Category Archives: screenwriting

25 things I’ve learned in OVER 20 years as a pro-writer.

writer, writing, author, screenwriterAmazingly, it is now well over 20 years since my first publishing contract landed on the doormat and a chunk of hard earned money hit my bank account.

Fifteen books, three feature films and numerous screenplays later, I’m still wondering how this happened and, just as importantly, how I’m continuing to get away with it. However, given that ‘writer’ is the box I tick whenever I’m asked for my occupation, I must be doing something right and so it occurred to me the other day that it might be worth scribbling down some of my perceived wisdom in the hope that it might help or inspire someone who is seeking to tread the same slippery path.

So, in no particular order…

1. It really can be the best job in the world. You get to create things, meet fabulous people, visit fabulous places and you best of all, you get paid for it! On top of that, you’re allowed to spend weeks in pyjama’s without anyone thinking it’s odd and best of all, if you write about football, you’re entitled to write your season ticket off against tax.

2. It really can be the worst job in the world. It can be soul destroying, confidence sapping and incredibly frustrating, all at the same time. You also encounter scumbags and smiling knives on a regular basis and have to deal with people who think it’s perfectly acceptable to slag you off simply because you because you either turned down their kind invitation to work for them for free or you managed to avoid feeding their sad egos by avoiding getting into online spats with them.

3. The best marketing tool you will ever have is yourself, so be yourself. If people don’t like you, f**k ‘em. There are always more people, there’s only one you.

4. Editors are the unsung hero’s of writing. A great one will make you look like a great writer, a bad one will make you look like an idiot. So make sure that you only work with great ones.

5. Never resent anyone else’s success. Unless it’s E.L. James in which case you are perfectly entitled to think ‘how the f**k?’

6. Join the Writers Guild. They are your union and they are awesome. Oh, and never sign anything either they, your agent or a lawyer haven’t checked first!

7. Trust only two things: your gut instinct and your bank balance. Neither will ever let you down.

8. Generally speaking, if someone wants to meet you, they want something from you. That’s fine (and often fun) but if it’s in a professional capacity and involves the use of your time and experience, there had better be a good reason why they aren’t prepared to pay you. Usually, there isn’t so in such instances, do not hesitate to turn them down. If they’re serious and professional, they’ll come back with an offer of some kind. If they don’t, you’ve lost nothing (and possibly had a close shave).

9. The internet is the enemy of creativity and social media are it’s special forces. Twitter, Facebook and Snapchat are not careers, nor do they pay your bills but if you’re not careful, they will happily consume your time faster than you can ever imagine.

10. Troll baiting can be great fun but if you don’t have a thick skin, treat them with extreme caution. Hitting the block button is not a weakness, it’s a strength.

11. When a deadline looms, you could well end up working 20 hour days for as long as it takes. For that reason, when you don’t have a deadline to meet then ‘I can’t be arsed today’ is a perfectly legitimate excuse for wanting to go out on a motorbike, sit and watch TV or stroll around Ikea.

12. ’People watching’ is a perfectly acceptable reason for sitting in Costa or Starbucks drinking coffee, eating toast and watching the world go by.

13. Adapting your own novel for the screen is a bad idea. There’s not much fun to be found in spending weeks cutting perfectly good bits from a story you previously spent months creating. To make matters worse, despite the fact that ultimately you have little or no control over what ends up on screen, everyone will blame you if it’s not as good as the book but no one will praise you if it’s brilliant.

14. Writing a novel based on your own screenplay is a great idea. You get to put in even more good bits and tell the story you really wanted to tell.

15. If you’re screenwriting and serious about it, use Final Draft. It’s the established tool of your trade and if you’re not prepared to invest in it, how can you expect people to invest in you?

16. The world is awash with writing teachers but 95% of them are charlatans who merely want to separate you from your money. However, if you really do want to employ one, look at what they’ve had published or produced and if the best you can come up with is ‘teach’ then go elsewhere. The old adage ‘those who can, do but those who can’t, teach’ is 100% true.

17. Nothing shows commitment like cold hard cash and in most cases, you (or your agent) should get that cash upfront. Promises of higher back-end payments are generally worthless.

18. There is no such thing as writers block. It’s a cop-out term employed by people who are either lazy or simply not prepared to admit that whatever they’re supposed to be writing isn’t working as they think it should or, more likely, hoped it would.

19. Always have two entirely different projects on the go. If you’re stuck on one, simply switch to the other one and carry on.

