Tag Archives: Lucy V Hay

Guest interview – Lucy V Hay of Bang2Write

For this post I’m asking some questions of Lucy V Hay – a novelist, script editor,  screenwriter and blogger who helps writers. A trained teacher, script reader and script editor with ten years’ experience, Lucy is also one of the organisers of London Screenwriters’ Festival where she is the Head Reader & Educational Director for its many contests and initiatives.

Her book, “Writing & Selling Thriller Screenplays” is available for pre-order now, here. German speakers can order her debut YA novel, “BAUCH-ENTSHEIDUNG” (Gut Decision) published by Rowohlt, Berlin from Amazon, here.

Her script editing credits include Brit Thrillers Deviation and Act of Grace, as well as The Fingerspellers and Hands Solo.

Lucy, you have written for the screen, produced, and worked extensively as a script consultant, not to mention presenting and organising for film events and writing your own novel. Does “Writer” still fit you as a label, or are you unwilling to be placed in one pigeonhole?

Just a writer? No way, I am a GODDESS. No really: I am a writer, at heart. And writing novels is what I truly luuuuuurve. All the other stuff is great; I love to be involved in the industry and help writers and make movies and all that. I’m so lucky to enjoy my work. But novels is where it’s at for me.

You have some favourite mistakes that blow a script in the first ten pages: what’s the most overused one?

Cliched openers. Nothing makes me lose interest faster than a script that opens with a cliche. ‘Cos your script can be ANYTHING — so why do something we’ve seen before?

You mentioned a few times that writing your novel was hard work – was it harder than you expected? Or was it harder in different ways to the challenges of screen writing and script reporting?

Writing a novel was hard for me for two reasons. The first was the sheer size: you end up writing three, four times as much as a feature script. The second was the raw emotion because novels are driven by the psychological. That’s not to say screenwriting can’t be emotional ‘cos it totally can, but for me getting right in a novel character’s head really affected me and not always in a good way. One chapter really upset me to write; I wasn’t right for about 4 weeks.

How has writing for a different medium affected you as a writer? Should all writers try different media to shake things up?

I think it depends. I’m a better script editor I think because I no longer tend to write screenplays. I like the partition between my editing brain and my writing brain. But others like to mix it up – and why not? I believe you should say yes to everything, as long as you have a strategy and make it work for you.

Women in film is a big subject at the moment – Felicia Day included a piece on her blog that started as a review of the latest Star Trek but became a …well, rant, about the lack of visible female characters in the movie and then in the movies in general. You’ve made your views about female action heroes clear in the past – what’s the ideal for women in film? How do you have a female lead who’s engaging to the male audience and still a woman?

Let’s be frank. A good female character should be a good character who just so happens to be a woman. That’s it. There is no big secret. Yet we see female characters in so few roles, our perceptions have become skewed as to what female characterisation even means – so whenever we see a female character who’s not what we expect, people analyse it to death. We need to let this go. We need to move forwards and forget about “strong women” or archetypes or whatever and just write GREAT characters – who happen to be female – who are not defined by their bodies; the men in their lives or their kids. Women are people, not representations of “issues”. Boom. Done.

Finally, if they make a movie of your book, how involved would you want to be?

6) I’ll do whatever these mythical people making my novel into a film want, including staying the f*ck away Haha! 😉 Seriously. I like to think people like working with me because contrary to popular belief, I am not difficult to work with – as long as you don’t piss me off. And c’mon, who isn’t the same?

You can hear more from Lucy by bookmarking her blog (http://www.bang2write.com/) where you’ll get the latest news about the London Screenwriters’ Festival and tons of useful tips on writing for the screen. You can also find Lucy’s rates for getting her script reading services, which I can personally recommend.

Writing women right.

Do female characters get a bad deal in the movies? It’s a point that’s been raised quite a lot recently, since Joss Whedon helmed the Avengers movie, and he’s known for producing stories with strong female characters. Well, he is, and he isn’t. Because the problem here isn’t Joss Whedon or which Marvel super heroines he didn’t include, it’s defining what people mean when they say “a strong female character .”

