Firstly, A Bed For The Boy did okay at the Grim North Screenplay Festival, and it’s nice to know it wasn’t a fluke — imposter syndrome is always drinking alone somewhere at the back of my brain, giving me evil grins whenever I look over.
Secondly, there are only five of us on the shortlist, and I’m thrilled to have made such a small cut from such strong competition. That’s really grounding.
Third, in the incredibly unlikely event that I win, there’s a £5,000 production fund for the prize. The story is about a man trying to move a sofa across an estate by himself, and that would be enough to do it justice.
Fifth — perhaps finest of all — the shortlisted entries will be performed live by actors. Normally this would take place onstage at the awards ceremony, but with the Covid-19 lockdown, the event has moved online this year, and the readings will be streamed live instead. This is a really big deal for me — it’s the first time I’ll see one of my stories performed by actors. Regardless of the rest of it, that’s an incredible thing, and I’m humbled.
I’m also really looking forward to seeing the other final pieces, all written by some staggeringly accomplished filmmakers — there’s Lambing by Katie McNeice, How to Hire an Escort by Werner Vivier, The Influencer by Rachel S. Thomas-Medwid and Out of Sight by Jesse D. Lawrence. I count myself incredibly lucky to be sharing a shortlist with writers of their experience and quality. Best luck to them all!
Finally, a big big thanks to Paul Holbrook of Shunk Films for giving me a heads-up about the competition. Thanks comrade!