Appy anniversary

Posted by

0

This week is the sixth anniversary of the original App Store: the iPhone app store that is now responsible for how I spend a significant portion of every working day. Before then, apps were known as applications and not really that well known at all, not per se. Your mother didn’t ask you what an application was. Mine has asked me what an app is.

Mind you, before then, phones were known for being phones. And for being hard to use. I remember trying to read the manual in a theatre: I had a small production on and guests were coming, I needed to have the phone on but muted. Never worked it out.

Now it’s preposterously easy to do with an iPhone but actually calls must be the least thing I use it for. Because I run my life through the apps on it. The iPhone came with apps – the Phone is an app, but there was also an email one, music, calendar – and there are ones from that set that I have used every day since 2007 when I got my first iPhone. Right this minute my phone’s front screen has 20 very, very well-worn apps of which 10 are Apple’s.

That’s more than I expected. Look at the other 10, though:

OmniFocus – my beloved To Do manager
Fantastical 2 – my newly beloved calendar
Pocket – for reading saved articles from the web
Drafts – for jotting down text and then deciding what to do with it, whether to send a text or save to Evernote
Evernote – speak of the devil
Reeder 2 – for reading a lot, I mean a lot, of news every day
Wordpress – for doing some twiddles with this site
HulloMail – a replacement for iPhone voicemail since I’m on 3 that doesn’t support this naturally
LocalScope – for finding restaurants, companies, ATMs, bookshops, anything nearby
1Password – all my passwords and logins at a tap
AwesomeClock – my bedside clock
Concise Oxford English Dictionary (with audio) – what the words mean and how to pronounce them

There probably hasn’t been an hour of daylight in six years that I haven’t used one or more of those.

But.

Six years.

It’s a long time.

I wanted to know what the first was.

The first app I ever bought.

If you want to do this, the quickest way is to open iTunes on your Mac or PC, go to the App Store and check Purchased. You can’t tell a date from that, unfortunately, but the apps are stored in order. If you have more patience and a steady hand, you can get approximately the right date by going through your Accounts section and slogging, slogging, slogging back through the listings there. Very slow, very long. And the date is the invoice date, not the download one. So it can be the same day, it can be the day after. But as near as you will ever be able to determine, that’s when you got each app. Including your first.

My first ever app was… actually, it was two, I bought two at the same time and can’t tell which was first. But the two were NYTimes – Breaking National & World News and Yulan Mahjong Solitaire. I bough them on 11 July 2008, so that’s six years ago today, and together they cost me £2.99. I’ve just checked and the New York Times one is free, Yulan Mahjong is now £1.19.

They’re both fine but neither lasted on my home screen and I know this for certain because of this. This is what my iPhone home screen has looked like for the last six years.

The music there is “Last Week” from Green Wing’s soundtrack by Trellis.

There is one advantage to slogging, slogging, slogging through your iTunes Store account: you get to find out when you bought everything.

So I can tell you that the first book I ever bought through Apple’s iBooks Store was a free copy of Jane Austen’s Mansfield Park. The first one I paid for appears to be some psychology thing called 59 Seconds by Richard Wiseman. I bought those both on 28 May 2010 and have only read the Austen. The first paid-for iBook I bought and read – and loved, incidentally – is Mapping the Edge by Sarah Dunant, bought on 29 May 2010.

The first TV episode was the free pilot to Damages: never watched it. The first paid one was The Mighty Boosh’s The Nightmare of Milky Joe, which I’d stumbled across on TV and it silenced the room, we all got so engrossed. I bought that on 2 March 2008 and I must go watch it again.

Films came to the iTunes Store before TV but my first wasn’t until 7 June 2008 and The Paper Chase. It cost me £6.99 and I’ve not watched it. I’m feeling bad about all this now. But the second film, the first paid for and also watched, was Searching for Bobby Fischer, aka Innocent Moves aka the subject of this blog by Ken Armstrong.

And all this buying from the iTunes stores started with music. On 15 June 2004, I spent £3.16 buying In Between Days by The Cure, Always the Last to Know and Be My Downfall by Del Amitri, and Jokerman by Bob Dylan. The first album, two days later, was Greatest Radio Hits by Bruce Hornsby.

None of which has had the impact that the apps I’ve bought this way did, but all part of this peculiar sea change that saw me move away from CDs, move to phones that work, move to actually the life and the career that I have right now. I like telling you that my working life would not be recognisable to me if all this hadn’t happened but I don’t like wondering what I’d have ended up doing.

Full circle

Posted by

1

You’re supposed to know when you’ve come full circle, you’re supposed to notice it happening.

And most of the time, I have. I can look very easily at how I was a Doctor Who fan as a child and now I write Doctor Who radio dramas. Actually, there’s a famous Doctor Who story from Tom Baker’s years called Full Circle and now I’ve worked alongside its writer, Andrew Smith.

Then there was Lou Grant, the television drama that is responsible for my becoming a writer. I watched it in the late 1970s and early 1980s, the very names on the credits becoming as familiar to me as I understand football players are to sports fans. I haven’t completed that circle by now writing understatedly brilliant television drama, but once in a while those names on the credits are now names in my email inbox.

I can vividly see myself buying the new issue of Radio Times one week in 1996 when it announced it was going online with what would become radiotimes.com. I can vividly feel how I felt I’d missed a boat there, that I should’ve been involved somehow, that I wanted to be involved somehow. Shortly afterwards, I started working for them and Radio Times magazine plus radiotimes.com became probably my biggest single and consistent freelance writing gig throughout the 2000s.

Same thing with BBC Ceefax. I wrote for the teletext service on the Paramount Comedy Channel and was very glad to get to do it but really it was BBC Ceefax I was aiming for. Actually, I remember pranking my mother with a news story that looked like it was on Ceefax but I’d written up on a BBC Micro. (This was in the days of BBC Micros, it was before the day that pranking became a word. I was a rebel.) Not very many years later, I was leaving messages for my wife Angela Gallagher hidden in pages of the real Ceefax.

But.

You knew there was a but.

Easily the biggest, most marked, most rattle-me-to-my-core full circle happened this week and I did not know until it was too late.

