Better than Dostoevsky*

*may not actually be true


ISBN-10: 191063378X
ISBN-13: 978-1910633786

When India falls to her death from a bridge over a railway, her sister Poppy returns home to Brighton for the first time in years. Unconvinced by official explanations, Poppy begins her own investigation into India’s death. But the deeper she digs, the closer she comes to uncovering deeply buried secrets. Could Matthew Temple, the boyfriend she abandoned, be involved? And what of his powerful and wealthy parents, and his twin sister, Ana? Enter the mysterious and ethereal Jenny: the girl Poppy discovers after hacking into India’s laptop. What is exactly is she hiding, and what did India find out about her?

I should start with being honest; I have never read a Dostoevsky novel. I did once start ‘Crime and Punishment’ but I found it a little hard going and, dare I say it, a little boring. So that is one thing Lucy V Hay’s debut novel, The Other Twin, has on Dostoevsky; I actually finished reading it! Today in fact, so I thought I would break my duck of posting here for a while and write a little review.

I’m not normally one for crime/thriller novels, I tend to veer more towards Horror and Sci-Fi (although I guess there are potential parallels and cross-overs, as with any genre) so I wasn’t really sure what I was letting myself in for. The last similar novel I read was the Girl on the Train, which I read more or less because of promotion for the film and some hype around the book so thought I would give it a go. I enjoyed it. I didn’t find it particularly challenging, but it was a good, if occasionally predictable, read.

So why The Other Twin? Well, I follow Lucy on Twitter and Facebook, particular through the Bang2Writers group where I hang around hoping to grab a few writing crumbs as they fall from real writers’ tables. On those pages, Lucy has obviously been promoting the hell out of her pending arrival so, on 3rd July, I placed my order and started reading a few days later.

So, is it any good?

Yep. It is.

So, there you go, you can go and buy it with confidence.

Okay, seriously…

Lucy has produced a complex, tightly plotted story that revels in its setting (Brighton) and its characters. Anyone who knows even a little about Lucy will know that she is passionate about diversity, so it is no surprise that her story revolves around a very diverse group of characters. While diversity is important to the development of the plot, it is introduced so naturally it does not become a story ABOUT diversity, but simply a diverse story. So while we visit a world populated with a variety of cultures and sexualities, we get to concentrate on the strained relationships and dangerous secrets that seem to be held by every single character we meet along the way. Even incidental characters such as kitchen hands and bar workers feel like they probably have a few skeletons in their closets!

Lucy writes with a confident voice and immediately sweeps you up into the story world she has created. I am not going to discuss the plot in any great detail, as that would be to spoil the twisty-turny nature of her narrative, but the story gets going immediately, sweeping us along with Poppy as she searches for the truth behind her sister’s suicide… or is it murder? Unlike The Girl on the Train, which felt a little predictable, The Other Twin is full of surprises and shocks and at least one “Oh shit” moment. Some readers may feel there are, perhaps, one too many twists – they really do some thick and fast – but, ultimately,  the story doesn’t suffer for it. The story builds and build to a rapid conclusion and the ending comes so quickly, you almost don’t have time to try to figure it all out as you read! You will find yourself thinking it over afterwards but this is by no means a bad thing. There are a few questions left unanswered, but I like that; I like to be challenged and I like to have things to think about after the fact. It really would be boring if every story wrapped up all its threads nice and neatly at the end.

The momentum of the book is reinforced by its short, sharp chapter structure, which has few chapters more than a couple of pages long. I don’t know whether this was deliberate or perhaps a reflection of Lucy’s experience with screenwriting (short sharp scenes) but it means the reader is never allowed to get bored and is an excellent way to keep you reading; ‘oh, just three more pages….okay then, just a couple more.’

Ultimately, The Other Twin is a deceptively simple story entwined with a complex plot that is elusive, but never overly complicated. It is fun to read and smartly written. I may not be a voracious consumer of crime fiction, but I will certainly keep an eye out for the next book from Lucy.

Highly recommended….


Getting back into the swing of things…

Well, it’s been a while. I’d like to say that I have been too busy writing to post anything on this website, but that would be a lie. I have been too busy but, unfortunately, it has not been because of writing. I have managed a bit here and there and, now I have set myself some new targets for the WRAC#17 challenge, I am back on track with a rewrite of a script I got some great feedback on last year.

