually said was that he’s done a research audit on the publication and identified a content gap.

If you don’t know the aims of a publication, all the research in the world –– er, bar asking what the aims are –– will not identify a content gap. I can only think of two publications I’ve written for or edited which ever mentioned football, for instance, but apparently football is popular so they should’ve done more of it and the editors of all the rest are fools for not identifying this content gap.

2) Don’t use personal email addresses

All credit to the fella for finding my personal email address, but there’s a reason it’s personal. That address is the one I’d give you because I know you. It is one I do give editors and I have often given to writers I’ve hired, because it’s the one that gets straight to me immediately and I want you to be able to do that.

You know this, you wouldn’t ever use someone’s personal address, but this fella doesn’t. This is yet another reason why I cannot decide whether the emailer was a new writer or an old company spamming me with SEO offers.

If it is an individual, a new writer, then you could argue that finding this address fits in with his claims of researching the publication. Except that publication quite prominently displays their business email address for me. And if you don’t know that because you don’t read this publication you claim to love, there is a general email address for me everywhere else. LinkedIn, my website, I don’t know: I have a general-purpose email address I give out anywhere in order to keep my personal one for friends like you.

Incidentally, he ended his email with that phrase “if you don’t want to receive any more emails, reply with the word unsubscribe”. I’m going to be generous and assume that he has seen this on other emails and thinks it’s professional. And to be fair, my reply to him did not actually use the word “unsubscribe” as such, but then it also didn’t say a lot of rude words that I felt were quite adequately implied.

1) Do the easy research

Most of this has really been variations on how a pitch should be polite and should have something it is actually pitching. It’s been about how a pitch intended to get work has instead guaranteed someone won’t be hired. Truly, it’s all been about me, about what I thought on receiving this series of emails.

So let me look at it from this writer’s perspective. He wants me to commission him to write for this particular publication and if he lacked any ideas, if he found ways to spam me, he was probably not doing it deliberately. Genuinely, I can’t be sure, but let’s say it wasn’t deliberate, that this wasn’t an attempt to get a reply at any cost so that I can be added to some spam company’s mailing list.

It was still never going to work.

Because while yep, I am an editor, I am a producer and I couldn’t quickly count how many publications, sites or services I’ve commissioned writers for, there is one very easy fact to find out about me. I do not edit the publication he wants to write for.

That publication does not hide who the editor is. None of them do. If you want to know who to pitch to, it is supremely easy to find out.

You could just ask me.

There. I’ve got all of this off my chest and, even if it doesn’t seem like it, in a much calmer way than the two previous attempts to talk to you. I’ve deleted those two now, but to give you a flavour of them, I think they both used the phrase “flying fuck” a lot.

Scene and not seen

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This was hard for me. I ran a workshop about scriptwriting last weekend and I was required to teach a group of teenage writers how to format scripts. I did try telling them to just get it right, but for some reason they wanted more detail.

Look, you know and I know that scripts are laid out in certain formats and they are different to prose fiction, you would never accidentally write in these layouts. What you would do is read scripts. Read enough scripts, you get it. Film scripts are pretty rigidly formatted, television comes in a couple of different forms, radio is bit more relaxed and theatre is a Wild West.

But read scripts, you get it.

I don’t expect any writer to happen to know the millimetre dimensions of every indent, but I will not accept a writer who thinks it doesn’t matter. Who thinks script formats are solely done because there’s some secret club that has agreed it all.

Instead, scripts are laid out in their various ways for very specific reasons, all of which are long-won over decades of you writing and other people making the show out of that script. Some poor sod will count your INT for interior scenes and your EXT for exterior, for instance, as they try to balance the budget between days of location filming versus building studio sets.

There are reasons, they’re practical, none of this is hard. So what I told the group was that if you send me a script and it isn’t laid out correctly, really you are telling me to stop reading. Rather than showing me you’re a free spirit who won’t be confined by arbitrary layouts, you’re shouting that you don’t read scripts.