I ran a trio of writing workshops at Newman University. (My sister went there when it was Newman College. I thought that was the circle for the day.) It was at Newman and it was for the University but it was with school children. The university was recruiting, really. There was an open day, there was a tour and then three of us local writers each ran three of these workshop sessions.

There was an extra fun to this in that the school groups were divided into three and they each stayed in their room all morning, it was we writers who had to race around the campus. There was an extra eeek to this in that I’d run into a room that had just had a workshop run by storyteller Cat Weatherill or poet Alan Kurly McGeachie. Follow that, William.

I think I did. I know I had a good time, I hope the schoolkids did. At the end, when everyone was gathered in a lecture hall, I had a quick count and I reckon there were 100 kids. I think they were mainly from three or four schools and I hadn’t actually heard of any of those.

Until.

When it was all done and half the pupils had headed out on their guided tours of the campus, I was standing near some staff planning the next day.

And I saw the name of my school on the page.

My old school, the one I nearly named here but have spent so long decrying that a decent Google search and a bit of elbow grease could even build you up a picture of me libelling that place, allegedly.

Let me tell you quickly. I had fights at my school, not just fistfights with the other pupils but a political one with a member of staff whose oncoming nervous breakdown somehow made him want to have me kicked out. I had a careers lesson in which the teacher did not just laugh at my saying I wanted to write, he got the entire class to laugh with him. I should own up to having been a poor student, but this was a bad school and all I got from it were the kind of bruises that did help in journalism but let’s not give them any credit. And I also got a bucketful of embarrassing memories of just how much and just how many of my year I fancied, but fortunately that’s not the point here.

The point is that I’ve now visited a lot of schools as a writer and I have never come so close to my own one. They were going to be in Newman University the next day and I wasn’t. That was so close that I felt jolted.

So it was really more of a kick to hear “No, that’s today’s list”.

I turned to the students left and asked if any were from this school that again I just began typing the name of, you’ve got to stop me. But there were none. As I understand it, only a very few came from this place, it wasn’t one of the main schools who were there.

But.

Without question, without doubt and unfortunately without knowing it, this week I taught some kids from my own school.

I’ve come full circle. I’m rather excited by this, I am certainly more than a little freaked. Maybe if I’d known it would happen, if I’d known it was happening, that would’ve been easier. But knowing I have done it and not being able to know which kids had been from there, it’s on that borderline between tantalising and disturbing. I’ll admit, since it’s just you and me here, that it did also make me feel old. It did also make me feel a bit strange. I’m wondering if this makes me square or loopy.

But.

You’re supposed to know when you’ve come full circle, you’re supposed to notice it happening.

 

 

You need good people

Posted by

0

It is shockingly hard to get good people and so when you do, you hang on to them. I was in a phone call just now with a producer who admitted that this is a thing with him, that loyalty is precious. Now, I liked that conversation because I am loyal to this guy and he’s been loyal to me back. But it’s weird that it should’ve come up now because I thought I knew this yet I think I re-learnt it this week.

I’ve been doing a bit of work with the Royal Television Society, popping in to some of their school education days. They’re there to show kids that there are more careers in media than you would imagine, that there are skills you need for media work that help you in every type of job. I go in as a writer, I mock my own old school and praise the one we’re in – as invariably, just invariably, these schools are better than mine was – and I help out during the day’s main exercise.

Oh, you would wish your school had done this exercise. By the end of the day, the kids present a pitch. This time there were 65 kids and they were divided into 10 groups. There have been more, there have been fewer, but that’s the usual group size. All of the kids are typically aged around 14 so they’re just at the point where they’re really looking at their future career prospects.

The pitch is for an eight-minute feature to be made for City8, the forthcoming television station for Birmingham. Des Tong from City8 and Jayne Greene from the RTS brief the kids on the types of ideas needed and how to pitch. Each group of kids has to come up with an idea, then assign roles – writer, producer, designers and so on – then prepare and present a pitch to a little panel of judges. Des is always the head judge, on the days I’ve been there I’m chuffed to say I’ve been a mini-judge too.

But for me the kicker, the thing that makes this not just a fun and good idea but a vividly great one, is that it’s for real.

This is not some paper exercise, it isn’t some classroom contrivance, it’s real.

If your group has a good enough idea, if it’s viable and workable for television and if you present your pitch persuasively enough, City8 will do it. Now, they’re committing to doing one – I think it’s only if there is one that is good enough – and with the RTS they’ve been talking to a lot of schools. Each school’s best idea goes forward to a final next month and after that, City8 will produce and broadcast the feature.

Do this right and you’re on air.

I know adults who’d kill or at least maim for a shot at doing this, so to have it offered to schoolkids along with help to get it right, I’m deeply impressed with the RTS and City8. I’m deeply proud to sometimes be there and I take this seriously. I speak to the kids at the start, I go around every group listening to the ideas and asking questions.

But this time, on the last of these sessions and for the first time, I interfered.

There was this one group that at first were so clearly on the ball that I sat down and practically got right back up again immediately. They hadn’t got an idea yet but they were discussing it like a professional production meeting and I thought the young woman acting as the group’s producer had a real handle on all this.

There were ten groups today so it took me a time to get around all of them but on my way looping back, I stopped by that first table and things were very different. On the good side, they now had an idea but on the bad, it wasn’t going to happen. They were not going to win this because they were not going to be ready to pitch.

I need to be a little circumspect here because this was a school and I don’t want to identify anyone. But what had gone wrong was this particular group. There was a small set of kids who didn’t want to do anything at all, there was a small set who wanted to work but refused to pitch. It was nerves and shyness and you see this, you understand it, you try to help these kids along. Sometimes – fortunately rarely – you recognise that there is nothing you can do in the time, so you just have to leave them to get on with it or not. There are groups you can help, who will take the help. Naturally, then, you help them.

But this time was different because the young woman producing was doing so well. That’s an odd thing to say when she’d lost control of her team but the unfairness of that rankled with me. The school picked the groups and there was a specific plan to break up friends and thereby get everyone working with new people. That’s more than fine, that’s a good idea but in this case, it just seemed strongly clear to me that she was saddled with a tough group. I could see the frustration in her and it was just wrong.

So I took her to one side for a chat and we discussed what she was doing so well, we talked about the problem with the team.