Writing time is at a premium still, but I have generated that “buzz” you feel when you finally get a chance to sit down and put some words down in Final Draft and a new story begins to take shape. It’s almost like starting again and I find myself thinking about some of the old “rules” and “tools” of writing that can help when you find yourself stuck on a particular writing issue, or pondering a structural conundrum. And, as I am working on a family script, what better advice to seek out than that of the legendary PIXAR.

I love PIXAR’S Rules of Storytelling and ran a series of blog posts when I first started this webpage looking at the rules developed by Emma Coates and expanded on by Stephan Vladimir Bugaj. I think the time is right for a rerun (there is always time for a rerun) and, while it might seem like a bit of a cheat, I always enjoy exploring the rules. If this means I can introduce them to a few new people, then all the better!

If you fancy exploring the PIXAR rules, pop over to the Introduction page to find out a little more about them. I’ll be tweeting the rules over the next few weeks, but you can always explore the links to the various rules if you fancy skipping ahead!

So, sit back, click some links and enjoy the wisdom of PIXAR!

Losing Focus…but not direction.

Back at the start of the year I wrote post that looked at the year ahead and set myself goals and measurable targets – something that is important if you want to keep yourself on track and keep the writing working for you. Having clear goals makes it easier to manage and achieve them, rather than having vague goals to “write a screenplay,” or “finish a novel,” which don’t really provide the focus you need to manage a long-term task, especially  spread out over a year.

In relation to this planning I also talked about taking part in Gary Graham’s Writer Accountability (WRAC) initiative, whereby a group of writers have signed up to a series of self-set goals for the year ahead. Regular tweets/Facebook posts by co-host Michael Hennessy keep us all on our toes and ensure we regularly review those goals/milestones and keeping ourselves on track.

Well, that’s the theory. My main goals this year revolved around a novel I started writing in 2015 for NANoWriMo, with plans to have an outline and the first quarter written by now.

I did start. I do have the outline and I do have some written… just not as much as I was supposed to have. I do have what was written for NaNoWriMo, but I am reworking it as that effort was fairly meandering. It was a good way to get lots of words down on the page quickly, but I am not sure how good it was for me to keep focus/direction when writing.

The main problem is passion. I am passionate for the concept, but I am not sure I have really figured out the right direction for the novel and I am struggling to work up the enthusiasm to write it so, for now, it is probably time to call it a day.

It probably doesn’t help that I had some great feedback on a screenplay last year and am excited about getting back to that and, in fact, have started a page-1 re-write, giving serious thought the notes I received.

Or maybe it does help. Rather than continuing to flog a dead horse that my heart really isn’t in, it is obviously better to be working on a project I have more interest in. And in all honesty, if you are not enjoying a project, don’t keep at it – you will just ruin your enjoyment of the whole process. Stick the project in a drawer (it isn’t going anywhere) and you can always come back to it next week, next month, or even next year.

Taking a break isn’t the same as giving up. Never give up, just pick your fights.

I’ve lost my focus on one project, but that doesn’t mean I have lost direction, I just need to chose the right direction for me at this time.

Now I just need to beg forgiveness from Gary and Michael for failing my goals and see if I can update them for this year to focus more on my screenplay. Surely it’s not too late… 🙂

When do you decide it is time to move on?

Community Writing – CREATE 50 and TWISTED: Volume One


Various Authors
ISBN-10: 099565381X ISBN-13: 978-0995653818

I’ve just finished the last story in the TWISTED 50: Volume One collection (Bloated, by Penegrine Shaw) which was probably not the one to be reading as I was eating lunch but, then again, most of the stories within this book are probably better enjoyed sans food!

TWISTED 50 is the first publication to arise from the CREATE 50 community and is a collection of, in their own words, ‘…deliciously dark…’ short tales of horror. And it doesn’t disappoint! There are bugs, blood, the undead, spiders, vampires, ghosts, the apocalypse, arms and limbs flying everywhere… even Thomas the Tank Engine gets a make-over in one of my favourites, Sodor and Gomorrah by N W Twyford.

