TAPS - Finding the Writer's Voice: Update

Three months after getting shortlisted (and eight months after my application went in), it transpires that TAPS doesn’t want me or my script – which is quite a relief, as it happens. Although I could have applied for funding through Skillset and/or my regional Screen Agency, the last time I looked at the online forms they resembled a Kafkaesque bureaucratic quagmire, so I ran away and hid. Just the thought of parting with £500 made my blood run cold.

Anyhoo, on the road to eventual rejection, something weird happened. The original TAPS notice stated this:

All submitted scripts are read and assessed by a specially assembled reading panel of industry professionals.

A couple of weeks back, the industry professional who had been allotted to read my shortlisted script e-mailed to say that he thought it was “terrific”, and could I send him a few lines about myself? Done! I have no idea what the TAPS protocol is, but the e-mail seemed completely spontaneous and obviously well outside the usual TAPS channels of communication.

Two weeks later, I get a rejection letter. Are the two events related? Who knows? As David Bishop stated a little while back, having a half decent script is perhaps only half the battle. However, there’s an established producer out there who at least liked my script, so I’ll give him a call once the silly/holiday season is over and see where it goes from there.

Plate Spinner Extraordinaire

Whilst everyone and his/her dog has been away at the Screenwriter’s Festival, I’ve been putting my extremely ad-hoc and random marketing plan into operation, which is much like keeping a series of plates spinning whilst rubbing your head and patting your stomach at the same time – or something (you get the idea). Last week seemed the ideal opportunity as well, as the competition were all off playing croquet in Cheltenham ;-) (I went to a school with a croquet lawn and two grass tennis courts – how posh am I?)

The upside is that I got two script requests and a chat with my agent chum (just because you haven’t heard from someone in a while doesn’t mean they’re not interested – very often, a polite phone call is enough to gently prod them into action). Baby steps all, and it keeps those plates spinning I guess. And what with METLAB in a Ripley-esque state of suspended animation, I idly starting wondering what had happened to TAPS. One e-mail later, it transpires that the scripts are out with ‘industry professionals’ for a read – decisions as to the final scripts may/may not be made in the next couple of weeks. Probably best not to hold your breath.

I’m also still tarting about with that treatment, which now has a deadline of late August. And then of course, there’s the RISE Summer Challenge and the new Red Planet thing – lots to keep anyone occupied over the summer I reckon. The Red Planet competition looks great (as usual), so I’ll have to get my skates on at some point and do something about that.

As you were...

Finding the Writer's Voice

About a hundred years ago, I applied for this. On Friday, I got the following letter from TAPS:

Thank you very much for your submission for the above course. Due to the sheer volume of submissions received the shortlisting process has taken longer than we anticipated and we thank you for your patience.

The standard of the scripts we received was higher than ever and it was a genuine pleasure to see such quality work. The uniformly excellent writing made it a real challange to select the writers to proceed onto the next stage. It has been a long process and we have created a shortlist of the best scripts which will now be read by our Artistic Advisory Board before being considered for development.

I am please(d) to tell you that your script has made this shortlist. Once the Board have decided on the six they wish to develop we shall let you know their decision.

...which is nice.

The script I submitted for this script was demented (and I have that on good authority), so it’ll be interesting to see what happens next.

Metlab Update, Part 4

Got my METLAB feedback back from Lucy Vee this week – to summarise I got one ‘Argh!’, one ‘YAWN!’, one ‘I may die if I read one more script with these in’, a line about nipple tassels and a recommendation to watch Pitch Black until my eyes bleed (thank you Amazon: Pitch Black for 80p!). All in all, I thought my script emerged a little bruised but still cocky enough to think it might just have something. Lucy’s notes are always fun to read anyway (especially when she’s putting the boot in).

Bearing in mind the average Hollywood screenplay typically goes to eleven or twelve drafts even before production, there’s still a good deal of work to do here (currently at third draft stage) – but hey, I happen to like re-writing, which is just as well really.

Three Days In and It's All Going Pear Shaped...

2008 has gotten off to an absolutely cracking start, courtesy of some pathological bad luck:

* Man-sized flu from Christmas day onwards – believe me, I was iller than a skip full of Beastie Boys CDs.
* The gear box on my car gave up the ghost. £1136 later, it’s fixed, but it looks like I’ll have to sell an internal organ to pay for it – what’s the going rate for a liver these days?
* New Year’s Eve – hooray! New Year’s Day – food poisoning!
* Dentist’s appointment yesterday. I hate the dentist even more than my mother hates the Krankies.

With all this in mind, I thought I’d better get my METLAB script in before my PC got hit by a stray meteorite.