As she gets older and if she wants to do this more, she will need to learn how to control a group better. But for now, I split her group up into two. Her one had all the kids who were willing to work and I created a second set for all those kids who didn’t. That splinter group didn’t get to pitch an idea, I have no clue what they did for the rest of the session and actually I didn’t even think about that until right now. Talking to you, I wonder what they did. But at the time, they were out of my head because they were out of the game.

That’s what happens outside school, that’s what happens when you are pitching for real. You can cut yourself off from consideration, you can waste opportunities.

It’d be great to tell you now that this young woman’s team won but they didn’t. It’d be great to tell you that she has a career waiting for her in the BBC if she wants it – and she does. Except she doesn’t want it. She’s set on a completely different career and I know she’ll get it.

The group that did win deserved to. I voted for them and it was right that they came out top. They had a good idea and I’ve seen before how that can carry you over many a bumpy hurdle, but they also just worked together very well. They rehearsed well, too: got the idea on its feet and used the time they had, used the space they were given to perform in.

You can’t be sure what teams will and won’t work well together but you can be sure what a difference it makes when they do.

Lots of people are involved in this Royal Television Society work but for the days I’ve contributed, it has felt as if I were part of a good team myself. You often don’t get that as a writer, you often don’t get that feeling because you can be finished with your work before anyone else starts, because you can hand over a script and be on to the next project. So I’ve enjoyed this a lot and it’s mattered to me. I hope I get to do it again next year.

This was not written by a woman

Posted by

0

I’m a man. It’s difficult to think of a reason this could matter or be of any interest to you. Okay, yes, I think what you and I have is something special but you’ve never given me the idea you’re, you know, shall we say, thinking of me. Like that. Though if you were, if you ever do want me to put some shelves up, I can do it. Otherwise, I’m stumped. No reason I can conceive of that you would pay my gender any mind.

And yet, I guarantee that you read that paragraph and you knew, you knew for certain that I am a man. It will be because I actually told you I was a man and then I hit on you so you’d be sure. But apparently you didn’t need either clue, you would’ve been able to tell simply through any of my non-gender detailed and non-pronoun-using writing that you’ve ever read or I’ve ever written.

Is it male that I itch to have a topical reason to bring this up today? I think it might be a bit male that I can find a reason and that it’s got something to do with sport. I don’t say that, “something to do with sport” in an offhand way, this is really about the level of my understanding of it. But there’s this Andy Murray guy, he plays tennis, he’s hired a coach and she’s a woman. This would not have penetrated my noggin but for how a man I know mentioned it and rolled his eyes.

Two seconds before, I barely held the word tennis in my consciousness, but now I really want whoever she is to coach this fella to win whatever it is. I’m that invested.

So that’s a topical reason to mention gender. There is also last September when author and literature lecturer David Gilmour said:

“I’m not interested in teaching books by women. Virginia Woolf is the only writer that interests me as a woman writer, so I do teach one of her short stories. But once again, when I was given this job I said I would only teach the people that I truly, truly love. Unfortunately, none of those happen to be Chinese, or women. What I teach is guys. Serious heterosexual guys. F Scott Fitzgerald, Chekhov, Tolstoy. Real guy-guys. Henry Miller. Philip Roth.”

Canadian author David Gilmour sparks furore over female writers – Liz Bury, The Guardian (27 September 2013)

There is a kneejerk reaction to this jerk who should be kneed and it’s that one just starts rattling off a list of all the women writers one admires. But on the one hand, that feels as patronising and oh-how-generous of me as this Gilmour’s allowing one Woolf story does. And on the other, come on: we’d be here forever if I started doing that.

So instead I just dwell for a moment on the age-old question: is this guy a git or what?

Only, none of this is really the reason I’m writing about it to you today. It is all a depressing reminder that there are forever stupid people in this world, but it’s not the reason. The reason is VS Naipaul.

I’m only three years late to this.

In 2011, this fella disparaged women writers and said:

“I read a piece of writing and within a paragraph or two I know whether it is by a woman or not. I think [it is] unequal to me.”

VS Naipaul finds no woman writer his literary match – not even Jane Austen – Amy Fallon, The Guardian (2 June 2011)

He is very specific.

He means it. No woman writes as well as him and it is because they are women. He talks about their sentimentality, how – I don’t really follow this bit, but – “And inevitably for a woman, she is not a complete master of a house, so that comes over in her writing too.”

I hadn’t ready any of VS Naipaul’s writing before this and there’s obviously no point now. I don’t see how I could now ever get through a paragraph without thinking “Seriously? This is supposed to be superior to every woman writer alive or dead ever? Excuse me?”

That Guardian article does the kneejerk list of superb women writers. It also quotes the Writers’ Guild as saying they wouldn’t waste their breath on Naipaul’s comments, which I like.

But I don’t think this fella thought it through.

Well, okay, of course he didn’t. But I mean, even within his own worldview, he didn’t see what this claim means.

Follow. He believes women writers are inferior because they are women. Therefore, men writers are superior because they are men. Our talent, our skill, the very heart of our lives that we strive for as writers comes down to nothing but whether anything dangles between our legs.

That means all writing is bollocks.

There’s no point striving to improve if you’re a woman, I can relax because I’m a man. Nothing to do with me or you, nothing to do with your or my talent, our efforts, our hopes.

Naturally I don’t want to conclude that writing is bollocks as I am a writer and I’m afraid there is truly nothing else I can be. So I’m going to stop a little short of thinking this, I’m going clear my head of this man and of this topic and merely reflect on how fascinating we men can be.

When we put our minds to it, we men are capable of what I really thought was impossible: we can simultaneously be pricks and arses.

 

Fortune and glory, kid

Posted by

0

I’ve only been thinking about this for two weeks. There was a book event at the Library of Birmingham and I was listening to the speakers, half wondering if I could steal how funny and charming they were, when a guy asks a question.

Actually, no, it was more that he stated a fact but added a question mark. He said to these authors: “But the point, the aim of it all is to write a bestseller, isn’t it?”

There are two answers to this and they are both no.

