In This Issue :

Terry Adlam writes on a daring theme
Stand up, sit down and recover enough to do it all again
Members successes


HE WHO DARES, RODNEY
By Terry Adlam

Styles of writing - like genres - take on many forms; novel writing, short stories, articles, poetry, scriptwriting, technical writing to name but a few. The same can also be said about comedy writing. There's playwriting, screenwriting, sit-coms, sketch shows, gags, one liners, stand-up routines and others to numerous too mention. We all have our favourites and we try to carve ourselves a nice little comfortable niche in that one style, but how many of us have dared to experiment with other forms. How many times have we said or heard, 'Oh no, I only write one-liners.' 'I'm a sit-com writer myself.' or 'Write gags? But darlin' I'm a screenwriter!' It's an easy option to stick to what you feel you do best, but it's a big world out there in Comedyland and diversification is the name of the game. 'He who dares, Rodney, he who dares.'

Most arguments against spreading your comedy talents include that old chestnut 'I don't think I could do it.' But hold on, how do you know if you haven't tried it? Experimentation is as an important part of the writers' creative make-up as well as... well in our cases, looking on the funny side of life. Don't be scared, you are a creative person, you have a talent, you can do it. 'He who dares, Rodney, he who dares.'

To give an example of experimenting and succeeding I will refer to the Slough Writers Group, which I belong to. In amongst the members we had a few who adamantly told everyone that they could not write poetry. It was a style that did appeal to them, but they lacked the confidence to give it a go. With some gentle prodding by the poets in the group, the 'few' gave it a go and would you believe it, they are now regularly winning poetry competitions or receiving high praise from their peers. 'He who dares, Rodney, he who dares.'

The same adventurous outlook could also be applied to your comedy writing. Expand your horizons; don't talk about writing that sit-com, do it. Don't listen to the Huddlines and moan that 'I'd never get anything on there.' Write it and send it in. Don't dream of being that acomplished comedy writer with successes in gag writing, sit-coms and stand-up, live the dream. The more strings to your bow the better your chances. 'He who dares, Rodney, he who dares.'

Expanding your writing repertoire isn't that daunting, all you need is the confidence to go for it. It's not easy at first, it's like looking at that blank piece of paper or screen, waiting for the comedy creativity to kick in, but when it does, oh boy, you're off! Some of you might feel that taking on different formats may result in spreading yourself too thin. Okay if you go over the top, it could, but what happens when the sketch show markets dry up for a while or that topical radio quiz show is off the air for the winter? What and where are you going to then? Be ready to diversify. 'He who dares, Rodney, he who dares.'



STILL STANDING
By Gill Smith

I recently ventured on a Stand-Up comedy course. I'm not a natural performer, so for me, going on the course was bravery itself. I have the theory, though, that it will help to be able to perform my own material. Recently, our screens have been filled with sitcoms starring their writers. The others all star a celebrity, and my claim to that is having once met Lenny Henry. Somehow, I don't think that's enough. I'm not suggesting I steal a role from a real, Equity-card-carrying actor, but that this will help me to better explain to producers what was going on in my head. Well, part of what's going on in there...

The course involved a grand total of six participants. More would have been too difficult. Running the course was Marek Tribedi, who specialises in teaching comedy. Ira Rainey joined him, as a relative newcomer who has stormed the stand-up circuit in recent years. He shared with us what he's learned through facing audiences on a regular basis.

We tried everything from bizarre exercises, to actually performing bits of our pre-written routine. There's something about performing your act in a variety of animal noises that makes it easier to trust the rest on the course will laugh when you have your gags back. Genuine jokes usually get a better reception than 'oink oink, cluck, moo moo...' Usually.

The course gave advice on dealing with hecklers, and how to impress comedy promoters to persuade them to let you have an open mic slot, and to make sure they let you back again after your first attempt.

Actually having to do the act was nerve-racking, and it was almost impossible not to look at the course leaders to see if they were laughing. They must have been easily pleased, as they did laugh. Not in all the right places (fortunately, none of the wrong ones!), but most of them, which was a good start.

