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Compilation © Robin Kelly 2001 - 2003
Edited and compiled by Robin Kelly exclusively for Writing for Performance
SHOOTING PEOPLE - UK SCREENWRITERS NETWORK
Supported by The Script Factory
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From: David Watson
Subject: Re: writer's block
"okay then,,,so what do you people do when you sit there in front of the computer going....write?...maybe make a cup of tea...write?..got to tidy the kitchen / walk the dog ANYTHING ELSE but writing aaargh!!!! I've heard various ideas to combat the old ideas drought: from free writing - (scribbling any old crap that comes to mind until something useful pops out) to word association to going to the pub with a Dictaphone and recording randoms conversations. Any more suggestions of novel ways to inspire yourself when it seems you just don't have anything interesting to say?"
You're not alone. Couple of years ago I suffered from really bad writer's block though I didn't have a dog so all I really did was spend my days wandering around in my underpants scratching and watching Home and Away and Sabrina the Teenage Witch. To make matters worse I was living with my mum at the time. She suggested I find a hobby to occupy me, something like bungee jumping or parachute jumping.
I settled upon baking which I hadn't done since Home Ec at school and found that while up to my elbows in dough, baking bread or a pie, a Zen-like calm would come over me AND SUDDENLY MY WAY WOULD BE CLEAR. I'm not saying it'll definitely work but it worked for me, taught me how to cook and gives me the confidence to scream wanker at the telly everytime I see Jamie Oliver. Which is also therapeutic as it helps me manage my rage.
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From: Joe Pritchard
Subject: Writer's Block
A couple of tricks I use are as follows.
1. Forget it
Totally ignore what you're blocked on for a couple of weeks, and make an appointment with yourself in your diary for a date when you'll look at it again. A couple of weeks down the line. Then take all the files, notes, etc. and bung them in a box out of the way and don't look at them again until your 'date'.
2. Don't Finish Off
Finish writing half way through a scene or even a piece of dialogue.
Then go back to it the following day. You've got a starting point to work from.
3. NEVER talk to people about what you're writing
God knows why but if I talk to someone about what I'm writing I have
trouble writing it.
4. Find your writing time
I write best between 6am and 8-30am. I try and do all my stuff there, then do the day job, then do editing and stuff in the evenings. These are the times that work best for me. Find your own times (and even places) and ritualise the actual business of starting to write. Give yourself no excuses. If you know that you often get thirsty, make sure you have some water so you don't have to leave your desk. Get stuff close to you that you want so that a trip to get a dictionary or something doesn't evolve in to a bath, shower, dog walk or cat grooming session....
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From: Don Webb, Turnaround Productions
Nothing beats sitting down and starting.
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From: Tom Walker
Subject: Writers Block
There is no such thing as writer's block, it doesn't exist. Writers have just invented this term to use as a scapegoat for not working. The reason they don't want to work is because of their fear of failure. The longer you procrastinate, the greater the fear will become. So if you are scared just accept it and be prepared to write shite. The old saying - 'Don't get it right get it written' is always appropriate. Once you have something in front of you, the critical faculties that have been stopping you from working can then be used constructively. Blank spaces are scary. That's where structure helps. If you have to fit your ideas into a framework, you can use the parameters to help you, like a familiar guiding light. Being scared of writing is a bit like being scared of the dark. Your greatest adversary is your own subconscious mind.
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From: Michael O'Mahony
Subject: Writers Block.
This is something we all suffer from now and again, one of the more evil parts of being a writer. My advice is not to force it. Personally, I've noticed a distinct difference between what I write when my thoughts and ideas are flowing and what I write when I'm lacking in inspiration and have to push myself. Use some effort in looking for inspiration by all means, but I think if you're putting pen to paper or fingertip to keyboard just for the sake of it, then you're wasting your time.
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From: Joe Boyle
Subject: Writers' Block
In reply about Writers' Block: All I can say is, you must have no need to write. Ever heard of a bricklayer getting 'Brickie's Block', or a plumber getting 'Plumber's Block'? You want to eat, the job's gotta be done, so you do it. Personally speaking, I can't afford Writers' Block; I get this pain in the stomach called hunger.
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From: Jonathan Schütz
Subject: Writers' Block
A surefire method for overcoming writers' block: set about doing your accounts. In just a few short minutes, the thought of sitting in front of the monitor and grappling with the finer points of character backstory or a recalcitrant plot-point becomes insanely enticing.
