I think his leaving hurt Don most of all.
Sitcom writer attacks executives Page 9
I don't know John Warburton (although his name sounds extremely familiar...) but those who know him on here say he's a good writer. There are good writers on here I have seen over the years I've occasionally stopped by then disappeared again so I trust their opinion. I also trust that something that made it through the Comedy College is well-written.
It sounds like the people selecting his script for the competition/development programme were looking for 'good comedy' while the execs were looking for 'BBC3 comedy'. I must say one of my worst nightmares is having my dreams come true and a sitcom being commissioned, only to find it will be aired on BBC3.
BBC3 has a very specific demographic. It didn't used to, it used to be the place for new writing, but now it is basically E4, isn't it? I think execs and the BBC need to stop seeing 3 as the place for new writing. It isn't anymore. Not all new writers can create comedy for teenagers. I'm probably quite a bit younger than John but I couldn't create comedy for teenagers. Teenager-aimed comedy is often trend-based, so why not get something written by someone who has an interest in writing specifically for teenagers?! Maybe open up a slot on BBC4 for new writing? It sounds to me like you've got a writer who writes well for adults. And then you've got BBC3 execs who have a demographic to think about - the viewers of their channel, like I say, are pretty specific. It just sounds like the writer and channel were very mismatched.
This post has opened up a complex debate on several topics, waffle waffle. He got a pilot made; to many on here with delusions and probable mental illness it seems the giddy zenith of all that everyone could want. 
That's this writer's first mistake, surely: being too idealistic. Would he have been so peeved if the fiddled with pilot was a hit and got him a series? I imagine he's flounced off in a noisy huff because it wasn't a hit and he didn't get that series.
But if it was so strong a script and sitcom outline from the start would execs be wanting to fiddle with it?
Didn't they perhaps fiddle with it because it was vague and lacked a clear identity and vision, and seemed just another of these serviceable post The Office type filler coms at best?
Quote: Alfred J Kipper @ August 17 2013, 12:37 PM BSTBut if it was so strong a script and sitcom outline from the start would execs be wanting to fiddle with it?
See sglen's excellent post.
Quote: Jennie @ August 17 2013, 11:16 AM BSTHe seemed nice. Can't we persuade him to come back?
He has loose lips and a sharp tongue, if he wants to make it as a writer, might be better for him if he drops by infrequently! 
Good post though, Tim.
But he is older now and wiser. And more anonymous. And surely Susan's lawyers must have stopped monitoring the site by now. 
Quote: Tursiops @ August 17 2013, 12:40 PM BSTSee sglen's excellent post.
Yes, a good theory that maybe right, however it does assume the script presented was automatically worthy of more beyond the pilot. But what if it wasn't, or even worthy enough as a pilot? Which is more my point. The premise seemed too general, vague and unoriginal, to be blunt. Commissioners will be blunt (to most writers). He gave them a chance to change it and they jumped at it.
Quote: Alfred J Kipper @ August 17 2013, 1:00 PM BSTYes, a good theory that maybe right, however it does assume the script presented was automatically worthy of more beyond the pilot. But what if it wasn't, or even worthy enough as a pilot? Which is more my point. The premise seemed too general, vague and unoriginal, to be blunt. Commissioners will be blunt (to most writers). He gave them a chance to change it and they jumped at it.
I suppose my point of view is that you have a pool of talent that is known by the BBC. Within that pool of talent you have really talented people. It is within the BBC's interests to find the most talented. I don't think it's reasonable to suggest that someone who has got into the Comedy College (I don't remember, but I believe you already needed to have had a commission of some kind?) and then has been whittled down from 1,000 other people is going to be a poor writer. Unless the competition itself was skewed in some bizarre way, and I doubt it was. The Writersroom is pretty good. The development arm of the BBC is pretty good. They do spot talent.
I also don't think you need a good premise for a good sitcom. For a good sitcom you need great characters and witty dialogue. There are loads of sitcoms based on 'two friends share a flat', but it's the characters and writing which separates the Spaceds and the Peep Shows from the...well, the others...why can't I think of a bad sitcom right now?
They spot talent and undoubtedly miss it too. Was JW awarded a hollow opportunity just for coming from the comedy college? An opportunity that rarely leads to a series commission but satisfies its members, until JW bucked the trend and stormed off.
A good writer can still produce poor scripts, especially ones to fit a remit for an opportunity. Inspired scripts are probably generally better, imo anyway. According to him they did change the premise. He wasn't happy with that. So why not write a stronger premise that doesn't yell 'change me'?
It seems to me, and I could be wrong 
that JW got handed a standard COC opportunity that he maybe over esteemed and had visions of greatness from, but handed in a weak or vague or too generalistic or too unoriginal sitcom outline/draft/idea/premise or all eight of these and it got mullered in 'the process'.
You are probably wrong.
Quote: Alfred J Kipper @ August 17 2013, 2:02 PM BSTThey spot talent and undoubtedly miss it too. Was JW awarded a hollow opportunity just for coming from the comedy college? An opportunity that rarely leads to a series commission but satisfies its members, until JW bucked the trend and stormed off.
A good writer can still produce poor scripts, especially ones to fit a remit for an opportunity. Inspired scripts are probably generally better, imo anyway. According to him they did change the premise. He wasn't happy with that. So why not write a stronger premise that doesn't yell 'change me'?
It seems to me, and I could be wrong
The problem is, unless you know something I don't, this is all conjecture and assumption. We just don't know. Whatever the circumstances, this is a desperately sad situation. I hope he is finding happiness and fulfillment with his new venture.
Quote: Tim Azure @ August 17 2013, 4:41 PM BSTPeople with ideas are probably more in demand than those who can write good dialogue.
You think? In my (limited) experience, ideas are ten a penny.
Natural compelling, funny dialogue that advances the story and reveals character is much rarer.
Can you give us an example of a good idea Tim?