I’ve also decided to go for the TAPS Finding the Writer’s Voice thing, so we’ll see how that pans out. According to the TAPS guidelines, it’s advisable to apply for funding through ScreenSouth. Right, sounds good to me. After downloading the training bursary application form from the ScreenSouth site, the first thing that strikes me is that you need to attach a ‘Career Plan’. Oh dear. This might take a bit longer than I thought. Also, reading through the RIFE guidelines, it states “all applicants must have applied to Skillset for a bursary before applying to Screen South.” Oh. OK then.

So it’s onto Skillset to discover that I probably won’t get any funding from this source, which is no great shakes. But the ScreenSouth application form states that I have to attach three copies of my Skillset submission. Hmmm.

Attempting to unravel the vagaries of ScreenSouth application forms is perhaps not the best way to start 2008. That said, the TAPS course is only £500 – what’s the going rate for a bit of bone marrow these days?

TAPS - Finding the Writer's Voice

I applied for something similar to this a couple of years ago through TAPS, but didn't get anywhere. Time for another go? Maybe...

TAPS is a charitable organisation committed to seeking out, training and showcasing emerging talented writers by putting their original voices in front of leading producers and script executives. TAPS aims to unearth new writers who may not otherwise be noticed and help them develop better scripts through Workshops plus provide them with access to working Producers, Directors and actors who speed that essential nurturing of their talent.

TAPS actively develops original voices of the future for the industry which seeks raw talent and fresh ideas.

The Course
An intensive weekend workshop will begin your training, followed by three months of personal script coaching from a leading industry professional which will hone your script and unlock your unique potential. Writers will complete the scheme with a range of advanced writing tools, an industry-standard calling card script and a DVD of their script performed by professional directors and cast.

Selection Process
All submitted scripts are read and assessed by a specially assembled reading panel of industry professionals. Selection is based on the talent of the writer. However, at times, when selection is at a tie, other elements will be considered such as the date the application is received. On this basis, we advise you to send your application as soon as possible.

Please Note: Due to the lack of resources no feedback can be given on the individual scripts if rejected.

Costs
2007/08 Administration Fee: £25.00 - this cheque must be included with your application for us to begin processing our submission.

2007/08 Course Fee: £500 plus VAT

If you require support with the course fee we suggest you check with your Regional Screen Agency. We know that some writers have received support in the past but cannot guarantee this support is still available. To find your Regional Screen Agency please check the link below:

http://www.ukfilmcouncil.org.uk/information/aboutus/partnersandregions

We advise you to get in touch with your Regional Agency immediately upon application as the process can take time.

Financial Support
With the assistance of the Skillset CPD Fund TAPS keeps the delegate fees for its workshops as low as possible in order that those who want to attend, can attend.

Delegates living over 50 miles from the course venue can reclaim up to 50% of their travelling costs and up to £40 per night towards the cost of accommodation.

TAPS will also provide support to child care costs where required, contributing £4 per hour towards costs incurred during training.

Email gemma@tapsnet.org or go to www.tapsnet.org/ for more information.

Boring Draft Update

The next draft of my script for METLAB isn’t really a new draft at all – what it is is an iteration.

I tried to follow some initial advice from John Sweeney about the opening scene, but couldn’t make the logistics of it work (you know, who stands where, who’s watching who, who’s looking after the bazooka) – so I’ve spent a lot of time tarting about with a more coherent back story. The general pain in the arse with back story as far as I’m concerned is that very often you don’t get to see it in its entirety on the page – as long as it contributes to the internal logic of the script then I’m happy, but it’s a lot of work for something that essentially remains unseen.

I’ve also had to do some additional research into leylines and standing stones (stop chortling at the back! The appearance of Stonehenge never did Halloween III any harm). And whilst I’m on the subject, here’s Chip’s Top Screenwriting Tip of the Week: DO NOT attempt to do your research as you write (I’m very often flipping between my script and several whacked out sites on leylines). As I gathered a little while back, I have the crappiest working method ever – but at least I’m in good company. No doubt if I relied on an outline a little more, my mental state would be that much calmer, but things would certainly be a lot less entertaining.

I’ve also started to be a little more brutal with some much loved scenes – unless it’s in there for a reason (i.e., to move the story forward), it’s out. Reading through a previous draft, it was quite alarming to see how much exposition I’d somehow managed to shoehorn in, so there’s a job of work there to make this less clunky and/or obvious. And bearing in mind METLAB’s budgetary guidelines, I’m already thinking about how to shave a few quid off here and there – for instance, the Godzilla-esque dinosaur fight scenes have already been dumped (just kidding). I’ve also taken on board some more decent advice from John Sweeney to make two of my central characters a little more larger than life – i.e., a touch more obsessed, mental and vain.

