Well, according to Dan Tetsell's blog post, it sounds like this might be the 'regular' opportunity that should be running.
With regards the script editor comment, I kind of agree but also have to point out that someone somewhere gave them their break at some stage!
Dan
I just listened to the show... Not as good as previous weeks I think,
The opening joke with Murdoch was a bit weak. Vox Pops were alright. A few good sketches, but a few which were a bit bland.
What happened to all the regular features? I enjoyed Miles Undercover for the first two weeks (even though they didnt use my sketches), but no sign of it for the next lot. Anyway, yes, one more week, lets go!
Well what do you know? This week featured the fewest number of BCG entries and was unbelievably crap as a result.
Woohoo, they let the plebs write the odd Vox Pop, whilst the usual insider gang get paid loads to write rubbish. Yeah, I'm convinced this is crooked.
Glad it's coming to an end.
Oh and congratulations if you did get a joke on this week.
Oh Renegade, you're so cynical!!
Quote: Rhubarb @ July 17 2009, 10:41 AM BSTNewsjack have allocated space for new voices. If you put yourself in the shoes of a script editor – that's a massive undertaking. They have voluntarily given themselves extra workload.
"Opportunities for new writers" was presumably the USP that got the series commissioned, so I should not feel too sorry for them.
Quote: Timbo @ July 17 2009, 1:15 PM BST"Opportunities for new writers" was presumably the USP that got the series commissioned, so I should not feel too sorry for them.
I'm not sure a programme would be commissioned on that basis - although the 'opportunities' element may have been in there from the outset. I wish they would commission on that basis, though. A kind of 'New Faces' for radio would be great.
I suspect reading new talent is the BBC equivalent of peeling spuds, digging ditches or photocopying the Anuual report Or being shot with rubber bullets.
I suspect reading new talent is the BBC equivalent of peeling spuds, digging ditches or photocopying the Anuual report Or being shot with rubber bullets.
Quote: Rhubarb @ July 17 2009, 1:29 PM BSTA kind of 'New Faces' for radio would be great.
Yeah, I've got a great face for radio.
There's enough new feaces...on that channel who never uses new talent so I can feel free to insult.
Quote: Rhubarb @ July 17 2009, 1:29 PM BSTI'm not sure a programme would be commissioned on that basis - although the 'opportunities' element may have been in there from the outset. I wish they would commission on that basis, though. A kind of 'New Faces' for radio would be great.
'Play and Record', 'Tilt' and 'Newsjack' have all had open door policies. It's pretty much been given to 7 to make shows like this because Radio 2 and Radio 4 don't want to (with the sole exception of 'Recorded for Training Purposes'). The general feeling is that 2 and 4 feel it's slightly beneath them, and that controllers now only want established writers and performers on their stations.
In other words, yes, these shows are only being made because they offer new writers a chance (and as such are something 7 can claim as pretty much unique).
Never forget it's in the BBC's long term interest to have open door comedy shows, or how else are they going to get the mainstream sketch/sitcom hits of the future. The general turning away from the open door policy is one of the reasons why there's been such a dearth of popular, mainstream funny stuff on the BBC in recent years.
I like these opps but I'm not sure what the next step is. I've had stuff on all these shows now and have never heard anything about closed-door opportunities or anything else.
I'm going to be working on a show that isn't open-door soon but only got that by sending some stuff off to a producer out of the blue.
Quote: Sebastian Orange-News @ July 17 2009, 12:48 AM BSThaving read the list of writers I am now curious as to who is in the newsjack writing team. Obviously Dan Tetsell is also I recognised Luke Roberts from Spats, I'm guessing he is one of the team.
Stephen Carlin, Gareth Gwynn and James Sherwood are, I believe, the others on the writing team.
Carrie Quinlan, Danielle Ward, Matthew Morton and a few other regular Radio 4 writers have cropped up in the credits a few times each too.
Quote: ContainsNuts @ July 17 2009, 3:19 PM BSTI like these opps but I'm not sure what the next step is. I've had stuff on all these shows now and have never heard anything about closed-door opportunities or anything else.
People do get invited onto other "closed" shows as a result of the open-door stuff. I got invited onto two last year (but didn't manage to score anything, sadly).
Quote: Rhubarb @ July 17 2009, 10:41 AM BSTNewsjack have allocated space for new voices. If you put yourself in the shoes of a script editor – that's a massive undertaking. They have voluntarily given themselves extra workload. Without wishing to sound brown-nosey (but this is anonymous after all) I think Newsjack has been a shining example.
Absolutely. It's probably about 10 times more effort to produce an open door show than one with a regular team of writers so people should be happy Radio 7 are willing to do this.
Quote: ContainsNuts @ July 17 2009, 3:19 PM BSTI like these opps but I'm not sure what the next step is. I've had stuff on all these shows now and have never heard anything about closed-door opportunities or anything else.
I'm going to be working on a show that isn't open-door soon but only got that by sending some stuff off to a producer out of the blue.
I think you'll find that commissions will be few and far between at the moment. Radio is always a case of dead-man's boots, anyway. You tend to get commissions only when the current writers have left to either do their own radio shows or have moved to telly (or both).
Just carry on doing what you're doing, adding credits to the CV, meeting new contacts and learning as you go.
Quote: Mark @ July 17 2009, 3:22 PM BSTAbsolutely. It's probably about 10 times more effort to produce an open door show than one with a regular team of writers so people should be happy Radio 7 are willing to do this.
Well, it's an arse ache for the script editor to read through a non-comm pile, as the odds are most of it will be rubbish, but really it doesn't require any more effort. Having a core writing team means the show will be written each week whatever happens. At the end of the day, it's still free labour until they pick the few bits and pieces they might want to use. And even then you're only paying the industry standard.
Usually what happens after the first few weeks, certainly by the end of the series, is the script editor and producer(s)have identified the people worth sticking with. They've either already got material on or have been very close and they'll keep a note of these writers, looking out for their stuff. That's not to say they won't look at everything that still comes in, but it's a no brainy that they'll prefer to stick with writers that have either delivered what they want, or have the potential to.
The real work on a non-comm show is by the poor BAs who have to do the paperwork for all those new writers and pass them on to the people in Rights.