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From: Suzette Coon, Making Waves Productions
Subject: Writer's Block
I agree with one of the posters who says that fear of failure can be the biggest barrier to writing. I also reckon that this fear often comes out of not knowing enough about your story. The block is the mental realisation that actually one is scraping the barrel of ideas. Contrary to popular myth, most writing is not simply an act of divine inspiration. Research has often helped me to overcome a block. Read, watch, visit exhibitions etc; - other peoples' ideas can often get us thinking. Research your theme and characters - what is the life history of your characters, what do they see themselves doing in ten years time, what films do they like to see? Visit the locations (if you can) in which your story is set - this can inspire and motivate; An interesting strategy is to take some scenes from you story and extend them in the most ludicrous, off-the-wall way you can. What would be the most outrageous thing your character could do at this point? You might not use this information but it can reveal the hidden parts of your characters' personalities as well as to take you into a narrative territory which you hadn't even considered. Good ideas often surface when I'm not actively wracking my brain about the story. So, like the 'cooking' idea, a lot of my stuff has been prewritten whilst driving or taking a shower. I think this probably demonstrates the fact that when you're least anxious about delivering a good idea, then that's the time one will pop up.
Most importantly, be sure that you are fully committed to your story. One that doesn't truly hold you or one that you're battling with for all the wrong reasons - it's what the market wants/my agent wants/it's fashionable/ - will defeat you at the slightest opportunity. A story which you are absolutely in love with will keep you coming back for more and you will make it work no matter what. And don't try to get it perfect. It's a process that has to be gone through. Good luck.
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From: Adrian Rawsthorne
Subject: Writers Block
We often face our glowing screen and come up empty. I don't know any magic formulas for this but attack my own fearful vacancy with a couple of techniques.
Diversion
If it's a story problem that defeats me I first spend time assembling the problem in my mind reading my notes and the fractured dialogue I may already have. Then I get out and walk or ride my bike. Folding the washing works just as well. It must be a mind numbing physical task, which requires little concentration. Once my conscious mind is diverted my subconscious gets to work and often enough a solution will occur to me.
Story Theory
Relating the problem to story theories often helps. Focusing on "whose story is it" and "what is the story" often cracks the nut. It's usually a secondary character I've fallen in love with that's knackered the sequence.
Old work
Trawling through my own old work often gives good results. I discover little nuggets of useful stuff in old sketches and forgotten story lines. If your writing stalls comfort yourself with the knowledge that the work you are doing now is probably the right work but somehow it's turning up the wrong way. Think about the antecedents of your last corking script and you'll see what I mean.
Stimulation, shifting gear
If your imagination gets sprained try to rehabilitate it. Try to stimulate yourself with images our sound. Playing an old record can unlock your memories and shift you into a different mindset. I like to look at art and can loose myself in the image often making the kind of soft connection that makes me see my script in new way. I find relevant images using the http://www.Altavista.com image search. Conceptual photography often does it for me.
Try it yourself
http://www.artcreate.com/ try Misha Gordin
Reading others and randomising
Reading a good script can often make you see your own in a different way. Or reading a short story. Anthony Minghella starts his day with a Raymond Carver short story. Edward de Bono has some good tips for creative thinking. Here's just one, open a dictionary at any page and pick the first word on the line down the page which corresponds to your age. Then think how that word relates to your story. You should be forced to travel a different path to your story.
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From: Sarah King
Subject: Writers Block
The best way of starting for me, is a 'what if?' situation. e.g. think of any situation however bizarre or mundane, and then apply the question what if ******* happens? (anything you think of). This allows you to start writing freely and loosely, and slowly you will discover what you really want to say, from any starting point. Try this question on a piece of work that seems to be grinding to a halt, just to free you up again. - It's just one idea.
I agree with one response you've had, that there is no such thing as writers block, it's just an over-used phrase with no real meaning, except as a scapegoat. If we could get pills from the doctor for it, like 'tennis elbow', then that would be another story.......
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From: Robin Kershaw
Subject: Writer's Block
I can't recommend this book enough - you may already know it -
The Artist's Way by Julia Cameron
"A course in discovering and recovering your creative self"
It has some very interesting things to say about all aspects of creativity, including writer's block.
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From: Guy Hallifax
Subject: RE: WGGB
There have been a couple of postings about the WGGB, asking about its value. The line "What have the Romans ever done for us?" springs to mind. All right, the Writers' Guild didn't give us roads or central heating, but off the top of my head here are just a few of the benefits I get for my modest membership fee:
1. A contract vetting and legal advice service.
2. A pension fund paid for by the production company in addition to the negotiated script fee.
3. Membership of ALCS to collect any overseas royalties. (I wish)
4. Events - last week's Networking evening at BAFTA was very useful.
5. Discounts on cinema tickets at NFT and others.
And don't lets forget the fact that the MTAs on film, TV, radio and theatre are all Guild achievements, as is PLR in libraries. Those MTAs are constantly under re-negotiation, and all writers benefit.
Writing is one of the most isolating of occupations, and the fact that, unified in the Guild, we can speak with a strong voice against such outrages as the proposed amendment to Article 11 of the Copyright Harmonisation Directive (voted on today, Wednesday, by the EU in Strasbourg) means that for me, the Guild represents an essential part of my working life as a writer.
And they didn't even ask me to write this.
