Interview with Scriptwriter and Lecturer, Russell Gascoigne

I’m pleased to welcome Russell to the blog today. Most of his work has been in television drama. As a scriptwriter he has written for the BBC, ITV, Channel 4, Channel 5 and S4C, his credits ranging from soap through to A Touch of Frost. He has worked as a BBC Drama script editor and script reader/consultant for numerous TV and film companies including The Movie Acquisition Corporation, the European Script Fund, LWT, TVS and the BBC. His first YA novel, Rebels, set during the English Civil War, was published in 2004 and he is now working on another, as well as developing other TV projects. He also teaches scriptwriting and runs the Scriptwriting Workshop Online (offering long distance e-learning support to writers working on their own scripts) at Cardiff University.

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“The highs since then? Getting 16.85 million viewers for A Touch of Frost would certainly be one of them.”

 

What have you found to be the key differences between the skills needed for scriptwriting and Young Adult fiction writing? Do you have a preference for one particular form?

I’m not sure that it’s a different set of skills that’s required so much as an understanding of the very different parameters within which you’re working. With both story is paramount, of course, but especially so where scriptwriting is concerned. Beyond that scriptwriting also has a number of really quite strict principles to which you must adhere or, at the very least, remain closely mindful. I recently read an interview with a Hollywood screenwriter in which she described the process as being like writing haiku poetry. I think that’s right. It’s an extremely exacting form which demands control, economy, subtlety and nuance but in which so much can be expressed visually. With fiction you have much more freedom but are forced to describe things. You can also employ devices such as the interior monologue through which to explore your characters. However you can also end up running away with enough rope with which to hang yourself. A particular skill that scriptwriters (should) have is to write good dialogue. Not all novelists have that. Even some otherwise well-regarded novelists are capable of writing slabs of dialogue that would make any scriptwriter wince. Not only because of their length but because they’re often shorn of subtext, any sense of a character’s individual voice and are stuffed to the gills with exposition. As for which particular form I prefer: I really can’t choose one above the other. It’s all writing. Making up stories. I love both.

How did you get into scriptwriting and what have been the highs and lows so far?

I honestly can’t remember if the first script I wrote was for stage or radio. Either way, I started out writing for those. Mainly radio. Short stories and, eventually, drama. My first television commission came about when a writer friend invited me to a meeting an independent production company had set up with the BBC. Having come through the selection process, I was one of the writers invited to write a couple of episodes on the series – a police drama. I was writing novels at the time and had a literary agent. The producer suggested I moved to an agent who worked in film and television. I took his advice. The highs since then? Getting 16.85 million viewers for A Touch of Frost would certainly be one of them. Alongside that: having several of my own, original projects commissioned. The lows? Seeing some of those projects fast-tracked only to be derailed a little further down the line for one reason or another. I still have a note from a BBC exec framed on the wall next to my desk. ‘I think the word is out we should make (name of project) with or without (name of famous person).’ That’s one of them. It wasn’t made in the end. In that particular case because a Head of Drama left their post and the project was sidelined (enough train metaphors now, I think). Not that much of a low really. That’s how it is writing for television. Much more gets picked up than ever gets made. It’s just that when you get close… it hurts that little bit more. You need to accept the disappointment and move on to the next idea. It’s the same for everyone.

Have you ever had specific actors in mind for a role within your scripts and why?

For existing series etc you know who you’re writing for. Otherwise, unless a particular actor has been suggested or is actually attached to the project (which has happened to me on a few occasions), I’ve never really written anything with a specific actor in mind. I’ve simply written for the character(s) in my imagination. Either way, some actors and characters are easier to write for than others. I wouldn’t say it’s necessarily better to write for the character(s) in an existing drama or to invent them. I’ve enjoyed doing both.

You have also written drama, documentaries and short stories for BBC Radio 4 and other stations. How different is this to scriptwriting for television? 

You have to create pictures in your listeners’ imagination. You haven’t got the luxury of being able to show things visually. At the same time, you do have the luxury of being able to take them wherever your imagination wants. You can jump from continent to continent – any location you like – with no additional expense. Beyond that, it is – in my experience, at least – a more relaxed medium for which to write. TV productions are on a much larger scale. Accordingly, there’s much more pressure.

What drew you to writing Young Adult fiction and what were your key influences when you were younger? 

My agent was approached by the publisher and I pitched an idea that was originally a proposal for a TV series. It had gained quite a lot of interest but hadn’t gone into development largely due to the expense and the fact that there was another project with a Civil War setting already in production. I had written a couple of unpublished novels before getting into TV drama but I hadn’t thought of writing YA fiction up until that point. A key influence on that particular project – Rebels – was Mark Twain. I loved reading Tom Sawyer/Huckleberry Finn when I was younger. Adventure stories in general. And that’s what Rebels is: an adventure story. It was later optioned by the BBC for film development. It didn’t happen – then. But who knows, maybe another time?

