Oh this was fun to write! Have you seen Roy on CBBC? The cartoon boy in a real world. Well this is the prequel – Roy is five years old instead of ten. So it’s less about fitting in and more about finding out. He is a great character and the show is a lovely crossover from preschool to big kid content and I was very pleased to be involved.
This episode, Dr Roy, which involves bandages, biscuits and a ‘ba-doom ba-doom’ big hearted little boy, was broadcast a week or so back on CBeebies and of course I missed it. But hooray for catch up telly! If you would like to watch it, then here’s the web address: https://www.bbc.co.uk/iplayer/episode/b08ffx89/little-roy-18-doctor-roy
My first radio interview will be broadcast tomorrow Tuesday 26th July, 1530hrs BBC Radio 4. What’s the aural equivalent of ‘blink and you’ll miss it’? Probably ‘poke your finger in your ear to scoop the wax out’. Although if your ears are fairly clean you won’t miss it all as my bit was going to be about five minutes long.
It came as a big surprise. That tremendous journalist, comic and role model Timandra Harkness got in touch to talk about how incongruous cinematic moments can throw us out of the film’s story world. We’ve all groaned at plot holes and continuity errors but what about when a filmmaker does this sort of thing deliberately? What’s going on and why? And why was the tremendous journalist, comic and role model Timandra Harkness asking me these sorts of questions?
The Human Zoo looks at current events through the lens of psychology. This episode is called News of An Atrocity, the Psychology of Rare Events and looks at why we are more attuned to the dangers of exceptional situations, such as acts of terrorism, than to more everyday threats such as a car crash.
Part of the programme looks at how we use stories to make sense of the world around us. How the patterns, rhythms and themes of a constructed world help us deal with the fears and uncertainties of real life and contribute to our well being. That was where I fitted in although I will have to listen to the programme myself to remember exactly what I said. I know there was talk about Doctor Who, and the importance of getting the right breed of cow in your costume drama and I may even have said “Verfremdungseffekt”. ‘m pretty sure I mentioned Gumball, Ned Stark’s death and David Lynch, although possibly not in that order.
And we came up with the title of my forthcoming Screenwriting manual: “Bury the Wizard.”
Thing is, I didn’t know I had a forthcoming screenwriting manual. Another example of how life is full of plot holes.
Me! I had a brilliant evening at the Sandford St Martin 2015 Awards last night. OK so I didn’t win an award, but then I wasn’t up for one: I was a juror. But I came away from Lambeth Palace feeling like a winner. The evening had celebrated some of the best, most thought provoking, meaningful and, in some cases, uplifting media content of the past year: radio and TV documentaries, sit coms, murder mysteries, period dramas, bio-pics and everything in between. Some of the programmes had flown under the mainstream radar – the winner of the children’s award for example (Fettle Animation’s ‘Children of the Holocaust’ BBC 2) had first been broadcast at 4 in the morning as a teaching aid for schools! – so there were loads of titles that I came home wanting to seek out, others that I wanted to watch again.
The best thing though was being in the presence of some quite outstandingly wonderful people. Award ceremonies are always full of outstanding people, we’re there to celebrate the most talented after all. But this room was full of people who were not only talented and not only nice but really rather wonderful: men and women who clearly care about their work beyond personal ambition.
The winners of the Sandford Awards are can be found at http://sandfordawards.org.uk/the-awards/2015-awards/2015-award-winners/ I think you can also view the programmes there. Definitely worth it.
So why did I feel like a winner myself? Because:
But the best bit?
The best bit, the bit I enjoyed most came right at the end when fellow juror Tim Herbert and the winners of the Children’s Award, Producer Kath Shackleton and Director Zane Whittingham of Fettle Animation and I were about to leave. Standing in the hallowed hall, the home of the head of the Church of England, with its oak paneling and Tudor fireplace, surrounded by oil paintings of all the Archbishops that have gone before, surrounded by history and the host of unseen witnesses, the cry went up, “Anyone coming for a beer?”
Like I said, I was in the presence of some quite outstandingly wonderful people.
Earlier this spring, the Children’s Media Foundation was invited to take part in the jury for a new Children’s Broadcast Award. Having recently joined the CMF’s board, I took great pleasure in this my first official duty; as if I ever need an excuse to watch lots of children’s television programmes and discuss them over lunch.
The organisation giving the award is the Sandford St Martin Trust, an independent and non-profit organisation that seeks to promote and encourage excellence in religious programming and religious literacy amongst policy makers, journalists and individuals. To this end it has been making annual awards for the best programmes about religion, ethics and spirituality since 1978.