You can have the very short ‘no’ or you can have the longer, more considered, let’s have some tea, kind of no which you already know is what’s happening here. He stated this fact and every part of me thought no. It was that immediate, that certain, and it has not taken me two weeks to think about it. Because I haven’t finished thinking about it yet. I’m hoping that talking it over with you will sort out my head.

I think all that I’ve been churning over comes down to a split between people who write and people who don’t. There are two types of people in this world and they both intend to write novels. I suspect that when you don’t write and therefore don’t know what heavy spade work it is, you only ever hear about writers when they are interviewed. Writers are interviewed almost exclusively only at the point when they have a new book out. This would be because perhaps the only thing more boring than watching video of a writer typing is watching a video of the much longer periods where they aren’t.

But still, the result is that we see writers when they have something new out and inescapably, then, it looks pretty easy to have something new out. They were only on the telly the other day with the last thing, weren’t they?

Then because news wants facts and because there isn’t a gigantic amount you can ask a writer about their new work that won’t spoil their new work, we get the topic of money. This is especially true when the writer has earned some amazing amount.

So.

It’s easy and they make a lot of money.

Maybe it’s natural, then, to think that the point of writing is to make money.

Now, certainly, I write for a living and I like to eat occasionally, I prefer sleeping indoors. And actually I have very often been described as a commercial writer because I like thrillers and Doctor Who and magazines. But I used the word ‘like’ there. I could’ve said “because I write thrillers and Doctor Who” but I said ‘like’. I am a commercial writer but it is because that is where my tastes lie, it is not because I have a spreadsheet saying these are more lucrative jobs than publishing five lines of poetry every ten years.

I do make a living and writers can still make a lot of money, even today, but the answer is still no.

If you go into writing to make your fortune, it is conceivable that it will work, but it is bloody unlikely. So unlikely that doing this for that reason is simply stupid.

Plus, it’s a funny thing, writing: your secret intent has a way of becoming very apparent to the audience. If you’re doing it for glory, we can tell. I interviewed Peaky Blinders creator Steven Knight the other week and he was talking about how he as all these film and TV projects that mean a lot to him but there are also these many others where he’s been the writer for hire. But, he said, whatever it is, you have to do it as if it is the most important thing to you.

That’s not a definable thing. You can’t have a formula that says 10% more effort equals 10 times the success of a piece. Yet hack work stands out very clearly.

So you have to write what matters to you and you have to hope that it works out enough that you can survive.

Maybe the real barrier between writers and non-writers is that the nons can’t comprehend that anyone would be so stupid as to do this. They’re right. There’s no question but that writing is a stupid thing to do.

Yet I’m okay with being stupid. I’m used to it in everything else, I might as well enjoy it here. And it’s not as if I seem to have any choice in the matter, but I am glad that I am over here on this stupid side. Because it pains me, it actually causes me pain, when I hear someone being surprised that, say, JK Rowling has written another book. The genuine incomprehension you hear sometimes, the idea that she’s daft when she’s done all those Harry Potter books and made her fortune.

She is daft. We all are. Of course she keeps writing. How could you not?

Finishing lines

Posted by

0

Apparently:

“Happiness is typing THE END after writing a short story or novel”

I was searching for some quote along those lines because I’ve heard it said a lot and reckoned someone must’ve said it cleverly. I found an entire website whose every entry begins “Happiness is…”. I’m thinking that’s a hard site to keep going and sure enough, there are signs of desperation: the next entry I saw read:

“Happiness is, snowman”

I can just feel the writer’s wide-eyed, blank face as he or she hit that comma and wonder what in the world could possibly follow that bloody, cursed, seemed-a-good-idea-when-I-started-the-site line of “happiness is”.

Perhaps comma snowman isn’t the most flawless piece of writing, but there is one thing that you have to say about the writer of it and the site FunHappyQuotes.com: he or she finished the line.

(Incidentally, I would never have gone to a site called FunHappyQuotes if I weren’t searching for something for you so I’d like to say thanks a bunch. I’d also say that I will now put its toxic saccharine style out of my mind forever, but apparently “Happiness is, remembering”. I need tea.)

Finishing is the thing. It’s the thing I want to talk to you about today, it’s the thing that matters. It’s the thing that makes the difference between a professional writer and an amateur. There are other things, like at an extreme level the ability to form coherent sentences, that’s generally handy even if mine tend to go off the rails during paragraphs where my mind is still on the insane idea that “Happiness is, a family reunion” and how I burn to delete those wrong commas in all these things.

But finish.

I don’t know if you like my writing. You’re very nice, turning up here for a read, but I do wonder if it’s really for the tea and biscuits. Nonetheless,  even the doubting writer in me has to say that I am a professional: writing full-time since the late 1980s, freelance since around 1996, literally millions of words published, yeah, yeah. If I took a commission from you to write something, you’d be taking your life in your hands over whether it would be any good, but you could bet that life I will finish and I will deliver on time.

Nobody says you have to be a professional writer. Everybody says there are jobs that are a lot harder than writing, which I agree with but just once wish these everybodies would realise that there are jobs that are a lot easier too. Writing is a funny thing in that the skill and the requirements for professionalism are the same whether or not you’re commissioned. Nobody does brain surgery for the catharsis and relaxation. Plenty of people write for those reasons and without any intention of getting published.

I think I’ve said this before but I need that intention, I need that aim. It transforms my writing if I know that there is an audience because I’m commissioned or because I hope there will be an audience. I’m looking at you right now. This is such a part of me that I don’t honestly grasp how you can write without it. Many people tell me they don’t want an audience and I have no reason to think they’re making this stuff up.

But I do have reason to wonder why they then send me their pieces. Unfinished.

When you start writing something, you don’t know if it’s any good so getting someone’s opinion seems like the sensible idea. It isn’t.

Anything you write down on paper is better than the greatest thing you haven’t yet got out of your head. But you have the whole piece in your mind. You probably don’t have every word, every corner of the piece, but you know what it’s about, you know what it’s meant to be. And I cannot see that from an opening page or a chapter from somewhere in the middle of the story.

