Last week The LSF Advanced Mentor Programme was announced: delegates were invited to apply for a script workshop or “Lab” with either Linda Aronson (Non-Linear & Multi-protagonist); David Reynolds (Family Audiences) or Gub Neal (TV Drama). We had nearly 50 entries for just a few places in each Script Lab and as ever, my readers & I had some difficult choices to make!
Without further ado then and in no particular order, here are the LUCKY participants and their scripts who will take part in the Script Labs, which will happen during the festival next weekend:
LINDA ARONSON’s NON-LINEAR & MULTI-PROTAGONIST WORKSHOP
Nell Denton, THE JAZZ TSAR
Graham Walker, HEARTS AND MINDS
David McCrea, LONDON CALLING
David Atkinson, THE REALITY PRINCIPLE
Jacqui Canham, VERA OF THE ADMIRALTY
David Gilhooly, ROUNDABOUT
DAVID REYNOLDS’ FAMILY AUDIENCES WORKSHOP
Darrin Grimwood, MYTHOS.
Stephen Potts, COMPASS MURPHY
Guy Fee, THE BOY WHO LOST CHRISTMAS
Julia Andersen, THE LEFT HAND
Nick Horwood, GURK THE SLAYER.
Norah Henderson, CHUBB & PETER KING
GUB NEAL’s “PRODUCER’S DEN”
Sophie Petzal, SANCTIONED
Dominic Carver, WHITE KNIGHT
Tom Kerevan, WRECKERS
Paul Goetzee, OUT ON A LIMB
Steve Turnbull, MONSTERS.
Richard Wheildon, I AM YOU
Many, many thanks to all who entered and especially to those who didn’t make it through *this time* – all the entrants demonstrated impressive CVs and packages (ooo er, missus) and for them and indeed any other interested parties, here’s a brief overview of the pile:
Looking Out For Linda. The entrants submitting for Linda Aronson’s workshop were the most hotly contested, plus this was a VERY strong bunch indeed. There was some fantastic risk-taking in terms of storytelling, with ingenius methods of breaking up the narrative and character introduction. However, some ideas/premises were quite similar, meaning there was literally a hair’s breadth between applications at times and quite a lot of soul-searching for our readers. The scripts and writers that often made it through in this section were those with strong visual flair and that elusive “je ne se quois” in terms of grabbing the reader’s attention via an unusual, intriguing or shocking hook in the first instance.
Remembering the (Family) Audience. Bizarrely, sexual nudity, drunkenness, swearing and general bloodshed played a major part in many of the David Reynolds’ submissions. Despite Reynolds being responsible for the likes of Finding Nemo, there was a dearth of talking animals, fish or supernatural elements like friendly ghosts which the readers predicted at the beginning of sifting the pile. Here the scripts and writers that made it through usually demonstrated a child-like charm or tone seen in the likes of Roald Dahl (even if there were no children in it); the gothic overtones of Tim Burton or an important element of family life, ie. Christmas, birthday parties or fantasy stories.
Identity Crisis. The TV scripts were some of the most accomplished in the pile, both on the page and in terms of previous development, but some premises *felt* quite familiar, especially with reference to existing stories and/or series. Others had a bit of genre crisis, making them difficult to place in the schedules writers claimed they were suited to. The scripts that made it through this round were those with a strong identity, with writers who had managed to visualise their story worlds not only in the script, but in the production bundle.
Once again, many thanks to ALL who entered and to the mentors for making this initiative possible, I hope to see ALL of you at some point during the festival!