WHATS GERVAIS'S GOLD NOKIA NUMBER Page 2

Quote: Reiss Ellesse @ April 18, 2007, 2:06 PM

Hey Who. Finding it difficult entering the world of sitcom writing, join the club. Or help me buy one to whack Gervais over the head then we can steal his gold Nokia mobile and add our name onto his address book. Once our name is on it then we'll be accepted into the highly nepotistic world of the BBC's commisioning people. Or we could try walking down Notting Hill with a large cup of coffee hoping to bump into the blue eyed boy himself (RICHARD CURTIS) and ask for romantic comedy writing tips. Failing this we could just stop writing until the 90's comes into fashion and the 70's sitcom is finally dead and buried. Or just write for another channel. Any advice for a frustrated writer that has been rejected six times by the BBC.

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There's a big issue with the BBC - in that they tend to - at the moment - stick with what they know and not go beyond it. At present they are looking at group sitcoms; Romans' Empire is a good example of this, as is I'm With Stupid. Currently I understand a group of writers have been assigned to write speculative scripts and develop ideas. Notionally, those writers should have come from somewhere, and it's probably - though not cast iron - where you are now. Sending in stuff until the end of time and getting the same terse response.

The BBC is a monolith and you never hit the same key twice with the same force. You are better off sending stuff to the openings in the free sector (Ind Production Houses) that accept material or look at material.

Increasingly, unless you have a 'in' at the BBC, is it difficult to get in. And those 'ins' are becoming more and more difficult to get, mainly because there are many, many people sending material around which is not that great.

So in short, production houses are best. And keep an eye on the broadcast press websites. I know ITV are starting to look at comedy again after some appalling dramas. Anotehr thing you can do - which may give you muscle - is to submit material to the actor / actress who you would like to appear in your project. If you can get someone like that on board, then you have a better chance of shifting your project into the next phase. I did that and I got a lot further than I would have just mailing it into a Pro Ho. (Production house, not Pro Ho)

As I mentioned elsewhere, the odds of a non-commissioned writer trying to write then sell the hardest thing in TV comedy are super slim. You are massively stacking the odds against you. For two reasons:

1) Reputation and contacts
Like any industry, track record and proven experience count. Simplistically, because what we're all trying to do is incredibly hard, anyone that's successfully done it will be much more carefully considered than a writer who's not proven. Also, a non-commissioned writer using the internet might find 4 possible places that might consider his unsolicited script. The commissioned writer (normally with an agent) will probably have 10-15 possible places that will consider his script, because a) he's knows and worked with other contacts (e.g. producers) that would never be made 'public' and b) most production companies will look at commissioned writers, whereas many won't look at non-commissioned writers.

What this means, statistically speaking, is a pro-writer has many more 'chances' to generate interest than a non-commissioned - and that's before we get to the second reason...

2) Quality
The vast majority of sitcom scripts just aren't good enough. As to why that is is another thread for discussion. This may be an hard one to swallow - but it's true (and I should know, I've written a few that weren't good enough!).

Writing narrative comedy demands soo much from a new-writer all in one go. Most don't have the experience or raw ability to pull off 30 mins of narrative comedy times 6.

As I've said elsewhere, I think as a new writer, in the first instance you're much better off starting to write/sell gags and sketches. Build your experience and contacts THEN focus on writing a great sitcom. This route helps address the two reasons above, because you'll know more people, have a track record of sorts and you'll be a better writer. All of this improves your 'chances' of a commission.

Only one sitcom that I know of has been commissioned from non-commissioned writers in the last 10 years - Operation Good Guys. Out of many thousands of scripts written.

In a nutshell, give yourself the best chance of success!

Quote: takeabow @ April 25, 2007, 9:20 AM

Only one sitcom that I know of has been commissioned from non-commissioned writers in the last 10 years - Operation Good Guys. Out of many thousands of scripts written.

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And, I believe, those guys were actors with, presumably, industry contacts that most people here don't have.

However, as I said in the Critique Forum thread regarding my comedy drama/sitcom returned by BBC Writersroom, BBC Writersroom say they will 'recognise' talent and then 'promote' that talent with workshops, getting involved in teams, etc. So my 'route' is to submit a sitcom/comedy drama to WritersRoom not for commission but as a first step on the rickety ladder.

I a Thanken you muchley. my latest sitcom "Sunflower Mile" will soon be finished so hey ho where will it go. thanx for the advice Reiss Ellesse

Quote: Ed Parnell @ April 25, 2007, 2:57 AM

There's a big issue with the BBC - in that they tend to - at the moment - stick with what they know and not go beyond it. At present they are looking at group sitcoms; Romans' Empire is a good example of this, as is I'm With Stupid. Currently I understand a group of writers have been assigned to write speculative scripts and develop ideas. Notionally, those writers should have come from somewhere, and it's probably - though not cast iron - where you are now. Sending in stuff until the end of time and getting the same terse response.

The BBC is a monolith and you never hit the same key twice with the same force. You are better off sending stuff to the openings in the free sector (Ind Production Houses) that accept material or look at material.

Increasingly, unless you have a 'in' at the BBC, is it difficult to get in. And those 'ins' are becoming more and more difficult to get, mainly because there are many, many people sending material around which is not that great.