20. You can’t edit a blank page. And in the same vein, first drafts don’t have to be good, they just have to be written.

21. Every writer, however successful, has a specific book inside them that they really want to write but probably never will. Or is that just me?

22. The Terry Thomas classic ‘School For Scoundrels’ will teach you everything you need to know about conducting yourself both in public and in meetings. Watch it religiously at least once a year and make sure that you learn from it.

23. Find a comfy chair and love it like one of your children.

24. Don’t play safe. If you have something to say, then say it. But be prepared to back it to the hilt if need be.

25. Family aside, the most important people in your life are your readers. They give you everything from your wages to their time and as a consequence, they should be loved and cherished accordingly. Treat their reviews, even the bad ones, as market research and learn from them but never respond to them directly unless you actually like being trolled. Above all, give them what they want because if you do that, you can’t go wrong.

@dougiebrimson

football, comedy, humour, rivals, derby, soccer, premier league, championship, manchester united, chelsea, liverpoolMy numerous books including the football comedy Wings of a Sparrow and the #1 thrillers,The Crew and Top Dog are available from both Amazon and iTunes.  

Please click on the relevant link for more information.

How to get ahead in writing. The business of self.

writing screenwriting author publishing film self-publishingOf the numerous emails that land in my inbox, a good number involve the issue of advice.

Occasionally, these mails are of the kind which suggest various things to do to myself that are anatomically impossible (which merely proves that women do indeed have a quite nasty side to them) but in the main, they are asking for advice on writing or making that leap from the laptop to the shelves of Waterstones or the screens of Cineworld.

Given that I never set out to be a writer of any kind -as many people have pointed out!- I have often wondered why that is. After all, I am not and probably never will be either a Booker Prize winning novelist or an Oscar winning screenwriter, and whilst I enjoy what I do and always put in 110%, the truth is that I am definitely not one of those people who are driven to write. Make no mistake, the day that my 6th lottery number pops out of that machine is the day I’ll have typed my last letter and from that point on, life will revolve around doing as little as possible!

I suspect the answer lies in the fact that unlike many other authors I am reasonably easy to contact but there have also been occasions when there has definitely been an element of ‘if he can do it, so can I so I might as well ask him how he did it’. To be honest, I have no problem with that largely because there is indeed a degree of truth in it. I’ve always been happy to admit that I did indeed ‘luck’ into writing and I although I have done better than many so-called ‘established’ writers in terms of both output and sales (you’d be surprised how few books some of these apparently successful authors actually sell) I most definitely have no delusions about my position on the Great British literary ladder. As someone once suggested, it is firmly in the ‘bungs on the feet at the bottom’ category.

However, to return to the point, as long as someone has taken the trouble to write to me, I have always responded. Not simply because I think I should but because I hope that one day someone I set on the rocky road of penmanship will strike it big and I’ll get to appear on some kind of TV show celebrating their literary achievements. Let’s face it, chances are that’ll be the only way I manage it!

But recently, a few things have happened which have started to make me wonder about the wisdom of such a policy. Not because I have suddenly started to think that being helpful is a bad idea, but because increasingly, I am being contacted by people who have asked me very specific questions. Usually involving the names and contact details of agents, publishers and even TV producers.

To be fair, many of these requests have come from American authors looking to break into the UK market rather than from ‘newbies’ looking to get a foot in the door but having worked in the ‘creative’ world for some time now, I have learnt two very important lessons.

First, contacts are everything and second, the most valuable currency of all are ideas. Which is why both are much sought after and even occasionally stolen. Indeed, I could tell you some stories about certain people, but I best not.

However, the fact remains that whilst I have become (almost) used to the gut-wrenching feeling of being shafted by people who work in the TV and film industry, I am now starting to feel the same way about writing and that has to stop. If only because it eats into my time and therefore costs me money.

So whilst I will happily continue to help anyone who is trying to break into publishing or anything else for that matter, I am no longer so receptive to requests from anyone who has ever earned a penny (or a cent) from their writing. Unless of course any kind of reciprocal arrangement or better still, a fee is involved!

Pondering this last night, the thought struck me that rather than upset 50% of the population with another diatribe about women and/or football, it might be a good idea to use this blog to offer up a bit of advice to those looking to set out on the rocky road of penmanship for the first time. It is the same advice I use as the basis of every talk I ever give on writing and is based on six very basic rules which come in a very strict order.

1.   If you cannot take criticism, do NOT write for public consumption. No matter how good a writer you think you are, at some point, you will have to show your work to someone else be it a partner, friend, agent or publisher.