Can you tell us about the Online Scriptwriting Workshop which you run at Cardiff University?

The Scriptwriting Workshop Online is open to writers at all levels of experience and ability from across the UK – and beyond. It isn’t a ‘course’ – I run one of those separately. What I do is help writers develop their scripts on a one-to-one basis via email, providing feedback, guidance and advice on as many rewrites as people want to undertake during the process (which lasts approximately ten weeks). The fact that I am a working writer with a variety of scriptwriting credits does, I think, give me a particular empathy with writers working on their own material. I know what it’s like to get script notes. I know what it’s like trying to incorporate them into a script. At the same time, having been employed on the ‘other side of the fence’ as a script editor and script reader/consultant I also understand the demands and pressures there. Clearly, if you’re working as a script-developer/consultant you want to have accumulated some good scriptwriting credits or dealt directly with scripts at production level within the industry. I’m fortunate enough to have done both. It’s not a bad combination. Most recently one of my students reached the full-read stage of the BBC writersroom script-window. Others have gone on to gain representation and full TV drama commissions, to win and be shortlisted in various scriptwriting competitions and to make their own short films. I’ll be running the next Scriptwriting Workshop Online in September. Details will be posted here http://www.cardiff.ac.uk/learn/choices/humanities/creative-writing-and-media sometime towards the end of June if anyone’s interested.

What would you do if you weren’t a writer and a lecturer?

If I wasn’t involved in scriptwriting (or any other form of writing) I can only imagine I’d do something similarly unhinged, obsessive and lacking in security. Your guess is as good as mine. The fact is, I couldn’t imagine not doing it.

 

Russell Gascoigne is represented by Frances Arnold at Rochelle Stevens (Film & TV) Ltd.

IMDB: http://wwww.imdb.com/name/nm1397925/

Linkedin: linkd.in/1d8jfMB

Twitter: @RussGascoigne1

Author Interview with Debut Crime Writer, Sarah Hilary

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I’d like to welcome Sarah Hilary to the blog today. Her debut novel, Someone Else’s Skin, will be published on Thursday by Headline. It has already received some great reviews and has been heralded as “one of the debut novels of next year, if not THE debut novel.” I wanted to find out more about Sarah, her path to publication, and the inspiration behind her work. Thank you, Sarah, for today’s interview. We wish you all the best for the imminent release of your book!

What drew you to crime fiction and how have you been influenced by other authors or film and television?

SH: I always loved Sherlock Holmes, and I adore TV crime. Key influences would be Silence of the Lambs (film and book), Fred Vargas, Patricia Highsmith, TV shows like The Bridge, The Mentalist, Peaky Blinders… All these things keep me on my toes and inspire me to keep exploring the different angles of crime.

How does your work as a copywriter and editor work alongside fiction writing? Does it help or hinder your creative process?

SH: It helps, I think. I have to produce some pretty taut prose at work, which is never a bad thing in a fiction writer. And it’s good to have time away from stories, to stay in touch with the real world.

What do you think helps to make characters likeable or believable to the reader, and how important is it?

SH: It’s all about empathy. I don’t believe a character needs to be likeable so much as recognisable; he or she needs to touch a nerve in the reader. One reader said that she found Marnie Rome irritating, and that this was a compliment, because it meant that Marnie was ‘real’. I get bored reading about heroes and villains. I’m fascinated by the human qualities between these two extremes. That’s where the interest lies for me.

Where do you write and why?

SH:In cafes, when I can. I like the white noise, and the sense of being in the world and outside it, at the same time.

What is your process and how do you plan?

SH: I keep notebooks and mark down the twists, for the story and for the characters. Other than that, I don’t do much planning. I used to try, but it ended up killing my interest in the story. So now I take a deep breath and dive in…

Your debut novel, Someone Else’s Skin will be released in just a few days. Can you tell us about your journey to publication?

SH: Long and rocky. I was lucky enough to get noticed and encouraged by the agent I’d set my heart on (Jane Gregory) who gave me so much encouragement each time she rejected my early manuscripts. I knew that if I could write a book she loved then I’d make it. Stamina was a very big part of it but, boy, did it pay off.

Thank you, Sarah. Finally, a lighter question for you! What do you do with your time when you are not writing?

SH: Watch TV with my daughter. Read. Count my blessings.