The “50” gives the game away that you will find 50 short stories within the volume and, as suggested above, there is a wide-variety of twisted material. They may not all be right up your street, but you can bet your life (figuratively, not literally) that there is something for everyone and it is a fantastic book for short bursts of reading. Highly recommended!

The CREATE 50 initiative aims to provide a platform for emerging screenwriters, short story-writers, filmmakers and allied artists to get their work out and seen. There are a variety of ways to get involved and I have submitted a few stories to TWISTED Volume Two, the follow-up (unsurprisingly) to Volume One. Through the website I have been enjoying sharing feedback with other writers on a variety of stories. And that is the beauty of the initiative; for every story you submit, they ask that you kindly provide feedback to three other writers. Considering the limit for short stories is 2,000 words, this is anything but onerous and, once you start, you will find it addictive, feeding back on many more than the expected three.

I have found it to be a fantastic experience to try out a new form of writing to me (I am very new to short stories or any form of prose to be honest) and get feedback on my efforts. It has also been an eye-opener reading such a range of stories from a variety of writers, all at different levels and stages of their careers. They have all been very helpful and welcoming and I would recommend getting involved to anyone, even if you only “dabble”.

Sadly, TWISTED Volume Two is only open for submissions for another six days (at time of writing) although that is still plenty of time to have a go. Entry is stupidly cheap at just £7 a story and great value for the effectively free feedback you will receive.

The good news is that there is another project The Singularity 50 which is still open for submissions until 31st March 2017. Like TWISTED it is looking for 50 short stories but on a theme the explores the ‘journey to the moment technology takes over.’ So, if you are a budding Sci-Fi writer, why not take a look?

Judging by the activity on the website and the great-looking Volume One publication, I suspect the CREATE 50 community will be around for a long time. Even if you don’t have anything for TWISTED or SINGULARITY this time, I am sure there will be more great projects in the future and I, for one, will be keeping an eye out for how I can continue to get involved.

If you have submitted to either of these projects, let me know, I would be more than happy to have a read!

And if you have – Good Luck!

Dark Minds Charity Anthology

Dark Minds
Bloodhound Books
ISBN-10: 0995621276 ISBN-13: 978-0995621275

I have been trying my hand at writing some short stories recently, concentrating on the CREATE50 initiative and, more specifically, the TWISTED 50 competition. Twisted 50 is a collection of 50 twisted tales collected in a short story anthology and Volume 2 is currently open to submissions. Still time to have a go (although it closes at the end of the month) if you fancy trying your hand. If you do, let me know and I will happily have a read of your submissions.

Like any writing, it is worth immersing yourself in other works in a similar format to get a feel for writing style, format and rhythm. I’ve never tried writing short stories before having a crack at TWISTED 50, so this was even more important. I have read plenty of short stories in the past but, looking for something new, I was introduced to the Dark Minds collection via a couple of the featured authors (Lucy V Hay and Emma Pullar) so thought I would give it a go.

It is anthology of crime stories and, at just £8.99 is a bargain for the amount of material included. It is also a charity volume, the profits benefiting The Sophie Barringer Trust and Hospice UK (So what’s not to like!)

I am not going to review all 40 stories, but there is great variety of ideas and numerous themes throughout the collection and you really won’t get bored reading them. With all sorts of characters from hitmen to gangsters, city workers to murderers, there is something for everyone to get their teeth into. Emma’s story, London’s Crawling, is one of those that stands out from the rest as it pushes the brief as far as it can, being closer to horror than crime, but still being a fantastic read (if you can stomach a few spiders). Lucy’s story, Love you to Death, flirts with the supernatural and, while it is not the only one to do so, plenty of others are rooted firmly in the real world; there really is something for everyone.

There are some classic takes on stories, like ‘Slow Roast Pork’ by S.E. Lynes that made me nostalgic for Tales of the Unexpected, or others like Ron Nicholson’s, ‘You Will Meet a Tall, Dark Strangler’ that had me just with the title! Gangster tales with a twist such as Peter Best’s, ‘Be Careful What You Wish For’ rub shoulders with non-linear mysteries like Paul Gitsam’s ‘A Stranger’s Eyes’. The anthology even ends with a bonus story from promising young write Jenna-Leigh Golding who certainly shows an eye for the macabre with ‘#1-6’.