Trust me, no matter how good a writer you are, sooner or later someone is going to come back with a negative response and it hurts. Some can take it, others can’t. The key is to take all criticism as constructive and learn from it.

But if you think it’s bad when you first start out, wait until the presses have rolled and the reviews begin. Any author who says they never read their reviews is a bloody liar and whilst I’ve been lucky enough to have some awesome ones in my time (‘The best book ever written on football hooliganism’ Daily Mail) I’ve also had some horrors. The worst being simply ‘Yeah right. Now fuck off.’ courtesy of Time Out.

The fact that both of these were for the very same book proves many things and whilst the initial inclination following a bad review is to either hang yourself or track down the offending individual (I took the latter course of action with Time Out but that’s another story) the simple truth of the matter is that they are just one persons opinion. But as any publisher will tell you, any review is better than no review and that is very true.

2.   Write what you know. It is an old adage and the source of much discussion in writers circles but to me, it is absolutely spot on. Not only does it save on research time, but if you know the subject well, it will come across on the page. Conversely if you don’t, you will spend all of your time having to deal with people who will take great delight in pointing out your mistakes (see above!)

3.   Join a local writing group. You might think they are full of geeky nerds or middle aged women seeking to fill their time (and to be fair, some are) but a good one can provide huge amounts of advice and encouragement. A great one can make you a great writer.

Never forget, getting into print is incredibly difficult and so the more advice you can obtain from people who are at the coal face or who have been through it, the better.

4.   Never write to get rich. Very few (and I mean, VERY few) published authors earn a living wage from their work. The days of huge advances for first time authors are long gone folks. And don’t think screenwriting is well paid either.

OK, if you’ve got a decent track record and a good agent you should do pretty well but I still receive emails every week offering me opportunities to write spec scripts (that’s for free) and once had a very well known film producer offer me £500 to write a script from scratch. Obviously I told him to f**k off but someone else took the job within days and no, it didn’t ever get made.

There is only really one reason to write and that’s because you want to do it. If it’s good enough, everything else will follow. How you can make that happen however, is an entirely different blog!

5.   Write, write, and write. It’s a fairly obvious thing to say but the more you write, the easier it becomes. It’s a skill and it needs constant honing.

And finish everything you start. You might know it’s rubbish from the end of the first chapter but trying to turn it into something half decent is a great exercise and fabulous experience. There is also the very real chance that as you are working, something will click into the creative box in your brain which you will be able to use on something else.

One other point I will make here, in my opinion there is no such thing as writers block. As far as I am concerned it’s a myth that was invented by writers to cover up laziness or lack of creativity. If you get stuck, it’s simply because your idea doesn’t work and you should have worked that out at the planning stage anyway.

6.   Most importantly of all, enjoy it! It’s supposed to be fun you know and if it isn’t, why bloody do it?

So what are you waiting for?

@dougiebrimson

football, comedy, humour, rivals, derby, soccer, premier league, championship, manchester united, chelsea, liverpool I desperately need to do some work on my Amazon author page  this page, primarily by adding some new titles to it! So I’m happy to pass on news that there will be at least one new book coming in 2018! That’s assuming I can finish this bloody script I’m currently working on.

In the meantime, you can buy all my existing books, including the football comedy Wings of a Sparrow and the #1 thrillers,The Crew and Top Dog from either Amazon or iTunes.  

Please click on the relevant link for more information.

 
author, writing, writer, screenwriting, screenwriter, publishing, indiefilm, low-budget, self-publishing, brimson, hooligan,veteran

Screenwriting: Is age discrimination an actual thing?

writing, writer, screenwritingIn my last blog (Why the film world doesn’t owe you a living) I made the point that as a 59-year-old male screenwriter, the chances of you ‘breaking through’ into the big leagues of the movie world are almost certainly hindered by the fact that you are usually old enough to be the father of the person holding your future in their hands.

The reaction to this was, as expected, mixed. Some people claimed it was shameful of me to compare age to race or gender as a barrier with others thanking me for saying something that they’d been thinking for years.

Now in response to the former, I have no idea what it’s like to be anything other than a white heterosexual male and given that I’m currently 59 and a writer who has enjoyed a degree of success both in print and on screen, I think I’m fairly well placed to write about the impact being a 59-year-old white heterosexual male can have on a career as a writer. And since this is my blog… well, I’m sure you know where I’m going with that so please, fill in the blanks yourself.

