Tom Green

I reckon most writers feel they know what high concept means - an idea that's instantly understandable and captures the whole script in a phrase. Get the concept high enough and you only need the title: Snakes On A Plane.

But digging a bit deeper today I found a couple of articles that got me thinking.

Initially I found them quite persuasive.

From this piece by Steve Kaire the point that stood out for me was the first: 'Your idea should be original and unique'. Hard to argue with that.

And in Conquering the high concept James Bonnet  suggests four requirements for high concept pitches:

1.    The fascinating subject,
2.    The great title,
3.    The inciting action, which is the problem of your story, and
4.    The hook, which reveals the uniqueness or special circumstances of your story.

Again, hard to argue with.

But on reflection I'm not sure if you can be this prescriptive.

Yes, an idea must be fascinating else why would anyone commission it. But how do you define fascinating in this context? Bonnet can't. It's completely subjective. Come to think of it, 'Original and unique' only really means: hasn't been done before in precisely this way or if it was it was a long time ago and no one will remember.

Likewise 'great title' - overwhelmingly a matter of opinion.

Meanwhile, the inciting action and the hook are (arguably) standard script requirements, that, I think, might or might not be part of a high concept pitch. 

Instead, I think the key to high concept pitches is in what Bonnet says about why they're important: because commissioners don't have time to try and work out what your script is going to be about.

So, what high concept really means is expressing an idea in the clearest and most concise way possible. Everything else is just a matter of opinion. (Actually, even 'expressing an idea in the clearest and most concise way possible' is a matter of opinion, but never mind)

So, there aren't high concept pitches and low concept pitches. There are just good pitches and less good pitches.

Maybe.

Play - scene 1 (first draft)
Novel - Chapter One (first draft)

I've never witnessed such a reception for a play. Any play, let alone a new play. Standing, cheering, shouting.

A stunning, heart-breaking, brilliant performance by Mark Rylance and a wonderful, perhaps great, play by Jez Butterworth.

A play about one man, but also about England past and present. I was particularly struck by the sense of the spirit of England belonging to outsiders - in this case a Romany.

Incredibly moving - a woman in the circle was sobbing for the last 20 minutes - and very funny. Bravo.

Blazing hot sunshine, cricket in full flow - must be the start of the football season. ASo, off to The Valley...

A few weeks ago When Saturday Comes asked for my predictions about Charlton to go alongside those of fans from every other club for the latest issue. Here's what I said:

1. Realistically, how will you do?
Feeling optimistic: mid-table.

2. Which teams did you like and dislike most last season?
Liked Swansea. Disliked the team of rubbish loanees that Charlton used.

3. What was the best moment of last season?
News that Pardew was leaving.

4. What was the worst moment of last season?
News that Parkinson was staying.

5. If your club had a smell what would it smell of?
The water from a bouquet of flowers left in a vase for three years.

6. Who will be promoted and and who will go down?
Promoted: Leeds, MK Dons, Huddersfield
Relegated: Wycombe, Yeovil, Stockport, Orient

See also: Blairspeak (unfortunately I couldn't find any clips of those Conference speeches)

Claire: So what were you thinking?

Howard: Sorry?

Claire: In the gents. You said you were staring in the mirror thinking.

Howard: Yes, right. I was  thinking about how...