All in all it is a great collection of stories, perfect for those short-sharp bursts of reading when you just don’t have time to sit for long, or when you want some quick inspiration for your own stories.

And it’s for charity, people, so why not grab yourself a copy and do some good at the same time?

The Film is never as good as the Book!


About a month or so before Christmas I joined a Stephen King Group on Facebook as, funnily enough, I am a fan of his writing, and have been since I was a teenager. It is a decent and fun group but something I have noticed, in the short time I have been a member, is the regular repetition of many similar discussions. Of course, this is to be expected with so many members and constant posts; topics come and go rapidly – blink and you’ll miss them!

However, one that keeps bugging me is a discussion about the relative merits of the adaptations of his books to films. Most notably there is a regular outpouring of anger against The Shining (1980) whenever the subject of the book comes up. The general consensus among the participants is that the film is crap simply because it does not closely match the content of the book.

This is a fair criticism of the majority of book to film adaptations; there just isn’t the space to fit everything from a lengthy novel into a film. The adaptation of The Shining has a fairly generous running length of 2 hours and 26 minutes, but that still isn’t enough time to fit everything from a 512 page novel onto celluloid. Why else would they make a mini-series of The Shining (1997) years later? (Note to self: I must get around to watching the mini-series to compare and contrast all three.) I appreciate there were well-documented disagreements between Kubrick and King as to what the film should look like, and you were probably never going to get a word for word adaptation from Kubrick, but does that make the film rubbish?

No of course not, it just makes it different.

Part of my inspiration for this post was a recent guest post from Yvetta Dourin at Lucy V Hay’s author site exploring the differences between the Hunger Games (from 2012) films and books and why, despite those differences, both mediums work (go and read Yvetts’s post and check out Lucy’s site for other book vs film comparisons). There perhaps aren’t as many fundamental changes between the Hunger Games books and films as there are in The Shining but the principle is the same; it is hard to fit every word of a novel onto the cinema screen, especially when so much of a novel relates the inner workings of the characters’ minds, their thoughts and feelings, something that it is much harder to do in a screenplay when everything needs to be visual.

However, what you can do is use the strengths of either media to get the themes and messages across to the audience. The Shining film and book may be very different, but the themes of mental health, alcoholism, parenthood etc etc are present in both. I have not read the Hunger Games novels, but I suspect the same can be said for them. Have a think about some of your favourite adaptations, and I bet there is a fairly robust pattern?


I recently finished reading the wonderful Miss Peregrine’s Home for Peculiar Children which I picked up just after seeing the film. I knew there would be changes and, without going into too much detail and avoiding spoilers, there are some significant differences, especially around the end of the story – the book and film are vastly different.


The themes of loneliness, isolation and being “different” are prevalent in both and, surprise surprise, I enjoyed them both. They can exist in the same world and both be great stories and, if you don’t like one of them, it doesn’t (or shouldn’t) affect your enjoyment of the other. The are just two ways of telling the same story. If you think about it, haven’t the classic folk stories that have been passed down from generation to generation changed over the years, but still retained their message? Fairy tales come in many different versions, but the messages are often the same. Stories are retold and interpreted over and over again, so why not expect the same when a book is adapted into a film? It is simply another telling or reinterpretation of the same story.

One of the definitions of “ADAPTATION” in the dictionary (admittedly in relation to biology) is:

the process of change by which an organism or species becomes better suited to its environment.

Films and Books are simply different environments for the same story to be told. The two mediums are very different and have their advantages and disadvantages over each other, but this does not make them mutually exclusive to your enjoyment. Where a novel can be very much internal and describe the invisible emotions that lie within a character’s mind, a film is much more external and visual; by their very nature, they will have to have differences. I could imagine that a stage adaptation of our favourite books and films would be very different again.

Yvetta comes to a similar conclusion in her excellent article. You will no doubt like one over the other, but it doesn’t mean you can’t enjoy both. Don’t narrow your view, enjoy them all and don’t assume something will be crap just because it is an adaptation; things just aren’t that black and white. I think I preferred the book to the film in the case of Miss Peregrine, but that doesn’t mean I didn’t enjoy them both immensely.

Stories are stories, we love telling them and having them told to us.