I can tell whether you can form a sentence but we’ve already recognised that mine aren’t paragons of grammatic structure. Plus, very many writers are extraordinarily poor and random in their first drafts, it’s like the ideas are bellowing out of them and they’ll worry about punctuation later. I worry about punctuation now, I worry about spelling now – because I know the power of a comma in the right place, I know the breath and the beat pause it gives and I want that. I know that if I’ve misspelt something you might not know what I mean and you’ll probably think I’m an eejit. You’ll form an opinion of me and what I want is for you to form an opinion of the writing.

What a new writer wants is for me to reassure them and instead I form the opinion that they are new. Not because of what they write, but because they haven’t finished. Writing may be a sprint or a marathon but it is never a walk and there is the issue of whether you are capable of finishing. I can’t know that, you can’t know that, until you do. But it’s the impossibility of forming any useful opinion about the writing, that’s what I’m obsessing about today.

It’s partly because I feel guilty. I met a woman at a workshop a year or so ago and she sent me the starts of a couple of different plays. It took me months to reply to her because I had no clue what to say. I think there is a spark there but I thought that when talking to her, I only agreed to read anything because she was clever and interesting – and because she was finishing so many things. She’d planned to start a company, so she did. She’d planned to do a show, so she did. I hope that having planned to write a script, she does. But she hadn’t and I don’t know that there is anything in any way useful I could say.

There was one guy who sent me a script start where I could see it wasn’t going to work but – I feel awful here – he needed to find that out for himself. Am I a right git or what? I just knew that it was true. I didn’t tell him to carry on regardless, I tried steering him. But I knew that he’d figure it out for himself, I knew that would be infinitely better than me telling him – and I also wondered if I were right. If he could actually pull this thing off, he’d be a better writer than I am and who’s to say he isn’t?

Right now, me. I’m the one to say he isn’t because he hasn’t written it yet. I’m looking forward to seeing the finished piece.

But it has to be finished. Are you getting that this is a thing with me? And are you getting that it really is a thing? Because I’m finding it frustrating that I feel I can give you these examples and I can urge you to finish, but I can’t specifically define the reasons why it is essential. Especially since even the word ‘finish’ is a bit vague.

I’m now sure I’ve said this to you before but back in January I had a coffee with a colleague who had finished writing her novel. I congratulated her, we enthused about how great that feeling is, and then we spent an hour talking about how she was going to finish it. She meant she was editing and rewriting, she was developing it further, but we were both saying ‘finish’ so we really did have sentences that went thisaway: “Now you’ve finished, how are you going to finish?”

Listen, the thing is that crossing the finishing line of even a first draft is a separator. Think of all the people who say they’ll write a book or a script one day. You know most won’t, you know some small fraction will start. But then you know that of those who start, most won’t finish. Some small fraction will and you are now one of those. It isn’t easy to finish but that’s part of the point: finishing a draft is an accomplishment and it is a hard-earned one. So there is the psychological punch that you’ve done it, you can do this and there’s the evidence.

I just think it goes further. When you’ve finished a draft, you are in the game. Not before.

I was going to try being clever with you today. I’ve known all week that I was going to write this to you about finishing and endings. I’ve been thinking about how you do hear this line of how typing “the end” is great and yet I never do. I usually write ‘ENDS’ in caps. It’s from my journalism training. Probably an unbreakable habit now. I was also thinking of how you might know something I don’t: journalists, especially American ones, used to end their copy with “– 30 –”, the dashes and the number 30. I have not one single clue why. Do you? I’d be grateful to know, I’ve wondered for a long time.

But I was going to be clever with all this, that was my plan. I was going to burble on at you about finishing and then not finish. Yes. Good, eh? I couldn’t decide whether I’d find some way to fizzle out or whether I’d do the battery-dying gag. You know:

Listen, I’ve got to tell you something urgent. Wait, my battery is dy

You had to be there.

But I can’t do this, I cannot fail to finish. And especially not when I can end by telling you two things that make me look stupid.

The first is that while I will never again read the start of someone’s unfinished work, I am today, this morning, reading two unfinished works. One is a book that I’m editing so, come on, that’s different. The other is a book by a friend and he’s given me something like 20,000 words of the middle to read. That sounds like it’s contrary to every single thing I’ve just said and that would be because it is.

But he did give me the first 20,000 the other week. And this is not a new writer. I know he will finish because I’ve read his work for years, he’s done far more than I have, there’s just no question that he’ll finish. There is a question that this is a horror book and dear god in heaven, I am the sort who finds the Muppets scary. He knows this. But he needs a reader, he needs several readers because this is a live project with a publisher waiting.

So I only look as if I’m going against everything I say.

Except that I actually am going against one thing.

I too have a novel and it’s far from finished. But I partnered with a writing buddy earlier this year and showed it to her. It is vastly better because I did. And next month I am trying out a writing group to whom I will send the start of that same novel.

I just truly don’t know what they will be able to tell me from it. I fully expect six people to say “Happiness is, typed nicely”.

 

UPDATE:

I’ve corrected something: I originally wrote that journalists used to use the term “- 33 -” but Jim Swindles has put me right. It was “- 30 -“. I knew this. I have known this since I learnt it in Lou Grant in 1977. But plainly TV drama gets into me because “33” is the title of an especially well-written episode of Battlestar Galactica. As to what it means, Jim sent me this quote from AJR, the American Journalism Review Archive:

‘Some say the mark began during a time when stories were submitted via telegraph, with “-30-” denoting “the end” in Morse code. Another theory suggests that the first telegraphed news story had thirty words. Others claim the “-30-” comes from a time when stories were written in longhand – X marked the end of a sentence, XX the end of a paragraph and XXX meant the end of a story. The Roman numerals XXX translate to 30’.

 

The Evil 2

Posted by

0

This is just a thought, but I think we don’t really want sequels. We just believe we do.

Film studios used to know this one fact: a sequel will make a certain percentage of whatever the first film got. Whatever that figure was, they knew it and they knew it was less than the original movie but so what? It was as close to a rule, a bankable certainty, as anything could be.

We now know this for a fact: no movie is now made that cannot have a sequel, that probably will have a sequel, that might already be filming the sequel.

We also suspect that no movie will ever be made now that isn’t based on a Marvel comic, but that’s a different concern.

