Master’s Degrees, Film Festivals and Life in General

I haven’t updated this in a while, and for that, I do apologise. I’ve been busy. Between trying to get a masters degree, living in my car for three hours a day every day and my first grad job, I’ve been swamped.

So let me catch you up. My MA is still, very much, go. But if you were to ask my lecturers, they’d probably express a deep concern that I’m not engaging. I am. I just can’t seem to find the time to actually type up the screeds of notes I’ve speed-written at my desk before work, sprawled across ten different notebooks. In part, this is because I can’t seem to find the time or the energy to think and right now, it seems like the most daunting task I’ve ever undertaken, just to pull all of these different strands together into a coherent argument and a strong body of work. But the work’s there. I’ve thought about it, read about it, thought about it some more. But I don’t feel ready, or even feel like sharing it.

In all honesty, I’m just tired and sick of wasting time on things that are never going to bear some semblance of a benefit to me. And if you drill that down, that extends to emails or drafts I’d rather keep to myself. I’m happy working on this on my own until it comes to fruition. In my weary state, with no time to think, that is probably the biggest conclusion I’ve drawn from the experience of working on this project. It’s an important life lesson too. You need to invest in things that benefit you, and take care of you.

But it’s not all bad. The project itself has taken an exciting turn. Born from the discovery that, prior to its film adaptation, ‘Filth’ had a short life on the stage. In the form of a one-man monologue. Truthfully, between this work – in all its iterations – and stories dominating news coverage today, I feel like I’ve found the perfect foundation for the next phase of telling the ‘Cultists’ story. It’s current form is a series of four monologues corresponding to my four, foul and unstable characters. And that, to me, is exciting.

And that’s what I’m saying. If I hadn’t got the sads one night and decided to take time out to watch ‘Filth’, I probably wouldn’t have decided to take the project in that particular direction.

I consider everything – experience – an important part of my process as a writer. From attending the Glasgow Film Festival this year (which I’ll try and keep you posted on), to my job; it all helps.

Probably the biggest piece of news I have to offer you is that I’ve landed my first graduate job. I don’t work as a writer, no, but I do work in film. Every day, I count my blessings for that; the proof that six years at university weren’t a waste of time. Even when I’m sitting in traffic on a Monday morning, I’m always looking forward to the day, not dreading it like I did with previous jobs. I’m in a good place.

Update done. Keep your eyes peeled for a riveting analysis of Wim Wenders’ latest cinematic offering, staring Glasgow’s finest, James McAvoy, and the stunning Alicia Vikander, ‘Submergence.’


Updates! Details! Changes!

I should be writing.

Since going back to university in September, that statement has been stuck in the back of my mind and, two months later, I’ve still found myself unable to write a great comedy script for my masters project. Sure, I have rough notes for half a script, some half baked jokes about politics, a few decent ideas and a pile of writing guides gathering dust beside my bed. I’ve also been blessed with a sick, cynical and often fatalistic sense of humour. I kind of thought that would be enough. But the more I stare at the lame jokes I’m trying to make on a screen, the more painfully aware I am that I’m not exactly reaching, what I like to call, ‘peak funny.’

It’s a fickle thing. I’ll have an idea, mostly based on the Great Orange Dictator across the pond and his shenanigans, and it’ll be hilarious in my head, but as soon as I write the gag, it loses it. And it’s disheartening. And it’s making me not want to write right now. It’s actually making me fear writing and fear putting my work into the world. That’s just my theory about why I’ve found myself not being able to write. It could be any number of things from being unhappy with where my life’s been heading for a while, my general lack of concentration, all my irrational worries. Maybe I’ve lost my funny?

Now that’s a terrifying thought to get my head around.

It’s not all doom and gloom, though. The handful of you who actually know me will be aware of how much I’ve hated the last six months from messed up shoulders to not doing anything with my degree(s) or not earning enough. Well, I’m fairly confident that that’s changed recently. Completely out of the blue, I managed get myself a grad job… that doesn’t involve (much) writing. Instead, it involves a fair amount of videography, which is equal parts exciting and giving me the fear at the same time. But I’m just stupidly thankful that I haven’t spent five years at university to not be able to work in the arts.