There’s no reason you should read scripts, unless you want to write them. If you do and yet still can’t be arsed to read any, I struggle to see why I should read yours. You could be a natural, brilliant talent, but you’re not. Get it right, I said to this group, because it’s not as if it’s hard, and read scripts because you’re a scriptwriter, you’re surely interested in your own field.

However.

I also explicitly told them that I know instantly when you’ve got a format wrong. I know from the first glance, before I’ve read a word, I know it’s wrong. I said it was that obvious.

It turns out that I lied.

I still believe what I said and I obviously didn’t set out to lie to them, but something happened shortly before the workshop and something happened shortly afterwards. What makes it worse is that it was the same something.

It was that I read the script to the pilot episode of “The Last Ship” by Hank Steinberg and Steven Kane, distantly based on the book by William Brinkley. I enjoyed it very much, I bought the episode off iTunes to watch, and then I bought the next episode, then I bought the season. By the time of the workshop, I think I’d seen six episodes and the day after, I re-read the script.

So there I am, barrelling along, enjoying it again, seeing the differences between the draft and the final production, having a fine time.

Until I noticed that it has no scenes.

There isn’t a single scene heading and I hadn’t noticed. I’d got so caught up in the reading that despite all the rest of the format being full-on script, I completely failed to notice that there wasn’t one single INT or EXT in 54 pages. When I did notice, around 30 pages into the re-read, I went back to the start and checked it out in case I were mad or the copy of the script I got was peculiarly incomplete.

It wasn’t. Rather than say what you’d expect, such as:

EXT. FLIGHT DECK – DAY

the script instead says:

CUT TO
XO MIKE SLATTERY (40’s) walking on the FLIGHT DECK, crossing with NAVY SEALS DANNY GREEN and FRANKIE BENZ (both 20’s). He shakes Danny’s hand.

I do feel for the poor sod working out the budget, but then the great majority of the script is set on a ship which appears to clearly be a real one shot on location. So I suppose that one big EXT is somewhat implied.

There’s no lesson here, certainly not for you because you didn’t sit down to get lectured at, but also not for me. I was wrong about seeing deviations from the format instantly. I lied to those teenage writers. But I’ll lie in the same way again, I’ll always write INT and EXT. But I was wrong.

It’s just that instead of instantaneously recognising something was off, it took me one and a half reads of the entire script to notice. Instead of seeing it on page one, then, it effectively took me 84 pages.

I’m suddenly reminded of when novelist Paul Auster stopped writing chapters. I can’t remember which novel it was now – I want to say Oracle Night – but the entire book is a single chapter, just as this script is a single scene. With the novel, it was oddly compelling. I don’t understand how, except that late at night, figuring I’ll just read to the end of this chapter, I was a bit tense.

“The Last Ship” script is an exciting, absorbing read. My concern for the poor budgeting sod is too great for me to ever try abandoning scenes, but it is true that ditching them makes this feel like a faster read, that it pulls you through instead of pausing to plant an INT or EXT flag.

Going commando

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I love that if the phrase “going commando” means anything to you, it’s because of Friends. One joke in one episode of one sitcom has had major repercussions. (And if you just saluted military man Major Repercussions, we can thank the writers of How I Met Your Mother.)

But that’s not why we’re here. I want to boast at you about my fantastic writing – and then puncture that with the truth. I learned a lesson this week and I think it is so key that I would have vowed to you that I learned it two decades ago plus I’ve practiced it daily since then.

Yet apparently not.

The lesson is that writing can be extraordinarily concise, that you can do a huge amount in an instant. And that since you can, you must. You’re talking to a fella who wrote for BBC Ceefax, the news service that makes Twitter seem spacious, and I’m still learning to be more concise.

Actually, let me quickly throw in this, let me say “here endeth the lesson” because a) I’ve always wanted to write those words and 2) I want to tell you a Ceefax story that has just popped back into my head. (The a) and 2) line comes from Paul Reiser and other writers on Mad About You. This is also not what we’re here to talk about.)

