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Post by nucleusofswarm on Jan 1, 2018 0:23:14 GMT
New year, new chances, new horizons and an all new competition in a few months time.
What better time to just bounce around little ideas in your head, or get bits of advice or experience. Doesn't matter if this is your first or thirteenth try.
Courtesy of an interview with The Raconteur Roundtable, here's some suggestions from Ian on what to do:
1) Story must be emotionally moving. Preferably with some type of extra 'kick' at the end to really hit it home i.e. the daughter in Forever Fallen.
2) Intimate over epic, and character driven. A chance to really get inside someone's head, and it doesn't have to be the Doctor or companion.
3) Optimistic. Not necessarily sappy or a happy happy ending, but something to do with overcoming or perservering.
4) Ideally, not a comedy or too 'jokey'. The implication being it's not appropriate for a memorial competition, and the writer comes off as not taking the opportunity seriously.
5) Proof read/read aloud so nothing is unintelligible or clumsy.
6) Death and bereavement, while effective, were a really common theme in submissions, and made reading them more emotionally taxing, given the contest's tragic origins.
7) Ian prefers smaller to larger amounts of submissions per writer. Try to restrain down to 1, 2 max, and save the others that don't fit the above for a future Time Shadows, Temporal Logbook or other Who opportunity.
I'll put up some more bits and pieces shortly, but if anyone else want to throw out anything, do so. Maybe some of our runners up or even our own Selim and Josh may wish to say a few words to newcomers?
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Post by nucleusofswarm on Jan 1, 2018 9:27:15 GMT
1) Do Your Homework.
Short Trips are all about finding novel twists on familiar Who ideas, or brand new ones that work best in a concentrated dose. Forever Fallen took one of the big Who tropes i.e. the Villain who rejects the Doctor's help, and turns it on its head. Naturally, don't copy it or Landbound, but consider what are some of the most iconic elements and story types of Who stories, and how can they be made fresh and new? What is something that Classic, New and BF Who haven't done yet?
2) Pitch
Don't just write a really good outline and opener: pitch really well to Ian. Treat the email as another hook for the story. What makes you want to read a story, and how do you then apply that to convincing someone to read yours? Why is it new or fresh? Why is it worth doing? Don´t just blandly describe the story and Doctor in three lines and then say good day. Give it some welly!
3) Fan, not fanjodrell
While I´m sure none on here do, how many of you want to bet at least one person tried to write a Dalek or Cybermen story and just changed the names? No amount of 'but parody' will save you here. You want to write your big epic Sontaran vs Axon vs Rani story? Go to fanfiction.net or deviantart for that. This is your chance to make your own stamp in the canon, and say what you want to say about the show as a writer, as someone with a distinct voice. And for heaven´s sake, don´t just take a bad story from the canon and remake it/'improve it'. Yes, something like Scaredy Cat or Dark Husband wasn't very good, but don't be rude and basically say you can do it better to the people who made it when trying to sell yours.
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Post by glutamodo on Jan 1, 2018 17:19:52 GMT
I'll accept that many valid points were made above.
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Max Kashevsky
Big Finish Creative Team
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Post by Max Kashevsky on Jan 2, 2018 5:48:01 GMT
My runner-up story from the 2017 competition won't be out for a while, so there's only so much I can say. Hopefully this won't sound too obvious or incoherent, but on the off chance it'll help anyone this May, I just wanted to share.
I submitted on the very last day, but I started on day one. After spending almost two months fretting over every sentence, plugging potential plotholes and poring over the tiniest details, I was ready to throw out my submission at the eleventh hour, despite all my hard work. Maybe I'd just start over, or give up and wait till next year - or use one of my backup ideas.
Well, there's a reason I'd labeled them backups. They sucked. I tried so hard to give them something to say - a political critique, an emotional crescendo, a philosophical terror - but they weren't what I wanted to say. I suddenly realized that, for these backups, my starting point had been to predict what a winning entry might look and feel like, and then work backwards until a story somehow emerged.
Instead, I went back to the idea I'd been working on from the start, not because it was the cleverest or the most epic or the most original, but because unlike literally everything else I've ever written, my starting point was: what matters to me, even if it matters to nobody else? If you get the chance to write for Doctor Who, just once in your whole life, what's the one thing you'd want to say? What's something that only you could use Doctor Who to say?
So don't worry too much about what other people want or expect. Your starting point should always be whatever interests you, or infuriates you, or makes you want to take a stand. And the characters that emerge from these stories will have real motivations. They'll want something. They'll fight for it.
Don't try to write the next Forever Fallen or Landbound. You can't. They're brilliant precisely because they aren't trying to be someone else's story. Write yours.
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Post by whiskeybrewer on Jan 2, 2018 13:14:09 GMT
Always good to prepare early. Funnily I think Ive already got an idea as I write this lol
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Post by TinDogPodcast on Jan 15, 2018 20:35:50 GMT
I will be entering...