I haven’t even started my new job, but over the last couple of weeks I’ve experienced the biggest shift in outlook than at any other time in my life. I’ve never been an optimistic person, ever, and at this point, it’s all feeling kind of foreign that I have nothing to whine about. Suddenly I am feeling far more creative and suddenly I’m feeling it necessary to broaden the collection of work I engage with and draw influence from.

I usually round off these posts with exactly that, so I’m just going to quickly give you a run-down of what I’m listening to or watching and how those are impacting how I’m viewing my creative practice at the moment. There are a few of the usual suspects in there but what’s really grabbing me about this list is that there are just as many musical aspects in there as there are cinematic or televisual; I don’t know why that is, but I’m sure I’ll find the answers soon.

  • Biffy Clyro: So my masters project is set in Scotland. I don’t know why I chose to do that, if I’m completely honest, because all my life, I’ve had this kind of resentment towards being Scottish (I know, I’m sorry), and I’ve always had a really blinkered view of what the Scottish arts scene looks like. Some people call it the ‘Scottish Cringe’. I can’t really explain it, but when I listen to this band’s back catalogue, I begin to feel that whole notion dissipate, giving way to a huge swell of pride that a band from my wee country could write music that is equally as poetic as it is brash and abrasive. That, and I’ve been listening to them on the bus to work a lot recently.
  • Thor: Ragnarok: Possibly the finest addition to the MCU and the movie our favourite Asgardian deserved. There are so many things I could say about this film, but I’ll keep it short. I loved the way this film struck the balance between being outrageously funny (thanks, in large to director, Taika Waititi’s portrayal of Korg, along with his sidekick Meik) and having a villain in Cate Blanchett’s Hela that the audience believed could end the film’s protagonist. I also feel that Tessa Thompson’s Valkyrie and the space-age score from Mark Mothersbaugh deserve honourable mentions, both of which just gave me chills.
  • All These Countless Nights: Reworked – Deaf Havana: I’ve blogged enough about the original version of this album for you all to know just how much of a special place it has in my heart, but I have to say that these guys have outdone themselves with this understated, classy offering. Skip to ‘Like A Ghost‘, ‘St. Paul’s‘, ‘L.O.V.E‘ and ‘Pensacola, 2013.’
  • Stranger Things: Normally I like to steer clear of anything with such an obvious amount of hype until it’s died down a bit, but the lure of an 80’s sci-fi period drama completely sucked me in. Everything from the gripping writing to the true-to-time score had me completely hooked. The Duffer Brothers completely nailed the nuances of the era and I’ve found myself itching for season three.
  • Forget Me Not – Brian Fallon: It’s been a while since I’ve listened to Fallon or Gaslight, but this track captivated me from the get-go, after being released at the end of a particularly crap week for me. That bouncy, 60’s-esque vibe instantly smacked a smile across my face, lending heavily from my favourite track from Fallon’s first foray into solo albums, ‘Mojo Hand‘. If this is any indication of what Fallon’s sophomore offering will sound like, I reckon I’m going to be one happy girl.

That’s it, folks. Time for me to lop all my hair off on Friday and get on with my real, proper big girl job. IT’S A NEW ME!

Modern Masters Formula

Hi everyone! It’s been a while since my last update. I had the intention of using this blog over the summer months to spew all my thoughts about film and television into one convenient internet baggie. It didn’t happen. Life gets in the way. This blog works best when I use it to store all my musings about academia.  It’s rare for this blog to receive an update so early in the semester (we’re, what, three days in now?) but I have the fear, so this is me trying to kid myself that I’m making meaningful in-roads into actually doing my masters project. I have three pages of a script, FYI.

I was so wrong, by the way. So very, very wrong.

