![]() So it is vital then, in the world of television, to create stories that have built directly into them, the DNA of a great story…. Audiences are savvy, intelligent and informed these days they are also fickle and they switch allegiance in the second it takes them to click over to another channel, or viewing platform. There’s a skill to creating the story that will not only deliver a powerful emotional punch, but also, as a direct result, create engagement and ultimately loyalty in an audience.Īnd coming up with the stories that can do that consistently, is a tough job in this world of multi-platforms and lots of choice. The long-running narrative – the series story – is ‘my thing’ – this is what I understand – how to create a story from scratch that would span the distance of more than one television episode – be it for a soap, like EastEnders, or a drama series like Holby City. ![]() I learned from these writers how a writers brain works how they approach their own writing and I learned how to create and shape creative and commercial stories for television, ultimately producing Holby City – my series was BAFTA nominated – and latterly Crossroads – my series was axed – you win some, you lose some…. ![]() I have also worked on Coronation Street, and developed numerous series formats with writers such as Sally Wainwright (Happy Valley and Gentleman Jack) Russell T Davis (Doctor Who, and Years and Years) and Kay Mellor (Fat Friends and The Syndicate). And it is that mindset that you need to adopt in order to survive the relentless demands of the story eating machine that is a soap transmitted as it was then, twice a week, doubling now, to a four times a week transmission pattern. It was a baptism of fire working on EastEnders as a newbie Script Editor back in the early 1990’s, but it was on that fast moving, gargantuan show that I learned all I still use today, in my daily life running my Script Consultancy.ĮastEnders was then, and still is now, a story producing factory. In the creation and sharing of stories, we unite and form friendships, families, tribes.Ī well known, well shared story forms a connective tissue around those that relate to the story and so alliances, understandings, connections and collaborations are born.įrom ancient times of fire gazing, listening to an Elder relate the adventures of Beowolf, or Jason and his Argonauts, right up to our time as the Goggle Box families gather around their sets on their various sofas to share the week’s output from our television age, the sharing of stories and our engagement with them threads through our collective consciousness. The past cast its narrative shadow over the present.Īnd it was a huge powerful force this story telling the essence of the spoken word beginning from somewhere deep in our collective sub-conscious the need, the driving intention to show, to explain, to understand the world around us and ultimately ourselves.Ĭreating stories and sharing them with our own kind, is the beating heart of what makes us human and separates us from those creatures that want to eat us. Stories shaped the people we were then, and in our creation and delivery of these stories, we controlled what was known, and what was going to be known.
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