Anyway. On one of my earliest days on the Ceefax Entertainment desk, I was assigned to write the Blue Peter pages. I can’t remember the details now, but it was something about how every episode the children’s series then featured various things you could make and Ceefax ran around a dozen pages detailing it.

Being new and not knowing any better, I wrote it all in two pages.

I can see my editor standing over my shoulder with the printed out email from the Blue Peter office, pointing at some detail and saying “But what about this – oh, that is in there.” It all was. Given that I am now starting to drag this story out, I maintain that I am Mr Concise.

Except I do a weekly YouTube series called 58keys and I script it. I’m a scriptwriter, it’s what I do. And this week’s edition had a lovely title that I planned –– “Looking for AirTags in All the Wrong Places” — plus a lesson I didn’t.

AirTags are this new teeny tracker you put on your keyring or in your car or on your luggage. If you lose the keyring, the car or the luggage, your iPhone will tell you precisely where they are. Under the right conditions, precisely means really scarily precisely.

So I know this is an obvious gag, but I scripted an opening where I “lost” an AirTag and then had to go searching for it. Here’s what I scripted for the opening 50 seconds or so, including titles.

INT. OFFICE – DAY
ME: Right, two things to say. First, hello, I’m William Gallagher and this is 58keys which is for writers like you and me who use Macs, iPhones and iPads. Do subscribe. Second, AirTags. Just buy one.

HOLD UP EMPTY AIR

ME: “Get an AirTag and you will never again lose – well, anything.” [“REALISE” YOU DON’T HAVE AN AIRTAG.] Oh.

EXT. GARDEN – DAY

Crawl commando-style over the grass, using your iPhone to find the AirTag on your key ring.

– SHOT ONE: your keys in the grass. Then iPhone with “Here” and you picking them up
– SHOT TWO: commando-style close up of you hunting
– SHOT THREE: overhead view of you picking them up

That’s pretty concise. But the way I set it up, the first thing I filmed out in my garden was Shot Two. I filmed that, then I was on my back, squinting in the sunlight as I checked what I’d got –– and I knew.

I knew that I didn’t need Shot One. Or Shot Three. The whole story, the whole gag, was there in Shot Two and in fact in exactly five seconds from the middle of it. So I didn’t bother to film those other two shots.

You can watch it, you can see for yourself.

I hope you think it’s funny, I expect you’ll think I look like an eejit, but I know with total certainty that you will agree it does the job I set out to do. The script has one scene with three shots and a total of 278 words of description.

But I showed it all, conveyed it all in five seconds.

Another lesson I learned, incidentally, is that it’s surprisingly hard to do that commando-style crawl across your garden. I don’t see that lesson sticking with me as much as the concise writing one, mind.

AirTag

Playing tag

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This is just tickling me today. It’s early Friday morning and before you and I even start to talk, I have already looked up the tracking information for a parcel that’s due this afternoon. I’m getting a delivery of AirTags for a work thing, I’ll be writing non-fiction about them as soon as they’re here. These AirTags come out today and they mean I’ll never again lose my keys or my car. And one day when we can all travel again, they mean I can stand in JFK and know precisely which room my luggage is in back at Heathrow.

But for now, for today, this means that I am currently tracking the delivery of tracking devices.

I know our lives are riddled with technology and that having an AirTag on my keyring is yet another example of that. Given years of development and doubtlessly millions of dollars of investment, it feels like a pretty big hammer to solve the nut of my wondering where my keys are once a year. It’s like how I once saw a video about how tin foil is made and, I tell you, my sandwiches are not worth that effort.

Maybe this is just me, but it feels as if we always think of technology as this huge force that impinges on us. Hopefully for good, doubtlessly sometimes for bad, but it’s this thing that presses into us. I believe, though, that rather than some impersonal single force, technology is incredibly, just incredibly illustrative of the specific people who make it.