Coming from a journalism background, and falling down so many social sciences rabbit holes in every research project I’ve had a hand in, it was instinctive to take a similar approach to my masters project. Carrying out a study into audience reactions towards shows of a political nature by way of creating my own web series of a similar nature was my initial idea. The practice was going to yield findings. I was comfortable with that. But it’s not what’s required of me in this case and now I’m struggling with the idea that this is more a journey of self discovery into my own creative practices than a study of how people react, behave and perceive what I do. I’ve mentioned this before, but ‘practice as research’ is an incredibly difficult thing to wrap your head around, especially when you’re used to looking at what makes other people tick. It’s also disheartening that all these objectives I had been milling over are now moot and I need to go back to the drawing board at this late stage.

I think my main stumbling block is my confidence, or lack thereof, in my own practice, since a large swathe of my success in this MA hinges on technical ability. I’ve been writing pretty much since I fell out the womb and, with a journalism degree, I should be all right at stringing sentences together. But I’ve only been dabbling in screenwriting for less than a year. Nonetheless, I know that that is where my comfort zone is. I know that, as a creative, I am a writer. A screenwriter, hopefully. But the thing is, I need to be able to produce something that is of the standard that it could be positively received by industry as well as academia. If I’m being frank, I’m not sure I’m at that level yet.

There’s also this idea in my mind that by even attempting a vein of research such as PAR, I’m shooting myself in the foot. I don’t see my future research interests being in that area and I feel like dedicating all this time to PAR is going to kill my chances of being taken seriously when it comes to attempting to get my PhD off the ground, where I’d be looking to revert back to research methods I’m more comfortable with. Is what I’m doing now going to be credible when I do that? Not only that, but what if this masters project doesn’t open up any doors for me as a screenwriter? Am I royally fucking myself over both professionally and academically?

Nevertheless, I have spent a chunk of my summer attempting to engage with the practice I’m developing. Not only am I still milling over Douglas’ invaluable guide to creating a series geared towards what the industry needs right now, I’m immersing myself in Yorke’s enthralling explanation of why we tell stories in his book ‘Into The Woods‘. I won’t say too much at the moment about the book because I do plan to write a review of it when I eventually reach its end. However, I will say that it has changed my perspective on the practice of screenwriting and, indeed, telling stories and consuming media. I have the tendency to overthink everything and, gasp, refer back to Vogler like it was the bible. Yorke presents a compelling argument for me to try new things in my writing, particularly disregarding structure (if it’s a story worth telling, then surely structure is intrinsic in its narrative?) and, in contrast, dabbling with five acts instead of three. So the next steps for me in writing my episode scripts for ‘The West End Cultists‘ is to perhaps consciously employ these aspects throughout my drafts and to compare the differences and similarities in terms of how the story flows.

Breaking away from theory, I’m glad I had the foresight in my proposal to mention shows I would like to return to and look at for inspiration. I had earmarked ‘Community,’ ‘Parks and Recreation,’ ‘The West Wing,’ and ‘The Newsroom.‘ Now, staring down the barrel of an average of five seasons, I’m not sure how feasible it is to be able to watch each of these in their entirety, but I’m going to give it a shot. I will probably fail miserably. But I feel like the first two should bear insights into the sitcom format (with the addition ‘Parks and Rec.’ bearing insight into the ‘mockumentary’ style that I’m aiming for), while the latter two deal more with thematics of the show. But I also want to pinpoint another show.

I was so miffed when I found out that season seven of American Horror Story was going to deal with political cults (I’m certain I had the idea first), but, after viewing the first episode, I firmly believe that this season might just offer me some inspiration and a point of comparison. I’m looking forward to seeing where Ryan Murphy takes it, especially since it draws from the election of Donald Trump and the impact that seems to be having on American society, albeit in a more dramatic form.

For me, it’s a no-brainer to follow news and current affairs. It was expected of me during my journalism degree and it’s stuck, allowing for me to take snippets of it and apply it to ‘The West End Cultists.’ I’m hoping that, now I’m rethinking my research objectives, this might be something I can address, linking my everyday life with the notion of a more grounded approach to storytelling and my own creative practice. I never stop being a writer, even if I’m not physically writing, because I’m constantly gathering experience and information to pour into my scripts. Who knows? There might be some academic jargon to solidify my view. I might get lucky with this one.

