Quote: Buster Spleen @ March 15 2011, 11:05 PM GMTThink I'll stick to try writing for YA. Attempting to be funny is harder than walking into a lamppost.
I may be being completely retarded here, but what do you mean by writing for YA?
The Sitcom Mission 2011 Page 82
Sorry, Young Adults.
Well another 50 pages have gone since my last post here so I'm buggered if I'm going to read them all.
Firstly well done Griff.
Yes - I didn't succeed this time but there's no point having a go at Simon and Declan. They've got knowledge and experience of what works. You can never really fairly judge your own stuff and looking through so many scripts in such a short time is a major achievement. They can't have read everything but you need to hit them in the first couple of lines really.
I have just read this entire thread from beginning to end in one go. That's 89 pages and 1323 posts and now my eyes hurt!
Reading it in one continuous stint gave me a glimpse into the fascinating journey of entering a script into this competition. It takes the reader from the inital announcement that the Sitcom Mission had begun, through the fears of formatting and the writing do's & dont's, the uncertainty of deadline dates, the question mark over the number of scripts one can enter and the race to get the work submitted and get that all important email acknowledgment by 11.59pm on the 28 Feb.
But then it got even better. A few replies from the judges concerning things that became repetitive and annoying sent shock waves of terror through the writing camp. Did you spell something wrong? Was your grammar out of sorts? And worst of all, did you do a flat share sitcom?? Even those who definitely hadn't written a zombie apocalypse flat share romp starring Clarkson in a wheelchair began to have sleepless nights and began worrying that perhaps they had indeed written a zombie apocalypse flat share romp starring Clarkson in a wheelchair, and rather than make the 32 shortlist they would instead come in at 1244.
As the date of the shortlist steadily approached fears over; a man in his fiftys at the bar, fishfingers dangling from helmets, and large explosions involving trains gave way to a feeling of bemused sadness where everyone began to seemingly announce that they hadn't got through and they were off to take stock in some other laughter vehicle and wash away their pain with lashings of port.
And as the hour struck 11pm on the 14 March in the thread I too felt like the air was electrically charged as I shared the anticipation with all those waiting to see if they had made the final 32. This was despite me already knowing who these final 32 were seeing as I had accidentally clicked on the winners list a little earlier on. And although I was reading this thread 24 hrs after it was all over I still felt like I was there with everyone live as the minutes ticked away until that dreaded 11.59pm deadline.
And then it was all over. 32 lucky souls and a 1000 odd unfortunates. Some rejoiced, some went away to lick their wounds, some perhaps inferring foul play or favouritism but in the main the majority seemed to hold their heads up high that they had completed a challenge and delivered a funny sitcom script.
This has been a great thread that has been full of twists and turns and a fantastic read. It is now 2.35am and I can't sleep as I have a slipped disc or some form of sciatic nerve issue and the pain in my leg and lower back is worse than having to read 1244 scripts in two weeks!
And on that bombshell, as Clarkson in his wheelchair would say - Goodnight all...
Def.
I'm in the fortunate or unfortunate position of being present at one of the read throughs of 'The Museum of Things' which is one of the finalists. I can say that it was bloody brilliant and whilst in all humility mine wasn't bad, it in no way got near to it. If the other 32 are of this standard Declan and Simon are just picking the cream, full stop. I may be talking out of turn here by mentioning an individual sitcom but I'm well passed caring to be honest 
The people who come to the workshops tend to be the ones who take their work seriously.
The ones who take their work seriously tend to be the ones who will write everyday.
The ones who take their work seriously tend to be the ones who will rewrite and rewrite ('The first draft of anything is shit'-Hemingway).
There's no cause and effect in operation here-come to a workshop and we'll choose your script-rather that the people who come to the workshop are a self-selecting group of those who are prepared to work harder and consequently produce funnier material.
Does anyone seriously think that we'll present Hat Trick with a bunch of scripts from people who've been to the workshops regardless of whether they're funny or not? It would be suicide; they'd never work with us again. We want to give Hat Trick the funniest material, and it's no surprise that that material is coming from people who are prepared to invest in their craft.
When I was a kid, about 9 or 10, I was convinced I was going to be an astronaut. I used to doodle little triangular spaceships, bristling with outlandish weaponry and questionable aerodynamics. I'd write little science fiction stories where, for reasons best known to themselves, evil alien empires would concentrate their invasion efforts on a not-so quiet corner of a run down North East council estate.
Years later I decided I was going to be a fighter pilot. I'd be there playing F-22 interceptor on my Mega Drive "this is a piece of piss". That was it, I'd be flying real sorties over oil rich countries in no time.
Years later, as a young soldier scrubbing rust off of the underside of Armoured Personnel Carriers I dreamed of joining SAS selection. I promised myself I'd do all the training, fill in the application form. Soon I'd be carrying out deniable operations in the former Ukraine and sleeping with deleriously beautiful, but deadly women.
More recently I decided to do something with the surreal ramblings in my head. Having been out of work on and off for nearly two years I was offered two opportunities to enter open to all comedy writing competitions.
I never went to space. I never got to accidentally bomb a Red Cross convoy. I've never been arrested by the Lybian Police but I have submitted two comedy scripts.
Thanks again for the opportunity guys. If I could afford both the course and the travel to London then it's definitely something I'd partake in but for now I'll just have to keep going with trial and error.