  • Do you feel that film adaptations of books are always rubbish?
  • Is there a particularly adaptation that makes you angry about the way a favourite book was treated?

The Joy of LRGB (M81)



Bode’s Nebula is a spiral galaxy around 12m light years from us in the constellation of Ursa Major. It is a target I have tried previously using a DSLR, but at a wider image scale than I can achieve with my newer ATIK camera, and had mixed results.

My first effort can be seen below in the same frame as M82, The Cigar Galaxy. It’s a fairly wide view, as expected with a large-frame DSLR. It was processed using basic GIMP tools after stacking with DSS.

A nice pair of subjects, but I ran out of time with the imaging and didn't do enough of the calibration frames. But not a bad first effort.

It’s not the greatest image in the world, but I was very happy with it at the time especially considering my lack of experience, the relatively basic equipment and what were relatively short subs; most likely around 3 minutes.

As I have since upgraded some of that kit, I have wanted to have another go, getting “closer” to the target. The much smaller sensor in my ATIK camera reduces the field of view which is available to my equipment. This comes with mixed blessings as although it does give a good narrow view for some Deep Sky Objects (DSO) it also struggles with the larger ones; M31 – Andromeda will never be “doable” with this camera/scope combination – at least outside of mosaic imaging, and I am not quite at that stage yet!

So, with my mono camera and ED80 set up on the NEQ6, polar alignment complete and not a cloud to be seen, I ran off 33 x 10 minute subs of  M81. Over later nights I added about 2 hours each of RED BLUE and GREEN subs binned 2×2 so I could get away with less time for each filter. Binning effectively combines groups of pixels into “superpixels” to speed up data collection. When binned 2×2, each group of four pixels becomes one, and total integration time is quartered. Although the resolution of the image is reduced by doing this, it is not overly detrimental to the final image quality as the detail in the image is provided by the Luminance frames which are not binned. Binning helps speed up data collection, under these cloudy and unpredictable skies. It is much faster to collect binned data for the RGB frames. For the image above, with just under 6 hours of Luminance frames, I would need 6 hours each of R, G and B. By binning the RGB frames I need just 1.25 hours of each.

After taking the Light Frames, I took to a darkened room and sorted out the relevant DARKS, BIAS and FLAT frames for each filter. I ended up with hundreds of individual frames that needed calibrating, aligning, integrating and processing before I could end up with any sort of image.

I used PIXINSIGHT and Warren A. Keller’s Inside Pixinsight book (highly recommended) to work through the process of calibrating all these frames and combining them to form a MASTER LUMINANCE and MASTER R, G and B Frames. I won’t go into the details of the workflow here as I am refining it as I go and will perhaps post a more detailed account of LRGB processing when I have a better handle on it myself!

When prepared the LUMINANCE and R, G and B MASTERS are combined to produce the colour image before some final processing is applied. From PIXINSIGHT I moved onto PHOTOSHOP for a few final tweaks and ended up with the image below.


Which I was quite happy with as a first “proper” LRGB image, but it did feel a bit garish and a little too saturated colour-wise; it didn’t look natural and I felt I may have “overdone” it with the processing, getting a bit carried away with trying to push PIXINISIGHT to get as much out of the image as possible. I wanted to try and get the fainter nebulosity in the background to stand out but, in doing so, pushed the rest of the image too far. Still, that might be something I CAN achieve when I develop more skills in processing. One step at a time and all that!

Because of this, I went back to the MASTERS and combined them a second time, working through the processing tutorials in the book, but holding back a little bit and not pushing it so much. Being a bit more restrained led to the following second effort.


Some of the fainter nebulosity is still visible, but only just, next time I may need to try some longer subs to get more signal into the image. While still not perfect (there is some ringing around some of the brighter stars) it felt a lot more natural and I was a lot happier with the image.


I started this image back in November last year and got to this point halfway through January. Processing astronomical images is not for the impatient, but it is very rewarding. Perhaps one of the most important skills to learn is patience, especially with the processing side of things. Although it does take hours and hours to collect the data required for these images, it can take just as long to process them carefully. If you don’t take your time and process with care and a light touch, you can very quickly ruin the data you have spent so long collecting. I’m getting better…but have a long way to go!

Happy New Year! A (nother) new start?


