By Alex Matu
PART 1
Seasoned scriptwriter-producer, Kiboi Peter Kuria, is among a premium crop of storytellers who’ve been bringing characters to life on our screens post-2005. I stress this point in time because it marks Kenya’s TV market’s steady surge in quality local content production. A string of entertaining programs hit the TV circuit post 2005 and it was evident a lot of preparation went into their creation. Thanks to guys like Kiboi, shows such as Tahidi High, Lies That Bind, Mali, Block D, Changes et al were evolutionary to our industry.
In TV, Kiboi’s written Wash n Set, Be the Judge, Block D, Sumu La Penzi, and Jane & Abel. On Radio, he’s scripted for Hafla Radio Drama and the International Emmy winner Shujaaz Radio Series. He’s worked for several major studios including KTN, NTV, Spielworks Media and Shujaaz FM.
In this first portion of our two part interview, Kush (as he’s called around TV circles), delves into his choice of career and the journey so far.
Thanks for giving this interview. Tell me how you got into writing for TV and radio.
If you had asked me ten years ago what my career choices were writing for TV, radio and film would not have featured in the top ten, not even top 100. But as it were when I came across a story I really felt ought to be told back in 2006, the journey that has led me here begin. In a nutshell in the 6 years I have been a screen and radio writer I have been privileged to work on some great shows. I have also written 3 produced movies and several others are in the pipeline.
How have you seen the industry evolve in the recent years?
Artists are being given the space and platform to not only exercise our craft but also to express our vision and earn a living from it. Not long ago screenwriting was treated as a side hustle. Because of unpredictable job patterns and wayward producers one couldn’t rely on screenwriting for daily sustenance but with the structures put up by producers like Dorothy Ghettuba there are jobs for writers, actors and crew throughout the year thus we are able to concentrate on our respective crafts instead of worrying about the next job.
Evolution has also been in terms of artistic freedom. I headed the writing team of an upcoming show called Jane & Abel and we have had the unprecedented freedom to pursue storylines we felt would bring the series to life. Subsequently we have defied some conventions and pushed the envelope in some areas and production has been gracious enough to stand with us. It goes without saying that an artist’s biggest dream is to see his vision come to life.
Talking of writing teams, this is a concept that is just starting to be applied into TV show development in Kenya. Producers used to task scriptwriters with writing an entire season by themselves.
You see, story is king. All works of art are judged by the story they tell more so on TV, Film and Radio. To this end the need for proper story development structures cannot be over emphasized. I have found team work to be a great asset in the story development process. Ideally the story development team should consist of a mish-mash of society, from the experienced to the inexperienced, a bit of gender balance and if possible a lay man, that is someone who is not a writer per se. This is because writers are all about drama, drama and more drama! “Complicate the life of the protagonist even more, add layers to him!” Is a common phrase bandied around in writers’ rooms the world over but sometimes we need a voice of reason to whisper to us “that doesn’t happen in real life”.
This picture shows the writing team for breaking bad at work and the environment and personnel involved in the process of creating the idea for the show.
Picture from http://cdn.filmschoolrejects.com/images/Breaking-Bad-Writers-Room-640×357.jpg
What makes this a fulfilling career for you?
Being a screen writer can both be the most fulfilling endeavour and the most gut wrenching. There is no greater joy I know than seeing characters you conceived in your mind come to life on screen and deliver their lines better than you anticipated when writing. Hearing people discuss your characters and take sides in their conflicts is a bonus I take every day. However the same applies when a scene falls flat for a myriad of reasons or when what you thought was a killer punch line passes without a soul noticing. The feeling you get is akin to wishing the floor would open up and swallow you whole.
As head writer does the prospect of creating a show that might flop scare you?
A head writer is a screenwriter on steroids. Ultimate responsibility for the failure or success of a story falls squarely on your lap. It is a huge responsibility to bear but once it works out the feeling is unparalleled. The key to being an able head writer I think is to see the story both in its entirety and its most minute details at the same time. Kind of like looking at an expansive forest but knowing each individual tree intimately, a huge task by any account, but one that has to be done. It does help to be open minded, be able to take critique and to be ready to go back and amend storylines where they don’t work. After all, writing is rewriting.
Next week in part 2, Kiboi discusses his book Eastlands Stories and doles out advice to aspiring scriptwriters and actors.