Aaron Sorkin

Voice control

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I was told this week that a character I’d written was clearly my creation, my type of character, and yet simultaneously also straight out of an Alan Plater drama. It was meant as a compliment and I took it as high praise.

Partly, actually, because one of my favourite things about Plater’s writing was when he dramatised Olivia Manning’s Fortunes of War books. Watch the series, read the books, it’s clearly Manning throughout and yet the TV series is also simultaneously in Plater’s own voice too. I cannot fathom how he did that.

But I can fathom voice. I used to be proud of being able to adapt to any house style, any requirement, and now, not so much. I’m not proud of it and I don’t think I can do it anymore. Not when I now so cherish how a friend once recognised I was the writer of a particular piece, even when the job had required me to not sign or byline it. That reminded me of the radio broadcaster Fi Glover: the first minute I heard her on air, I knew who it was because I’d read her book.

She writes the way she speaks, which is fantastic and damn hard and may not be the only way to write but I have such a fondness for it that I think maybe it should be. Perhaps just on weekdays.

There’s also that I know, from direct experience, that you can encourage a writer to find their own voice but until the day they do, they’re as likely to have no clue what you even mean. Maybe we all start off trying to write like our favourite writers and maybe there just comes a day when you say sod that and write like yourself, but there comes that day, and there comes your voice.

Only…

I think the start of writing is finding this voice, but I worry that the end of writing is holding on to it too tightly.

This week I came across a few pages of The Golden Age, an unfinished theatre play script about 1960s British television. It may be that only those few pages were ever written, because I can’t find any trace of a full play being performed. I shouldn’t tell you who wrote it, but if you read it, you’d recognise the voice immediately. Just as you’d know it was a theatre script, even though at no point does it say that, or anything like it.

Suddenly, I’m wondering if I’m wrong and it was an unfinished TV script. I don’t think so. Plus, incidentally, the 1960s weren’t the golden age of television, we’re living in the golden age now. But I reckon that the play was started somewhere in the early 2000s, so the writer wasn’t to know.

It’s fine. Good gags, a wry and very clear opinion, but it’s the same opinion as in this writer’s other work. And though the specific words of the jokes are different, they’re really the same. The same kind of setup and the same kind of payoff, the same type of character making the same type of point.

Look, it was never finished so maybe this writer thought the same as I do.

But it’s like when you watch an Aaron Sorkin drama. There’s never the slightest pixel of a doubt who wrote it, and there are a thousand points to love and relish, but he has a very precise voice, he has a particular shtick.

And while his writing is so good that I have watched and many times rewatched his Sports Night comedy despite caring even less about sport than I know about it, it’s also so good that it stays with you. And consequently, I couldn’t watch his The Newsroom series, even though I really tried.

The trouble for me is that while the lead character in that, Will McAvoy, is apparently very good, I could never quite see him through the crowd of previous Sorkin characters standing in his way. This line sounds like Jed Bartlett from The West Wing, that one is clearly Danny Tripp from Studio 60 on the Sunset Strip, and this is unquestionably Will McAvoy quoting Casey McCall from Sports Night.

In Sorkin’s case, he does also repeat stories between shows, which doesn’t help. A couple of characters in different series discover their father has been having an affair for decades, for instance, and a window gets startlingly smashed by someone in roughly identical situations in Sports Night, The West Wing and Studio 60.

There’s also the, to me, totally riveting issue of a man pursuing a woman. In Sports Night, you’re rooting for the two to get together. In Studio 60, the same story is creepy as hell.

So there is a difference in Sorkin’s characters, but again, you always know it’s him.

I think that’s great. I think a clear and strong voice is exciting and is so different to all the could-be-by-anyone dramas.

Only, his voice gets in his way for me, at least with The Newsroom. And on a rather smaller scale, I worry that having long found my own voice, it’s become too locked in for my own good.

Reading enough into it

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Last night I reread an Aaron Sorkin script for his comedy series Sports Night and it was the 220th screenplay I’ve read this year. I’ve been reading at least one script every day since late December 2017 and so “The Local Weather” was also my 1,469th in this run. And yet it wasn’t until during this one that I remembered.

I remembered what it was like the first time I read a script. I don’t mean when I read The Time Tunnel: The Last Patrol on December 23, 2017. I mean back in the day, back whenever it was. While I’ve not been so regular about it before, I’ve read scripts all my life but there must’ve been a first one.

I definitely can’t even remember what it was or even begin to guess. I mean I’ve just turned to my shelves and I’ve a couple of hundred books of TV, film, radio and theatre scripts. But there must’ve been a first and somehow, reading this one – more likely re-re-reading it – the sensation came back.

