A reading of My Inner Orc

At last I am to have a reading in London. It’s a development reading (ie closed) of My Inner Orc which will be (mostly) paid for by PlaymarketNZ and will be directed by Anthea Williams, a kiwi who is an associate director at The Bush. Anthea has suggested a few younger actors who I don’t know and I am providing the ‘older’ cast (Kerry Fox and her friend Dorian).

It will be great to hear the play and see if the things I think are wrong with it are the things that really are wrong. Inevitably it will reveal faults that I never knew existed. Which is, of course, the whole point of a reading…

On a related note had a slightly panicked email from potential director worried about the libel and slander in the script. Luckily, after thinking about it deeply, both myself and Playmarket agree there’s nothing to worry about.

Review ‘08

So what did I actually get done last year?

  • Did a couple of good rewrites on Theatre script ‘My Inner Orc’
  • Got a director and possibly a production in NZ of Inner Orc for 09
  • Did a single rewrite on ‘The Divine Comedy’ got some so-so feeedback and have decided to bottom-draw it for a while
  • Have new solid ideas for FOUR plays: Poison, Four Quartets, The American, E=mc2 and TWO films The Sixteenth Alice, Black Money
  • I went to the Cheltenham writer conference, which was excellent and I will go again this year.
  • Met a few producers, mostly through Kiwi Cultural Mafia connections - there is such a thing, and it is good :-)
  • Tried (and failed) to launch an online thingie as an experiment
  • Option on ‘Boy’ script didn’t get very far, got passed by four good directors but Producer and I are still working on it together, so there is hope
  • Got a ‘top 10%’ place in Bluecat (dubious honour, but I’ll count anything)
  • Approached no agents, prodcos, theatres or producers formally

All in all a so-so year. However other areas in my life were in high transition so I am not going to be too hard on myself:

  • Discovered (after much pain) about burgening gluten, dairy and soy intolerances. I am now a ‘no fun’ eater.
  • Moved from a dull job to a horrible job to being a freelance webbie (big deal this!)
  • And spent an awful lot of time building and attending to TwelvePoint.com, which should bear some fruit sometime.
So, onto this year…

Research for Writers

This is not about how to talk to the chap down the market about your vegetable-selling epic, this is about commercial reality, the cold shower.

If you pop over to the UKFC site they have a section called ‘Research’, in there is a whole bunch of stuff about audiences and producers and all that (very worth skimming) but the main page I wanted you to take a peek at is called ‘Weekend Box Office Figures‘.

Have a look at this week here from a couple of weeks ago: http://www.ukfilmcouncil.org.uk/14991

Scroll down until you see ‘Somerstown’ and look at the TOTAL: UK takings for this movie: 

 Somers Town   UK   Weekend Take  

 £20

 Distributor  

 Optimum

 % change  

 -97

 Weeks  

 14

 Screens  

 1

 Takings  

 £20

 Total 

 £566,616 

So this is very much the tail end of a run, 14 weeks in and it is pretty much dead - it took £20 on one screen (probably one session at that) but look at the total take for this movie, just over half a million pounds. Take out the distribution fee and what are you left with?

Sweet Fanny Adams. And so much of the industry can be understood from that figure. Sure there will be DVD releases and other countries and so on, but do you think Meadows is doing it for the cash? 

While you are there take a look at the opening figures for ‘Waltz with Bashir’. Think that’s going to make a pile of money or be on for very long?

I look at this page a couple of times a year and ask myself a couple of questions:

  • How many films have I even heard of?
  • What would I pay to see on the screen?
  • What would I pay to watch it pay per view at home?
  • What would the movies I am writing look like on this page if they ever got made?
  • Why would a producer put so much work into my movie to make so little money?

Is that the smell of coffee?

Writer’s desks…

I was just looking at this slideshow of writer’s desks on the BBC http://news.bbc.co.uk/1/hi/uk/7754115.stm and if you live in the UK and read the Guardian you will have seen the series in the Saturday Review of writer’s room there too.