You’ve already thought of The Godfather Part II being better than the first one. You’ve probably thought of The Empire Strikes Back being better than Star Wars. You can take that as being proof that sequels are sometimes superior and that therefore sequels can be a good thing. I’m going to take that as being a very short list.

The thing is, though, that I am not against sequels even as I go to them and even as I suspect that they’re going to be weak. (I do so clearly remember the thrill when The Bourne Supremacy and The Bourne Ultimatum were both as good as the first one, The Bourne Identity. But then I saw The Bourne Other One, Thingy, Forgotten Already.)

It’s the same with books I like, it’s certainly the same with television series. I’m there for the long haul and if I’ve liked the characters, I want to see more of them.

Except I don’t think that’s actually true. I don’t think it’s true for me and I don’t think it’s true for you either.

What we really want is the same thing again. I don’t mean a repeat of the plot, we get those all the time, I mean we want exactly the same thing again. We want ourselves to be the same as we were.

We want to open that book or go to that cinema or turn on that new TV show and see it for the first time again. To be taken to that new place with those new people and to experience that great experience again. To be who we were then too.

It can’t happen but we can hanker for it. And if our hankering means we get good sequels as well as the ordinary ones, well, it’s something.

The Evil I

Posted by

0

I thought that was such a clever title there: The Evil I. Things happened this week that have been making me think a lot about first-person writing and how really no matter what I’m working on, I am kind-of writing for myself and absolutely, specifically writing to you. You can’t tell this since I say ‘I’ an awful lot but I don’t like it. I like writing the word ‘you’, I don’t like writing the word ‘I’.

Before you check, I’ve now written ‘I’ nine times and ‘me’ once. Please bear with me on this for a minute.

Given all this, the mantra has been that writing in the first-person is bad, hence calling the word ‘I’ evil.

The Evil I.

I thought that was so clever. Then I type it here and all I can think of is: when’s The Evil 2 coming out?

When I solely wrote journalism, first person was out because as a journalist I do not matter. I am not the story. As a teenager I used to read The New York Times at Birmingham Central Library but eventually stopped because its style of journalism became featuring the journalist more. I just remember reading one interview in the paper where a third of the article was about the journalist getting ready to meet whoever he or she was interviewing. I seem to remember a paragraph about the orange juice served at the hotel.

That makes me shake. And it makes me tremendously pleased to tell you, if you don’t happen to know already, that the Times is far better now. You might question certain employment decisions (a prominent editor was just kicked out) but the writing is such that I am back reading it. I read a lot of news online through RSS and since that brings websites’ stories right to me, I doubt there’s been a day in the last five years that I haven’t read something on The New York Times.

But no first person in journalism. That’s clearly not a universal rule but it was for me.

I have many and specific responsibilities to you as a journalist, but the core job is to get the news right and to get the news to you. I want to write well, I want to tell you things you don’t know yet are then glad you do or in some way find it useful. But if you can tell without looking at the byline that I wrote a particular news story, I reckon I failed.

It took me a long time to understand that drama is different.

Alan Plater once said that poets write about themselves, dramatists write about everybody else. He knew that was a broad generalisation and I knew he was right. I just also thought that I belonged entirely on the drama side. I’m not interested in me, I’m interested in you. And I can’t write poetry or, say, song lyrics. Just can’t. (Though – this came up in a workshop I did yesterday – I’ve realised that if you asked me who my writing heroes are, the first names that come to me are Suzanne Vega, Dar Williams and Emily Dickinson. All poets.)

(There’s also Alan. And Patricia Highsmith. Paul Auster. Sarah Dunant. Carrie Fisher. Anton Chekhov. But let’s not go there.)

The short conclusion I’ve come to with drama is that the deeper you reach within yourself, the more people you actually reach.

I like that very much, except for how bleedin’ hard it is to do and except for how I’m not interested in reaching more people. One of my favourite jobs ever was writing a thing called On This Day for Radio Times. It was a TV history piece and there was a wee dollop of it in every day’s listings page. I can’t remember the numbers now but I know that at the time, research was saying that about 1.1 million copies of Radio Times were sold each week and that each copy was read on average by three people. So three million could’ve read my pieces each week.

Maybe it’s just that I haven’t the imagination to comprehend that number but I write for myself and I write to one person. It’s best when it’s you but I feel I’m putting some pressure on you now. Let’s not dwell on how you somehow got lumbered with reading everything I ever write and instead look at why I’m thinking about this so much today.

I do think about it a huge amount and very often, most usually whenever the topic of radio comes up. I caught Steve Wright on BBC Radio 2 while driving the other day and I switched him off immediately. It’s very unfair of me, especially since I didn’t give his show time for me to know what it was about, but Steve Wright equals the zoo format to me. That’s the type of radio where there is a posse in the studio, a whole group sort-of co-presenting. It’s what he always did in the 1990s on BBC Radio 1 with “Steve Wright in the Afternoon”, it’s one of the many things I adored about On The Hour: how it mocked him and the format with “Wayne Carr in the Afternoon“. You have such an innocent face. You might need to say that title aloud right about now.

Sure, there was the inanity and the banality of the format but also just the sense I would have that everybody on the show was having this  fantastic time and I was over at the window saying hello, have you forgotten me?

This isn’t some ego thing. There is no reason why the posse in a zoo gang – tell me you don’t think that’s a great title for an action movie – where was I? Right, thanks. There is no reason why the posse in a zoo format radio show should have anything for me, no reason for them to care if I listen. But there’s also no reason for me to listen. So I don’t.

That’s not why this is on my mind today. This is why. I’ve just read The Paris Review’s collated quotes from John Steinbeck, which include:

It is usual that the moment you write for publication—I mean one of course—one stiffens in exactly the same way one does when one is being photographed. The simplest way to overcome this is to write it to someone, like me. Write it as a letter aimed at one person. This removes the vague terror of addressing the large and faceless audience and it also, you will find, will give a sense of freedom and a lack of self-consciousness.

Forget your generalized audience. In the first place, the nameless, faceless audience will scare you to death and in the second place, unlike the theater, it doesn’t exist. In writing, your audience is one single reader. I have found that sometimes it helps to pick out one person—a real person you know, or an imagined person and write to that one.

The Paris Review

Recently a couple of companies have approached me about running advertising blog entries for them. This ain’t gonna happen.