The guru of all things screenwriting, Lucy V Hay of Bang2Write has devoted a lot of time to this very question. Like a lot of contentious issues, it’s often easier to say what a strong female character ISN’T. Lucy’s a great person to talk to about this because she’s articulate, she’s educated (in screenwriting terms as well as general education) and she’s passionate about the subject. For example, many people cite the character of Sarah Conner (from the Terminator films) as a strong female character. Lucy argues that they are mistaking physical strength with strength of character. Taking a male action character (like John Maclane from Die Hard) and recasting him as a woman does not make a strong female character. She makes some more good points about Sarah Conner’s character flaws too. Back to Lucy in a minute.

In “Avengers Assemble!” we have three female characters, essentially. There’s Pepper Potts, who’s only briefly around, but shown in those moments to be a central part of Tony Stark’s life – quite a shift for the egocentric playboy. What does she DO in the film? In the biggest scene she has she demonstrates that she can stand toe to toe with Tony and see him for who he really is, and she overrules him to allow Agent Coulson to make his pitch. Bearing in mind that so often the role of the superhero’s girlfriend is to be captured and scream a lot, she’s doing ok. In the first Iron Man film, Pepper is shown to be exceptionally good at her job, in control of her emotions and able to keep her head in a chaotic situation. She’s not given the option in the same way here, but she’s not just eye candy.

Second, and in the biggest role, we have The Black Widow. This is where the main controversy rages because, duh, she wears a skintight suit for most of the film, she looks real pretty and she doesn’t have superpowers or a tech-stuffed suit of armour. Is she an embarrassment to her sex because of these things? I don’t think so. When we first see her, she’s apparently being interrogated by some bad guys. Tied to a chair, unarmed, in evening dress, and they even know exactly who she is. Then we discover that she believes she’s interrogating THEM, and BAM! She’s out of the chair and the men are incapacitated. What I saw was that she used their preconceptions of her to manoever them into the position she wanted, extracted the information she needed and was physically capable of defending herself and escaping. She didn’t need rescuing, or superpowers to escape, just superior training and confidence.

When she’s sent to retrieve David Banner, she shows common sense and emotion – she’s willing to lie to him about the amount of backup she’s brought, and she demonstrates understandable fear of the damage he could do. There’s no macho bluster, but she’s not screaming and standing on a chair either. She holds her own in the big fight, and when Captain America is handing out the roles each hero will take, he doesn’t tell her to stand at the back and roll bandages. She gets to defend the population, and later elects to go after the big shiny portal thing herself. She has a big decision to make and you can see that it is hard for her, but she makes the right choice, the logical choice at the right time. She shows, IMO, strength of character.

The final female character to look at is Agent Hill. Since she’s in uniform, I viewed her as a female in a military organisation, something with which I have had personal experience. My wife’s experience in the Armed Forces, and that of the other women we have met, says that when you’re in a male-dominated environment where your feminine nature is seen as a disadvantage, you have to be better than the men to be accepted. Better, in this case, in military terms. When Agent Hill is informed that another agent has been turned and is helping Loki escape, she snaps into action, not questioning or hesitating (from my viewing of the film, though other opinions exist) and even fires on the agent in question. She is efficient and calm and maintains focus, even when under attack. Would a male character have respoded the same way? Well, they SHOULD have. Should we expect a female character to act differently in this role because she’s a woman? I don’t think so. Women have fought (and are still fighting) for equality in many areas. A female CEO is not unlikely, and she may run her business in a different manner to her male equivalents, but she is still required to make that company a success. You may change the manner in which you do things because of your gender, but the reults need to be the ones expected of you. In a military organisation that means following orders, reacting quickly and keeping your head. The same goes for male or female.

The main issue might be that action films do not present a good format for showcasing the feminine aspects of a character. In the Resident Evil movies, Alice is strong, persistent and determined. She’s female, but are there aspects to Alice that wouldn’t be demonstrated by a male character? I don’t think so. Steel Magnolias shows a whole group of strong female characters. It shows how women can provide support for one another within a group, how they can share details and emotions that men would traditionally find hard to open up about. In that movie, you could argue that it was the maternal nature of the women that allowed them to care so much for each other, to provide the group love that sustains each character through their individual struggles.