As for those who agreed with me, which was to be fair, the majority, I’m obviously grateful for all of your comments and if in some small way I’ve inspired you to keep going, then I’m humbled.

Interestingly, the blog generated some extremely positive reaction in the US (someone even linked me with Madonna which is a bit random!) and actually led to a few interviews on the subject one of which was with the website ‘Screenwriting Staffing‘ which has just gone live.

Have a read and please, let me know what you think.

@dougiebrimson

,sex, lads romance, love, vibrator, george clooney, fart


Just in case you didn’t already know, all of my books and DVD’s are available from both Amazon and iTunes

author, screenwriting, screenplay, green street, elijah wood, fart, farting, gangster, sex, oral, football, soccer, hooligans, author, indie, independent, self publishing, ebook

 

10 things all writers should know before signing a contract.

author, writing, screenwriter, screenwriting, amazon, ebooks, epublishing, publishing For some reason I’ve never been able to fathom, I receive a lot of mails asking me for advice about contracts, both publishing and screen.

Now to be clear, whilst I have done a lot of deals during my agent free days, I am certainly no expert in this field and should not be considered as such. In fact, what knowledge I have accrued is generally a result of my own mistakes and trust me, I have made some corkers over the years. However, as someone who’s always happy to help if I can (and as long as you don’t hold me accountable in any way should you choose to follow my advice and it all goes wrong) here are my top 10 tips. Take ’em or leave ’em.

1.  Arguing with editors or producers over terms can cause some serious rifts in a working relationship which is obviously best avoided. Therefore, if you have an agent you should leave everything, and I mean everything, to them.

It stands to reason that their job is to get you a great deal because whilst they might be fabulous people who you adore with a passion, the stark reality is that the more you earn, the more they earn. So if they are happy with the deal they put in front of you, you certainly should be.

2.  If you don’t have an agent, then you are in a weakened position because the people you are negotiating with will inevitably assume that you are either naive and/or desperate which gives them the upper hand. Therefore, you should write the following three words down and stick them somewhere which places them in your eye line at all times: TRUST NO ONE.

Believe me, no matter what anyone else might tell you, when it comes to deals there is only one person who has your interests at heart and if you don’t have an agent, that person is you.

Remember, it’s not personal, it’s business. The film BUSINESS, the publishing BUSINESS. As such, everyone you negotiate with might well come across as your best mate but the truth is that they are desperate to give you as little as possible or better still, strike a deal which means they don’t actually have to give you anything at all. This is because the less they give you, the more they keep for themselves or their employer. So read everything as many times as you have to and question anything you are unsure of. When it comes to contracts, there is no such thing as a stupid question, there are however, plenty of stupid writers who didn’t ask the questions they should have.

3.  It’s human nature to avoid asking for what we think we are worth and since most negotiators know this, their first words will be ‘so what do you want?’ thus putting you on the back foot from the off. Therefore to avoid this, it is vital that before a deal is even discussed, you take the time to work out what you have and how much will get it from you.

Remember, everything has a value be it your finished manuscript, your experience, your time, your backlist or even ‘From the writer of Green Street’. So be professional, quantify everything and work out both a starting point and a bottom line because pound to a pinch, the person asking you the question you will have.

4.  Publishing royalties should be on a sliding scale. For example, 7.5% for the first 10 thousand sales, 10% for the following 40 thousand and anything over 50 thousand should earn you 12.5%. All publishers will baulk at that but the reality is that most novels won’t get anywhere near sales of 10 thousand anyway so what have they got to lose? 

Should your novel be a success however, you’ll be quids in. As of course, will they.

5.  Unless you are knowingly going into an agreement for a film which is designed to kick start a career or you are willing to work on some kind of profit share, a contract for a screenplay with a production company should always include a fee on signature for one very specific reason; commitment.

If someone is prepared to put their money where their mouth is, it’s fairly obvious that they will be a lot more enthusiastic about taking your script through to the day the camera’s roll than someone who has nothing invested save a couple of lunches (if you’re lucky). Indeed, if someone is asking you to sign something but are not prepared to invest in you, you should be asking them (or yourself) why.

The remainder of the total fee will be staggered anyway so make sure you know what will be due to you and when.

6.  Unless a major star or studio is involved, back end payments are generally worthless so take whatever is offered with a pinch of salt and laugh at any offers of increased back end payments in lieu of a smaller front end fee. This is generally a simple tactic to save money so you should always squeeze every penny you can from the front end.

However, always make sure that a back end payment is included just in case it’s a smash and the creative accountants can’t cover it up.