Well, there goes 2016 and good riddance for a number of reasons, including my failed attempt at reaching the goals I set myself at the start of the year. You can see what I “planned” HERE and just need to know that I didn’t make it! Not that it was all bad, I did get some rewriting done and got some great notes on a couple of screenplays, but I didn’t rewrite four.

Why? Well probably because I am easily distracted. Although I didn’t get the screenplay work done, I did get reading more as I had hoped and also, towards the end of the year, got involved with Twisted 50, Volume 2, a social approach to writing, that provides peer review on short-stories (up to 2,000 words) all with the aim of publishing the best in a final volume. Check out CREATE50 and have a go, it is open until the end of February.

And therein lies the rub… distraction. Distraction is bad enough at the best of times and I am very easily distracted; exacerbated by poor planning. Actually, CREATE50 was a ‘good’ distraction, but it still stopped me reaching the goals I had set myself.  It is great saying at the start of the year that I am going to do A,B and C but, without any sort of plan as to how I am going to get there, it is all going to go wrong very quickly.

So, this year, feeling fresh and ready, I am going to plan more carefully. As Lucy Hay says in this New Year post (among other useful tips) you need to keep track of what you are doing or you will lose your way very quickly. As a lone writer without much “physical” peer support, accountability can be a problem; who is going to keep shouting at me from behind the chair to keep me writing?

So this year, I am going to set a task to write a novel. I had a go at writing a novel with NaNoWriMo in 2015 and while, at the time, I didn’t feel it was for me, the experience of CREATE50 has made me rethink that and I fancy having another go and I am going to use the Writer Accountability group set up by Gary Graham via his webpage and Twitter. Through that system you can set yourself goals for outlining and writing a project and get support through the other members of the group and via the twitter hashtag #WRAC17. I am hopeful that, being in the same boat as a load of other writers, and having specific, measurable goals in place, there will be a lot more incentive and motivation to stick with the plan and, shock horror, achieve the objectives I am setting myself for 2017.

I’m not stopping the screenplays though and I have a couple that I will continue to focus on and rewrite. Another problem in 2016 was constantly wanting to write new ideas and I started yet another screenplay without finishing the others. While I guess it is important to have a “portfolio” it is probably no good if none of them are finished. So I will try and limit the distractions by working on just two screenplays this year and banning myself from starting any new ones.

Well, you know… unless they are REALLY good ideas! 🙂

Whatever 2017 has in store for you or whatever plans you have for your writing, keep at it, don’t get disheartened and make sure your goals are measurable and achievable. Not meeting goals can be frustrating and demoralising, so start as you mean to go on and don’t set yourself up to fail!

Happy New Year and Good Luck!!

What you can get away with….


When you have kids, and a love of film, something that can be frustrating is wanting to share your favourite movies, but not being able to because the content is not always appropriate. It is a constant balancing act between knowing your child and knowing the film; wanting to delight them, but not wanting to upset or scare them or expose them to content that they really shouldn’t be seeing.

I’d love to sit and watch the Lord of the Rings Trilogy with my two, but I fear that some of the darker battle scenes, with their various Orc and Uruk-hai would possibly be a bit too scary for them; certainly the younger of the two.

Of course, every kid is different and the BBFC classification system is invaluable in helping to make an educated decision, as are the parent guides on IMDB. They are also useful alongside my own knowledge of films and what I think may be acceptable to the kids. A recent trip to see Miss Peregrine’s Home for Peculiar Children was well-informed before-hand using these sites and discussing them with the kids.


In contrast, the 15-rated Deadpool has been sat on my watch pile for a few months now and I finally sat down to watch it last week. This was on my own, I hasten to add, NOT with the kids – although they said they wanted to watch it as a “friend” at school claimed to have seen it. I hadn’t seen it at this point but, with what I knew, there was no way I was going to let them watch it.


Sorry, kids, no chance – not for another 5 years at least.

I watched it and enjoyed it for what it was – a tongue-in-cheek superhero film that simply appeared to be designed for (adult-oriented) fun – which it was. However, I didn’t think it was appropriate viewing for 10/11 year olds; even the DVD Menu page swore at me!