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From: Tom Green
Subject: Re. Writers' Guild
The historic strength of the Writers' Guild of America west gives them greater negotiating power than the Guild in this country. An American writers strike really would close down Hollywood and the TV studios. The only way to get more power in Britain is for writers to join the Guild!
Without the Guild there would be no industry-wide minimum agreements for the payment of writers. The Guild is currently fighting on behalf of writers on issues such as payments for use of materials on the Internet and fees paid for work shown on 'video-on-demand'. It is a constant battle to protect writers' rights and payments & only by acting collectively through the Guild can writers exert any kind of strength and influence.
As for other benefits of membership, they include free contract vetting and legal advice, assistance during disputes, special events, a monthly newsletter and the opportunity to join the only pension scheme that will earn you contributions from broadcasters/producers.
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From: Jeremy Drysdale
Subject: WGGB
In response to the replies to my last post:
I'm not suggesting that there aren't benefits to joining the WGGB, simply that they don't do enough to protect writers.
I was present with around a hundred wannabe producers at a 2 day film school seminar presented by Dov S S Simens. Dov told us that British writers are not writers but 'typists', and recommended that they be approached before American writers, because they had 'no binding structure of payment' and would work for virtually nothing. Dov gives lectures over here regularly (through Raindance, who subscribe to this list) and each time he talks, he reaches the people who employ writers in this country. The people who pay us. The people we rely on to put food on our table and keep the lights on in our homes. And to those people, we are 'typists', with no binding structure of payment who will work for virtually nothing.
So our Guild - all we have in our battle to earn respectable money for our craft - sends us into fight with 'suggested minimums'. Tom Green talks about 'industry-wide minimum agreements for the payment of writers' in his post. Bollocks. They pay us what they feel like paying us, and we'll take it because we need the money and we only have SUGGESTED MINIMUMS.
And this same Guild expects us to strike in support of our American cousins, even though we will not benefit from the result of that action.
I've received back a couple of posts to this list, both mentioning Legal and contract help, networking and pensions. Well, fine. My agent handles contract and negotiation, networking is everywhere (I've never had problems meeting industry people, and I don't live in London), and as for a pension - you pay money into a pension scheme in the same way you pay money to belong to the Guild.
So let's get real. If it makes you feel more like a proper writer, then join the Guild. But until there is a proper, enforceable payment and protection structure set up to protect writers, I can't see the point of paying out good money for a business pension scheme and social club.
But then I'm only a typist - what do I know?
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From: Bernie Corbett, General Secretary, Writers' Guild of Great Britain
Subject: New writers
The Writers' Guild of Great Britain is just as interested in newcomers as in writers who are already successful. One of our main functions is the negotiation of Minimum Terms Agreements with the BBC, ITV companies, PACT, etc. These ensure that newcomers are not exploited, whereas most successful, experienced writers can negotiate improved terms (or their agents can). The Guild is also one of the chief supporters of the TAPS showcase project, which has a great track record of putting new writers on the road to success. Our membership fee for a "Candidate Member" (someone who has not yet had a professional contract on Guild minimum terms) is only £50 a year. A "Full Member", who has had such a contract, pays 1p in the £ of earnings from professional writing, with a minimum of £100. In most cases the Guild pension scheme contribution alone is worth several times that amount, and that is before you consider the monthly bulletin, contract vetting service, free legal advice, representation and arbitration in disputes over credits and other issues, Guild seminars and conferences, etc, etc. I hope Colin and other "shooting people" readers don't see the Guild as remote, unwelcoming and elitist -- we strive to be the opposite.
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From: Anne Hogben, Assistant General Secretary, Writers' Guild of Great Britain
Subject: Writers' Guild membership
In response to the query in issue 264 I can confirm that any member of the Writers' Guild of Great Britain can show up at the headquarters of the Writers' Guild of America on 7000 West Third Street, Los Angeles, and expect to be treated as a full member - when they have been offered work under a WGA contract. That is the only condition and it is the same as for the US writers - no more or less stringent. Nor do our members have to pay WGA's initiation fee (now $2,500 and not $2,000).
Annual membership of the Writers' Guild of Great Britain is currently 100UKP (but this will increase to 125UKP on 1 January 2002). Candidate membership is 50UKP. There are other good reasons to join the Guild such as our pension scheme, contract vetting service, craft events, seminars, monthly Writers' Bulletin, legal and professional advice. The Writers' Guild negotiates collectively on your behalf - we have Minimum Terms Agreements with PACT, the BBC, ITV etc. We are a recognised trade union, affiliated to the TUC and we represent writers everywhere that writer's rights and interests are at stake.
For more information send your name and address for an information pack to be sent by post.
Writers' Guild of Great Britain
430 Edgware Road
London W2 1EH
Tel: 020 7723 8074
www.writers.org.uk/guild admin@writersguild.org.uk-----------------------------------------------
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