So for instance I was once hired to work for a day in a client’s office but the PC they put me on decided to update Windows. Three hours I sat there, being paid I suppose but acutely embarrassed that I wasn’t getting the work done and increasingly conscious that the deadline was becoming painful. But screw me and my work, Windows wanted updating so Windows is gonna update. At long, long length.

That does tell me something about myself and my capacity for foul language, but it also vividly conveys to me what it is like to be someone who works at Microsoft. Everyone is different, obviously, but seemingly no one at Microsoft gives enough of a stuff about what its customers need to do. To me, then the entire, massive Microsoft corporation has a personality and I don’t like it.

I know people who loathe Apple, too, but to me the difference is that people there take a minute longer to think. I realise I’m comparing two faceless corporations who in reality surely don’t care about me. But when a Mac needs to be updated, it asks you first. Can it do that now or are you busy? One question, one thought, a world of difference in the personality.

Then if you follow Facebook, I mean as a company, it’s been hard lately to not see that gigantic organisation as a petty teenager. I’ve got so into this that this week’s 58keys, my YouTube series about technology for writers, threw out all the technology and instead took a writer’s view of examining Facebook’s tantrums.

I think that technology also shines a little light on actual individuals, actual human beings, too. Take these AirTags, for instance. When they were announced, I know plenty of people whose first and maybe only thought was hmm, must be Bluetooth LE, probably a U1 processor, got to be leveraging the network of iPhones in the world.

And my first thought was how they could be used to track people.

They can’t really, by the way. I’m embarrassed quite how much I’ve thought this through, reasonably worrying about domestic abuse victims but also excitedly thinking up thriller plots. But I’m impressed by quite how much Apple has thought it through before me. I can just about see a way to do it, to plant an AirTag on someone and follow them, but it is ludicrously complicated, depends on so many coincidences in a row, and I cannot see a way to prevent you being caught pretty soon.

An AirTag is a tiny thing, about the size of a coin, and yet it’s also therefore this huge illustration of a marriage of technology and people. I’m certain it isn’t easy to think up the technology, but we’ve seen a lot of examples where seemingly it was easy to stop thinking once the tech was done, to not think further into how it will be used.

I am biased here because technology is how I get to talk to you. But for my entire writing career, I’ve had one foot in technology and one foot in drama. I used to think that it was just because my handwriting is so bad that I have to use keyboards, but now I’m wondering if really the two sides are not different at all.

Plus if I don’t spend today tracking my tracking devices, I’ll spend it metaphorically eating chocolate. So there’s that.

#Relax

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So the lack of chocolate is now making me shake, but fortunately it’s a metaphorical lack even if it’s a real shake. Anyway, it’s enough that I’ve been hearing about this relaxation thing and figuring now is a good time to give it a try.

For everything I do, I lean on a bionic To Do app called OmniFocus. If you want to, you can put tags on the tasks you pop into that. I have a tag called #pressing, for instance, and when there’s a spare moment, I’ll tap on that and see everything that’s making my stomach learn what a reef knot feels like. Or less problematically, I’ve got a tag called #email. Whatever the project, whatever the job, whatever the deadline, I can tap on that tag and see a list of emails I need to send to get something done. Again, spare moment, knock a couple of those off.

Earlier this week, though, I heard a podcast that suggested creating a tag called #relax.

Okay.

That’s three days ago now and I’ve made this #relax tag, but I’ve nothing in it.

There’s reading, I could pop reading into the list. And I do read a script every day, but as enjoyable as that is most of the time –– I have read some stinkers lately –– it is a kind of work. I have just finished a novel I liked and am tempted by the sequel, plus I am reading an autobiography that’s a delight. But they’re both tangentially related to work, to the extent that it’s hard to separate them from a writing project.

I did just call out to thin air, “Hey, Siri, play something I’ll like,” and the room filled with music. That was good. Except the first track was Mike Oldfield and he’s pro-Brexit. And the second was by The Corrs, at least one quarter of whom is a climate-change-coronavirus denier.

None of this stops me liking the two tracks –– “Moonlight Shadow” and “Bring on the Night” –– but, come on, Brexit and COVID. Not exactly #relax.

