Ha, it's one of those ones that gets stuck in the head, somewhat.
What are the chances of this happening? Page 4
Quote: Matthew Stott @ November 27 2010, 3:32 PM GMTI'm sure it happens; or, as is more likely, the first unsolicited script leads on to solicited stuff.
As someone who has had something commissioned I can tell you exactly how many jobs I've picked up afterwards. None.
The BBC (as an example) have what is called a commissioning round, where you put in your treatments and sample script pages and then the board looks through them and decides which ones to go with. That process is based on what in-house producers have submitted and certain independent production companies, for example, Hat Trick, Baby Cow etc. In each commissioning round there will be submissions from people with a proven track record and from new writers, having had work produced before doesn't mean you're exempt from the commissioning round.
I'm open to the idea that people may have sent in a script, got a phone call from a producer, gone in for a chat and it's ended up going on from there, I've just not heard of it in the last ten years.
David Renwick - one example mentioned of someone who sends in spec scripts - produced one of the most successful comedies of the 90s so any script he comes up with is going to be treated differently from someone who just prints something out and sticks it in the post. What production company is going to turn down a follow-up "To One Foot in the Grave"?
The other example of 'This Is Jinsy' as you say the people involved formed a production company, that would mean filming short samples of the script and other promotional material. That's not just sending a spec script in.
"Genius" Dave Gorman's show was successful on Radio yet they still had to produce a pilot for TV before it was commissioned.
Miranda Hart took part in a Fringe show called the Sitcom trials in about 2002/2003. The sitcom trials is a show where writers with an idea/script for a sitcom submit their script and a cast of actors perform short scenes from the script in front of an audience and the audience choose their favourite. She also went on to produce length shows which were both well received from audiences and critics.
I'm suggesting that writing a script is one thing but selling it is completely different. That's where the real hard work lies. In answer to the original question I don't think the chances of you getting picked up from just emailing someone a script are that great. I think you have to put your back out and actually do something with your work before you start sending it in to production companies.
I think if you really are serious about getting your work produced you've got to go the extra mile. Put on live versions, film short samples anything to show that you're serious, and something that shows how an audience actually responds to your material.
Quote: Ian Fox @ November 28 2010, 5:49 PM GMTI'm open to the idea that people may have sent in a script, got a phone call from a producer, gone in for a chat and it's ended up going on from there, I've just not heard of it in the last ten years.
I almost had a pilot made at the BBC following that very route.
But of course it's tough and you have to be very lucky, plus try all sorts of different routes. You can't just email script after script, you've got to try all kinds of paths, and build up your profile in other ways, including writing bits and pieces for lots of other things first, rather than expecting to get your own six part series right off the bat. Not unreasonably, most TV people will probably prefer to put their cash behind someone with some sort of a track record. Now you can whinge and moan and gnash your teeth over that, or you can get to work and see how you can put yourself about.
Quote: Ian Fox @ November 28 2010, 5:49 PM GMTI think if you really are serious about getting your work produced you've got to go the extra mile. Put on live versions, film short samples anything to show that you're serious, and something that shows how an audience actually responds to your material.
All this is a good idea.
I'm not convinced prod-cos are *actively* looking for new talent. It's more of an afterthought, really. They're certainly not sitting by their computers, waiting for the next brilliant script to come along. They're too busy making TV shows. Or playing golf.
As for prod-cos who say they don't accept unsolicited scripts, don't worry too much about that: invent a bogus agency and send your work from there. Remember, at this stage you only have 2 objectives: to write something great - and to get it read.