It got me thinking - most of these photos are from successful late-career writers, ie not me, not ANY of the writers I know, and I thought it might be nice to show some of our own desks (or studies, kitchen tables, laptops in the cafe etc). And maybe a little description of what you see.

I am much more interested in seeing what Seamus Heaneys study looked like 30 years ago, when he was starting out. So lets get our rooms down before we get famous (speaking for myself!)

Why? For a couple of reasons:

  • Show the reality of writing today - particularly if you do’nt have a large house, a study or even a dedicated writing space.
  • Just how important is it to people to have a single place to write - or are we happy with a laptop and a cafe (hi Ingrid!)
  • Have some fun and (to sound American) ‘validate our practice’.

Like the idea? Leave a comment below and I’ll think of a way to present them. If this is already being done somewhere else then let me know too, don’t want to do things twice…

Brighton Four - DISASTER

Well that didn’t work. I got no followers, no, not one. Which kinda makes it pointless so I am about to nuke it.

I must have done something wrong - or at least not well enough. I still think real time story telling inside a social network is a great idea, but maybe the twitter thing was too obscure, or maybe I just didn’t pitch the story right. Maybe the story was, well, dull. I need to put in in a draw for a while and see what come out later.

Disappointed, yes indeed, I was looking forward to this as it involved a high degree of improvisational writing. So now, what to do with this week?

I will do some work on my stage comedy ‘My Inner Orc’. It looks like there’s a good chance of getting it on next year so it’s well worth me dealing with a new problems in it. And I have to get a reading together as well, so onwards and upwards…

The Brighton Four LAUNCH

 

What?

A mystery told using social media (ie the web). Mainly told through twitter but with a supporting netvibes page and an email list.

It’s going to last just over a week, I am anticipating about 20 ‘tweets’ (mini-posts) a day plus various blog posts, photos and so on to support the story.

What’s the story?

Old friends from varsity catch up for a weekend of fun in Brighton.

A day later and one of them is in a coma, babbling about her childhood in Scotland. She grew up in Cambridge.

A day later another friend slips into a coma and it looks like neither of them is going to be coming back.

Can the two left work out what is going on and save themselves? Can you help them?

How to follow the story

Twitter
If you are on twitter that’s easy. Follow @brighton4 for instructions. Currently you need to follow @alexnoble and @fletchmeister and you will be asked to follow two more in the next few days.
If you are not on twitter why not? It takes just a minute and is lots of fun…..

http://twitter.com/brighton4  http://twitter.com/alexnoble http://twitter.com/fletchmeister

Web
You can visit this page: www.netvibes.com/brighton4

Daily email digest

Want to see what’s going on but do as little work as possible? Easy, just drop me an email mail@allenoleary.co.uk with BRIGHTON4 in the subject field and I’ll add you to the list - and I won’t exploit your address obviously :-)

Missed the beginning?
No problems there is a ‘story so far’ page: 
http://www.netvibes.com/brighton4#Story_so_far

Why am I doing this?

I was thinking about the recent trend towards telling stories online through webisodes and how it was a bit of a cheat - really this is just TV recut for web distribution. Being a play and film writer and one-time actor I think there is a lot more potential in taking the story inside social networks rather than using them to distribute and promote.

This is my first Social Media story, so I am figuring out how to do it, what works and what doesn’t. As such I am happy to keep it low key and just have a few followers.

Entertainment and ‘educational merit’

This first story is meant to have an engaging thriller/mystery on the top but have a strong edutainment aspect, in this case medical research. While there isn’t much in the way of serious science the story will take in certain technologies like Monoclonal Antibodies, fMRI, neurolinguitics - all with the intention that people may find them interesting. The aim here is to entertain first and provide a few points along the way where people can follow their interest into these topics if they so desire.

A note about how I am writing this

Because you have to post to twitter in real time all the posts must be entered as they happen. This means a lot of thinking on my feet. For example today (Sunday) is a miserable day in Brighton so I have had to completely change the photo updates and the nature of the day that the characters will have. This improvisational quality makes it much edgier for me and should be more engaging for the audience. If you are more interested in this see my (tongue in cheek) posting ‘Dogma 08′. 