But I was amused by the kind of terms and conditions I would have to abide by if I were to take money from these advertising firms. The key one was to do with what they called website traffic and hit rates and I translated as “number of readers”. It was something about reporting the figures to them and while politely declining the offer, I did tell them that they were welcome to know how many readers I have on this blog.

One.

 

 

 

Don’t lie to me

Posted by

0

I must be on my own here or The Usual Suspects wouldn’t be so popular. But there is an issue in that film that came up to an extent in a play I just saw and unfortunately is also pressing on my mind over a project of my own.

There are spoilers here for The Usual Suspects but I won’t tell you the name of the play. That hurts me more than it hurts you: I enjoyed the play very much and I only saw it on its opening night, there’s a fair chance you could still see it – and I am certain it will tour and tour and tour. Nonetheless, I ain’t telling.

Let me get the Suspects spoiler out of the way: if you’ve not seen it and you want to, look away now.

The twist in the film is that Kevin Spacey’s character has made up the whole story.

Fine. As twists go, it is enormous because it transforms the entire film and reveals the baddie to be the one person who didn’t or at least were not supposed to suspect. And it’s a lie: I like being lied to in drama, I love being misdirected. That’s true in the production as much as it is in the story: I even wrote a Self Distract once called Lie to Me.

But.

I was really enjoying The Usual Suspects up to that revelation. It was written by Christopher McQuarrie, directed by Bryan Singer. The cast was impressive. (Well, you keep hearing stories that the actors didn’t know who the baddie was in the story and it’s a little hard to remain impressed if none of them could be bothered to read to the end of the script.)

Still, there I am watching this film in the late 1990s and I was quickly into it, into the story, engrossed by these characters. But that’s the problem, I was engrossed by the characters. And then told they didn’t exist.

It’s a funny thing: characters in a drama never exist, it’s just a story, yet being told that they don’t, told that within the drama itself, that makes a difference.

All these characters I’d followed and invested in and believed, they didn’t exist and they never did. All a lie. I was meant to be jolted and I was, I was meant to be blown away by the twist and I wasn’t. It’s done cleverly, I should write something that smart, but instead I solely found myself thinking oh. Okay. That’s clever. What time is it?

The twist gave us a surprise but it took away every single thing, every possible element that I had been interested in, that I cared about, that had got me into the story. I don’t think that’s a fair trade. I would’ve come away enthused but instead I left that cinema annoyed and clearly I wasn’t alone because it only won two Oscars and another thirty major film awards.

The Play I Saw Recently included two characters that we join as they are first meeting, first getting to know and to like each other. It’s a funny, touching, growing relationship necessarily conducted in little slices as these two happen to be in the same place. You quickly suspect they are both going out of their way to get back there when the other is likely to be around, but it’s sweet and believable. You want them to get together and that is quite a hard thing to pull off in drama. It’s done well and seems to be the sole light in a bleak story. Except toward the end you learn that their meeting was not an accident and that one of them has been explicitly working to get revenge on the other.

That revelation fits the play perfectly and I am vastly more satisfied with this PISR than I was with Suspects.

However, because we aren’t supposed to guess that this is happening, we only learn very late on that there might be a reason for anyone to want revenge on this person. It’s a big thing that’s happened. I envy how the writer has crafted something that we can be jolt-appalled by yet also feel for the person who did this big thing, how we can understand how it could happen.

But we get that for a moment and then we learn the reveal. The enormous thing is uncovered and dispensed with in a thrice and that reduces it. It doesn’t make it trivial, but it makes it smaller because we don’t get long for us to see how it affects that character. Something enormous is revealed late and the plot moves on instantly so the enormous because dispensed with. It therefore becomes smaller. So the revenge that comes immediately after that feels out of scale. The fact that we haven’t suspected anything – that may well be my fault, the script may well be riddled with hints and as I say it all fits in with the gorgeously bleak story – also changes things. We didn’t suspect this person had done this thing, we didn’t suspect that the other would be there for revenge.

So we’ve spent this time getting to know these two characters and really we didn’t get to know them.

I think it works better than The Usual Suspects, though, because I think we can feel that what we’ve seen is the real character beneath the plot. What we’ve learnt of how these two feel and think is real even though what we’ve learnt of how they act is not.

I’m not sure. Maybe this comes down to how I love stories and I don’t like puzzles. The Usual Suspects is a fundamentally different film if you watch it a second time. This PISR is a drastically different play if you go see it again. Jagged Edge is a taut thriller unless you know whether the guy did it or not, in which case it’s a bit empty.

All of which would be fine, I could do the critic dance and say McQuarrie and the writer of PISR aren’t as good as I am, QED, except that I am tussling with this issue in a project of my own and, oh my lights, it’s hard.

I have a tale that doesn’t exactly depend on you thinking a key character is something when she’s really something else, but it helps.

She’s lying her teeth off and of course I want the moment you realise this to be enormous. But I’m trying to make it so that everything you’ve learnt about her is still true, she is still this same woman going through these same issues – those issues are just gigantically bigger than you expected and they are profoundly more her fault than you thought. I want you to be truly shocked but then immediately feel for her.

Easy.

I know that moment, I can see that exact instant when you are to realise and I know to the pixel where it will come in the story. Unfortunately, it has to be instantly followed by another shock that I fear is about as big. The revelation causes the second shock, I can’t see a way to even separate them by a minute. So whatever part of my brain it is that just does plots for me while I sweat about characters, that’s tapping me on the arm and asking me to ponder this. To ponder a lot – such a lot – whether an immediate second shock diminishes the first one. You want to get the most value out of something, especially when you’ve worked hard to get us to that point, so it’s an issue of whether I am throwing away some of the punch. Whether I am making this enormous thing feel smaller and out of scale.

I might be turning this into a puzzle.

But I am clear on this one thing. Even when you learn the truth about this character, she will still be the same character you’ve come to know. She’ll just have this whole other issue and I hope to make it that this hurts.

I’ve said this before but I think drama is like running your hand over a piece of wood. Go one way, stroke against the grain and your skin gets cut by shards, it stings and you bleed. That’s what a story should do as you go through it. But the way when you then stroke back, stroke in the same direction as the grain, it’s all smooth. Stories have to work in retrospect; take us somewhere new and most certainly, definitely, unquestionably, undoubtedly take the characters somewhere they don’t want to go but they have to be the same characters.