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Post by whiskeybrewer on Jan 16, 2018 16:07:17 GMT
Is it wrong that I came up with a second idea and cried when it formed in my head?
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Post by nucleusofswarm on Jan 16, 2018 16:42:20 GMT
Is it wrong that I came up with a second idea and cried when it formed in my head? Not unless its tears of anguish. |
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Post by mark687 on Jan 16, 2018 16:44:23 GMT
Is it wrong that I came up with a second idea and cried when it formed in my head? Depends if it was tears of joy that it was as good as your first one or tears of sorrow if you thought it was better. 
Regards
mark687
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Post by whiskeybrewer on Jan 17, 2018 12:46:38 GMT
It was Tears of sorrow at the sadness in the central idea of the story. But they were beautiful Tears as this story I think is better than the idea I sent in last year and my original idea fro this year.
Already have titles for this one
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Post by iainmclaughlin on Jan 17, 2018 21:42:54 GMT
Trying to persuade my niece to give it a go. She usally writes for the theatre but she just wrote her first novel and it blew me away. I think she'll find a publisher for it quick enough - so I'm nagging her to try this. By the way, yes, I am a hugely proud uncle.  |
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Post by masterdoctor on Jan 17, 2018 22:45:41 GMT
Trying to persuade my niece to give it a go. She usally writes for the theatre but she just wrote her first novel and it blew me away. I think she'll find a publisher for it quick enough - so I'm nagging her to try this. By the way, yes, I am a hugely proud uncle. You will have to keep us informed. |
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Post by iainmclaughlin on Jan 18, 2018 9:10:25 GMT
Trying to persuade my niece to give it a go. She usally writes for the theatre but she just wrote her first novel and it blew me away. I think she'll find a publisher for it quick enough - so I'm nagging her to try this. By the way, yes, I am a hugely proud uncle. You will have to keep us informed. Oh, trust me, I shall. I am enormously proud of my nieces and tend to trumpet their achievements from the highest rampart I can find. (Not many ramparts in my part of town but I make do.) Of all the jobs I ever had, being their uncle is the best. Although them being in their 20s now does make me feel very, very old. |
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Post by nucleusofswarm on Jan 20, 2018 0:47:57 GMT
My runner-up story from the 2017 competition won't be out for a while, so there's only so much I can say. Hopefully this won't sound too obvious or incoherent, but on the off chance it'll help anyone this May, I just wanted to share. I submitted on the very last day, but I started on day one. After spending almost two months fretting over every sentence, plugging potential plotholes and poring over the tiniest details, I was ready to throw out my submission at the eleventh hour, despite all my hard work. Maybe I'd just start over, or give up and wait till next year - or use one of my backup ideas. Well, there's a reason I'd labeled them backups. They sucked. I tried so hard to give them something to say - a political critique, an emotional crescendo, a philosophical terror - but they weren't what I wanted to say. I suddenly realized that, for these backups, my starting point had been to predict what a winning entry might look and feel like, and then work backwards until a story somehow emerged. Instead, I went back to the idea I'd been working on from the start, not because it was the cleverest or the most epic or the most original, but because unlike literally everything else I've ever written, my starting point was: what matters to me, even if it matters to nobody else? If you get the chance to write for Doctor Who, just once in your whole life, what's the one thing you'd want to say? What's something that only you could use Doctor Who to say? So don't worry too much about what other people want or expect. Your starting point should always be whatever interests you, or infuriates you, or makes you want to take a stand. And the characters that emerge from these stories will have real motivations. They'll want something. They'll fight for it. Don't try to write the next Forever Fallen or Landbound. You can't. They're brilliant precisely because they aren't trying to be someone else's story. Write yours. And I agree with this. My own intent with providing the suggestions above is merely as a frame of reference, much like say, if a screenwriter consults Story or Save The Cat. I think it's also important to bear in mind that 10th isn't saying 'throw out the rules, any and all art is pure, unquestionable art' either, which is something I've known a lot of new writers tend to do when starting out. Obviously, there are some things that just won't fly here (anything excessively violent, sexual, profane or offensive) and a more ponderous, meditative story doesn't work as well when you have it performed. In my view, you almost have to treat the STs akin to mini-plays or dramatic monologues, given Nick (and now other actors) are bringing your words to life. If you write something that's evocative and moving, the actor will take it and run with it to a whole new level. |
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Max Kashevsky
Big Finish Creative Team
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Post by Max Kashevsky on Jan 20, 2018 6:14:33 GMT
Absolutely! As I'm sure you know, I was just trying to add to your wonderful posts, not to argue against them!
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Post by nucleusofswarm on Feb 12, 2018 1:10:49 GMT
William M. Akers (Ernest Rides Again, Your Screenplay Sucks) said that screenplays are more like short stories than full novels. In this, I agree with him, especially as PS is a performed piece too. I did a piece on some resources you can use if you're new or out of touch with screenwriting, and feel they are cross-transferable to this, especially the books I recommend, which come with exercises: abeldiazcinema.blogspot.co.uk/2018/02/you-want-to-be-screenwriter-but-youve.html |
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Post by nucleusofswarm on Mar 12, 2018 22:17:19 GMT
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Post by iainmclaughlin on Mar 13, 2018 0:38:49 GMT
There's a lot of really interesting stuff in that. It's definitely worth a read. |
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Post by selimpensfiction on Mar 22, 2018 13:37:43 GMT
Before we know it, it will be time for this year’s Paul Spragg competition. I thought I’d put some thoughts down that might help those of you who will be entering.