7.  Watch the clauses. You want invites to premieres, involvement in promotions (at their expense), a cut of any soundtrack profits and if there’s a sequel, you want to be the one to write it. If not, you want a slice of the action including payment for the use of any characters you have created in any and all spin-off projects.

If there’s a chance of a novelisation, you want to write it but if you don’t, you want a cut of any profits, etc, etc.

If it’s for a book, you want details of the marketing publicity budget as well as an approximate publication date if at all possible.

Seriously, if you don’t ask, you don’t get.

8. If the deal is for a screenplay, always ensure that there is a clause in the contract whereby if the film isn’t made, the rights to your work revert to you (for free) after a reasonable period. That way, if nothing comes of it, you will at least have a script you can try to sell somewhere else.

9.  Always, always, always get everything read by either a lawyer, the Writers Guild or the Society of Authors before you sign it. That’s what they are there for so use them.

If a lawyer comes back with some concerns about a contract, act on their advice and fight your corner. Producers are used to brinkmanship so take them all the way and always be prepared to walk away if need be.

You might well come under pressure to avoid this step and just sign on trust or good faith and this will come in many forms from threats that the financiers are about to pull out if you don’t sign to female directors sobbing on the phone in the middle of the night. You should treat all such tactics as bullshit.

If someone doesn’t want a lawyer to see a contract they’ve put in front of you it’s almost certainly because they have something to hide (see point 2 above). Therefore, resist this pressure, stay cool and make them wait until you are ready to sign on the line. It’s your time, your money and your future income.

10.  Believe me, signing a dodgy deal is an awful experience so only sign on the line when you are sure that it’s as good as it can be for all sides, but especially you!

And finally, always trust your gut because if something feels wrong, it usually is.

@dougiebrimson

football, comedy, humour, rivals, derby, soccer, premier league, championship, manchester united, chelsea, liverpool I desperately need to do some work on my Amazon author page  this page, primarily by adding some new titles to it! So I’m happy to pass on news that there will be at least two, maybe even three new ones coming in 2018! 

In the meantime, you can buy all the existing books including the football comedy Wings of a Sparrow and the #1 thrillers,The Crew and Top Dog from either Amazon or iTunes.  

Please click on the relevant link for more information.

author, writing, writer, screenwriting, screenwriter, publishing, indiefilm, low-budget, self-publishing, brimson, hooligan,veteran 

How to write a fight scene.

green street, top dog, violence, sex, fightingI’m not usually one for taking part in online debates about writing, mostly because I’m not that clever and have an adversity to making myself look stupid.

There is of course, also the risk that people will discover that I’ve been winging it all this time which wouldn’t do my agents heart rate any good.

However, I recently became involved in a fascinating discussion with a group of writers on the use of gratuitous violence in both books and film. Or to be more specific, the duty of the writer in the way they portray it.

I won’t go too deeply into the way it unfolded other than to say it veered from one extreme to the other and back again at least more than once. But whilst it was extremely interesting to learn how others perceive their creative responsibilities, little or nothing was said which made me change the way I think about mine. And mine, as I see them, are relatively simple. Indeed, they can be encapsulated in one single sentence. For when it comes to anything fictional, my job is to tell a decent story as honesty and realistically as I can.

This is underpinned by something I have said many times and that is the fact that the most important person in the writing process is the person at the end of the chain be that the reader or the viewer. And when you write the kind of things I do for the kind of people I primarily write them for (lads), then my sole duty is to give them something which they can not only recognise but hopefully, put themselves into the centre of without any difficulty.

In the case of a subject like hooliganism, that means street fighting and anyone who has ever been involved in a row at football knows that it isn’t Queensbury Rules Boxing or Tae Kwon Do, it’s short periods of scruffy, disjointed mayhem. It’s still violence, but it’s real violence as opposed to the stylised fighting we see in too many films and computer games and whilst for some it can be little short of a  terrifying experience, for others it can border on hilarity.

That’s how I have to write it because that’s how it is. Anything else would be a betrayal and I’d lose my readers (and viewers) in a heartbeat.

Quite rightly too.

.

thriller, screenwriting, film, writingThe next few weeks will hopefully see a couple of announcements on the movie front. The first will almost certainly be related to my thriller, Three Greens which has now attracted funding from one of the major distributors and the second will be details of the sale of my latest co-written project, Pizza & Miracles.

The latter script was only finished last week but has actually been a really interesting project to work on not least because it is as far from my usual genre as it is possible to get given that the subject matter centres around the subject of spiritualism and the power of the universe. But in many ways, that challenge is what made it the most fun. More of that as and when!

