INTERVIEW WITH SCREENWRITING COMPETITION WINNER
PAUL SELLARS
Paul Sellars won a Euroscript Screen Story Competition with Une Belle Folie (now called 'The Judas Boy').
Here's how his development process went.
Euroscript: When you submitted your entry, at what stage was the idea? Treatment or finished script?
Paul: A treatment. I hadn’t got round to writing a script yet. I had a longer treatment already written which provided me with the plot backbone and character portraits so things were ready for the off if I won. I had a lot of research to do too so I guess I needed to win to give me the encouragement to carry on. Otherwise I may not have completed the script as quickly as I did. Winning meant I wasn’t the only one who thought the story had possibilities.
Euroscript: What did you think was going to happen as a result of winning the competition? And how did the reality differ?
Paul: Naturally I thought winning would be another step to fame and fortune… Actually I had no pre-conceived ideas. I knew, when I entered, that it was going to be an evolutionary process. The way the Euroscript prize is structured is all about working through a story, defining characters, plot et cetera. It’s not a quick fix. I also knew I’d have to work harder than I thought after receiving the first script report feedback which totalled fifteen pages! Not just skimpy notes either, they were very extensive. Page for page comments sometimes. Then more margin annotations on the hard copy when it was returned to me.
I remember it only too clearly… one paragraph of praise, 14 pages of slagging -- welcome to the real world…a bit of a bruising maybe but criticism is something you and your story have to live with. Of course, initially I got angry about some of the comments but then realized that maybe Fenella Greenfield (my Euroscript script editor/mentor) had a relevant point or two, if not ten, to make. It’s no good being selfish about your work, another person’s insight can be of great help. Collaboration is not something to hide from. Though you must stick up for what you believe in at all times. We often had skirmishes via email. But if I put up a good enough case for something then that would be it. She would never force her story into mine. That never ever happened.
Euroscript: How do you think your script developed from the first draft to the second? And from the second to the third?
Paul: The first draft was lengthy and in hindsight probably too convoluted. Too caught up in the period of the piece. I was also caught between two characters…both strong, both fighting for attention and therefore the story was a little muddled because of it.
Second draft was more about editing and fleshing out the characters, streamlining the story. The major thing was giving a lesser character more of a significant role. He gave the story an edge that wasn’t really there before.
The script’s title also changed. I think that happened around the third draft…From Une Belle Folie (A Beautiful Madness) French, somewhat pretentious, to The Judas Boy. I think it’s a much better title and is the crux of the story.
From there the script seemed to get a clearer focus.
I decided to study the various character arcs in the final draft. It’s not rocket science, just focuses you. Isolating the various characters in their scenes, making sure they’re doing what they should be doing and not getting in the way of one another. I have three very forceful characters and at times it was easy to lose sight of which one was the main protagonist. The audience needs to know who they should be rooting for. If that is blurred then the script is not working.
At the end of the day though, it’s all about re-writing…re-writing…re-writing.
Euroscript: What did you learn about your story, and how it was being told, during this process?
Paul: The story changed more than I thought possible. I learned very quickly that, as mentioned above, re-writing can be constructive, a positive thing, not destructive. So many people shy away from this, I did to begin with, believing I had a great story, not much needed to be altered. But I soon realised there were holes, undefined blurry characters. When you’re close to a story you can get blinkered and head off down a cul de sac. Having someone, Fenella in this case, asking questions and getting you to really study a character, was a great help.
Euroscript: What was most valuable about going through this process?
Paul:
Euroscript: What tips would you give other writers thinking of entering the competition?
Paul: Do it. Enter. It’s a great leveller as well as a good experience. If you think you have a great story with interesting characters then don’t keep it in a drawer, do something with it. A competition like Euroscript can help you no end. The rigorous script editing that goes on is something you’ll really appreciate in the long run.
Always listen. Don’t think you know it all. You don’t.
Euroscript: Anything else you want to say?
Paul: What should I do with my script once it's been through the development process? Do I send it off to an agent? The BFI? Some help with this would be something I think Euroscript could get involved with more. Especially as they have been a partner in the process. They should want to get it made and get some credit for it.
Here's how his development process went.
Euroscript: When you submitted your entry, at what stage was the idea? Treatment or finished script?