Quote: simon wright @ March 16 2011, 9:16 AM GMTDoes anyone seriously think that we'll present Hat Trick with a bunch of scripts from people who've been to the workshops regardless of whether they're funny or not? It would be suicide;
It would also be hilarious. "Here's 32 scripts about low ranking civil servants who, due to the cuts, have to flatshare. This eventually causes them to become wheelchair-bound zombies who wear fishfinger helmets. Who shall I write the cheque out to?"
I'd love to be in that meeting....
Good morning! I'd like to say thanks to Declan and Simon for their hard work in this comp. I'm a wannabe writer, but at the moment life is busy with teaching and bringing up kids (who are Legion). I've always wanted to write, but have never had any confidence to submit anything, and I have to say, it's been a great experience. I didn't make the long list, so now I am off to rewrite and rethink the whole thing. Hurrah for a bit of focus!!
Do the workshops ever make it to the Wilds of the North? (By which I mean Newcastle.)
Thanks
Han
Quote: Griff @ March 16 2011, 9:42 AM GMTPeople keep dissing the fishfinger helmets?
Have you ever ridden into battle wearing one? They are useless.
I'm wearing a fish finger helmet as I type. You'll get no dissing from me.
Quote: simon wright @ March 16 2011, 9:16 AM GMTThe people who come to the workshops tend to be the ones who take their work seriously.
The ones who take their work seriously tend to be the ones who will write everyday.
The ones who take their work seriously tend to be the ones who will rewrite and rewrite ('The first draft of anything is shit'-Hemingway).
There's no cause and effect in operation here-come to a workshop and we'll choose your script-rather that the people who come to the workshop are a self-selecting group of those who are prepared to work harder and consequently produce funnier material.
Does anyone seriously think that we'll present Hat Trick with a bunch of scripts from people who've been to the workshops regardless of whether they're funny or not? It would be suicide; they'd never work with us again. We want to give Hat Trick the funniest material, and it's no surprise that that material is coming from people who are prepared to invest in their craft.
Though a lot of folk would have invested into their craft and worked chuffing hard and not gone on the workshops.
I get the rewrite and rewrite point (it's a vital point). Is that why at least one of the 2011 scripts has already gone to the Sitcom Misson live heats before? Would you be able to explain the benefit in showcasing the same script (that didn't make the final) again?
Also, being stage funny is not the same as being TV funny. Which was it that Hat Trick were keener on getting involved with?
I ain't dissing either. Celebrating and nurturing all comedy writing is a good thing in my book and there are not nearly enough opportunities for writers to get their work 'heard' and honed - for which this competition is vital for.
Quote: wackawee @ March 16 2011, 9:40 AM GMTGood morning! I'd like to say thanks to Declan and Simon for their hard work in this comp. I'm a wannabe writer, but at the moment life is busy with teaching and bringing up kids (who are Legion). I've always wanted to write, but have never had any confidence to submit anything, and I have to say, it's been a great experience. I didn't make the long list, so now I am off to rewrite and rethink the whole thing. Hurrah for a bit of focus!!
Do the workshops ever make it to the Wilds of the North? (By which I mean Newcastle.)
Thanks
Han
Hey! I'm from the North East too!
Let's join forces and fight crime.
Quote: Griff @ March 16 2011, 9:42 AM GMTPeople keep dissing the fishfinger helmets...
Referencing not dissing. It's a memorable image. In the context of a sitcom it may fall into Simon's random wierd image thing unless properly justified, but it is arresting anyway.
I'd also like to echo Simon's comments (as I said earlier). There is a potential correlation between seriousness and workshop attendance. This is at least as likely as the theory that a £75 quid workshop attendance buys you a ticket to the finals.
I would be amazed if getting feedback on your script form those who will judge it did not help you to better target your efforts (which, believe me makes it feel even worse when you still write something which does not get through) which may well increase your chances, but only in the same way that a sweet manufacturer might increase the sales of their new product if they checked that their target market actually liked the taste.
Two of the scripts from my workshop went through. If I am honest, one I could see on the day as having real quality and potential, the other did nothing for me and I would say that even in its very raw state mine was much better. What I don't know,of course, is what the two writers did with the feedback after the event. Maybe they made better use of it than I did. I do know mine felt better for the workshop and I'll take that forward.
I understand also the issues raised around stuff which has aired before either in Trials or elsewhere. Does that not mean things will have developed more than stuff which has not had any air on it? I know that having a talented director and cast work on one of my previous efforts transformed it in subtle but important ways.
This is not a conspiracy, it is people making an honest judgement. Whether they have 'better' judgement than you or I is a moot point, as is whether their opinions are 'tainted' by knowing the person who wrote something, or looking at markets for scripts as well as quality. They have, by working and taking risks in previous years, got themselves into a position where their opinion matters (in this context at least).
Get over it people, I know I haven't.
Quote: 2ChristianTypists @ March 16 2011, 9:50 AM GMTThough a lot of folk would have invested into their craft and worked chuffing hard and not gone on the workshops.
I get the rewrite and rewrite point (it's a vital point). Is that why at least one of the 2011 scripts has already gone to the Sitcom Misson live heats before? Would you be able to explain the benefit in showcasing the same script (that didn't make the final) again?
Also, being stage funny is not the same as being TV funny. Which was it that Hat Trick were keener on getting involved with?
I ain't dissing either. Celebrating and nurturing all comedy writing is a good thing in my book and there are not nearly enough opportunities for writers to get their work 'heard' and honed - for which this competition is vital for.
It's not the same script, it's the same sitcom but a different episode.