If it’s run as before, you’ll submit two pages: a one page synopsis and the first page of the story proper. The synopsis should cover the major characters, the overall theme of the story, and the major plot beats. Try not favour one part of the story over the others in the synopsis. I received this feedback from a friend who beta-read my submission. Cover the entire story in equal detail. You may not have the space to fully flesh out motivations here, but try to make clear why things are happening.
In my submission, the Doctor’s second visit clearly had to happen after The Three Doctors. The other two visits were much more loosey-goosey as far as the Doctor’s motivation was concerned. After selecting my story, Ian Atkins suggested that we set the first visit after the Silurians, and the third after Jo’s departure. That helped the story a lot, and I learned something about the importance of clear motivation.
As for the one page excerpt, I suggest ending the page with something that leaves the reader wanting more. My excerpt ended with the Doctor smiling as the thugs decide to have a go at him.
I’m not going to speculate as to what kind of story Big Finish is looking for, so I’m sorry I can’t provide any guidance there. I know no more than anyone else.
If you’re selected, then here are some further tips. The story has to be not much longer than 5K words. My first draft was on the order of 5.7K, but Ian gamefully made suggestions where we could cut. One scene in particular that had to be cut broke my heart. But, although it provided further character development, but it wasn’t essential for advancing the plot, so out it went.
In addition to George Carlin’s seven words, there are words that cannot be used in Doctor Who. “Bloody” is one, as in “bloody mad”. “Sod” is another, as in “poor sod”. Interesting to speculate what some of the others might be. Those words appeared in my original draft. Out they went. You may discover some others :-)
Symbology is a fun thing to play with. In Landbound, the pub has a blue door, which of course, brings to mind the notion that the pub is analogous to the Doctor’s “landbound” TARDIS. To strengthen this, Ian suggested we have a wall of decorative plates inside that would be analogous to the “round things” in the TARDIS. Loved that.
And that’s it. If anything else comes to mind, I’ll post it. Best of luck.
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Post by theotherjosh on Mar 22, 2018 17:01:15 GMT
I thought I might add my commentary and advice, seeing as I had similar experiences. Before we know it, it will be time for this year’s Paul Spragg competition. I thought I’d put some thoughts down that might help those of you who will be entering. I’m not going to speculate as to what kind of story Big Finish is looking for, so I’m sorry I can’t provide any guidance there. I know no more than anyone else. I would expand on that to say "Write the story that you want to write." You're the only one who can do it. There's a world of difference between taking the advice of your editor and self-censoring your story. If you’re selected, then here are some further tips. The story has to be not much longer than 5K words. My first draft was on the order of 5.7K, but Ian gamefully made suggestions where we could cut. One scene in particular that had to be cut broke my heart. But, although it provided further character development, but it wasn’t essential for advancing the plot, so out it went. I had a very similar experience. I think I had to lose a thousand words. I wasn't sure how best to approach it, so what I did was submit two versions. One was the 6,000 word version and the other had been trimmed to to 5K. The edits were made to the 6K edition, and Ian explained something that I hadn't considered. If serious edits had to be made due to circumstances outside our control, we'd want to make them on a script that hadn't already been trimmed. In addition to George Carlin’s seven words, there are words that cannot be used in Doctor Who. “Bloody” is one, as in “bloody mad”. “Sod” is another, as in “poor sod”. Interesting to speculate what some of the others might be. Those words appeared in my original draft. Out they went. You may discover some others :-) Heh. Mine was Ancker. A close friend agreed to come with me to the convention where I heard Tom Baker speak, and it was his address that served to light the spark that eventually became my story. If she hadn't agreed to come with me, I don't know if I would have made the trip on my own. Since she was a big fan, I thought I'd include her in the story in a small capacity, but Ancker sounded too close to "banker" so it had to be changed. Symbology is a fun thing to play with. In Landbound, the pub has a blue door, which of course, brings to mind the notion that the pub is analogous to the Doctor’s “landbound” TARDIS. To strengthen this, Ian suggested we have a wall of decorative plates inside that would be analogous to the “round things” in the TARDIS. Loved that. And that’s it. If anything else comes to mind, I’ll post it. Best of luck. As Selim observes, Ian has a real eye for the small details that make a story work. I don't have the notes in front of me, but he suggested a minor edit. I had one character reacting to another when looking down at his own hands, and Ian observed that the first character wouldn't be able to see the reaction. He has a keen eye for detail and a deep understanding of what makes a story work. He made me feel like we were working together to make the story be the best version of itself it could be. |
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