Brit Writers' Awards' 2012 by Conor Ibrahiem

As a writer who is self taught, my mountain was always going to be that bit harder to climb. I count myself very lucky to be honoured with the 'Stage and Sceenplay' award and Brit Writers are the ones to thank. 

The idea came about 4 years ago and I have worked on it as and when time has permitted. It's called 'Razak Factor', which is about a devout Muslim who has a hidden ambition - he wants to be a crooner like Frank Sinatra. Then one day X-Factor comes to town... So that's the premise. It's a little bit of an insight as to me, the writer. I began as an actor and early on I asked myself: "Is acting permissible for Muslims?" It's not the usual career choice. Then there's being a singer - is that permitted? Well although singing isn't my specialty, I know others do face this dilemma, and coupled with my passion for golden oldies such as Sinatra, Doris Day, Bing Crosby and such like, Razak Factor as an idea was born. There was only really me pumping 'Fly Me To The Moon' in the heart of Manningham in Bradford, whilst others were busting the stereo with gangster rap and songs I couldn't hear the words too. And I think the tide needs to change in terms of how Muslims are portrayed in movies, yes we can sing and have a laugh, we even cook, do gardening and eat crumpets. So that's me. That's the idea. I'll be around with a pen, jotting some other ideas down and meanwhile hoping to make Sinatra proud. Thank you all at Brit Writers!

by Conor Ibrahiem

Arakan Creative

Brit Writers
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Why prose and screenwriting make a good team, by Michelle Goode

Screenwriting isn't usually the first profession you might think of when deciding to become a writer. We all want to write the books we love to read, but the link from writer to film isn't always obvious; often directors, producers and actors spring to mind. Of course, screenwriters are just as credit-worthy and screenwriting can be a very exciting way to realise your story ideas.

There's a lot of merit in learning both crafts and indulging in both disciplines. Whilst the two approaches are very different, they do share similarities; not least the aim of telling a good story well. We all know that novels are ripe for adaptation, too, so knowing about screenwriting could help you approach your novel in a way that makes it attractive for this market.

Some of the skills needed crossover, such as the need to have interesting and enigmatic characters, the need to set scenes well and the need to write good dialogue. Plot may be approached in the same basic pattern. The three act structure may also come into the equation, and non-linear approaches and flashbacks may need the same attention given to them in either discipline.

But there are differences, too. In screenwriting, there's a distinct need for brevity; colourful yet concise descriptions which aren't long-winded and don't state the obvious, but which keep the reader interested and which help set the tone and pace. Descriptions and dialogue need to avoid being expositional (on-the-nose) and structure can play an even more important part in setting the pace and in the story's dramatic development.

As a published prose writer of short stories (still attempting the novel) and a produced screenwriter, I can vouch for the fact that, on the one hand, it can be difficult to not slip into the opposite style of approach when tackling one of the disciplines. I've written short stories that develop akin to that of scenes in a script, flitting from one location to another, and I've no doubt slipped into a more “flowery” way of writing descriptions when writing scripts.

However, far from discouraging writers from indulging in both disciplines, I'd actively encourage it. Understanding each approach will help you appreciate the difference in skills required, and discipline is such an important quality in a writer. Not only will you be able to adapt your own work from one format to the other, you'll be able to write excellent supporting documents (pitch documents for both scripts and prose need literary flare that will no doubt come easy to prose writers) and a screenwriter will no doubt be good at approaching prose in a succinct, structured way.

If you're a prose writer interested in trying screenwriting, then check out my new regular column in What The Dickens? Magazine. Read online or buy the issues as eBooks on Amazon. In the October issue, I give a crash-course in screenwriting and discuss adaptation.

Michelle Goode is a script reader, editor and writer who operates from her little online empire: www.writesofluid.com, where she compiles writing resources, writes her blog and offers her services. When she's not creating fictional worlds through scripts and prose or writing articles, she's helping strengthen the work of others or assessing scripts for production companies, competitions and initiatives. Follow her adventures on her Facebook writer page, Writesofluid page and on twitter: @Sofluid.