I had also been toying with the idea of letting the kids watch Gremlins (1984) which I absolutely love, but is also rated a 15 (or at least my Blu Ray is) but I didn’t remember there being anything too bad, other than a bit of mild language and some green goo. I certainly didn’t remember it having anywhere near the level of “mature” content that Deadpool did. Ultimately the film is a lot of fun and tame by today’s standards and, when watching it, the kids could see this and were not at all phased by it. It was certainly a few steps away from the “reality” of Deadpool.


By the end of the film we wondered what all the fuss was about? I couldn’t help thinking that the classification was a bit heavy-handed for Gremlins, when compared to Deadpool. I was pretty sure it would be rated 12 if it was reviewed today and, possibly even a PG, if the swearing was removed and the goo was toned down slightly.

I went back to the BBFC website and, to my surprise, noticed that it HAS been reclassified as a 12A!

Where am I going with this?

“Who knows?” I hear you cry.

Well, it just got me thinking about how I decide what to put in my screenplays and the content that I can “get away with” in my children/family scripts. Times have changed and kids are subjected to a lot more media than they were when I was a kid in the 70s. Indeed it is difficult to protect them from exposure to a lot of things we would not have been exposed to when we were younger. The TV and Internet means that they are much more informed than I ever was (and probably am now).

So, it is important that we, as writers, are aware of the history of films and how “what you can get away with” has changed over the years. This isn’t so you can put as much “on the edge”, controversial material into your scripts as you can, but to help make sure we don’t dumb down or patronise audiences. Audiences aren’t stupid and they know what they like and what they expect from a certain rating/classification – it’s important that we know that too!

Do you think about the “rating” of your stories when you start writing them?

Or, do you just write and see what happens?


Cliffhangers – Always leave them wanting more!


A couple of years ago I was happily watching The Walking Dead on SKY and enjoying it immensely. However, we changed our TV provider, losing access to the series, and I was in the wilderness for a couple of years until we got back onto Sky and the first 6 series were available to me again. So, this summer, I started binge-watching TWD to get caught up from Series 3 to 6 ready for the return of Series 7 in October this year.

I wasn’t disappointed, the show is wonderfully written, directed and acted with great characters that I cared for so, by the end of Series 6, as Negan waved his baseball bat around in front of “our group” I was fairly tense and worried for all their futures.

Then the series ended, without the revelation of who was at the receiving end of “Lucille.”

At this point I was caught up and Series 7 had yet to start, so I had a look online to read some opinions of the series. I know the internet is not always the best place to go looking for “opinions” but I was amazed at the amount of vitriol aimed at the writers/production team for leaving us with a cliffhanger.


Do we now really need to have everything on a plate? Can people no longer wait for gratification in a world were we can pretty much get what we want, when we want it? I am sure there was a time when people would be happy to wait for gratification between episodes? What about leaving your audience wanting more or generating suspense and tension?


Was there as much of an uproar at the end of The Empire Strikes Back when we were left in limbo? Perhaps there would have been if the internet had existed in it’s current form but, for me, it just made things more exciting. I don’t necessarily WANT to wait, but it works to keep me coming back for more.

I’m thinking about this on the day I read, apparently, that the entire plot lines for the next Series of Game of Thrones have been leaked online.


I haven’t read them and have no plans to. I am happy to wait for the actual show, why would I want to spoil it now? As with the “death” of Jon Snow, surely the fun of having to wait for the next series is speculation with other fans about what might be going to happen?

Leaking plots like that is clearly a result of our “want it now” society and it’s sad that people struggle to wait for plot lines to develop naturally, unable to tolerate a season finale that includes a cliffhanger. Obviously, it is great if some strands are tied up, but why come back for more if all plot threads are finished in any one season?

Who knows?

I like cliffhangers and the Season 6 cliffhanger for TWD was brilliant; it left me wanting more and looking forward to the next season. I wanted to know what happened next, but I wasn’t going to moan at the writers, or scream about how unfair it was. It generates interest and a desire to see more.

But do you like them? Do you use them in your writing, or do you think they are a cheat?

Would love to hear what other people think about this…

… don’t leave me hanging!


(Obviously there are exceptions to the rule such as American Horror Story, before anyone starts – although you do get cliffhangers at the end of episodes rather than the season.)

Fiona Faith Ross

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