I have been watching even more TV drama than usual lately, but again that’s a little work related. I read all 24 of the scripts in one series and then watched the episodes, trying to understand how it was irritatingly written and yet compelling at the same time.

Yesterday I did also look at a sign for a gym, but you know I’m a bit more likely to run away to the circus.

Long walks. How long are we talking, exactly? Heading out in the sunshine: tricky, since if it’s daylight, I’m working.

I don’t drink, I’m not a gamer, there is no sport in the world that I’d sit through voluntarily. And Strictly isn’t back for months.

I do get to talk to you, mind. Which is why this is headed #relax. That’s one thing on the list, then. Great: job done, now what’s #pressing?

No actors to grind

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I have eaten all the chocolate. And while I wait for the manufacturers to catch up, I’ve been grumbling. Chiefly because of a YouTube video I watched last night called “Lisa Kudrow on creating Phoebe on Friends”. I didn’t really hope that it would be her talking about how David Crane and Marta Kauffman created this great character that she got to play, but I did hope the title was a mistake.

It wouldn’t be the first time that a headline was written by someone who thinks actors make it all up. I had a stand-up row with an entertainment editor once who entirely believed that. I’ve had people enthuse about incredible ad libs an actor has thrown into a stage show and then I’ve heard precisely those same ad libs when I’ve seen the same production a year later.

But if an entertainment editor doesn’t know and a theatregoer somehow wants to enjoy believing the actors invent their lines, at least you would expect that an actor would know what acting actually is.

Well, I say that, there’s still the case of some cast members in The Usual Suspects who insist they didn’t know if their character was the baddie or not until they saw the film. Fellas, fellas, it’s in the script. Page 142. Seriously.

Or there were those couple of times on BBC police drama New Tricks where the ensemble cast swore up and down that they rewrote every word of every script. Some writers and some directors said “prove it”, while all writers and all directors and all producers said “bollocks”. These were fine actors and yet for all their vehemence, those scripts did not have one word rewritten. Writers on the show were saying come on then, show us a comma you changed, if you think you’re hard enough.

I would’ve said that Lisa Kudrow is remarkably talented. I would’ve said that the reason I can read the pilot script to Friends and cannot hear anyone else’s voice in that role is a mark of how extraordinarily well she played her character. But unfortunately it turns out that she would say she created that character.

That YouTube video is painful. She goes into great detail about her process and how she decided on the character. Then the interviewer eventually asks something like “Wasn’t it written that way?” and Kudrow basically says “Oh.”

She expands that into “maybe” before throwing in that she doesn’t remember. And then in the last moments it’s as if you can see her realising that this is why the producers said they liked how she did it.

Lisa Kudrow is unquestionably more talented than I am, unquestionably. She’s also vastly more successful. But there is one thing I have done that she hasn’t: I have read the script.

It’s common to hear of actors who don’t read the scripts –– Kudrow is blatant and entirely unconcerned about how she skipped everything but her character’s dialogue –– and I don’t know why it seems to be accepted.

I actually completely get why actors tend to thank directors and rarely writers. The writer may not even be there during filming and certainly they’re not as hands-on involved at that stage as the director or other cast. Naturally you’re going to bond most with the people you work with.

I said I had no actors to grind and clearly I have some. Yet I think of casts who’ve performed my words and they’ve been a marvel. I think of Conrad Nelson playing Iago and being so incredibly frightening in that role that I was scared of him over a drink in the bar afterwards. My 58keys YouTube series featured an interview last Christmas with actor/writer Debbie McAndrew and, unprompted by me, wanted to mention how galling actors find it when other actors do this thing of claiming to have created their characters.

And yet there are actors who are hired and don’t bother to read the script. You had one job…

Weight for it

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I can’t remember a time when I wasn’t waiting for something, some result, some decision, even just something to render. But you can be waiting for precisely the same amount of time and one is heavier than the other.

Yes, I’m waiting on something. How could you tell?

