Lucy Scher is the Co-Director of The Script Factory, one of Europe’s leading filmmakers’ organisations. She tells IdeasMag how new screenwriters can hone their craft, make those vital connections, and most importantly, sell their brain-child...
How did you get into script development?
I came through an unconventional route – by promoting gay nightclubs! If I had known script development existed back then I would have gone straight into it. The point is that these sorts of jobs are never advertised; it’s about being in the right place at the right time. One of my goals is to make this wonderful career more accessible to everyone. which is why I started the UK’s first ever Diploma in Script Development in partnership with The National Film and Television School.
What does The Script Factory do?
Our principle is to try and get writers as skilled as possible before they send their script out there. We offer workshops on everything from shaping stories, to redrafting and finding inspiration. Our aim is to make all our work as practical and relevant as possible. We also offer script feedback and development meetings and the emphasis is always on the industry.
What do you look for when you read a script?
It is all about the writing. Ideas can be developed and made more interesting, but excellent writing is needed from the start. It takes a long time to learn how to write for the screen and my advice is to read as many well-produced screenplays as you can. Don’t just watch the films – read your top 100 screenplays.
What advice would you give to writers on selling their script?
Ultimately it’s all about good stories. There will always be trends, like romantic comedies, that will sell and it is easier to market these rather than something like a rite of passage story. The problem is that once you have identified a trend and written the script, the trend will probably no longer be current. Staying one step ahead of the game is paramount.
How do you help writers meet the industry’s movers and shaker?
We have a Friendly Agents and Producers scheme full of people who are keen to meet new talent and we put the newbies with potential in touch with them. It is up to the writer to then nurture that relationship, but I have a firm belief that there is not a strong, unbelievably well written screenplay out there that is not going to surface at some point. It often takes a long time, but you should approach the new producers over the established ones. They have the time and eagerness to work with you and seek funding. The agents will come knocking at your door when you have something optioned.
What is the difference in skills needed for TV and radio rather than film?
The format is different and TV and radio allow for less flexibility. In film you can take much longer to set up a story, but TV has to start straight away to keep people’s concentration. If you can talk about stories as a picture then screen writing is for you, but good writers will be able to adapt to all mediums.
IN FOCUS: Writing for the screen
From the countless scripts I have read I would define this as the literal choice of words that can conjure an image. It’s the ability to write visually – the phrase that sums up a character perfectly, or the dialogue that is so beautifully sub-textual that it takes your breath away. We teach our readers first and foremost to read at a pace that enables them to see the film. You have to read it slowly and, for me, there is nothing better than receiving a great script and having it running in my head while I am reading it. Good spelling and grammar is also vital – and underrated!
Find out more about The Script Factory.
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Image: cinema by m.a.r.c., under a CC BY-SA 2.0 license.