Like I said, it’s an iteration – I dread to think how much more I’d have to do to call it a proper re-draft.

And with that in mind, here’s a Jane Espenson moment: breakfast this morning? Espresso and two Anadin Extra – the only way to start the day!

Metlab Update, Part 3

OK, so the Red Planet results are in, and I didn’t get through to the second round. Hey ho, no great shakes.

However, as if to balance up this obvious karmic injustice, the man from Metlab has just said yes!

Well, not exactly ‘the man’ himself, but his warped yet strangely loveable sidekick, Lucy Vee.

Things kick off in January, which means one of two things:

i) Based on the notes I took in the meeting with John on 1st November, I crank out a third draft of the script that’s been selected for the patented METLAB hack ‘n’ slash, or

ii) I rely on the robust yet slightly pedestrian second draft.

Bit of a no-brainer isn’t it?

Third draft here we come.

I’ve absolutely no idea how many people applied for METLAB, but apparently I’m one of four, which is nice.

Incidentally, the last time I got selected for something like this was a few years back when Lighthouse ran a little critique course for writers. I was one of twelve in the group, and of course was all hugely excited over it. In an idle moment, I asked one of the Lighthouse bods how many people had applied: was it a lot? She looked at me as if I had just escaped from secure accommodation, and said, ‘Twelve’.

Hey ho!

Metlab Update, Part 2

I met John Sweeney from METLAB on Thursday afternoon at London Metropolitan University. The best way to describe John I think is ‘irrepressible’. His enthusiasm is hugely infectious, and besides – how can you possibly dislike someone who greets you with the line: ‘The only problem with Universities is that they’re full of students!’

If you haven’t heard of METLAB click here – suffice to say, as a ‘scheme’, it sounds massively exciting. John takes on the role of ‘studio head’ (“Like Harvey Weinstein,” he said, “but with ten times the ego!”) and with the assistance of various script editors (of whom Lucy is one), attempts to hone and polish (or in my case hack, slash and decapitate) your script until it resembles something that can be successfully marketed. The whole process takes about nine months, with a meeting once a month – a little like a truncated MA course, but with the emphasis very much placed on having a finished ‘product’.

A couple of days before the meeting I finally managed to get my script over to John in a format he could actually access – and he liked it. Even so, he spent some time riffing on a possible opening scene which was about ten times better than the one I have in there currently (John: “I’ll take a credit for that!”). This to my mind is the essence of METLAB: if you’re precious at all about your writing, this isn’t the place for you. As John said, if you can justify it, fine: if not, out it goes. If I get on, it looks like being an interesting and informative nine months...

Oh, and John signed my book as well...

Anyway, I’m on the shortlist, so more news as it drops into my inbox.

Metlab Update

Those terribly nice folks at Metlab (well, John Sweeney to be precise) have requested the full script on the back of the synopsis I sent in a little while back – which is nice. Plus a ‘meet and greet’ next Thursday: which will be hopefully be enlightening and entertaining.

I sincerely hope it’s not an interview type situation as I tend to come across as either one of the following:

a) a highly enthusiastic version of my usual pessimistic self (I tend to switch to this default for all job interviews), or

b) a tongue tied inbred with a medication problem.

I suspect it will be a combination of the two!

METLAB COURSE 2007-08

Thanks to Lucy for the tip off on METLAB this year.

The email below from John Sweeney gives an outline of what to expect:

Thank you for your enquiry about the new Metlab course.

Here are the answers to the questions some of you have posed.

1) This is not a taught course. That is, we will not be teaching people the various formats and methodologies for writing scripts.

2) The aim of the Metlab programme is to develop commercially viable scripts, either from existing scripts or potentially viable treatments that adhere to the principles laid down in the book: Successful Business Models For Filmmakers. These principles are based on tried and tested formulas used by the mainstream film industry.

3) If the script is made into a feature film, the University will retain 2% of the gross income accruing to the film, after it as been released.

4) The writer retains all other rights to the script and the right to be paid.

5) To be considered for the programme, a one or two page synopsis/treatment for a genre based feature film must be submitted.

6) The closing date for submissions is 1st October 2007.

7) Final selection will be by interview, scheduled for October 2007.

8) The programme is free.

9) Writer must be willing to accept and carry out the changes to their script, as and when requested.

Thanks for your interest,

John Sweeney - Metlab Director

My application is already in, so we'll see what happens.