In fact, even writing blog posts, such as this, have become something that I take for granted so much that I’m doubtful of their value in my journey towards completing this body of research. Maybe it’s because it’s always been an expectation of every academic piece of work I’ve ever turned in, to have something there, documenting, contextualising, that I see it more as a requirement, or a chore, than something that could yield any groundbreaking insight into my own creative process.

That doesn’t mean I’m not looking forward to writing down every creative meta-musing I have over the next few months. I love a good journal entry. I love illegible notes in so many notebooks that I need to dig through the pile for hours to find them again. But I am apprehensive. Less about the academic approach and more about the practice. From getting into the right frame of mind to write a compelling and interesting script after putting in a shift at work where I’ve used minimal brain power, I’m covered in burger grease and I just want to cry, to overcoming my fear of actually filming things (my short films suck, I’m a words and pictures kind of girl, that’s my thing). More than that, though, I’m apprehensive of how I’m going to combine practice and research, since, up until very recently, the two always existed as separate entities in my studies. It’s going to be an interesting few months.

To quote Mason Verger from ‘Hannibal‘, “I am enchanted, and terrified.”


Sad Stories, Real Life and Meta Reflective Jargon…

Here it is, the last in this grand, self-indulgent saga of me explaining how my mind works when I try to write things that are (I hope) in some way, likeable to someone. I will admit, that on the eve of my final deadline before summer, I’m a little bit contemplative about what the future holds and whether, ultimately, embarking on an MA was the right decision, much in the same way as I did a year ago when I was wrapping up my journalism degree. But I’ll get on to why I’m feeling that way towards the end of this post.

In this edition, I’m going to be revisiting a project I’ve previously talked about – ‘Give My Ashes To The Coast‘ – and talking about the final product and how it’s evolved from the idea I posted way, way back in February. After that, I’m going to be addressing how writing about what I know has helped in my evolution as a writer. And finally, I’m going to be offering up some thoughts on blogging as a form of reflection on my creative practice in contrast to other methods. I hope I don’t bore you all to death in the process because I have a feeling this might be a rather lengthy entry.

So! First and foremost, I’m really stoked about ‘Give My Ashes To The Coast‘. It’s been a wonderful journey, writing this particular piece of work because, actually, it’s the first remotely sad thing I’ve ever written. Up until now, I’ve always written rather dark, macabre pieces of work that almost parody the idea of death and use humour to cover up the much more sinister undertones of my work. It’s kind of a reflection of how I am as a person; constantly using a smile, a laugh and sarcastic humour as a coping mechanism for my own problems because I’m far too much of a coward to tell anyone or to face them head on. Writing something that is so explicitly sad and having small parts of my own outlook on the world as the main driver for the project has been an unexpectedly therapeutic aspect of undertaking it. Not only that but that old writing adage – ‘write what you know‘ – has undoubtedly added to the emotional impact of the work as a whole.

But it isn’t just me and my own experiences. I had previously mentioned that the work is inspired by Deaf Havana’s latest album ‘All These Countless Nights‘ and the clear narrative that I was able to pick up from that particular work. When I embarked on the project, I felt like simply basing a screenplay on an album was an incredibly superficial way to go about creating something that I had already attached so much meaning to, and so thought it was necessary to go back and tease out some of the underlying issues behind the piece of work I wanted to create.

I had always been aware of the frank way in which musicians such as Deaf Havana had addressed the real life struggles musicians face; whether it be financially or mentally. In fact, the band address this in a recent interview where they talk about the amount of debt they managed to accrue while touring in support of their third album, ‘Old Souls‘ and the pressure that managed to put on the band. As someone who wrote extensively about the issue of musicians’ financial struggles, I was able to call upon one particular example from Music Producer, Count Eldridge’s documentary, ‘Unsound‘, where he offers the shocking statistic that only 1% of musicians can sustain themselves financially in the digital age. This is just one of the issues that my screenplay addresses in some way.