Paul: A treatment. I hadn’t got round to writing a script yet. I had a longer treatment already written which provided me with the plot backbone and character portraits so things were ready for the off if I won. I had a lot of research to do too so I guess I needed to win to give me the encouragement to carry on. Otherwise I may not have completed the script as quickly as I did. Winning meant I wasn’t the only one who thought the story had possibilities.
Euroscript: What did you think was going to happen as a result of winning the competition? And how did the reality differ?
Paul: Naturally I thought winning would be another step to fame and fortune… Actually I had no pre-conceived ideas. I knew, when I entered, that it was going to be an evolutionary process. The way the Euroscript prize is structured is all about working through a story, defining characters, plot et cetera. It’s not a quick fix. I also knew I’d have to work harder than I thought after receiving the first script report feedback which totalled fifteen pages! Not just skimpy notes either, they were very extensive. Page for page comments sometimes. Then more margin annotations on the hard copy when it was returned to me.
I remember it only too clearly… one paragraph of praise, 14 pages of slagging -- welcome to the real world…a bit of a bruising maybe but criticism is something you and your story have to live with. Of course, initially I got angry about some of the comments but then realized that maybe Fenella Greenfield (my Euroscript script editor/mentor) had a relevant point or two, if not ten, to make. It’s no good being selfish about your work, another person’s insight can be of great help. Collaboration is not something to hide from. Though you must stick up for what you believe in at all times. We often had skirmishes via email. But if I put up a good enough case for something then that would be it. She would never force her story into mine. That never ever happened.
Euroscript: How do you think your script developed from the first draft to the second? And from the second to the third?
Paul: The first draft was lengthy and in hindsight probably too convoluted. Too caught up in the period of the piece. I was also caught between two characters…both strong, both fighting for attention and therefore the story was a little muddled because of it.
Second draft was more about editing and fleshing out the characters, streamlining the story. The major thing was giving a lesser character more of a significant role. He gave the story an edge that wasn’t really there before.
The script’s title also changed. I think that happened around the third draft…From Une Belle Folie (A Beautiful Madness) French, somewhat pretentious, to The Judas Boy. I think it’s a much better title and is the crux of the story.
From there the script seemed to get a clearer focus.
I decided to study the various character arcs in the final draft. It’s not rocket science, just focuses you. Isolating the various characters in their scenes, making sure they’re doing what they should be doing and not getting in the way of one another. I have three very forceful characters and at times it was easy to lose sight of which one was the main protagonist. The audience needs to know who they should be rooting for. If that is blurred then the script is not working.
At the end of the day though, it’s all about re-writing…re-writing…re-writing.
Euroscript: What did you learn about your story, and how it was being told, during this process?
Paul: The story changed more than I thought possible. I learned very quickly that, as mentioned above, re-writing can be constructive, a positive thing, not destructive. So many people shy away from this, I did to begin with, believing I had a great story, not much needed to be altered. But I soon realised there were holes, undefined blurry characters. When you’re close to a story you can get blinkered and head off down a cul de sac. Having someone, Fenella in this case, asking questions and getting you to really study a character, was a great help.
Euroscript: What was most valuable about going through this process?
Paul:
- Understanding the power and importance of re-writing. The way it can re-shape things, open up a story and a character.
- Having someone there to untangle the muddle that I sometimes got myself into. And catching me out when I tried to sneak stuff through that wasn’t as good as it should have been.
- Being pushed to do better.
- Realising how important collaboration is.
- The actual process of getting continual feedback (be it praise or criticism) from a knowledgeable source.
Euroscript: What tips would you give other writers thinking of entering the competition?
Paul: Do it. Enter. It’s a great leveller as well as a good experience. If you think you have a great story with interesting characters then don’t keep it in a drawer, do something with it. A competition like Euroscript can help you no end. The rigorous script editing that goes on is something you’ll really appreciate in the long run.
Always listen. Don’t think you know it all. You don’t.
Euroscript: Anything else you want to say?
Paul: What should I do with my script once it's been through the development process? Do I send it off to an agent? The BFI? Some help with this would be something I think Euroscript could get involved with more. Especially as they have been a partner in the process. They should want to get it made and get some credit for it.