Part of the Joss Whedon mythos is that he put females into roles they weren’t offered before. He’s said many times that Buffy the Vampire Slayer came about from him feeling sorry for the blond cheerleader that was always being dragged into the shadows by the monster and eaten. He said “Wouldn’t it be great if she gets dragged into the shadows and then kicks HIS ass?” The fact that the TV series then made so many connections with regular teenage life – the feeling that you have a secret identity that no one else gets, that you’re struggling with getting to know your own body as it changes, that some people seem to become monsters overnight… Well, that was a bonus. In Firefly, Joss put Zoe in the crew as first mate and enforcer. She’s calm and competant, but military, very much like Agent Hill. She’s not dumb muscle (they have Jayne for that), she’s a sane voice for Mal to confer with, a conscience and a friend. She’s like Spock to Kirk, only with a better outfit.

So leaving out many of the more outre Marvel superheroines was a good move. The Black Widow is not super-powered, she’s human, and she’s flawed, with her dark history to overcome. She’s a real woman, albeit one that’s trained to kill (and you could say that about my wife. As long as you’re a fast runner…) and I think she’s as real a character as you could hope for in a movie about a magic box from Asgard opening a portal to allow in an invading Alien Army.

So, back to Lucy : Here she talks about things that can make a strong female character. I would argue that it’s easier to write a strong female character in a new movie, than try to write a strong female character that also conforms to existing material (like, for example, Wonder Woman.) Nobody fights minute character history changes like comic book nerds. A while back, after watching the original True Grit, I asked Lucy what she thought of the character of Mattie Ross. I had been surprised by the portrayal of the young girl as spirited, determined, and above all unchanged by the end of the film. No one tries to gentrify Mattie, to make her more of a girl. She remains hard-headed and in fact influences the two male characters that accompany her more than she is influenced by them. Lucy replied that it’s only in the last thirty years that female characters have been watered down, so perhaps we should be looking to the noir heroines and antagonists for inspiration?

Who are your favourite screen women, and why? What female characteristics are ignored or overplayed in cinema and tv today?

Other places that cover this topic: http://screencrush.com/reel-women-avengers/

http://riosfan.wordpress.com/2012/05/31/black-widow/   : The blog of the amazing Sarah Rios, who deals with The Black Widow very eloquently, and includes a segment on that conversation with Loki which I meant to talk about and didn’t. D’oh!

All photos pinched shamelessly from around the internet with no accreditation. Sorry. All Avengers pictures are the property of the movie and Marvel, I don’t own them, and certainly do not have a collection of photos of Scarlett Johansen as Black Widow.

Don’t give up the day job!

Mark Niel - Poet, Writer....Wordslinger!

That’s the advice you’ll hear most often when you tell people you’re a writer, and to be fair, it’s good advice. Writing is, as my friend Lucy V Hay pointed out today, a gamble – there’s no pension attached.

But giving up the day job is just what Mark Niel has done. You can find his blog – Pawhouse Boy – in the blogroll at the side of the page, and that’ll describe him and his endeavours better than I could. Mark is a poet, and a very successful one. He’s won awards, seen off other dedicated wordsmiths at slam poetry events up and down the UK. There’s very little I can say that will convey my utter respect for that ability, let alone the faith that allows him to make the jump from mainstream employment to freelance writer.

As a playwright, I like to think I choose my words, but in reality, they rush out. I think in paragraphs, hear waterfalls of dialogue. To put it another way, when I turn out my script, I’m not facing my audience, I’m hunkered in my bunker behind a .50Cal manuscript, battering the audience with a stream of words, hoping one or two will penetrate and be enough to knock ‘em dead.

The poet, particularly the Slam Poet, picks their words with care. They are the gunslingers of the writing world. The wordslingers. They use their ammo sparingly, making each word count, finding the target again and again with a scary precision.

If you don’t believe me, see Mark in action here. Try not to be deceived by the apparent simplicity of the words – think about the time and effort it took to assemble each line, to make it fit the meter and subject and the signature refrain. Poetry is hardcore. Respect!

 

Can “Save The Cat” save my screenplay?

I've been saving this one for years, but it hasn't helped anything yet....

