Running up that road, running up that hill with erm… well.

“If I only could, I’d make a deal with God.” Says Kate Bush. Well, god wasn’t available so I made a deal with myself instead.

Anyone who knows me knows that I run. Nothing more serious than a weekly 5k parkrun, I’m no Steve Cram. But some weekdays I take myself for a 10k circle round the streets. Now I live on the middle of a hill so whichever direction I choose to run, I will be tackling a hill at the start and finish.

For this morning’s run, I took myself up the hill knowing that 45 minutes later, my round trip will bring me back to the bottom. So I spend the run making deals with myself. If I take that turning, adding another 5 minutes, I’ll let myself stop at the bottom of the hill and walk up.

As I got closer to the finish, I considered this hill. Over the years, I’ve run up it loads of times but lately it’s taken on a reputation for being unconquerable.

Fine, I say. Phil, if you don’t WANT to do it, don’t do it. There are no ‘have tos’. But if you’re avoiding it because you’re scared, what else are you going to avoid out of fear if we don’t break that habit now?

 

I’m currently working with a TV script editor, writing a trial script, hoping to prove myself good enough to get hired. An actual proper TV writing gig. This is what I’ve been working towards for years, a culmination of hard work, determination. A big scary hill to run up.

Last week, I had to submit my first assignment and I was scared, almost to the point of paralysis. Sitting on things, putting it off. Maybe somehow if I kept putting it off, I wouldn’t fail. Insane, irrational, ridiculous.

Stupid thing was, as with my morning hill, I’d been here before. Every writing assignment, every script submission, every pitch is a big scary hill to run up. What am I going to do? Give up and not go home ever again? Walk and let opportunity run past me?

It wasn’t fast but it was determined, it was the best I could do and yes, I collapsed in a breathless heap when I reached my front door. But I ran it.

And the TV gig? Of course, I got it finished and sent it off, still feeling the fear. And I got notes back quicker than I expected, good helpful, encouraging notes. The next hill is still scary but I know it can be done.

Now, as I guzzle water and stare out of my window at the other runners going by, I know their grit, see their determination, I feel able to cheer them on.

So what’s your scary hill today?

 

 

Does gender matter to Time Lords?



Could Phoebe Waller-Bridge, star and writer of Fleabag be the next Doctor?

My mate Dom Carver has expressed an opinion and sparked a (mostly good natured) debate. He’s not against a female Doctor but (if I’m reading his comments right) wants it for a better reason than box ticking and diversity. His blog on the subject is here. Since the good Doctor is a particular passion of mine, I had to wade in.

My question is this:

Has there EVER been an ‘in-story’ reason for the Doctor being in a certain form?

When the Doctor first changed form back in 1966 it was because of William Hartnell’s ill health. The Doctor, “his old body wearing a bit thin” collapses in the TARDIS and changes before our very eyes – not just his face but also his clothes! – and becomes Patrick Troughton. No explanation given, he just pops up, a new man, younger sure but this isn’t just a rejuvenated version of the same character, Troughton brings an entirely new whimsical personality. And rightly so. But we’re expected to accept it. If the Doctor had any reason for choosing this persona, he’s keeping it to himself.

It’s only at the end of Troughton’s run that we start to explore the concept of regeneration. Captured by his own people and forced to “change appearance” as part of his punishment he’s given a number of options. So Time Lords it appears CAN choose.

On this occasion the decision is made for him and it appears, since the Doctor is at the moment of his death for his next few regenerations, deciding his next form is probably not uppermost in his thoughts. Indeed, Peter Davison’s 5^th Doctor laments in the mirror “that’s the trouble with regeneration, you’re never sure what you’re going to get.” A comment reiterated by Sylvester McCoy’s 7^th Doctor when he thinks his new personality is sulky and bad tempered thanks to regeneration “lottery”.

Colin Baker as old Sixy. On a good day.

If any Doctor has an ‘in-universe’ explanation for his appearance (or personality at least) it’s the brash, egotistical 6^th Doctor played by Colin Baker who emerges from a ‘turbulent’ regeneration, throttles his companion then prances around time and space in a pantomime costume.

But as far as casting any new Doctor goes, it tends to be as a contrast to what’s gone before (accessible youngster Davison as opposed to googly eyed alien Tom Baker or older Capaldi following young Matt Smith) or down to nothing more than finding the best person (man or woman, gay or straight, white , black, whatever) for the job.

Peter Capaldi’s Doctor apparently ‘choosing’ the face of some random human he saved a few seasons ago to remind him to be good is a bit of unnecessary retconning. They didn’t address that Colin Baker had played rotten Commander Maxil in the season before he took over.

Having a specific reason for deciding your protagonist’s traits is obviously vital when you’re writing anything. I agree totally with Dom that you shouldn’t shoe horn in a disabled muslim lesbian copper because it’s considered PC, it has to fit the story you want to tell.

But Doctor Who is a special case. The Doctor is the springboard for the story not the other way round. If that were the case, each Doctor would have an arc mapped out before the actor donned the scarf and what would be the point of that?



Going, going...

The Doctor’s (or actor’s) personality should dictate the stories and send the writers off in new wonderful directions. Maybe that’s a good a reason as any to cast a woman in the role. It will allow for stories that could never be told before.

To be honest though, whether the Doctor’s a man or woman doesn’t really matter. It’s still the same character running through weekly machinations and monsters with a quip and a clever last minute plan. The Doctor just is. We don’t need to know the whys and wherefores. We just have to accept and jump aboard for a fun, thrilling TARDIS ride.

