Why Writing Mistakes Suck

Cuz, believe it or dnt, sum people don’t gt it:

Typos, Spelling Mistakes, Grammar – by Danny Stack (Scriptwriting in the UK)

When a reader gets a script from the spec pile, they usually don’t have a clue who the writer is, or where the writer comes from. The script is going to be representative of everything the reader’s going to assume about the writer’s personality, talents and abilities.

To this end, some common mistakes and typos appear to suggest the screenwriter is not quite up to the task of writing a good script. Some of these blemishes are not immediately suggestive of a hack wannabe but are usually indicative of someone with a poor regard for the basic use of the English language.

In a fit of writing momentum, even the best writers may type you’re when they mean your, but that’s why proof reading a script is important. Ideally, don’t proof read your own script. Get someone else to do it. Somebody you trust and can rely on, whether it be a professional proof reader or a friend. Script readers usually make equally good proof readers, so they’re probably the best point of contact.

A total of one or two typos in a script may not be too disconcerting. However, when a script has a spelling mistake in its opening sentence, and then continues to pepper the description and dialogue with typos and dodgy use of grammar, then, well, it’s really distracting. Nine times out of ten, the story on offer is just as erratic, and the script becomes an easy PASS for the reader.

Getting the basics right can go a long way in ensuring a positive response to your script. Why not take the time to make sure that your script is wearing its Sunday best, and then no-one can complain about the way it looks, the way it reads, or the way it’s formatted.

Whoa! Even the Brits have this problem. In a way, that’s a relief!

Writing for Children’s Shows

Writing for Kids’ TV
by Danny Stack

It’s odd that the genre of kids’ TV is often overlooked by screenwriting events, seminars and the so-called gurus. It’s also rare to meet a writer who aspires to write for kids’ TV.

Why is this the case? Perhaps it’s because kids’ TV is for, well, kids. And maybe there’s a misplaced notion that writing for kids must be simple compared to primetime drama or feature films. Or that there’s not much kudos involved in writing for the genre.

If this is the case, then it’s an erroneous point-of-view. Writing for kids’ TV is challenging, fun, and profitable. It also requires the same amount of screenwriting skill and craft as writing any other drama. In some instances, it’s actually much harder because you’ll often be expected to write a funny script. No post-modern cultural references, intellectual quips or self-reflective wit, just make the script funny through the characters and story. No pressure.

Writing for kids is the purest form of storytelling because it’s free of ego and cynicism. Kids don’t care if you’re Russell T Davies. They only care if Russell T Davies tells them a good story. An idea that grabs. A story with a sense of urgency. Characters who we really care about. A plot with unpredictable twists and turns. Think kids aren’t sophisticated and can’t see a twist from a mile away? Think again.

Read it all

Not only are we glad to have found this, we’re happy to have made the acquaintance of Mr. Stack’s most excellent blog!