And that sensation is excitement.

You forget things so easily. But to have a show that made you laugh, that reached inside you, that changed you, and then to see its script. No actors, no music, just the bare words on the page and it is a thrill. From that writer’s mind to yours, a direct connection. A sense of enormous effort behind each casual line, before it even got to the screen.

Drama is collaboration and I’ll never think it is or should be anything else, but you can’t see drama direction without there being a script. (Well, maybe when it’s very bad.) You can’t see an actor’s performance without there being a script. Possibly only music can have two lives, existing in its own right as well as being part of the final mix.

I suddenly remember giving a friend a spare copy of the published Frasier scripts I’d got –– I’d bought one and then Channel 4’s press office sent over a copy to the newsroom –– and I can still see her face. They’re scripts, she said. I don’t know how to read scripts.

You see her point of course: all that formatting, all those page conventions like INT and EXT, it’s something you need to get used to. But I must’ve given her that book around the year 2000 and by then I was already so familiar with the form that it took me a beat to comprehend what she meant.

I must ask her if she’s ever read it.

UPDATE: I did. I sent her a message and –– she is such a good writer –– she sent a line straight back that instantly made you picture her shuffling her feet uncomfortably. “A bit,” she said. She read it a bit.

I was going to say that I can’t understand why that delights and tickles me so much but of course I can: she wrote the reply well. What I can’t understand is quite why scripts thrill me so much.

But we don’t need to understand or comprehend or label a thrill. I’m just going to get some tea, head out into our garden and – depending on how you count – enjoy reading script number 211 aka 1,470. It’s going to be the stage play Harry Potter and the Cursed Child and I can’t wait.

Two minutes back

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Please stop me. If Angela asks me when dinner will be ready and it’s almost done, I will call out something like “Two minutes back”. It’s a quote. I’m quoting. While I’m cooking.

I say cooking, it’s usually more heating and stirring and microwaving, but that’s not the point. The point is that my everyday conversation is riddled with quotes that nobody knows, at least until Angela happens upon some film or TV show that I got it from.

For it all comes from TV, radio and film. Imagine if I’d read the classics when I was younger. I might’ve become a weather bore every time the wind was in the east but at least that allusion could sometimes make sense. “Two minutes back” never does. Back to what?

It’s from Sports Night. I have no measurable interest, knowledge, experience or even really awareness of sport, but this show that first aired 20 years ago is a favourite. Imagine Aaron Sorkin’s The West Wing done as a half-hour comedy and set behind the scenes of a TV sports show. This should be easy to imagine because that’s exactly what this is.

Take a look at this example. It’s the opening few minutes of an episode and I guarantee that you’ll wish it were the whole thing.

https://youtu.be/oWFWdUl2te8

 

I should say right now that you can see a lot on YouTube but the only place to get the show itself is on DVD. Well, if you’re in the US you can stream it on Netflix or buy it on iTunes.

Or come round to my place.

I do relish its moments when characters will be in a heated argument and then, because the TV show’s cameras are now live, will be smiling, happy hosts until the commercial break and wallop, right back at it. I don’t know why I relish that so much, except that it’s a heightened dramatic situation that’s also real. I’ve done that, to a vastly smaller extent, in radio, and that turn-on-a-second move from personal to professional, that mental juggling of conflicting demands on your head, it’s gorgeous.

It also forces arguments into bite-sized chunks which is fantastic because drama does that anyway and here the need to stop and start is imposed, it’s an external pressure and you can feel the frustration. You can feel how when it’s released, when they’ve gone to commercial and can speak freely, that the next part of the row burns out of them. Plus even as they’ve been professional and talking on air about some sports thing I’ll never comprehend, you know the real drama has been continuing in their heads so when they can speak freely, the argument has moved on.

That’s an amazing thing to me. It means the Sports Night scripts pummel through arguments and issues at an incredibly artificial rate yet specifically because of the context, it feels natural and uncontrived. It feels real.

This is a comedy I’m talking about and I actually hesitated calling it that because for me, it’s drama. There is a very quiet laugh track in the early episodes, the result of the producers not wanting one and the network insisting and presumably some editor accidentally leaning on the volume control to minimise it. And it is also very, very, very funny.

Yet it’s the drama that keeps me coming back to this show – and I do keep coming back. I can visibly see me putting the DVD boxset in my car boot after having had to pay a gigantic import duty to the post office and saying aloud “I hope you’re worth it”. That must’ve been around 2001 or 2002 and it was. It is.

