BBC Writersroom Page 4

Quote: Pilot @ September 13, 2007, 7:01 PM

Robin, is it permissible to send a sitcom script direct to the writersroom in screenplay format as opposed to theirs?

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Yes, it is. The writersroom boss also said she prefers the film format because it's simpler and saves paper. At the spec level there's no need to do the exact television production format like for studio sitcom or drama.

Quote: Mav42 @ September 13, 2007, 5:51 PM

Surely adhering to rules such as "three gags a page" serves only to compromise artistic integrity?

Are we not at a point where we can judge sitcoms on more than just the number of laughs?

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The problem is that if they put on sitcoms without enough laughs then *everyone* complains about it, the audience and the media have a field day. Much much more than if they put on a drama that wasn't very dramatic. They're under pressure.

There's no shame in not being able to write gaggy scripts, some can, most can't. The alternative is light drama or dramedy where you can be subtle and more arty. But half-hours are rare and you'll need to think about an hour.

Thank you Robin for answering our questions, it's most appreciated.

Yep - cheers Robin! Can you give an example of a 3 joke page from a broadcast sitcom - it'd be good to see how many lines that covers.

I actually think three jokes per page is the wrong way to go about writing a sitcom. I think writers should be given more leeway and told to write something like nine jokes every three pages. The reason I say that is because I see so many jokes plugged into gaps where they're not necessary just to keep up the quota.

Just when you think there's a serious moment and you can get closer to the characters it's often filled with a lame joke and then another one. A perfect example of how it should be came in the OFAH episode where it was Grandad's funeral and Rodney was unhappy with Del's jokey behaviour after the death. Del was quick to point out, in a very tender moment, that that was the only way he can deal with it.

You have to be able to have serious moments like that without the constrictions of having to throw in a couple of jokes.

Quote: David H @ September 14, 2007, 9:55 AM

I actually think three jokes per page is the wrong way to go about writing a sitcom. I think writers should be given more leeway and told to write something like nine jokes every three pages. The reason I say that is because I see so many jokes plugged into gaps where they're not necessary just to keep up the quota.

Just when you think there's a serious moment and you can get closer to the characters it's often filled with a lame joke and then another one. A perfect example of how it should be came in the OFAH episode where it was Grandad's funeral and Rodney was unhappy with Del's jokey behaviour after the death. Del was quick to point out, in a very tender moment, that that was the only way he can deal with it.

You have to be able to have serious moments like that without the constrictions of having to throw in a couple of jokes.

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The thing is even with that emotion there is still the three gags a page. The OFAH moment I remember is the miscarriage episode when Del is distraught in the hospital room. We get the sadness of the scene but there are gags and we laugh. I say gags not jokes as it could be physical humour or even a funny look as well as actual jokes.

I think the best sitcom jokes wouldn't be funny when you tell it to a friend down the pub but they rely on character and story and context and don't make sense otherwise.

Quote: Simon Stratton @ September 14, 2007, 7:51 AM

Yep - cheers Robin! Can you give an example of a 3 joke page from a broadcast sitcom - it'd be good to see how many lines that covers.

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There's three sitcom scripts at the writersroom.

The Smoking Room http://www.bbc.co.uk/writersroom/insight/downloads/scripts/pantball.pdf

Marigold http://www.bbc.co.uk/writersroom/insight/downloads/scripts/marigold.pdf

Two Pints of Lager... http://www.bbc.co.uk/writersroom/insight/downloads/scripts/two_pints_03-10.pdf

If you look at Marigold, from a new writer, there's no 'jokes' as such but what's funny, and unusual, are those fresh characters and the relationship between them. Once you get that right then when they talk it isn't banter and joke swapping but the son wanting to be left alone or the mother wanting them to be a happy family and the comedy comes from that.

The Smoking Room is a bit more traditional set-up-punchline and is very gaggy.

While I won't attempt to defend Grown Ups, I do find early Two Pints funny. If you don't it's still a good script to study. Why is it popular? Can you see where the gags are? Even if you don't find them funny can you see how other people might?

Lots of people don't find The Office funny. including the head of comedy at the BBC but he realised that other people would and so gave it to someone else to develop.

I think 3 gags per page is correct.

If you've got lots of lines that aren't jokes then take them out. When working on a new draft, I take out any bits of conversation that are just chat and not jokes. Or, I get to a joke quicker by trimming the feed lines.

Kogan and Woladarsky, when writing for The Simpsons, aimed for a gag every other line I do believe.

EDIT: Is the three gags rule a Writersroom thing, or a BBC comedy dept. general thing in a studio sitcom . . . thing. If that makes sense. Do BBC comedy producers get primed to look out for three gags per page? Or just the people in the WR.

Quote: Robin Kelly @ September 16, 2007, 9:01 PM

Lots of people don't find The Office funny. including the head of comedy at the BBC but he realised that other people would and so gave it to someone else to develop.

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Correct me, if I'm wrong, but didn't the Office die on its ass as a script and only found a commission when a pilot was filmed and the Beeb execs could 'see' the comedy?

It started as a Stephen Merchant video that he made on a BBC directing training course (with Gervais of course). It went to Jon Plowman who commissioned the script.

Good old Jon...

Quote: Seefacts @ September 16, 2007, 9:29 PM

Is the three gags rule a Writersroom thing, or a BBC comedy dept. general thing in a studio sitcom . . . thing. If that makes sense. Do BBC comedy producers get primed to look out for three gags per page? Or just the people in the WR.

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It was a BBC TV comedy exec who told me that. I would hope that the writersroom aren't judging if something is funny or not, unless there are comedy specialists there who read.

I should add that the writersroom reject on lack of characterisation so there's no point in adding gags if the characters are underdeveloped. If you look at any sitcom, it's the characters that we remember more than the situation or premise or gags. It's how those characters deal with the situation that makes people interested. Reading shoehorned gags that are irrelevant to character or story is as emotionally involving as reading a joke book.

Theoretically the gags might be funny out of context, told to a mate down the pub, but they have to be funny in the context of character and so get the reader emotionally involved.

Those characters should be psychologically true - where they are doing things because it makes sense and not just to shoehorn in a gag. One script I read had an old pub landlord ranting about young people and their stupid music and then a couple of speeches later he was referencing the lyrics of an obscure indie band as part of a gag. That was on the first page and I knew I didn't have to read anymore because the writer didn't know who the character was. Instead of the indie band gag, you substitute a gag the character, who hates indie music, is more likely to say. What music does he listen to? What did he listen to as a kid?

Al Murray - another pub landlord - only has to reference "Queen" to get people to laugh. No gag at all but we know that as a character he's obsessed by them and it's that obsession characteristic that's funny.

I just wanted to say thanks for all your posts Robin. They've been a welcomed reminder of what one needs to achieve to make a script work.

Yeah thanks Robin for discussing these issues with us, its very worthwhile (for us, anyway).

SlagA is right, the Office was actually rejected by Jon P and it was Ash Atalla who pushed it through. Then Jon P said he didn't think Ricky G should be in it, until he got convinced again - i think after the pilot. That's what was said on Comedy Connections. However, there must be three jokes per page in it - a lot of visual and embarrassment ones.

I know Royale Family was also questioned as they couldn't believe how many pauses there were. But luckily Caroline Aherne had success with Mrs Merton so they gave her the break.

I think in both cases, the comedy comes from the writers actually visualising how it would play back on film which is something I always try to do.