This year the trust has introduced a new award for children’s content. It was championed by Sandford trustee and broadcaster Roger Bolton who, like the Children’s Media Foundation, recognizes the importance of children having quality and variety in programming made especially for them: “It is critical that children and young people are exposed to imaginative works that open their eyes to the world they share and the beliefs people hold.”
There were ten programmes on the shortlist. Submissions were for radio, television and online broadcasts and came from a range of producers; from broadcasting behemoths such as the BBC to small religious charities and producers of teaching material. As a writer of fiction, I usually gravitate to drama but there were some brilliant documentaries too. There were some programmes, both fiction and non-fiction, that left me cold: a little too preachy and putting the ‘die’ into didactic. But the ones that really worked, that made me think and feel and consider in new ways, had one thing in common: people, real people’s experiences at their heart. Even the fictional ones. Their testimonies needed no explanation, no editorial interpretation. Of course there was editorial input: duh! But the programmes that worked best were constructed to let the stories, the ideas, speak for themselves.
But how can you compare a preschool radio show with a fluffy Christmas special or a hard-hitting teen documentary? That’s where children’s programming differs from the grown up stuff: it’s so much about the audience. Programmes have to be age appropriate; giving or considering a child’s perspective, and the best did just that.
Having watched the shortlist and decided which was the most fabulous and worthy winner of the award, I hied me to Westminster to meet with the other jury members: independent producer and children’s author Hilary Robinson, National Geographic Kids editor Tim Herbert and Senior Lecturer in Media Practice at Salford University Beth Hewitt.
It was a fascinating process: we each brought different perspectives and expertise and there were biscuits. We were pretty unanimous in the way we shortened the shortlist but then it got …difficult as we tried to tease out the best of the best. Like the Mole in The Wind in the Willows, we “scraped and scratched and scrabbled and scrooged and then we scrooged again and scrabbled and scratched and scraped” until at last – “pop!” we had a runner up and a winner.
And the Winner is….
To be announced this evening at Lambeth Palace….
You expect me to tell you now? I’m off to get ready for tonight’s ceremony!
Today, Friday 28th November, and Monday 1st December, I have episodes of “Bing” screening on CBeebies. Today’s episode is called “Jingly Shoes” and goes out at 9.10am and 1.10pm. If, like me you were doing something this morning and missed it, it will also be on BBC i-player.
“Looking After Flop”, goes out at 9.10am on Monday and then repeated at 1.10pm (and then also on BBC i-player.
I loved writing for these delightful characters; each one is full of raw emotion, wonder and real love, reflecting the lives of the very special people this show is aimed at, three to six year olds and their carers. I hope you and more importantly, any little ones you know, enjoy watching them. I’d love to hear what you think.
I’ve just come back from six days in Munich at the 2012 Prix Jeunesse International Children’s Television Festival. Fantastic. A biennial festival and competition bringing together children’s programming from over seventy countries with the intention of improving the quality of children’s television world wide, deepening understanding and promoting communication between cultures. I read the brochure.
To be fair, if you were there I think you’d agree that the festival achieved all that. This year’s theme was ‘watch, learn and grow with children’s TV. And I did. The watching was extreme: 85 shows in competition, plus about 400 available to screen outside. The learning was extensive: from what it’s like to have or live with autism, to how to wash a willy, to how to make mohitos, to what challenges programme makers face in places like Bhutan (not saying where I learned what or from whom). And the growing was, perhaps too much growing: Kartoffelsalat how I love thee. So…
Jayne’s best bits:
Jayne’s Worst bits:
If you were there, I’d be interested to know what your best and worst bits were.
The range of shows from across the world was fascinating – seeing how different cultures respond to our stuff, learning what they enjoy, or don’t. I admit I felt a little disappointed though: I went expecting to be overwhelmed by brilliant new content and style. But nothing seemed truly innovative or daring. In fact too much seemed to use the bells and whistles of commercial American shows. However, without the tight construction of a well crafted script, such imitations were poor.
Oh one other thing I learned watching all this stuff: we are so lucky in the UK. Our content makers are among the best in the world. Companies like The Foundation, Kindle Entertainment, Darrall and MacQueen, Plug-In Media… the inhouse productions from CBBC and CBeebies… they are beacons of brilliance. I hope I wasn’t the only person to notice this and that rather than aping commercial American stuff, overseas broadcasters get inspired by UK storytelling and production values and so buy our programmes AS WELL AS finding their own ways of telling stories that will feed back and inspire me.
Today I shall mostly be… Oh please don’t expect me to do this kind of bloggy nonsense. Allow me some dignity. Dignity! Ha have you seen my photos? I think the only thing I should say on this most auspicious occasion is:
Check out Sarah Bird Ltd.
My thanks to Sarah for holding my hand during this online birthing process. It has not been too messy and we didn’t need any pain relief. Although if we’d had the option of gas and air, I for one would always take it.