We are half way through the first Comedy Room Development Programme!
Our first 3 months (of the 6 month) programme has been action packed; workshops, masterclasses, networking, pitch sessions and one-to-ones have all been squeezed into the Comedy Room.
The room mates have met with Execs and Writers across the ±«Óãtv Comedy departments: (who consider Comedy Drama offerings), , , TV Comedy and Radio Comedy and there is still much more to come.
Next week we're hosting cast read-throughs of opening scenes of the sitcoms the writers are developing throughout the course. It will be the first time the writers have heard one another’s work out loud. In February, Comedy Room will focus on writing for Radio Comedy and our final session in March will include one-to-ones, final talks and planning and a grand send off as we release the Writers from the Room.
The team are learning lots along the way too. Not least that one of our writers auditioned for , one was a solo choir boy, one writer had a reaction to morphine during one of our sessions (and we didn’t notice!), one wore a Spiderman costume under his clothes (is this really true?), another loves heavy metal and the list goes on… they’re a surprising, delightful, inspiring room of writers.
And perhaps more relevant is that ±«Óãtv Writersroom is learning how to shape sessions to the needs and wants of the writers, as well as ±«Óãtv programme makers. The lessons we learn, we’ll share and implement in future Comedy Rooms.
The ±«Óãtv Writersroom Comedy Room
And now a word from some of our writers at the half way point:
Michael Beck:
"I've really enjoyed Comedy Room. Everyone's been lovely. It's been great talking to writers and producers, and it's given me the confidence to write more scripts and send them in to the ±«Óãtv. (Hoping my flatshare / office / vet / clown school / fishmonger sitcom gets commissioned)."
Shai Hussain:
"Comedy Room opened my eyes to the opportunities for comedy writing outside of sitcoms and made me aware that there are so many other routes through including Childrens and Radio. It's also been great to meet in-house talent and producers, and get their views on projects. Everyone at ±«Óãtv Writersroom has been really generous and supportive. As usual."
Lee Coan:
"I have got so much out of the experience so far. I've met some hugely talented people, and had my eyes opened to the different ways into the industry for a new writer."
Samuel de Ceccatty:
"±«Óãtv Writersroom’s Comedy Room has been an invaluable experience for me, opening the door to a world which previously felt inaccessible. It's a great way to meet talented new writers with similar aspirations as myself and to forge what will hopefully become lasting contacts with the ±«Óãtv."
Joanne Lau:
"±«Óãtv Writersroom has managed to keep our expectations in check with clear, honest advice about the industry/being a new writer, while at the same time inspiring the sh*t out of us by introducing us to producers and writers who are passionate about their jobs. We've been given notes, deadlines, practical feedback from producers, and been allowed to ask all the dumb questions we want. It's been great!"
Mat Rees
"The guidance, exposure, support and inspiration ±«Óãtv Writersroom has offered so far has been nothing short of fantastic. The sandwiches on the other hand have been quite variable."
Stuart Benson:
"I'm learning how the game is played, and more importantly, how to get on the team."
Christine Robertson:
"I had no idea that by the half way point, I’d already be writing the first four pages of a new sitcom idea – having had feedback from two ±«Óãtv Comedy Execs – to be read out by actors in front of one of comedy’s most in-demand script developers. What an amazing position to be in. I’m absolutely sh*tting myself."
Ryan Grant:
"As someone who is new to the whole industry of comedy, it's been great to learn the ropes while being supported by the ±«Óãtv Writersroom team. I've found the course both insightful and very enjoyable. Especially the free booze on day one."
Sally Stott:
"As someone who frequently starts writing things with only a vague notion of where they’re going to end up, I’m finding the process of developing treatments and pitching ideas to producers an exciting, new experience. Since starting the course I've met a terrific radio producer, and I'm now developing some series ideas for Radio 4. I've also started working on a spec script for CBeebies, as well as writing a Comedy Feed for ±«Óãtv Three. And I'm working on a Kaufman-esque piece about ‘Being a Writer’ that sets off big red alarm bells behind the eyes of everyone I pitch it to, but which I am Very Passionate about.
±«Óãtv Writersroom's Development Producer Jo Blake and the ±«Óãtv Writersroom Comedy Room writers.
Paul Parncutt:
"As a serial botherer of ±«Óãtv Writersroom, it’s been great to finally meet the faces behind the rejection emails. Turns out they’re actually all human, which is a) good to know and b) contrary to half the theories in the blog comments. They’re also honest, encouraging, insanely smart on story-telling, and genuinely want you to succeed.
The most surprising moments so far? 1) That we’d get the opportunity to pitch a Comedy Feed pilot to an Executive Producer. 2) That we all did this without melting into trembling piles of vomit. (I may have done a sick in my mouth at some point, but the sandwich quality really is variable) Oh, and 3) That C±«Óãtv is a playground for many a subversive gag. Except for that one about water-boarding."
Shazad Mohammed:
"It's been pretty intensive so far with lots of pitching and discussing ideas and technical aspects of writing comedy. It all feels really refreshing and the biggest compliment I could pay ±«Óãtv Writersroom is that the course seems to be tailored to me specifically because they're drilling down into specific details of things like exposition and story structure, the real nuts and bolts, but at the same time we're getting feedback from producers and industry experts, which is giving us an invaluable inside look at how scripts get commissioned. I know it's a cliché but it's really eye-opening - in a good way."
Tez Ilyas:
"I've really enjoyed the Comedy Room process. I've learnt so much and it's really opened my eyes up to what it takes to make it as a comedy writer and it's given me insights into areas of work, such as Childrens TV, that had never crossed my mind before. I'm already using what I've learnt to develop my scripted ideas and look forward to learning more from the rest of the course."
Laurence Tratalos:
"Halfway through Comedy Room and we’ve already had the nerve-wracking task of pitching to comedy producers, we’ve met the Head of Radio Comedy and we’ve been writing scenes to be read out by a cast in January. It’s been brilliant.
Having not known any screenwriters prior to this course, it’s been great to meet all the other writers. But of course they are my competition so I’ve been secretly plotting their downfall. The only negative I can say about this whole experience is that it will be over in March."
Tracy Brabin:
"One of the many brilliant things about ±«Óãtv Comedy Room is validation. Some very clever, funny and switched on folk thought your writing was better/more appropriate/funnier than the other 2,000 plus scripts which, when there are so many writers trying to get noticed, helps you stand out.
Obviously after being chosen you then have to follow it through and we've been given every chance to do that. Well structured, thought-through sessions (that have had to cater to widely varying degrees of experience) running alongside opportunities to meet decision makers has been a phenomenal opportunity. Some of the best and most insightful notes I've had were from the team about my sample sitcom script. Thank you! I urge everyone to give it a go."