The second main issue my screenplay addresses is the emotional strain that musicians face. As I’ve previously mentioned, Deaf Havana themselves, along with musicians such as Frank Turner and even Bruce Springsteen touch on this in their work.

The idea for the main protagonist in my screenplay to actually experience the height of his own struggles after what looks to be his band’s final tour actually came from Bruce Springsteen’s recent autobiography, ‘Born To Run‘ where he talks about his own struggles with depression:

It also remains congruent with research that indicates that 68.5 percent of musicians believed they had experienced depression, while 71.1 percent believed they had experienced anxiety and panic attacks, compared to the 19 percent of people in the UK aged 16 or older who had said they had experienced anxiety or depression (Gross & Musgrave, 2016).

Ultimately, though, because I wanted to write something that doesn’t end well for my main protagonist, I wanted to kill him off at the end after he succumbs to his own demons. There’s even a nod to the infamous ’27 Club’ in there too. Everyone loves a rock star death, really, don’t they?

So going forward with these projects that I’ve been working on, I am planning on continuing with ‘Fangirls‘. It’s an excellent opportunity to develop my severely lacking filmmaking skills and to create more short episode scripts to showcase my understanding of how to actually carry through an entire story. Myself and my team are going to begin filming this over the summer and I’m hoping to have the first episode, ‘#SpiderSquad‘ online in July and continuing on a weekly basis after that for the other four episodes. As previously mentioned, the project aims to serve as a primer for my MA project, ‘The West End Cultists,’ in the sense that all the kinks with my film making and editing skills should be ironed out when the production of ‘Fangirls,‘ is complete, allowing me to create a better end product. With ‘Graves’ Girl‘, I feel like the project needs further work and development. It’s pitched as a short film right now, but it does have the potential to be extended to feature length. Some of the characters are gravely underdeveloped and certain minor aspects of the story can be teased out more. The main aspects where the project does shine is that it has served the purpose of personal development in the sense that I was able to collaborate with another writer on it and it’ll definitely go in my portfolio as is for the time being. Similarly, ‘Give My Ashes To The Coast‘, is going to be a mainstay in my portfolio. I feel like the quality of my writing on this project is by far the strongest and it tells a complete, satisfying project with the length that it’s at right now. It also satisfies the requirements of a long short by The Academy’s definition, so there is no need to extend the project over the course of the summer. Not that I’m planning on making a kick ass movie out of this and taking The Oscars by storm next year, as much as I’d like to. Last, but by no means least, I’ll be continuing ‘The Berlin Bug‘. It’s always good to have a back up and I’m a trained journalist, so a travel blog, complete with eye catching images, is a great way to update my existing journalism portfolio. This particular project has prompted me to go back to some of my old music photography and give it an editing update and to think of interesting articles to keep the project alive by delving into my own experience of traveling (that same experience that inspired ‘Fangirls‘).

I just want to round off this blog post by talking about the process of documenting my creative output on blogs. I was reading back through my posts over the course of  my MA, even dating back to the tail end of my journalism degree and I had found that I had, pretty much inadvertently, managed to maintain an interesting and insightful recollection of my creative process and the influences behind my projects. It also made me realise how my goals have changed, where I began to find my own ‘niche’ during my MA and the mindset I’ve been in all this time.

At first, when the notion of ‘documenting your practice’ was thrown at me at the beginning of my MA, I kind of balked at the idea. I didn’t see the merit of it, contrary to what a plethora of academics may have written about it. I mean, I just sit down and I write things. Or when I have to film, I grab a camera and I do it. I don’t attach any meaning to things like that while I do it and I’m not the type of person to sit and actually ponder that. But, for the purposes of getting through certain classes, I had to find a way to document my practice. Blogging was always going to be the thing I gravitated towards because I’ve unknowingly been documenting my practice all along! I hadn’t realised that until last night.