The first half of this year has been a bit odd. Not in a “Two-headed dog” kind of way, but because I’ve concentrated a lot of effort in writing and publicising this blog. It’s been fun, developing a network of fellow bloggers, meeting people on purpose by commenting on their blogs, and meeting people by accident through blog strings or comments. While I know my parents would think that’s all plenty odd, that wasn’t what I was thinking about. It’s odd because this blog is meant to be my shopfront, my public face, the place where I promote my plays. That’s what it’s all about, telling people I’m a playwright, that I write good plays that community theatre groups would enjoy performing. Plays that have won awards.

The odd bit is that, thanks to this tireless work on my blog, I haven’t actually written any new plays, as such. I’ve chipped in my required scenes for the latest TLC Pantomime, “Snow White and the Magnificent Seven”, but even there I was slower than usual.

Of course, it’s easy to blame the blog, but maybe it’s something more sinister. A lot of blogs about writing discuss writer’s block. It’s a bit like the Loch Ness Monster, I think. Some folks believe in it absolutely, can tell you the history of it, show you their photographs. Others deny it exists and won’t hear anything to the contrary.

A one-in-a-million shot, I know : who do you know that still wears a cagoul?

I keep telling Mrs Dim that I’m not bothered. That if something occurs to me and I want to write it, then I’ll write it. But time’s gone by and I’ve reviewed dozens of other people’s scripts for my publisher, run others through the Script Appraisal Service, and seen friends like Richard James produce two full length plays (good ones, curse him!) in the time I’ve written…er…well, a couple of cheques and a lot of shopping lists.

And there is something I want to write. Something I’ve been wanting to write for around five years now. But it’s not a play, or a pantomime, or a sketch. It’s a screenplay. And I really, really want to get it right.

More than any other type of writing, screenplays have rules. There’s the format, where you put the character names, what gets put in CAPS, the stupid typewriter font you HAVE to use or be cast into outer darkness. There’s the mysterious three act structure, the beats, the scenes, you mustn’t give camera directions, don’t use more than four lines of descriptions, more dialogue than direction, on and on and on and on.

I’ve read about five good books on screenplay writing. They all made sense, right up until the moment when I tried to use their advice to write the story I was thinking of. My story was already too complete to fit their model, and I was too set, too determined to allow any changes. That’s why, after five years, I only have two drafts, and the second one drifts off into drivel.

Blake Snyder is my last chance. It’s a lot to ask of someone who died two years ago, but his books live on, and they’re friendly and encouraging and THEY MAKE SENSE. I’m reading “Save the Cat!”, his first book, and I think the combination of good advice, friendly tone and five years of bending the story back and forth may finally allow me to rebuild it according to Blake’s model.

I really hope so. The ever-saintly Lucy V Hay was kind enough to report on the first ten pages of draft two and called it a “very original” idea. From someone who reads scripts for a living, that’s high praise. It’s a little late in the day to be making New Year’s Resolutions (and you know what I think of them anyway – see here) but I’d like to end this year with a shiny new draft of “Tribute”, written with the posthumous help of Blake Snyder.

Ask me how I got on in January, will you?

What project has taken you the longest? Do ideas age like fine wine, or do they go rotten like old running shoes left in the schoolbag over the summer? My e-book “Writing a play for community theatre” only took a year from beginning to end, even though you could probably read it in an afternoon. If you’d like to read it in an afternoon, why not download a copy from the TLC website?

A few questions….

I'm thinking....I'm thinking...Aren't I?

So last Friday I was a little stuck for a post. My friend Belle was in the same position, and she bravely posted a Blogoem (her word!) and I criticized it using my amazing Editor powers. Feeling guilty, I went back later and posted a brief poem of my own. However, in the spirit of solidarity, and because Kristen says I should be blogging more often (Listen to Kristen, folks! She KNOWS!) I’m going to put up a longer poem I wrote as a guest post on the immortal Lucy V Hay‘s blog. Lucy is a Script Reader, writer and Creme Egg eater, and so the poem is based on writing for the screen, rather than the stage or the novel, but a lot of the questions will be familiar to any writer. Ok, enough excuses, here goes:

Does it drive you slightly batty

If the plot is light and scatty

And the characters are all the writer shows?