We practiced looking at the audience to hold their attention, remembering to give people time to laugh, and trying to make it look as if we were enjoying ourselves. Eventually, I almost was.

I hadn't had time to learn my act, which didn't really help with my confidence. Others who had managed to bound excitedly around the stage, all the while seeming to have a one-to-one chat with you about their favourite rant.

Towards the end of the day, we had to make a decision. A local pub had a comedy night, and a few open mic spots available. The question was, were we feeling up to it?

Over dinner, I scribbled crib notes onto the back of my handouts, tore them into hand-sized pieces, and went over and over the act. Eventually, four out of six of us performed that evening, to a mostly-attentive audience, with one very keen heckler.

The compere was really supportive and got the audience well warmed up, so we weren't the only ones in the room cheering each other.

Of the group of us, I was last. I had lots of time to feel nervous, but no chance to pull out. Eventually, I got announced, and went to face the audience. And a whole different set of people laughed, again, in most of the right places. I even managed to deal with the hyperactive heckler. I'm hoping the four people who left at the end of my act just had another appointment...

Suddenly, I had discovered a whole new world. Actually getting the laughs myself, not just sending them off for someone else to perform. I've got a much better idea of comic timing, which will apply to my writing for others as well as for stand-up. I've also got a much clearer idea of adapting your work to the audience - being able to see them makes it more obvious than ever that you simply can't tell mother-in-law jokes to teenagers, or discuss dodgy sexual positions in a nursing home. The 'rule of three' and concept of linking back to earlier jokes work particularly well - if you leave time for your audience to realise you've carefully slipped an old, enjoyed gag back in later in your routine.

I doubt I've found a whole new career, but I may have found a way to improve my chances in the one I've got. I'm planning on a second attempt this month, although I've now had far too much time to get worried about it. But I will try to brave it. After that... we'll see.



MEMBERS SUCCESSES

Danny Macullough recently reported that his success. He said "I learnt today that I had two quickies on the Huddlines, episode one of current series." Also on the Huddlines recently have been Crispin Fisher, Terry Adlam, Christine Kelly, commissioned writer Alan Stafford, and perhaps others of you who haven't let me know.

Terry Adlam also reports "I've won the Berkshire heat of the BBC'S Talents New Voice (New local radio presenters) competition (out of over 60 entries) and I recorded a hour long show about my comedy greats - Eric and Ernie, the Carry On's and Monty Python - that was broadcast last Sunday (28th) on BBC Radio Berkshire. This show, called 'Bring Me Sunshine' is now entered in the national finals. The four winners in the national finals will get a six month freelance contract with their local BBC radio Station. Apart from the competition, BBC Radio Berkshire have already had me in for a hour live on air chat and now want me to head up a documentary on the council estate I grew up on. My comedy greats show called 'Bring Me Sunshine' is to be repeated over the Christmas, so look out for my name in the Christmas edition of the Radio Times!"

David Bodycombe reports "Some news from me, for a change. Two of my games have been used on the current series of Channel 5's "The Mole" game show. A time bomb game was used in programme 2 (which made the team blow up £15,000 - mwhahahaha) and a deal-bargaining game involving four suitcases will happen in show 7 - broadcast 25th November."

Carol Donockley reports that "I'm having a comedy put on at The Theatre by The Lake, Keswick, this weekend. The story takes place over a year and the main characters are 12 year old "Stik" Kershaw and his 50 something Grandmother,"Gran." Using the medium of e-mail, the 2 characters can say things to each other which they might not say face to face. Stik is desperate - for a Grandad but he has a huge problem - Gran! To Gran men mean wet toilet mats, cricket on the telly and she can't shave her legs in peace! Stik is played by Matthew Harper and Gran by Dinah Handley."

This down side of this means that Carol wont be able to make it to conference this weekend. However, I look forward to catching up with many of the rest of you, and meeting many new people - we're doubling last year's attendance! See you at the weekend! - Gill