I feel like utilising blogs to actually contextualise and document my output has been such an easy, insightful and even enjoyable thing for me to do, in comparison to penning an entire essay at the last kick or having to actually talk about my work in front of actual people (it goes beyond introversion; public speaking is just a plain fear of mine). Perhaps it’s because I get to make use of a rich array of resources such as video content and external hyperlinks that I wouldn’t think to use in an essay. Or it may even be in the fact that I get to write in a more informal sense, safe in the knowledge that it actually might make sense (compared to verbally explaining things, which I just plain suck at). But honestly, it’s because I’m a writer. I have a style that doesn’t translate well into the crisp white expanse of a blank word document destined for Turnitin, and with blogs, I get to use that to my advantage.

In fact, I can pinpoint when I realised that no, I don’t want to make music documentaries (which was my main reason for applying for this particular course), I’m gonna make films instead. I know when I realised that I categorically sucked at making films and that my mum had been right along – I’m a damn good writer. And I’m fairly certain I’m going to look back on this post, a few months down the line, and remember exactly when I decided to blog about my experiences more, because it helps. So yes, documenting your practice is important.

Mic drop.

Collaboration, Music and the 1970’s

So today, I’m going to be rabbiting on about a screenplay I’ve been working on recently and all of the wonderful things that are helping to bring this particular piece of work to fruition. It’s called ‘Graves’ Girl‘ and it’s probably the most badass piece of work I’m writing out of the iconic trio of scripts I’m submitting this semester. But I’m just gonna give you a short synopsis of it first:

“Set in the 1970’s Marsha Gold, in her desperation, heads to one of new york’s most notorious strip clubs in search of a job, and quickly falls in love with her boss, Stanley Graves, an ex hitman. But all is not as it seems as remnants of his past come back to haunt him, namely his assassination of a high standing politician, Russo Salvatore, who swore to close all the illegal clubs in the city back in the 1960’s. Now, the politician’s son Salvatore Jr. is back for revenge and our protagonist is forced to adapt to the chaos, or be swallowed by it.”

Sounds great, right?

The first thing I’m going to tell you about this project is that it’s the first time I’ve shared writing duties before. Writing, for me, is such a personal thing. It’s something I do on my own. And, as someone who, outwardly, manifests themselves as a huge introvert, and inwardly has a mind that just won’t shut up, I tend to find that I get my best (and quickest) work done when I’m on my own. So working with someone else on a project was never on my radar.

Until it had to be.

Remember that book I talked about in my last post? The one by Pamela Douglas? Yeah, I’m mentioning that again. According to Douglas, I’m gonna have to get good at writing with other people and sharing my ideas with them, because it’s part and parcel of writing for television. So, I’m considering this screenplay to be me dipping my little toe into the dark and terrifying depths of collaboration.

It throws up so many issues for me that it’s hard to figure out where to begin. At times, during the writing process, I feel like I’m basically bombarding my co-writer, Jamie-Louise, with snippets from my dark and twisted mind (like a super villain, kinda). I’m finding it hard to strike the right balance in terms of how much I should be contributing, how much I should be communicating, how much of that bombarding I can get away with without sickening my writing partner off the project entirely. Because other people have lives too, you know? But I like a fast pace to any workflow and, no matter who I find myself working with, in any capacity, I feel like things become more considered and sometimes static.

I don’t know if this is me latching on to something that excuses my overthinking of all these interactions, but, according to the Myers-Briggs personality type model, I’m an ISFP. And lookie here:

Freedom of expression is often ISFPs’ top priority. Anything that interferes with that, like traditions and hard rules, creates a sense of oppression for ISFP personalities. This can make more rigidly structured academics and work a challenge.” – 16 Personalities

That feeling of perhaps having to censor myself a little bit may just be the kicker here. Maybe we need more structure. Maybe more communication on my end. Maybe the fear of overwhelming someone else stems from me and that’s why the project is taking more time to come to fruition. Who knows?