Or do you find yourself quite dotty

If the characters are spotty

But they race to find the bomb before it blows?

Do you scan the first ten pages,

Making sure the hook engages

Or relax and just see how the story flows?

Do you write till you’ve got plenty?

Do you aim for that one-twenty?

Or just write the thing and see how far it goes?

Is your timeline front to back?

Do you think Quentin T’s a hack?

Have you got Three Act Structure coming out your nose?

Is your “STORY” copy tattered?

Is your “Save the Cat” all battered?

Do you read them til your sunward window glows?*

Where do you get your ideas?

Do you visualise your fears?

Do you take a pair of friends and make them foes?

Do you write in pen or pencil?

Do you use a structure stencil?

Do you have a writing room where no one goes?

Do you write outside your zone?

Do you work your best alone?

Do you exercise to keep you on your toes?

Now you may well find me tasking,

With these questions I keep asking,

But I’ve tried to write myself, oh, Heaven knows…

But I ask ‘em and I question

Ask which secret is the best ‘un?

Because essentially I’m finding any reason to avoid knuckling down and really coming to terms with the story I’m trying to write.

There you have it. No apologies, and if you think it was terrible, fee free to tell me so. But don’t blame Belle. And if you think I can’t make money from my rhyming skill, check out “The Crime done in rhyme” on Lazy Bee Scripts and eat your words!

*With the arrival of dawn. Because you’ve read all night.

Don’t tell me about it….

Firstly, an apology. This entry will sound arrogant and dismissive. Sorry.

Nearly two years ago I started writing this blog because I wanted to have a record of the emigration I was making with my family. Don’t tell me I should’ve kept a diary, because I know I wouldn’t have. Tried that, didn’t work. Blogging involves the computer (score!) and the chance to regularly appeal for other people’s attention (score!) as well as the opportunity to check statistics and combine endless hope with depressing reality (score!).

Along the way, it’s naturally evolved to take into account my writing efforts. I’ve talked about the production of my e-book, my occasional frustration with projects that haven’t worked out well, and of course, having to give up full-time writing to go and get a proper job. I like to think that these are as much part of the emigration process as buying a house and learning about the school system – a change of life we’ve made as a result of coming to Canada. But, because I blog about writing, I’ve been reading OTHER blogs about writing. Many, like the previously mentioned Mr James Moran, or Jane Espenson, or Lucy V Hay, are fantastically good. Not just because they are ‘proper’ writers, but because they write their blogs well. They are interesting. The ones that make me groan are the ones that say “I am writing my first novel, and am going to use this blog to chronicle my progress.”

Now, by all means, write your first novel. Please. Writing is wonderful, and your first novel may turn out to be THE book of the decade. By all means, write a blog. It’s useful to have a place to vent your feelings, and an idea is never fully realised until it is expressed. But before you combine the two, please think carefully. What is it, exactly, that you will be chronicling? If you are not careful, you’ll end up sounding like Ernie Macmillan from “Harry Potter and the Order of The Phoenix”, boring everyone with his recitation of how many hours of revision he has done each day. When you’re writing a novel, word count per day is important to you, obviously. You want to feel you’re making progress, that the number of pages to go are getting fewer. But would you want to read a blog that goes “Wrote another fifteen thousand words today! Started just after breakfast, had a break around ten thirty when I walked the dog, but then got straight back into it and reached a real cliffhanger moment just as I broke off for lunch!” Who, honestly, will care?

What your readers would like to know is what’s going on in the story. Yes, if you’re writing your novel, it would be more interesting to tell us about the developments in the plot as you go along, but you know what? No one ever will because then by the time the blog is complete, who needs to read the novel? We’ve been spoon-fed the whole thing! And what about re-writes? Assuming you get someone reading your blog, aren’t they going to use the comments section to tell you exactly where you’re going wrong?

I think these are the reasons that the blogs I’ve read seem to peter out shortly after they begin. Writing doesn’t seem to be something you can blog about. A writer’s life may be, but only if you have something to say about that: Being a single mum who’s working on a novel – if you have time to blog about that and still be writing the novel then I not only take off my hat to you, but I’ll comb my hair and bow too.

