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Hugh Cook Fiction, Poetry. Wolfe Fiction, Spirituality, Theology. Bill McKibben Environmental, Science. Macy Halford Journalism, Memoir, Spirituality. Sarah Pulliam Bailey Journalism. Joy Williams Fantasy, Fiction. Jonathan Merritt Journalism, Theology. Dave Harrity Poetry, Spirituality. Sandy Sasso Children, Spirituality, Theology. John Hendrix Children, Illustration. Scott Cairns Memoir, Poetry, Spirituality. There was really no middle way. This fact dramatises the sheer impossibility of the dilemmas so many women face in their lives - they cannot please everyone no matter what they do.
I wanted her husband to be supportive of her choices but at the same time to be suffering the consequences. Did you have a specific brief for a Wales-based drama? How important was the location in the generation of the story? I live in Wales, was raised more or less bang on the border and have wanted to write a series in Wales for years. Faith was Welsh, she lived in a small Welsh town. I wanted a story set in a very specific, identifiable and real place as I knew that would lend greater authenticity to the emotional stories.
Most of my family is Welsh, all through my childhood I was surrounded by Welsh relations and especially in South Wales there is something very emotional about the way people behave. This makes for a lot of colour in speech and behaviour and makes Welsh characters huge fun to write.
The landscape was always going to be a silent character in the drama. Welsh landscape is wild and untamed in places so there is always a sense of the elemental - a reminder of the deep rhythms of life and death - in the background. Against this backdrop human beings are thrown into starker relief than they are in an urban landscape; somehow they become more sharply defined.
I was also very keen to subvert the usual TV portrayal of the British countryside as a rather idyllic and uneventful place. My many decades of living in the country has shown me that everything that can happen anywhere else can happen here, and often does!
How does the scriptwriting process work? Do you write a treatment first before any drafts of the scripts? If so then how detailed does this have to be and do you get notes on it which you have to respond to?
As a writer I have been lucky in this process in having very few note givers. Pip took notes from the various commissioners and executives and filtered them before handing me the good ones!
As with nearly all TV, the process began with a series proposal which set out principal characters, backstory and the broad narrative arc and themes of the series.
Next I moved to a detailed treatment of each episode in one large document which ran to about 20, words. Stage three is a scene breakdown of each episode.
Stage four is drafting scripts. Notes come at every stage of the process. The ability to negotiate notes is perhaps a skill every bit as important as being able to write. The writer has created the soul of the series and must never lose it. So you have to respect notes, consider them, question them and act on them in a way which preserves the essence of what you are striving for.
Script editors are usually brought on once the series has been greenlit. By that point, the writers and producers have a good sense of who the characters are and where the story is going. There may be a few plot specifics that need to be ironed out but by the greenlight stage you typically know where you are going.
But because I was at Vox I was able to watch the series taking shape from when it was in a more embryonic stage. How does a Script Editor work with a writer? Do you meet in person? How often and what sorts of notes do you give?
It really varies depending on the project, the writer, and the producer. Pip has a long-standing creative partnership and friendship with Matthew, so my work on the series was very much carried out through her. Typically, Pip and Matthew would work on the gestation of the series together and I would join slightly later in the process.
Due to our time being spent between London and Wales, there were a combination of face-to-face, Skype, and telephone calls. The notes we would give on the series could focus both on individual episodes as well as macro notes for the entire series. Some of the notes are of a more practical level, such as looking into the procedural qualities of the story or double checking that the chronology of the scenes work.
We had a number of discussions regarding the finale for the series. We always knew what the final scene would be but the critical few steps that get Faith there were discussed a few times.
Once viewed through that prism the series gradually fell into place. What other functions does the Script Editor perform?
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Calvin Center for Faith & Writing.
The Festival of Faith & Writing is a biennial celebration of literature and belief, both broadly construed. Drawing more than 2, people from across the world to Grand Rapids, Michigan, the Festival offers three days of lively lectures, readings, conversations, films, workshops, concerts, plays, and more, all fueled by coffee and good food. The website for Christian Author, Elle E. Kay. Faith Writes showcases the works of Elle E. Kay and her blog, Faith in Writing.
for the Festival of Faith & Writing, a three-day celebration of literature and belief in Grand Rapids, Michigan “I need the rigor and radicalism of friendship to be a poet, to be anything, really.” Natalie Diaz, Festival featured speaker. Faith in Writing is pleased to be able to offer you at last some of the books and writings on faith and religion of The Rev. Dr. James MacLeod. It has been our desire for some time not only to make his books and writings more widely known and read, but to render them less expensive so they could be placed in the hands of the general public at no .