I’ve also realised that different people have vastly different styles of writing and it’s helped me to better understand where I really shine as a writer. For example, Jamie-Louise is great at dealing with emotions and exploring the relationships and reactions of characters. I’m all about action scenes and dropping little pop culture easter eggs in there. It’s great because sometimes, in everyday life, I feel like a bit of a cold, emotionless robot, and that sometimes bleeds its way into my writing, so it’s helpful in having someone else to balance that out to give the script some emotional depth.

Ultimately, collaboration isn’t the most natural way for me to write, but I realise that this is something I’m going to have to master. I can’t just see all my works as my babies in the future and I can’t be too precious about them being ‘all me’ as it were. That’s never gonna make for great television, is it?

But anyway, I can’t speak for Jamie-Louise, but I’ve been having an absolute blast researching the 70’s and getting into the headspace of being able to write that time period.

Influence from that era is bleeding into so many aspects of pop culture today from fashion, to film, television to music. It’s everywhere.

One of the things that inspired the idea of this screenplay being centred on a club is an upcoming show called ‘I’m Dying Up Here‘. Produced by Jim Carrey, the show centres on various clubs and characters from the Los Angeles comedy scene in the 1970’s. From the trailers they’ve posted, the characters seem to be bonded together as a family.

I’ve spoken about the show more than a few times on this blog and there’s a number of aspects drawing me in here. First and foremost, the cast is stellar, with Melissa Leo, Clark Duke and Sebastian Stan all gracing our screens. Secondly, the grading on those trailers is blowing my mind; completely in keeping with the decade. And third… Jim Carrey! What’s not to love? Check out the trailer below:

Another piece of media that I was really taken with over the course of my research was Ben Wheatley’s ‘Free Fire‘ which was produced by Martin Scorsese. The film itself doesn’t really inform any aspects of the plot of ‘Graves’ Girl‘ but it did prove one thing: your plot doesn’t have to be overly complicated for your film to get its point across. The whole film takes place in a damn warehouse and yet, I couldn’t take my eyes off the screen when I saw it. Oh and thanks to this film, I now know that you can survive for a looooooong time looking like a human Swiss cheese with all them bullet holes.

Let’s be real here, it wouldn’t be a post of my blog if I didn’t gush about who I’m listening to during the writing process.

As you would expect, Brian Fallon and Ryan Adams are staples on my playlist for this project. It’s all those twangy, 70’s guitar sounds that do it. Surprisingly enough, Lana Del Rey features heavily too. It’s not so much her actual sound that inspires the writing; it’s more in her lyrics that heavily document power imbalances in relationships, paralleling the relationship of Marsha and Stanley in this screenplay. I’d also be lying if I said I wasn’t blaring a fair amount of Rolling Stones, Derek and the Dominos, and Blondie. It’s been one heck of a time for listening to great music.


But there’s one interesting by-product of that. I can’t actually listen to music while I write anymore. I don’t know the science or the psycho-babble to explain this, but I somehow end up typing the lyrics to whichever song I’m listening to, instead of some kick-ass dialogue. Weird.

But anyway. ‘Graves’ Girls‘. Woo.

Travel Blogging, Fangirls and The Big M.A

This is gonna be one heck of a long-ass blog and for that I do apologise, but needs must! Today I’m going to be talking about everything you see there in the title of this post.

Remember when I said, on this very blog, that I was going to abandon journalism as soon as I got that nice bit of paper telling me I’d wasted four years of my life on something I hated? I lied (gasp). I know, terrible, but hear me out, I promise it serves a purpose. Well, a few, actually.

I recently began working on a travel blog called ‘The Berlin Bug‘ with some of my colleagues from my MA programme, documenting our time in Berlin and supplementing it with some newfound photojournalism skills. Not only had I always wanted to create a travel blog (it’s one of my biggest passions, but you all already knew that, right?) but I’ve been wanting to up my photography game for long enough (hooray for skills development). Professionally, it’s great. Re-engaging with those existing journalistic skills will, I’m sure, prove useful when the inevitable happens and I don’t get filthy rich off the back of a six-figure pay check for a script I wrote for Marvel. It’s a necessity. It updates my existing portfolio of music journalism that’s gathering a thick layer of year-old dust and completely diversifies that.