Why should I blog about the failures of other blogs? Well, because this week has seen me wrestling with my rock musical screenplay again, and I’m conscious that the writing projects I talk about tend to be the ones that work, or the ones that fall flat. I don’t, as Felicia Day says so sweetly in “Commentary”, discuss my process. The reason I don’t is that it would be at best dull, at worst, incomprehensible. I talked about the mechanics of writing in the entry on collaboration, and even I struggled to stay awake during that one. So, today’s moral is this: Forge ahead with your writing, but forge a more interesting subject for your blog.

Rewriting and other things I hate…

Fake notes, but a real project...Shelved, for now.

Writing is the main part of the job, obviously. Without doing the writing bit, you don’t get any of the other parts of the glamourous life of being a writer. But reading the inspirational blog of Mr James Moran again the other day, I was reminded that rewriting is key to being a good writer. Mr Moran got his big break when his script “Severance” was made into a movie. (Actually, there were a number of things that he acheived before then, but I’m abbreviating. Read his blog FAQ’s for the full and fascinating story) But before it got accepted and filmed he wrote twenty drafts. Twenty. And bear in mind that, even if you’re economical with your words, a screenplay for a full length movie tops a hundred pages. Two thousand pages to produce one workable movie script? The longest Harry Potter novel was less than eight hundred pages.

Rewriting was not something I used to do. I began my playwriting with short plays and one acts, and they usually came out the way I wanted them. There were some where things didn’t sound right, or there were ideas I hadn’t managed to include, but going back over the text, I couldn’t see where to cut or insert anything. I think I was afraid that if I pulled at what I’d got, it would all unravel. Then I wrote a short play called “The Red Balloon” which is still one of my favourites. It started with the voices in my head, like a lot of them do, and very quickly became part of a nice idea – what if the stupid, pointless modern art piece at the beginning gave way to a piece of melodrama, then that gets refined, over and over until someone takes the process too far and we ended up with the stupid piece the play starts with? Sorry if I just wrecked it for you. Read it anyway, there are some laughs in it.

From the April 2008 performance by the Mexico Area Community Theatre

This was ambitious – I had never begun a play before with a specific end in mind, and I wasn’t sure how I would manipulate the characters to get the ending I wanted. I showed Mrs Dim the completed play and she hummed and hawed over it. It was, she said, OK. But wouldn’t it be better if this happened, and that, and then you could do this…? She was right, and since I liked the original idea so much, I was loathe to send the play off to the publisher when I knew it could be better. I took a deep breath and went back into the text. It was amazing, making small changes without the whole fabric changing too. Some small additions early on allowed the finale to be more logical, less of a leap, and still part of the overall gag. This is the only play of mine that I have seen performed without being involved in the production.

Last week I finished the first draft of my first ever full length play, currently going by the title of “Blank stage Blues”. It’s come out pretty well, everyone in it said the things I wanted them to, and the key transitional moment that first got me interested in the idea worked out fine. For the first time I have sent out the play to some friends and associates to get some feedback before I make final changes. I like the play, I think it’s fun and a good concept, but duh! I wrote it. Maybe it’s clever and witty but not worth performing. I’ve already had some responses that show I have to go back in and make some changes. But right now, the file is staying closed, and here’s why:

One of the most frequently offered pieces of advice about rewriting is to leave it. Don’t get to the end of your book, screenplay or play and then turn back to page one with your red pen. Put it in a drawer, back it up to the hard drive, nail it to the shed, whatever, and DO SOMETHING DIFFERENT. I don’t mean repointing the chimney (though mine needs doing, if you’re keen…) I mean start a different writing project. Jump into that one with both feet and resist the urge to check on your previous baby until you’re done. Then you come back to your old story with fresh eyes. It’ll feel weird to read it, but it’ll be easier to spot the parts that need work, and easier to make those changes because you’re not as invested in the writing now.

So, I’ve dug out “Tribute”, a screenplay Steve is desperately trying to adapt for the stage and added some more pages to that. I’m aiming to have the whole thing done by the end of December and then I’m sending it off to Lucy Hay for her usual insightful analysis. When it’s winging it’s way through cyberspace, I’ll go back to Blank Stage Blues and the very first thing I’ll do is think of a decent title….