So in short, production houses are best. And keep an eye on the broadcast press websites. I know ITV are starting to look at comedy again after some appalling dramas. Anotehr thing you can do - which may give you muscle - is to submit material to the actor / actress who you would like to appear in your project. If you can get someone like that on board, then you have a better chance of shifting your project into the next phase. I did that and I got a lot further than I would have just mailing it into a Pro Ho. (Production house, not Pro Ho)

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ITV used to be quite good when Sioned Wiliam was in charge, but since Paul Jackson has taken over, they'll only look at stuff from agents. I had a meeting with a chap at ITV2 recently, and he was quite positive and open to ideas. I'm working on stuff for him as we speak - the ususal deal, no money, no promises, but they'll read it and consider it.

Wow...great advice thanks. But how do I get actors addresses, unless I buy a massive telescope and a box of milk tray and stalk them every minute of every day. I know Madonna goes to Africa a lot (possible airport stalk) and that steve marchant's quite tall and easy to find (hide on top of the telecom tower) but any advice on French and Saunders hang outs. I know I have the talent, give me a topic and ten minutes and you have a good script any day of the week. once again thanks for your advice very muchly, though any more would be greatly received. Reiss Ellesse ( thye french comedy writer)

Quote: takeabow @ April 25, 2007, 9:20 AM

As I've said elsewhere, I think as a new writer, in the first instance you're much better off starting to write/sell gags and sketches. Build your experience and contacts THEN focus on writing a great sitcom. This route helps address the two reasons above, because you'll know more people, have a track record of sorts and you'll be a better writer. All of this improves your 'chances' of a commission.

View original

Good advice, but SlagA started a topic where everyone can put info of places where we can sell gags and sketches and, unfortunately, it is currently empty. So do you know of any places that do this as I've been looking but not finding.

The BBC had a few radio shows but nothing at the moment.

Hello Keith. Do you have contacts for ITV2? Are they separate fromITV1 when it comes to this kind of thing?

Great advice will take it under my breastical muscles. At the mo i'm writing a sitcom called "Sunflower Mile" about the going ons in a little french village full of pretentious paisley cravat wearing ex-pats living next to a young brit couple from Essex. Also a sketch show called "Planet Bubble...gum" about all the things i hate about modern telly containing twelve charaters... Mr Tarquin Farquois--the rent a critic.(will critic anything) The reality family. little miss socialite. and past it man (but wants his fame back). and many more. I noticed the idea on the forum but I dont fancy being one of a team of twenty thousand million writers. Think of the credits. maybe two more would be nice, but hey i've gone this far.

Quote: ContainsNuts @ April 30, 2007, 5:05 PM

Good advice, but SlagA started a topic where everyone can put info of places where we can sell gags and sketches and, unfortunately, it is currently empty. So do you know of any places that do this as I've been looking but not finding.

The BBC had a few radio shows but nothing at the moment.

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Sorry, I don't know specific shows as I don't look for them! They come and go though so keep hunting.

Radio is a good place to start.

The key point I'm making is the number of opportunities and the likelyhood of success for sketches/gag writing is an order of magnitude higher than it is for a sitcom.

Operation Good Guys is the only one in the last 10 years that I know of (and as someone else pointed out, they had a few 'in's as performers).

Contrast that with the number of sketches/gags that have been accepted by new writers over the same 10 year period. It's 100's to 1.

The other point is, most people aren't good enough when they start, you have to learn by writing lots and lots, that obviously doesn't happen overnight.

I agree with what your saying matey. I started this forum because i write alone in France. Sometimes its like shouting down a well full of deaf umperlumpas looking for something they cant describe but need in a hurry. I will keep on trying but it might be easier with some help. I've wrote to several companies but they also dont know what they need, its just trying to reach that finish line without any decent Nike's. The forum offers good advice i just want a little bit more. I want the world baby. Anywho i'll keep on working until my fingers shorten and my head implodes. Cheers.

Quote: Reiss Ellesse @ May 1, 2007, 1:39 PM

I've wrote to several companies but they also dont know what they need..

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All they know is they want hits, because they are commercial entities that need to make a profit to stay in business.

In my experience, they know what they want when they see it. I (as a writer) wouldn't try to second guess what they (or the market) wants in comedy, you're on a hiding to nothing.

Best advice is too write what excites and interests you and makes you laugh - in your own style - because nobody does you better than you!

Then find out if other people like it too.

Broadcasters and indy's like material that has a distinctive voice, because if it gets made that will differentiate the show over the many others out there.

I remember reading a channel brief that said they were looking for comedy that was 'laugh out loud funny'. Surely that's what they've always been looking for! Or maybe that 'requirement' is a sad indictment of lots of current comedy, that it isn't 'laugh out loud funny'.

Cheers matey I like your advice. It sure gets hard writing alone allday in france but atleast the lizards entertain me when the rush along the ground looking for cheese. But at least I haven't sold my sole to the Bordeaux 82 yet.
Though I do eat to many canapes. I hope your writing well Reiss in France.

I totally agree with what you are saying takeabow, and I am keen to submit gag and sketch material. I think the opportunities might be drying up here as well.

I've heard people talk about to submitting stuff to Dead Ringers in the past, but DR have stopped allowing that, then Parson's and Naylor, but last time they only wanted gags not sketches.

Its interesting because a lot of the channels are saying that they are focusing on new comedy talent but I haven't seen too many opportunities yet.

On 4Laughs pointless site I had some sketches featured by the editor where people had kindly suggested they would be great on Man Stroke Woman. But they don't accept unsolicited stuff. I'll keep hunting.

I've recently decided to dedicate more of my time to writing sketches.