I can also tell you that work is progressing nicely on the third book in the The Crew/Top Dog trilogy as well as on Billy’s Log 2.

My intention at the moment is to self-publish both books but it may well be that someone comes along who will take them along the more traditional publishing route.

On which note, if you didn’t know, I’ve been publishing extracts of the latter online at Billys Blog. Feel free to take a look by clicking here! 

Five reasons why I love writing for older actors.

older actors, acting, film, screenwritingI shall, from the outset, put my cards on the table and say that I am, at least numerically speaking, old. 

I don’t feel it mind (and I certainly don’t act it) but it is fair to say that at 58 I’m much closer to my closing scene than I am to the opening act.

The reason I mention this is because for fairly obvious reasons, my age impacts on my writing output. Rule number three in Doug’s Guide To Writing is ‘write what you know’ and since I know more about being a male over 50 in 2017 than I do about being a teenage lad in 2017, my central characters tend to be older and I hope, more realistic. There will after all, be a part of me in all of them.

Thankfully, this is working to my advantage. For example when I  worked on We Still Kill The Old Way it received a great deal of press because of the age of the main cast. Great for me, the film and the actors involved, most of whom were actually older than I am. And that leads me nicely into the central reason for this blog.

You see generally speaking, when I start thinking about a project, be it book or film, one of the first things I consider is who is going to read or watch it. But recently, when it comes to screenplays, I also think about who might be can cast. Something which helps me actually create the role.

Therefore with that in mind, what follows are 5 reasons why these days my mind tends to wander to those actors who have actually been around for a while.

Choice – We have a huge untapped source of talent in this country and it isn’t lurking in acting classes or talent schools, it’s working in small theatres or sitting at home waiting for the phone to ring. Sad for them but great for writers like me when you’re working on something and putting together a dream cast because you know that there’s a bigger chance of actually getting them.

Gratitude – The main reason why they’re sitting at home is because the phone rarely rings. And it rarely rings because there are so few decent roles being written for people over 60 (let alone 70!). As a consequence, if you create these age specific roles and cast accordingly, not only are the actors grateful, but they give you everything from vast experience to PR gold!

Talent – To me, it’s criminal that all this amazing acting talent is being allowed to go to waste. Aside from the ones I’ve already worked with, I can think of ten amazing actors and actresses I’d crawl over broken glass to hear reading my words yet I doubt one has had a decent film or TV role in ten years. That’s tragic, not least because, as has been proven time and time again, the public genuinely want to see these great actors on screen.

Fun – If you don’t think working with legends of the entertainment world is fun, you really shouldn’t be writing screenplays.

Inspiration – When an actor you’ve watched for years and who you have nothing but respect for comes up and not only praises your script but thanks you for the opportunity you’ve given them, it’s both humbling and gratifying. But equally, such praise drives you on to create more of the same which is exactly why I currently have two projects in development that will feature ensemble casts of actors over 60. And d’you know what? I can’t wait to get them moving primarily because above all, they’re going to be fun. Which is kind of why I started doing this in the first place.

The problem of course, is that the production process isn’t down to the writers or the actors, it’s down to those mythical beasts called producers. So what’s really needed are a few of those to step up and take a chance or two.

The talent is there, the ideas are there and as movies such as The Best Exotic Marigold Hotel (1&2) and Philomena proved, the audience is certainly there. So how about it? Why not take a shot.

Who knows, the results might even shock you!

@dougiebrimson

romance, life, love, beer, sexAs some of you may be aware, I’ve been beavering away on a couple of sequels for a while now. Well the third book in the The Crew/Top Dog trilogy is almost done and then I’ll dive back into the latest exploits of Billy Ellis. On which note, I’ve published a few extracts of ‘Billy’s Blog’ online to whet the appetite. 

Please click here to visit and if you enjoy it, feel free to spread the word!

football, soccer, comedy, cost of football, manchester united, liverpool, derby, watfordJust in case you didn’t already know, all of my books and DVD’s are available from both Amazon and iTunes.

Further information at dougiebrimson.com

Gender, gender neutral, beer, lads, women, men, relationships, sex, love, romance, author, screenwriting, ebooks, self publishing, indie film, football

ogilvy, ellison, we still kill the old way, top dog, green street, indie film, hooligans, krays, gangster, kemp, 

Author, screenwriter or simply mad writer?

writing, screenwriting, author, screenwriter, publishingI recently made the comment that the difference between being an author and being a screenwriter is the same as the difference between an immaculate conception and an egg donation.

