What would make a producer's heart sink on reading a script?
"The Manual" Page 2
By David Bussell.
Hello Mr Writer! Haven't seen you here in a while.
Questions then...
Apart from "which are the best bins to scavenge sandwiches from while trying to make a living at this incredibly insecure and difficult business?" 
I'd really appreciate more stuff on the boring business end of it, like
"I've had some open submission material used by a producer, can I ask them about other opportunities?"
"What's the best way to find out about shows that might accept material from writers the BBC has commissioned on other shows?"
"I have written a sitcom that I think a particular producer would like, what's a polite way to ask them to look at it?"
"Can I write comedy for the BBC and hold down another job?"
"When (if ever) can I give up the day job?"
"How does the commissioning process work? What are the different stages/possible hurdles?"
Thanks. Looking forward hypothetically to reading the answers... 
'As a new unknown sketch writer, where should I be sending material if non topical and there are no open door opportunities at that time?'
'What would be considered 'too pushy' when trying to get a foothold in the writing world?'
Quote: Shandonbelle @ May 29 2013, 2:17 PM BST'What would be considered 'too pushy' when trying to get a foothold in the writing world?'
Take your fought off my throat and I'll tell you.
I've just seen James Cary's latest blog which answers some of my questions (based on his experience at least)!
http://sitcomgeek.blogspot.co.uk/2013/05/going-freelance.html.
Quote: David Salisbury @ May 29 2013, 1:53 PM BST"Can I write comedy for the BBC and hold down another job?"
"Can I write comedy for the BBC and hold down that job?"
Other questions I have:
"Where are the toilets at the BBC?"
"Where do I hang my coat?"
"Can I start on Monday?"
Some good suggestions here - thanks especially Dan, David, Shandonbelle, Indigo, Trinder.
Unfortunately, some of the answers to some of the questions suggested would be extremely subjective!
I think we'd appreciate theoretical answers if say, theoretically, you got a few POVs from a few, theoretical, writers/producers.
Dan
"Is it better to write a 15 or 30-minute comedy fo radio?"
"This belief from those that matter that people 'aren't really listening to the 6:30pm comedy on Radio 4'; how do you write for that brief?"
Dan
I'd ask "Have I been banned or has something funny happened to the site". Now there's a thought.
So it's all the General Discussion stuff that's buggered.
I'd really like to see a couple of case studies of how a writer has gone from reasonably talented through to picking up early success. But perhaps not just the usual example of write for NJ, get invited in, get commissioned etc but rather where writers have found ways to be a bit innovative in getting noticed and making contact in the right circles. Those stories can be inspirational to aspiring writers I think.
So if this had to be phrased as a question (write to the brief!), it would be "what are the examples of innovative ways of getting noticed and making progress that have worked well for others?"
Quote: LippyAlison @ May 31 2013, 9:27 AM BSTI'd really like to see a couple of case studies of how a writer has gone from reasonably talented through to picking up early success. But perhaps not just the usual example of write for NJ, get invited in, get commissioned etc but rather where writers have found ways to be a bit innovative in getting noticed and making contact in the right circles. Those stories can be inspirational to aspiring writers I think.
So if this had to be phrased as a question (write to the brief!), it would be "what are the examples of innovative ways of getting noticed and making progress that have worked well for others?"
These days, I think you can help yourself by doing something on the internet, or live still, as well as just bashing out scripts alone in your bedroom. Crying.
Quote: Matthew Stott @ May 31 2013, 9:45 AM BSTThese days, I think you can help yourself by doing something on the internet, or live still, as well as just bashing out scripts alone in your bedroom. Crying.
...like maybe a semi-topical comedy podcast recorded in front a live audience in London... 
I'd be interested on advice on how to hone your craft. There's a lot of courses / books / seminars out there but how have successful writers actually gone about improving their writing over the years? (I'm not expecting the BBC to endorse specific events!)
And this feels like quite a good time for writers with two open submission shows on BBC Radio. But what other places does the BBC look for talent. I'm guessing stand-up circuit / Edinburgh but are there others? Have many people really made it through YouTube / podcasts? (Richard Herring's podcast was nominated for a Sony but I'd hardly call him a podcast discovery.)
Should you really try and perform and not just be a writer only? Or at least be a writer for a performer. I guess this question is in two parts:
- Are performers more likely to get noticed than writers?
- Can you hone your craft without having to perform?
I think a lot of my other questions have been covered by others above. I too would like to know what you should do once you've got a few open-submission radio credits under your belt!