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More than that, though, it provides an opportunity for reflection. I’m a writer who is hugely sensitive to location. I get inspired by seeing new things and being in interesting places. It even goes right to the action of writing; I find it painfully difficult to write anywhere that isn’t in the dead of night at my kitchen table. But I digress. By documenting and writing about the interesting places I’ve been, I hope that this can bring a richness to the locations in my screenplays by allowing me to cast my mind back to more interesting surroundings when writers’ block hits me.

So yeah, journalism ain’t so bad. In fact, it’s proving to be useful as I sashay (or rather wander aimlessly) into writing television scripts. See, in screenplays the action is used for expositions. But in television, dialogue is far more important, or so I’m told (I’ve latched on to Pamela Douglas’ ‘Writing The Television Drama Series’ and I can’t let go). As a journalist, you spend so much time manipulating quotes and selecting the best words; especially in broadcast journalism. So I fancy myself as more of a television writer. I’m willing to bet on that.

Which is why one of my main projects this semester is, you guessed it, developing a television series!


‘Fangirls’ is a five-part web series that follows a group of girls who sell their possessions to cobble together the money to follow their idol, Dennis ‘Spider’ Dawson, on his first tour. One-by-one, each of the girls go missing until just one remains, Madeline Morrison.

The idea behind the series came from my own experiences of traveling around to see bands when I was younger, and, while I had an incredible time (to the detriment of my studies), there is much to be said about the mindset of young women and the rockstars they idolise. It’s a very one-sided relationship with a huge power imbalance that I’m essentially highlighting the absurdity of in a completely absurd manner. However, there is a fine line here; sometimes, during the writing of the series, I feel like I’m caricaturing the very scene that I once felt so much comfort in during my late teens. But I do feel that, as an adult, I have the clarity of mind to analyse those happenings and point out what’s wrong with them. Which is what ‘Fangirls’ essentially does.

The plan for the show is to begin filming at the end of May, through summer, with the first episode, ‘Spider Squad’, premiering in mid July.

The whole thing aims to be a primer for my MA project, ‘The West End Cultists’ which I’m starting to film in September. I feel like undertaking ‘Fangirls’, a much smaller scale project in terms of writing, will aid my time management when it comes to writing longer episodes and directing a lengthier pilot off the back of that. It should also throw up some meaningful learning experiences across all aspects of writing and directing that I can take forward into my MA project.

But September’s an entire summer away.

In the mean time, check out our Twitter and Facebook pages, and have a look at some character interviews we shot while blocking out a few scenes last week.

Using The Opportunity To Write

I’ve probably already mentioned this on here before, but the environment I’m in has a huge impact on my ability to sit down and write. What better place to inspire than my favourite city in the world.

It’s inexplicable that I can spend two days in a city I love so much, wandering around and snapping pictures for my work in progress portfolio for another class, and suddenly be so inspired to get to work on the scripts for my masters project: a comedy drama on press and power. But that’s exactly what’s happened. I’m not even going to pretend that this process makes sense, because it doesn’t, but it’s blatant proof that environment is everything in terms of my creative process. Very seldom do I get this excited to write when I’m back home. Even in my ‘spot’ at the kitchen table that I’ve created out of necessity.

As far as the content of my masters project goes, I’m currently sketching out character profiles on each of my main players. The idea is that I’d like two, completely different, female, journalists teaming up to expose the wrongdoings of their local council (‘wrongdoings’ might be a slight understatement). Their editor hates the duo and is in the pocket with some of the prominent figures within the power structure of the council. So he seeks to censor the womens’ efforts to expose this corruption. I want to play on those stereotypes you come across in a newsroom and in politics and to almost caricature them. I feel like it’s coming together nicely.

Whether it’s good or not is another question entirely, but for now, I’ve been relishing the Copenhagen sunshine and getting inspired for other projects in the works. Definitely not looking forward to returning back to normality this evening.

I’ll be detailing my adventures in the coming weeks. Stay tuned.