This seemed to cause some confusion in certain circles although as someone who writes both novels and scripts, it seems to me to be a totally accurate statement. Therefore, what follows is a slightly tongue-in-cheek guide to the essential difference between the creative processes involved in what are after all, two very different writing disciplines. 

As an author, when you write a novel, it is your baby. You sit, plot, write, edit, rewrite, edit again and then when you’re happy, you send it off to one or two trusted mates for their comments.

Dependent on what they say, you will either rewrite or polish your manuscript and then take the plunge into the real world and send it off to either your agent or your publisher. This is the terrifying time for all authors as these will be the first people within the industry to see, and judge, your latest efforts.

In response to their comments, you’ll either do more polishing or more rewriting after which it’ll go off to a proper editor who will fix your appalling grammar. Only then will it head off in the direction of the actual production process and eventually, print (or internet). 

Yet from concept to shelf or kindle, the writer retains pretty much total creative control and as such, the finished article remains in essence, all your own work. Indeed, once it’s published the whole thing becomes about you and you alone. Have you ever seen a book publicised as ‘edited by….’? Of course not.

This is what I mean by immaculate conception. You’ve created something from nothing and now face the consequences. Be it praise or grief.

A screenplay is a  totally different animal because in terms of the creative process, you as the writer have very little power over what finally ends up on-screen. Yes, you might well come up with the initial concept and you will certainly put the initial layer of flesh on the bones but generally speaking, your place is and always will be on the bottom rung of a very long development ladder. Indeed, a script will go through so many rewrites it might as well be written in pencil and it’s certainly safe to say that by the time it gets to the point when a director calls ‘action’, the shooting script will be very different from your initial draft

There are of course, very specific reasons for this be they creative improvements the director has made or something as mundane as location, cast or budget. Yet however much it might irritate you as the writer, everything is underpinned by one very simple fact and that is that everyone involved in the process wants to get the best thing that they possibly can onto the screen. 

And that is the key difference. For unlike a novel, a script is a true collaboration and your pages are usually the starting point. Or to use my original statement, the egg.

You see, simple. 

There are of course, occasions when the two elements meet and an author ends up adapting their own novel for the screen as I did with Top Dog. Whilst an interesting experience, it was quite possibly the single most challenging thing I’ve done as a writer and whilst I learned a lot, it’s not something I would advise an author to do unless they have either a very thick skin, a good therapist or access to a shotgun.

@dougiebrimson

sex, lads romance, love, vibrator, george clooney, fart

football, soccer, comedy, cost of football, manchester united, liverpool, derby, watfordJust in case you didn’t already know, all of my books and DVD’s are available from both Amazon and iTunes.

Further information at dougiebrimson.com

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From the writer of Green Street….

wordcount, writing, writer, greenstreetThis isn’t something I would normally do, but with three projects currently in development and taking the bulk of my time, I have a number of additional scripts in work so thought I would offer a few out via my blog. All are at the second draft stage so if any are of interest to anyone in the industry, please drop me an email via dougiebrimson@me.com

Boots on the Ground:  Drama (feature or TV): A soldier loses his legs after an ambush in Afghanistan and returns home to the brutal realisation that his real war has only just begun.

Wings of a Sparrow: Comedy (feature or TV): A fanatical football fan inherits a multi-million pound fortune and thinks that all of his dreams have come true. However, his dreams soon turn to nightmares when he learns that the money comes with some very unsavoury strings attached!

First Parallel: Supernatural Drama (returnable TV): A shy, unassuming woman girl discovers that she is the only hope for mankind in a supernatural war being fought against an army of evil led by the malevolent spirit of her dead mother.

@dougiebrimson

sex, lads romance, love, vibrator, george clooney, fart

football, soccer, comedy, cost of football, manchester united, liverpool, derby, watfordJust in case you didn’t already know, all of my books and DVD’s are available from both Amazon and iTunes.

Further information at dougiebrimson.com

beer, lads, women, men, relationships, sex, love, romance, author, screen

How movies happen. Part One.

film, screenwriting, script, CannesFirst off, I must apologise for the title of this blog.

The truth is, as a simple writer I am but a tiny cog in the movie making machine and if I did know how they happened, I would have bottled it, patented it, franchised the shit out of it and be long gone by now.