Further questions or comments?

I’d love to hear from you… mail@allenoleary.co.uk http://twitter.com/welltold

Anger and writing

I have learnt in the past to watch out for anger. If I have a couple of days where I am mostly feeling fury at the world then I know a couple of things are going to happen:

  • I am going to have a go at some poor sap for something trivial - and then they are going to hit me
  • I am going to start a new piece of writing

The first two occur because I will do something like tell someone on the stairs out of the tube to get a f**king move on (I can’t stand how slowly people walk!) or get involved in a road-rage incident when I get cut up by one too many stupid motorists (or fellow cyclists). Both outbursts will be entirely unjustified and I will feel quite shamed afterwards.

However the days of anger that I have before I write something new are usually because I get so frustrated with myself, so annoyed at my lack of success that I build up a head of steam and just have to write or explode. Then I can take the torrent of anger and dig through it a little, find out if what’s lurking in it. I will see what’s there if I take the heat out of the emotion - is this anger really borne out of envy/concern/ethical fury/jealousy/love? Then I will pick something off my writing shortlist that seems to fit. So in the past I have used emotional states arising from anger in different ways: My last big play ‘Fond Love and Kisses’ was driven by anger at societal hypocrisy, my last film by anger about a love story in my own youth and a willingness to confront and reveal it.

I guess this means that my primary motivating emotion is anger. That should scare me, but now I have experienced it many times I am less worried about it, more able to watch and see it lurking, able to defuse and use it quicker.

Also I realise that I must have an emotional bond with what I am writing, and the anger indicates that I am emotionally charged. After the first draft or two I can set it aside, but for work to be mine I have to get bloody on it. Helene Cixous said that writing has the effort of climbing a ladder but the effect of sinking deeper into your material and self. That fits for me.

I have had an angry couple of days, and I am going to have to write something new now. Looking into this new anger I can see that this is actually quite pure, a parent’s rage against anyone who might hurt their children. I have a storyline that fits, about a Father trying to come to terms with his daughter’s assault by her boyfriend. Not easy or light material, but I think I am at my best when the going gets dirty.

So time to roll up the sleeves and find that hour a day to plunge into the dark lands.

Luckily I have a cleansing comedy to write afterwards…

dogma 08

A manifesto for online narrative.

I am writing this set of rules for myself for one purpose only - to provide a framework for ‘The Brighton Four’ and as a promise to the audience. As such the usefulness of this manifesto will likely be exactly the length of that piece, about 8 days.

All action will be in real time. Events depicted will need to respect the laws of physics and network rail. Timings will be as accurate as possible respecting timetables on the day. 

No time shifting tweets. All posting and blogging will be done in real time. The time stamps on posts and blogs will be the times they were submitted.

No pre-writing. No tweets or posts will be written beforehand.

Pre shooting. Photography and video may be pre-shot, but I will try not to. This is because I am not that much of a lunatic.

Story outline. I know where the story is going. This is not a ‘write a half-hearted story with a group’ events, this is a planned story that has an identifiable beginning, middle and end.

 

Looking for something more theoretical and high-faluting? Check out my Manifesto for Hypertheatre from 2002

Clever in action: Adrian Mead. Part 1

For those on the UK writing scene Adrian Mead probably needs not much of an introduction. He is a film-maker, yes, but he is mostly known (by word of mouth) for his no-nonsense workshops on how to break into the business. I haven’t done one, but they are well rated by those who wish to break into the UK industry and more specifically get an agent.

However what I am looking at here is not the content of his courses but how he has managed to get this name for being the ‘go to’ guy on breaking in. After all he has had ‘only’ one film produced and some good TV credits (see IMDB) but he is not a massive writing star, so how did he do it?

I’m not going to tell you, that’s part two. Part one is to set the scene for what Adrian is doing and is about someone else entirely, Seth Godin.