Sarah-Hilary-Mon-21-webSarah Hilary has worked as a bookseller, and with the Royal Navy. Her debut novel, Someone Else’s Skin, will be published in 2014 by Headline in the UK, Penguin in the US, and in six other countries worldwide. A second book in the series will be published a year later. Set in London, both books feature DI Marnie Rome, a woman with a tragic past and a unique insight into domestic violence. www.sarah-crawl-space.blogspot.co.uk/

An Interview With Author Emylia Hall

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What gave you the courage to leave an advertising job in London and launch into writing?

After five years in London straight after university, I’d reached the point where I felt as though I really needed to make a change. I was caught up in a very busy day job, one that didn’t leave a lot of headspace for much else.

For quite some time I’d felt that I wanted to do something more creatively fulfilling, something that was more for myself, but it was a matter of choosing the right point at which to make the change, as there were things I really liked about my job, and London life. My husband and I have always loved snowboarding, and we’d talked idly about doing a ski season many times. Going to live in the French Alps, and working as chalet staff, was a great way to break from our old routine, and explore new horizons – literally and figuratively. That was when, and where, I began writing. I think when you make a decision that’s from the heart, but you’ve also really thought it through, it doesn’t feel like courage comes into it all that much.

What have you learned about the process of writing and the publishing industry since you first put your ideas down? 

While I was writing my first novel, The Book of Summers, my biggest concern was that it would get lost in the slush pile among all the other hopeful manuscripts, never finding its way into the right pair of hands. As soon as I had an agent on my side, the brilliant Rowan Lawton, I felt much more confident – I still knew that publication wasn’t guaranteed, but I felt like I was on the right path. When I got ‘the call’ with the news that Headline wanted my book, I was floored. The thing I’d been working towards for some years, and had wanted almost more than anything else, had actually happened. It felt like a dream. That was July 2011, and sometimes I have to remind myself of how incredibly lucky I am, and what a privilege it is to write full-time. It’s easy for it to feel normal, and I don’t want that to happen. It’s not normal – it’s wonderful – an extraordinary way to spend your days. But for all the joy, there are aspects that make writing a job like any other, days when putting pen to paper feels like a chore, and my daily word-count target like an insurmountable mountain. That’s when a well-timed and self-administered kick up the backside is just the thing. Be rigorous, be tough, and make yourself work even when you don’t feel like it. That’s what I’ve learnt. It might be my dream job, but it’s also very real work.

You have talked previously about poetry being an inspiration for your work. Do you have particular favourites or other key inspirations?

I wrote a piece for Book Slam recently on this very subject, which you can read here.

My favourite poem is probably Fern Hill by Dylan Thomas – I love the evocation of a rural childhood, and the melancholy of the poet’s ability to recollect, but never be fully able to return. A desire for some kind of time-travel, driven by nostalgia and longing, lies at the heart of much of my writing. I almost always start a story with ‘place’, and those places are often landscapes that belong to my past, or hold a particular kind of allure for me, mostly of the unreachable, or faintly exotic, kind. I live in Bristol, and I love it here, but I have no particular interest in setting a story in the city. That said, if I moved away I’m almost certain that I’d think ‘ah…. Bristol’ and want to do something with that feeling.

The Book of Summers, your debut novel, has been translated into eight languages and was a Richard and Judy Summer Book Club pick in 2012. How did it affect your profile as a writer? 

I think Richard and Judy probably made a huge difference, and certainly introduced many more readers to my work – for that, I’m hugely grateful. Having their seal of approval also gave me a wonderful confidence boost, it’s something to hold on to. I’ve always had great respect for their book club choices, and have found some of my favourite contemporary novels thanks to them. The translations of The Book of Summers are really exciting to me, it’s a real thrill to hold a foreign edition of your work in your hand, especially for a travel-junkie like myself. I’ve been to Hungary and Spain for promotional visits and literary festivals. One of Budapest’s biggest bookstores devoted an entire window display to The Book of Summers, which was a real thrill to see, and my Spanish publisher ran an amazing publicity campaign that included radio ads and an aeroplane trailing a banner in the skies above Malaga…. Surreal, and brilliant.

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Your next book, A Heart Bent Out of Shape, was published last month in the UK (and will be released as The Swiss Affair in the US in 2014). How did the books differ in the length of time that it took you to complete them and are there any similar threads running through both?   