What I do know however, is how mine happen although to be fair, my experience is hardly standard. After all, my first feature came about as a result of a conversation on a dodgy internet forum and my next one (that will  be #4) is the product of a simple one line pitch thrown in at the end of a meeting about another film. A film which remains as yet, unmade.

This proves to me, and should do to you, that there is no actual ‘way’ for a movie to happen but there are instead, a myriad of ‘ways’. And for the average writer, most of those will be entirely out of your control and more often than not dependent on huge amounts of luck. Sad, but undoubtedly true. 

That said, there are plenty of ways to heighten your chances of escaping the anonymity of the slush pile although in truth, none will ever guarantee success.

For a start, turning in a script which is both properly formatted and free of either spelling or grammatical errors should be a given (and if you don’t do that anyway, then you don’t deserve to have your script read let alone produced) whilst having a decent title certainly helps. Attaching a star is also a great way to gain attention but all of this should be the territory of your agent or manager if you have one. On which note, if you don’t, then get one. They are effectively filters who keep crap away from script readers and so a pile of paper coming from an agent is going to have far more of a chance of being looked at and taken seriously than one that doesn’t.

If you’re not adverse to networking (and I am, I hate it) then get out there and sell yourself as often and as hard as you can. In the film industry, people buy people as much as they buy what they can actually do. If you can’t or won’t do that and aren’t getting anywhere via any other means, then entering and hopefully winning one of the numerous screenwriting competitions will at least get your work in front of the right people.

And that’s what all of the above is designed to do; get your work in the hands of someone who will hopefully read your script. That’s when it’s all turns back around and you really do influence what happens next.

Because aside from your screenplay looking professional, the single most important thing to do with a script is the one thing you have the most control over. It’s the story. Because whilst a great story will sell a crap script, a crap story won’t sell a great script.

So nail your story from day one and if you do the work and get it right, it’ll happen. 

On which note, if all goes to plan, details of my next movie will be announced at the Cannes Film Festival which begins a week today.

For reasons which will become obvious in the fullness of time, details of this project are being kept a closely guarded secret for the time being but rest assured, I will pass them on as soon as I’m allowed.

What I can tell you is that it’s going to be a cracker and is certain to shock a few people. More than a few hopefully.

And that’s all you’re getting for now.

@dougiebrimson

sex, lads romance, love, vibrator, george clooney, fart

football, soccer, comedy, cost of football, manchester united, liverpool, derby, watfordJust in case you didn’t already know, all of my books and DVD’s are available from both Amazon and iTunes.

Further information at dougiebrimson.com

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Dear Doug, I’ve written this amazing script….

brimson, screenwriting, writer, script, authorAs someone who has pulled it off more than once, I’m often asked how to go about selling a script.

Whilst an obvious question, it is actually the wrong question. For the truth is that anyone can sell a script just as anyone can buy one. So what people should be asking is what are the chances of selling a script into the industry. Be it to a producer, a studio or even to an agent.

The answer, for a first time writer is slim, very slim. In fact the odds are stacked firmly against you. Not because  the film industry is some kind of closed shop -although in many respects it is exactly that- but because of simple mathematics.

You may well have written an awesome script, maybe even a potential Oscar winner, but the second you send it out into the world you’re entering a competition for attention and that competition is fierce. Not merely in terms of quality, but because of pure numbers.

The Writers Guild of America register anywhere between 30 and 50 thousand scripts every year. A number that can probably be doubled if you factor in screenplays written by writers who don’t register their work but still punt it out. That’s EVERY year, and the average screenplay floats around for at least 5 years, usually longer. So even using conservative figures, that’s 250,000 spec scripts floating around waiting to be picked up at any one time.

Since the vast majority of movies which actually get made are written by writers with some kind of track record, as a first time writer the chances of anyone even reading your script let alone buying it are reduced even further. Indeed it is estimated that even in a good year, only 50 spec scripts are actually sold into the business.

In real terms, that’s 1 per 5000 or 5000 to one. Or, to put it in more realistic terms, you’re twice as likely to die by falling in the shower as you are of someone buying your script.

Simple as that.

(It’s also important to remember that selling a script, whilst a great achievement in itself, does not guarantee that it will ever get anywhere near actually being filmed. And before anyone asks, it’s also worth noting that many spec scripts are sold for nominal fees, sometimes as low as £1!)

@dougiebrimson

sex, lads romance, love, vibrator, george clooney, fart

football, soccer, comedy, cost of football, manchester united, liverpool, derby, watfordJust in case you didn’t already know, all of my books and DVD’s are available from both Amazon and iTunes.

Further information at dougiebrimson.com

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