This show about the making of a sports show runs for 45 episodes of around 22 minutes apiece. What’s that? Something like 16 and a half hours of television. I watched the first one that weekend I got the DVD – and then I watched the following 44 before Monday.

I’ve done that binge about four times since.

And I’m in the middle of another one now. It’s been years since my DVD player was even connected to my TV set but I found a way to stream any video from my Mac to my TV set so I was looking through my shiny discs for what I’d want to see. I only meant to watch one episode of Sports Night. That was Tuesday. It’s now Friday and I’ve seen 15 episodes. Again.

This is a series about the making of a show and much of it takes place during the time that fictitious sports programme is on air. It has an awful lot of commercials. And every time this show-within-a-show cuts to a commercial, a character in its gallery will announce how long they’ve got before they come back from commercial.

Ask me how long before I watch the next episode.

Bookshelf with script books

Reading scripture

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My overcrowded office shelves include one bookcase full of screenplay books and another couple of shelves of A4-printed ones. I used to collect them because I used to read them. A lot. I would read a script and make a note of whether I liked it: just a simple note to come back to reread this one some time or to avoid that writer forever. I remember that I read over a thousand before I stopped bothering to make those notes but of course I carried on reading.

Only, what used to be a habitual purchase has become a rare one because there are dramatically fewer scripts and screenplays published any more. That’s entirely because so very many more are released online. Not only is that cheaper and easier than buying bookcases full of the things, it also has unmatched advantage that the scripts look the way they should.

Books always alter them. At best it’s in order to cram more words on the page and therefore have fewer pages. At worst it’s not the script, it’s a transcript. Admittedly that one is a problem online too: there are people who will write down every word said in a film and call it the script. I can’t knock anyone being dedicated to words but some will do it as an unbroken stream of dialogue without any regard to even which character is saying which sentence. Madness.

Yet you learn to avoid those and you learn where there are real scripts. Only, maybe because it’s now easy and maybe because there are so many available to choose from, I realised that I stopped reading scripts.

Not entirely. I can think of 300 or 400 TV episodes I’ve read. And it’s always faster to read a screenplay than to see a film so when I was curious about Aaron Sorkin’s Steve Jobs movie but not quite curious enough to see it, I read that. Then for instance I liked the sound of (500) Days of Summer by Scott Neustadter and Michael H Weber so I read that.

Curiously, I later enjoyed the film (500) Days of Summer more than most people I know who didn’t read the script. And I enjoyed Sorkin’s Steve Jobs screenplay more than the film when it finally turned up on Netflix the other day.

Still, overall, the trend was against me reading scripts – though I ran to get the screenplay to Arrival by Eric Heisserer as soon as I left the cinema – and as someone who counts himself as a scriptwriter, this isn’t brilliant.

So when Hayley McKenzie’s Script Angel firm ran a guest blog recommending we read one script a day, I was ready to hear that suggestion.

I read that blog on 22 December and from 23 December, I’ve read a script every day. The blog is right. I’m thinking in script form again. But I’m also just enjoying it. Because I’ve made it a daily task – it is actually there on my OmniFocus app To Do list every day – then I tell myself it’s work and for the short time it takes me to read a script, I seem to allow myself to be fully into it. Concentrating and yet also relaxing.

Today’s was Give Me a Ring Sometime, the pilot to Cheers by Glen and Les Charles. I tell you, television pilots are surely the hardest scripts to write and I knew that Cheers had one of the absolute best. I’ve seen that pilot episode many times but I haven’t read it before. And just like its spinoff Frasier, arguably the finest pilot script there is, seeing it on the page makes you appreciate it more.

It also makes you appreciate editing. I know Frasier was cut down to fit its ridiculously short on-air time and I’ve always seen that the pilot script was actually improved by the cutting. Now I know that Cheers, such a familiar piece of television to me, was also cut down. One entire character dropped completely and I think rightly.

Excuse me while I go watch the episode to see if there’s any sign of her. Yep. Once you know this woman had a significant role you can’t miss her. But that entire role is gone and I’m off pondering how her absence alters the tone, the pace, the humour. I’m also pondering how that actor felt, but that’s less because I’m a writer, more because I’m human.

Anyway, I’ll be back reading scripts tomorrow. If you’re into film scripts, by the way, bookmark the Daily Script and Simply Scripts. Neither is the best-designed site and in the latter you have to hunt to avoid unproduced scripts by fans.

If you’re into TV, you can get many scripts on both of those sites but by far the best resource is one called just TV Writing. I adore that one.