I think.

 

 

Finding Fame

Posted by

0

So there’s this thing about Thomas the Tank Engine. It doesn’t especially matter whether it’s a good or a poor TV show, what tends to happen regardless is that people love it when they’re very young. Then they go to school and wouldn’t be seen dead with a Thomas the Tank Engine lunchbox. Next, they get through the embarrassment and forget about the show but then many years later, they’re buying the DVDs in a nostalgia bin or joining the online Thomas forums.

Hopefully the quality of the show played in to one’s enjoying it when very young, but now that certainly has nothing to do with it: you’re watching that DVD and you aren’t seeing Thomas the Tank Engine, you are seeing yourself.

I don’t think I’ve ever seen a complete episode.

But I appear to have gone through this cycle with Fame.

That’s Fame the TV show, not the film. It has always and forever been okay to like the film written by Christopher Gore and directed by Alan Parker. It seems to me that the film is much more about failure than it is about fame and that miserable bleakness plus some great music makes it pretty timeless.

Whereas my main memory of the TV series is that it was extremely bright and colourful and jazz-hands happy. These are all things that lend themselves to embarrassment so the show was always at risk of this but it did also come in 1982 when US television was mostly light, easy-watching fare. My beloved Lou Grant was cancelled the year before and while it was replaced on the schedule by Cagney and Lacey, while Family Ties started then too, while St Elsewhere began as well, most of the year was pretty bad. TJ Hooker started. The Happy Days spin-off Joanie Loves Chachi began its brief run. Bring ‘Em Back Alive. Remington Steele started in 1982 and much as I enjoy it, it was froth. And then there was Knight Rider.

But it’s funny how many of those titles you recognise. Three decades on and the only one you’re not sure of is Joanie Loves Chachi. Then, too, there is little question but that you know this line:

You want fame. Well, fame costs. And right here is where you start paying … in sweat.

I should write a line that gets remembered and quoted in 32 years time.

You’re expecting me to re-evaluate Fame and say that at least that it doesn’t deserve its cheesy reputation or perhaps that it actually deserves to be a classic. I don’t know. I am Thomas the Tank Engine-style blinded to it. But I re-found it by an odd route and it’s proved to be a route that has made me re-evaluate the series as a production. Maybe it’s because I’ve been involved in shows now, maybe because I’ve had to produce the odd thing, but I have a new and very great respect for how this TV series was made. How they physically made 136 episodes.

Every US TV show, especially of that time, was making up to 24 episodes per year but this series was making 24 musicals. A new musical every week. The ones I’ve been watching this week tended to have three musical numbers each: typically a solo song over some montage or other, plus some kind of dance-room-related tune and then usually a big, full production number with the large cast of regular dancers. If you only count the professional routines and not all the pro/celebrity dances, that’s more than we see each week on Strictly Come Dancing or its US equivalent Dancing with the Stars.

Doing that on a drama budget, doing that on a drama schedule, it makes me go pale. The writer in me is also immediately conscious of the impact that makes on your script. You have to stand up three musical numbers, you have to find a story that allows for these to happen naturally during your episode. It’s bloody hard and not every writer, not every episode, succeeds: even in the first few of the series that I’ve just watched, there are one that feel contrived. Nice tunes, but fudged into the story.

Then equally, there’s a writing issue of how long those songs or dances take. Three minutes each? Two? Call it two minutes apiece on average and you are still handing over six minutes of your fifty-minute running time to a musical interlude. Your story has to fit fifty minutes, has to deliver a big moment ahead of each of three commercial breaks and then resolve itself. Oh, and let’s have another one next week. And the week after.

I don’t think I was aware of all this in 1982, though I was already seeing television as something that is crafted rather than just a thing you half-watch in the evening. But I am aware of it now and that made the route I came back to Fame all the more interesting. Because I found it again through the scripts.

I have no clue, not one single clue, what I was looking for online last weekend but in that rabbit-hole kind of way, I found myself coming across Fame and specifically across The Kids from Fame Media Blog. It looks like it was designed in the 1980s and it’s tricky to find your way around. So tricky that while that’s the site’s front door, it’s just taken me a time to find the scripts I first stumbled across. But they’re here: the complete shooting scripts for Fame, beginning with the first season.

I read a lot of scripts, I enjoy reading scripts, I’m particularly interested in this set for how they approach the musical numbers. Some just have scene headings and a few lines of description like

91. BRIDGET’S AUDITION – PRODUCTION NUMBER

starts simply and builds as the corps of dancers from Lydia’s class move onto stage to back and accentuate Bridget’s routine. Leroy is her male ‘support’ dancer, helping her in lifts and turns, etc. The moves are intricate, always keeping Bridget in the forefront of the audience’s focus, leading to a final portion in which all the dancers fall away, leaving the performing arena to Bridget, allowing her to carve graceful shapes from thin air, in concert with Bruno’s music…

Let us all take a moment to imagine being Debbie Allen, not only having to learn her lines from the script as she starred as dance teacher Lydia Grant but also having to go uh-uh, graceful lines, right honey, and choreograph that number.

One script included all the lyrics to the various songs. It was really confusing: the lyrics were written out in all capital letters, very hard to read, and the way they were positioned in the script meant they were followed by dialogue that was clearly meant to precede them. But they did also include very familiar – to me from my radio work – cues and timings for how long the music would take.

And then another script just gives up and says, in total:

MUSIC #1 – TO BE ANNOUNCED

It’s funny how clearly you can see a show finding its feet through its scripts and just how they are written, what they tell the production. I’ve read entire series of scripts before to see how a show develops from start to end and it’s terribly instructive as well as interesting.

So as a writer, I recommend taking a look at the scripts. If you tell anyone we talked about this, tell ’em that I was very serious about production issues and script writing and the history of television, okay? Maybe you can tell them I admitted I’ve enjoyed watching the episodes and that I like the music.

But if you ever tell anyone that I had a gigantic crush on one of the Fame dancers, you’re off my Christmas card list and no mistake.