FIRST TEN PAGES MOT WORKSHOP

Hi, Yvonne Grace and Phil Gladwin here.

We want to talk to you about one of the biggest barriers you face in getting your script optioned.

THE FACT IT’S PROBABLY NOT EVEN GETTING READ!

When you’re a writer it can seem shocking that many production companies, writing initiatives and screenwriting contests don’t read the entire screenplay before they reject it.

In fact, it’s actually worse than this.

MANY PLACES WILL DISCARD A SPEC SCRIPT AFTER READING JUST TEN PAGES.

How can anyone seriously hope to assess a writer and a story like this?

Over the last two decades we have worked with enough writers to know first-hand what it is to slog over a story for weeks, months or years.

SO WE KNOW HOW BAD IT FEELS TO BE JUDGED ON TEN PAGES IN THIS WAY.

Yet as script executives we can see valid reasons for things being this way:

  • Time is always short.
  • The script pile is always high and getting higher.
  • The pressure to get things greenlit is massive.
  • There simply aren’t enough hours in the week.
  • You always need a more efficient way of doing your job.

Luckily (from their point of view) there is something else that helps the weary script exec:

The simple fact that a script that fails to grab you early on is unlikely to get much better after that.

That’s why so many readers are allowed to stop around that mark.

  • It’s not malice.
  • It’s not laziness.
  • It’s simple pragmatics.

There are exceptions of course, but, in general, it’s pretty plain to see how a script is shaping up after ten pages.

IF READERS READ JUST TEN PAGES, THEY MAY MISS ONE OR TWO GEMS, BUT THEY’RE SAVED FROM HAVING TO READ FIFTY OR ONE HUNDRED SCRIPTS THAT MISFIRE.

This is the real reason why the First Ten Pages concept exists.

WRITERS HAVE A BIG PROBLEM

So, given how hard it is to get your script read in the first place, you absolutely need to be giving your first ten pages the best chance you can.

  • Your writing needs to be confident.
  • You need the right ‘angle’ into the story.
  • Your dialogue should be sharp and punchy.
  • Your characters should engage the reader.
  • The stage directions should give you what you need to get into the scene without overloading
  • you down with unnecessary description.
  • You need the read to be near effortless.
  • It must be a ‘page-turner’.
  • You need a surprise or two.
  • You need your story to grip.
  • Most of all, after ten pages, you want your reader to be desperate to know what happens next.

We can give you the tools to fix all that in our FIRST TEN PAGES MOT WORKSHOP

Here’s what happens:

You send us the ten pages of your script and a short (1 page) synopsis of the story  by FRIDAY JUNE 24th.

Phil and I read them all, and work out which of us is best equipped to help you. We will divide you into two groups – of six – some to work with Phil, some with me.

On SATURDAY JULY 8th we all meet at Birkbeck College in central London, in either a morning or an afternoon session. We get going straight away and go around the six scripts.

In each group we will first read your script then either Phil or I will give notes and lead the discussion on what’s working and what is needs work.

Each of you will get approximately 30 minutes full focus on your script alone. You will also be able to hear the sessions of others in your group, so you can learn from them too.

It’s a very friendly, supportive atmosphere, with everyone encouraged to contribute as they want to, and we pride ourselves on making you feel at your ease.

(We will also be in the near by pub that evening if you want to come along to chat some more and meet the writers from the other session.)

You’ll come away from the day with the sure knowledge that the next draft of the opening of your script will be stronger, more engaging and altogether more likely to do your story justice.

Use these buttons to order your place now and to pay with any major credit card or paypal.

BOOK THE MORNING SESSION – SATURDAY JULY 8th for just £147.00

(Workshop runs 10.00am to 1.00pm)

BOOK THE AFTERNOON SESSION – SATURDAY JULY 8th for just £147.00

(Workshop runs 2.30pm to 5.30pm)

EVENT DETAILS

DATE: SATURDAY JULY 8th
VENUE; BIRKBECK COLLEGE
ADDRESS: BIRKBECK COLLEGE – MALET ST. LONDON WC1E 7HX
(Nearest Tube Goodge Street or Warren Street)
TIME: MORNING SESSION 10am – 1pm
AFTERNOON SESSION 2.30pm – 5.30pm

GROUP SIZE: MAXIMUM 6 WRITERS PER DISCUSSION GROUP

ABOUT US…..

Yvonne Grace of Script Advice
Phil Gladwin of Screenwriting Goldmine

Yvonne Grace

Yvonne Grace is an award winning television drama producer/script consultant with 25 years’ experience of production, script development and script editing. Her script consultancy helps writers write better television scripts www.scriptadvice.co.uk.

Her best-selling book “Writing for Television Series, Serials and Soaps” is available on Amazon and published by Kamera books.

Phil GladwinPhil Gladwin

Phil Gladwin is an experienced television writer, and script editor/script consultant. He has 20 years experience of script development, script editing and screenwriting, and over the years has worked on several flagship dramas on British TV.

His website www.Screenwritinggoldmine.com has been helping writers into the industry since 2007.