I think there are two ways to wait for something without it pressing down on you. No, hang on, call it three: you could also just not care about whatever it is. That does happen and surprisingly often: you pitched for something and know that if you got it, it would be great, but if you don’t, it’s a shrug.

Of the two ways I was originally thinking about, one of them is actually quite similar. Whether you want it or not, you make yourself forget it as if you’re don’t care. This works so rarely that I can actually count the number of times it’s worked out. On both occasions, I would get updates from the people I was waiting for, and apologies for various delays, but on both occasions I was fine. The total certainty that it wasn’t going to happen, that I wasn’t going to get it, meant I could cheerily reply and shed it all from my mind a moment later.

That can’t be the usual thing of thinking you won’t get it because you somehow don’t deserve it, though. Instead, it has to be from the cold producer part of your head, the part where you can see the project from the other peoples’ perspective. For instance, I remember very clearly having a great time at a kind of interview for a gig once and as I walked out, poet Jean Atkin walked in.

Bugger, I thought, even I would hire her over me for this particular job. If they have any sense, I knew, it was her gig and rightly so. They had sense.

Actually, now I think of it, there was another time few years ago when I ended up on a train with poet Bethany Rivers after we’d both pitched for the same work, I came to the same conclusion and I was right, she correctly got the gig, but I also remember this now. She got off the train a stop before me and between her station and mine, I got an email offering me work. It wasn’t as well paid but it was more me and to this day, I’m still involved with that and Bethany is still with that gig.

You may choose to take this as meaning that you never know when you’ll get a commission. I prefer to think of it as a warning that I should never go up against poets.

Anyway, that kind of practical assessment, that’s what I need in order to constructively believe I’m not going to get the thing I’m waiting for. When I don’t run into the competition, it’s harder to make these assessments but, for instance, there was one where I could even see legal hurdles and certainly contractual ones over booking me compared to some unknown other writer. It was complicated. Mind you, I got that one.

I don’t know who else is in the running for this thing I’m waiting on now, and I have no capability of making an assessment over my chances because it isn’t a numbers game. It isn’t me or someone else, it could be me and someone else, it could be no one. Yet this is something like the fourth or fifth step in this particular project’s process and the first three were a complete lightweight doddle to wait for. Lightwait, that’s what I should call them. No expectations, coupled to plenty of awareness that it was all going to be steadily delayed by the coronavirus issues anyway.

I sailed through those waiting times, merrily replying to apologies for delays and having the entire thing vacate my mind again the instant I hit Send.

Not now. Not so much.

Yet there is this other way I’ve got of handling waiting. What I do is –– I don’t. I don’t wait.

There’s nothing I can do to speed up a decision that’s entirely out of my hands, but I am in complete control of what else I do while I’m waiting. And what I am fortunately finding works once more is that I get out there and pitch for something else. Somethings else, many, many somethings elses.

This has gone wrong before. I’ve ended up getting the thing I was waiting for and also every single one of the other things I pitched to do in order to distract myself. It made for an extremely busy period, but if you have a way to make me be that overstretched all the time, I have a limb I want to interest you in.

There is a fourth thing. I promise I wasn’t holding this back, I’ve just been staring at everything I’ve said to you and wondering about the undertow, the way that you know this particular wait is hard. But saying it all to you, I don’t know, it somehow reminds me.

I can count how often I’ve had certain lightwaits and I can’t count how many times I’ve had to wait for something. It’s just that somewhere between twice and countless, it is astounding how many times I’ve been hired by people after they’ve first rejected me.

Repeat this after me so that I can hear you and get it into my head. Rejection is not automatically the end, even when it’s a rejection that matters to you. It’s at least often the start. And if I cannot tell you yet what all of this is about, I want to tell you that it does feel like a new start in a new area. It feels like I’m in a new game, it just seems to come laden with the same waiting weight that all my previous writing work has combined.

I’ll let you know as soon as I can. Although if I appear fixated on chocolate the next time we speak, don’t press.