Will Phoebe Waller-Bridge be brandishing the sonic lipstick soon? For her sake, I hope not. Don’t get me wrong, I’d love a female Doctor. But with Pheobe’s star currently on the up, I’d hate for her to pin herself down to this one all-encompassing series this early or even worse, be so busy with other stuff, she gets too big for Doctor Who and can only fit in a few feature length episodes every couple of years. Yes, Mssrs Cumberbatch and Freeman, I’m looking at YOU. 

But as for in-story reasons, this is where fanfiction is our friend. How about the Doctor doing it in honour of Missy, his wayward friend that he spent the last thousand years trying to redeem? Actually, taking it to that extreme, is Michelle Gomez still in the building?

 

Philip has written episodes of Big Finish's Doctor Who audios and is available to join Team Chibnal, whatever gender the Doctor is. Just saying.

Raise your voice.

There are tons of writers out there. I mean seriously, loads. For every open submission window there are hundreds if not thousands of scripts jumping up and down in front of the readers screaming “pick me! pick me!”

But guess what. There’s only one YOU. And if you can hone exactly what that is, you could be onto a winner. We are told there are no new stories. And sure, we live in an era surrounded by great films, TV shows, books that feed into us, sometimes without us even realising, so it’s hard not to dream up something derivative. But a bold script that offers a new perspective will make a reader, agent, producer sit up and take notice.

So you have a script. A witty protagonist, a deadly antagonist, a love story sub plot, a fight, some tears maybe even a car chase. But what is your story ABOUT? It’s about a woman who has to rob a bank to feed her kids. No. What is it really ABOUT?

What are you trying to say to your audience? What is your perspective on the world and what are you aching to change? What injustices are you fighting? What desperate emotional need are you serving every time you hit the keys of your laptop? What is your VOICE?

My first play was called “It’s Behind You!” a bit of a camp carry-on style romp, set in the faded fairy-tale land of Pantoville. A young Essex lad ditches his pregnant bride at the altar and finds himself lost in Pantoville amid a series of grisly murders with jilted bride in pursuit. Turns out he’s gay and unable to admit it until he starts to fall for a boy in Pantoville. It all ends happily ever after, natch, even for bride not-to-be Karen.

After seeing the show a friend of mine said “it’s very much your voice.” At the time I didn’t really understand what she meant. But the more I wrote, plays, short stories, scripts, the more I realised I kept coming back to the themes of "It's Behind You!"

“It’s in our ‘all is lost’ moments that our writers' voice is burned.” 

Jen Grisanti, speaking at The London Screenwriters Festival 2016

Growing up as a gay man in the 70s/80s devoid of decent role models, bullied just for being different has left me with a very deep scar. Consequently lot of my work explores themes of identity, not just being gay but being different to the norm and finding the courage to be one's self. It’s a passion of mine to champion people that aren’t properly represented and give voice to diversity – especially in the current climate of isolationism and the rise of fascism around the world.

There are other traumas since that have given me other themes that are prevalent in my more recent work. I revisit grief a fair bit at the moment. But it’s finding these universal truths within ourselves and mining them that will make our work resonate with others. This, I think is the real meaning of "write what you know".

But the trouble with our voices is they tend to come from dark places, our deepest fears and darkest traumas that we’d rather not revisit. Though if you take an honest look at your scripts, chances are, you’re already touching on those subjects. Now be bold and look directly into the eyes of the beast.

Many fledgling spec scripts lack conflict. I know I’ve been there. It comes from a subconscious unwillingness to really grapple with the topic. Surely it’s OK if Ethel and Albert get over their differences with a meaningful look then put the kettle on? NO. Your characters are there to feel those deep emotions for you. Really put them through the wringer, chuck everything at them that you’re shying away from.

What’s that Ethel? You feel like you’ve been in a loveless marriage for 40 years? Oh Albert, how does that make you feel? What? You’ve been deliberately making Ethel’s life hell because she looked at that sailor funny in 1974? Here, have some weapons and duke it out in a poignant black comedy. 

If they survive, Ethel and Albert will emerge stronger, having learned something. So will you. And so will your script.

But you don’t need to have lived 40 years of loveless hell like Ethel. In fact you may think that you haven’t lived enough yet. You’re quite a settled person, you don’t have that kind of trauma in your life. Really? Take another look at the work you’re creating. What’s it really saying to you? The more you write the more you’ll realise you keep returning to certain themes.

And our voices evolve and change the more we explore our reality. You’ll find other people writing about similar subjects. With any luck you’ll be hitting the zeitgeist and people will snap up your work. Keep going and you’ll be ahead of it, then you really will be in demand.

And once you know what your voice is, you can refine it and use it.

“Go dancing naked in the rain, then come back

and tell us what it was like.” 

Kate Leys, speaking at The London Screenwriters Festival 2015

I’m about to apply for a writing competition according to a brief. I’m choosing between a bunch of suitable ideas but I’m thinking how can I make my story stand out? The answer – by being true to my voice and writing what I’m passionate about. 

Sure, it may not hit home with the readers as they sift hundreds/ thousands of entries but it will have a better chance than if I try and second guess what they want and end up with something bland and passionless that's thrown out without a second glance.

Fortune favours the bold. In this era where competition is fiercer than ever your secret weapon is your uniqueness. Find it. Use it. I look forward to seeing your work on telly soon.