I wrote The Book of Summers over the course of about four years, in quite a meandering fashion, most of the time writing alongside a day job. I did however take a clear six months off to give it ‘the final push’, and then another six months working part-time in a bookshop while finishing it. I burnt through my savings, but never regretted giving myself this kind of focused time on the book. It really worked for me. A Heart Bent Out of Shape was written under quite different conditions. It was the second book in a two-book deal, and I quit my part-time job in a Bristol marketing agency in order to write it to deadline. It took about a year and a half, from start to finish. During the process I sometimes wondered if I was trying to move too quickly, but then it all came together, and the last six months of work, with the wisdom of my agent and editors filling my sails, turned out to be the most pleasurable.

I share your love of the slopes but am happier on skis than a snowboard. How important do you think it is for writers to have passions that take them out of the writing process and away from their book?

I love what snowboarding gives me; it’s exhilarating in every way. I love the speed, the way sometimes you can scare yourself a little, but ultimately always feel in control. And the setting… I love the mountains, and the beauty of a blue sky and powder day is, in my mind, unsurpassable. I also have a big crush on alpine style; the architecture, the food, the rugged exteriors and the cosy interiors… it all comes together to be, for me, the perfect pastime. We spent two winters living in Morzine in the French Alps, and I had a year in Lausanne as a student, so the mountains never feel far away; there are seven snowboards in our house, and I’m a sucker for vintage ski art and old resort postcards. As to writers and their passions, I think the great outdoors is the best tonic for us solitary, desk-bound folk. A beautiful view can’t help but give perspective, and it’s good to feel your heart pumping and your muscles straining, giving your mind and body something else to think about. My third novel has a bit of a surf element to it, and I’m keen to take some lessons down in Cornwall.

Your books are set in Hungary and Switzerland. Is travel important to you and how do you create a sense of place in your work?

Travel is really important to my work. I love books that transport the reader, emotionally and physically, and give a real sense of place. They’re my favourite books to read, and therefore my favourite to write. So far I’ve chosen places as settings that I love and feel a real connection with, so conjuring the detail of them, trying to capture their essence, is a really enjoyable process and feels quite natural. Desk-bound travelling! The book I’m working on at the moment is set in Cornwall’s Far West, and the wildness of that landscape really appeals to me. I grew up in Devon, and so it doesn’t feel like a world away, but retains enough of an exotic edge to make me interested in writing about it. I think a lot of my obsession with writing about place comes from my rural childhood. I lived in the same cottage in a tiny village until I went away to university and moved to London, and as a child I always had a great curiosity about other places, and other people’s lives. We travelled quite a lot as a family, always driving across Europe each summer, and those trips have really stayed with me. I grew up holding onto the memory of one trip, and looking forward to the next, always savouring the details of our travels, and loving sharing them as a family. When I went to university I made sure that a year abroad was part of that experience, and I chose Lausanne, in Switzerland, which became the setting for A Heart Bent Out of Shape. I guess I have the kind of mind that holds on to the details of a place, and the kind of imagination that wants to do something with them.

Are there any books that have taken your breath away or left a lingering sense of another world?

Many, but to name just a few… The Poisonwood Bible by Barbara Kingsolver.  The White Woman On The Green Bicycle by Monique Roffey. The Silver Dark Sea by Susan Fletcher. Each conjures place so vividly, be it Congo, Trinidad, or a remote Scottish island, and I was utterly lost in their worlds. I really admire the writing of Daphne du Maurier, and love how central Cornwall was to her work, inspiring her life on the page, and beyond it. And Ernest Hemingway’s epilogue to Death In The Afternoon is, to my mind, a truly perfect piece of writing about place… the opening line ‘If I could have made this enough of a book it would have had everything in it,’ exactly sums up how I felt when writing A Heart Bent Out of Shape. My greatest desire was to do justice to my memory of Lausanne, to capture its beauty and convey that very particular feeling of being young, and abroad, and everything seeming full of promise. I wanted to write the whole city into that novel, every view, every scent, every sight, but in the end you have to step back, write what’s right, and keep the rest for yourself.

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After studying at York University and in Lausanne, Switzerland, Emylia spent five years working in a London ad agency, before moving to the French Alps where she began to write. The daughter of an English artist and a Hungarian quilt-maker, Emylia enjoys travel and snowboarding. She now lives in Bristol with her husband, also an author. Her first novel, THE BOOK OF SUMMERS, was a Richard and Judy Summer Book Club pick in 2012. It’s published by Headline in the UK, MIRA in the US & Canada. Her second novel, A HEART BENT OUT OF SHAPE (or THE SWISS AFFAIR, in the US) was published in September 2013 (Feb 2014 in the US). Emylia’s writing and short fiction has appeared in a variety of publications, including ELLE magazine, the Book Slam anthology, Too Much Too Young, and broadcast on BBC Radio 6 Music. She is currently at work on her third novel.

You can find Emylia on twitter and her website and blog.