Seth is an American cyber-marketing wunderkind and author who has written a lot of influential books about marketing in the online age. Now I would have wanted to bite off my tongue rather than talk about marketing even five years ago, but now it kinda fascinates me. Bad marketing of the hype-type still makes me angry, edgy and dismissive. But after reading one of Seth’s books I realised that most people feel this way, most people see through the bullshit, most people see that there is a phalanx of ‘creatives’ behind the seemingly casual campaign, the fake corporate birth story and all that tosh. And it makes us turn off. We hate it. Universally. This stuff might have worked in the age where we couldn’t just look up online reviews about anything we wanted to buy, but it just doesn’t now. We are too smart. We have google.

Seth was onto this a long long time ago and has been playing it out for about 10 years with ‘Permission Marketing’, ‘Purple Cow’ and other books. All of them are readable, some a little ‘American techno capitalist libertarian’ for my taste, but always with a couple of good and simple ideas behind them. These ideas boil down to simple things like being who you are, believing in what you do, backing up your publicity, alternative channels to have conversations with your customers, not having ‘customers’ having friends and all that kinda stiff. I read these and enjoyed them but it wasn’t until ‘The Dip’ that I began to think the guy had a wider future as a writer of the zeitgeist.

I have written about the dip here before so I won’t go back over them, but they sure as hell snapped me into focus. Being one of those ‘four brilliant ideas before breakfast but still underachieving’ guy (clever but slightly useless) this book took hold of me by the nostril hairs and laid down a big challenge. What will you do? What will you give up to do it? How will you know when you should quit?

BIG questions for sure. But the main thing about The Dip in the context of this discussion was it got me reading his blog, which is usually very incisive and a great read. And then one day on his blog Seth put into action the most remarkable pre-sales ‘campaign’ for his next book, called ‘Tribes’.

In one blog post he announced his new book and said that if you pre-ordered it on Amazon and could email them your ‘receipt’ the next day you would gain entry to an exclusive membership site called ‘Triiibes’. I knew would buy the book anyway, and I was curious, and his form of permission marketing had clearly worked on me, so I popped over to Amazon.co.uk and bought it, then sent off my receipt.

The next day I am a member of the ‘Seth’s Tribe’. I log onto the site, takea look around, read about some interesting people and then never go back. I guess this makes me not inner tribe, perhaps I am ‘outer tribe’. Never-the-less plenty of people got very involved in the Tribe and some of them even wrote a supporting eBook - yes, he even got his tribe to provide content! And to thanks them he’s printed photos of as many as he could inside the dust jacket. Now the good thing about Seth Godin is that he is not a bullshit artist, he has good ideas and he does as well as talks. 

Here’s a good example. Not long after I ordered the book on Amazon they cancelled my order because it was too long on pre-order or something or other. That’s fine I thought, I’ll just buy it in the shops when it comes out.

Fast forward to today. A book turns up in the mail, it’s my Steh Godin book. Oh, I think, Amazon must have got their shit together. No, they didn’t, this was a complementary free copy from Seth (or one of his minions). It had a nice letter in it saying thanks for having faith in the book and him from the offset and that this copy is so that you can keep the one you bought and hand this one onto your friends.

How clever is that? You’ve paid for the book and you get another copy that you weren’t expecting. He’s even smart enough to trust people like me, people who actually haven’t paid for the book and now have a free copy. He’s figured out that it’s worth taking a risk on me as I will probably feel bad about it and buy another one. And look, I’ve just written a whole blog post about it. He’s winning all round and I caught myself thinking that this is the best online campaign/customer service/’branding’ I have ever seen.

So what has this got to do with a writer from Scotland, or indeed, you? 

Seth now has me. In his parlance I am in his ‘Tribe’. For him as an author this means that I am going to keep buying his books and writing about him. From reading one post to becoming a member of his online site to ‘buying’ his book I feel like he has been upfront all the way.

So in the next post we’ll take a look at how Adrian is creating his tribe of writers trying to break into the UK film and TV industry. And why should you pay attention? Because you are a writer, you have an audience and you need to think about them and the ways in which you engage them.

Week on the web for Twelvepoint.com

Here’s the ‘Best on the web‘ that I put together for Twelvepoint.com most weeks. I have recently made the blog posts ‘free’ so that a subscription is not required.