On Saturday I took part in the awesome KillerReads CrimeFest15 organised by Sam Missingham, Head of Audience Development at HarperCollins. Bloggers, former cops, ex-offenders and dozens of crime and thriller authors – including such legendary names as Ian Rankin, Ann Cleeves and Val McDermid – all took part in online events on Twitter and Facebook and also in store at Waterstones.
My Q&A with Sarah Hilary centred on writing for TV versus writing fiction. The pace on Twitter was fast and furious, and got me thinking about what the most fundamental difference actually is between the two.
And I reckon it’s this: before a script gets anywhere near production, it has to be a sales document in a way that a proposal or first draft of a novel very seldom is. Between a first verbal pitch and the first day of principal photography a screenwriter is grilled many times by different people on what the story is, who the characters are, why they do the things they do, why an audience will engage, etc etc. In other words, a script is a strategic document designed to convince other people it’s a good idea to spend hundreds of thousands of pounds – if not millions – making it, and then to motivate a small village of other highly skilled people to devote months of their time, often far away from home, to bring it to life.
The process has its drawbacks: way too many cooks … As much can go wrong as can go right, but when it all comes together, it’s magic.
And, by the time I deliver a final shooting script, every single line, scene and end-of-part hook has been tested to destruction. As have I as a writer.
In contrast, the freedom and autonomy of fiction, feels – to quote the actress Mrs Patrick Campbell – like the deep, deep peace of the double-bed after the hurly-burly of the chaise-longue. I’m loving it.
And am now working on the follow-up to Good Girls Don’t Die featuring detective Grace Fisher.