In this issue:

Networking Day Reviews
Ever Considered Animation?
Writing for 'Doctors'
The Player-Playwrights
Upcoming Seminars
Your Successes


NETWORKING DAY REVIEWS
By Annette Ward, Alan Stafford and Gill Smith.

I've been lucky enough to get several different views of the networking day, so instead of trying to use all of each, I've combined bits. I hope this means you get a good all round view. I'll stick to various areas, and differentiate who said what with initials. If there are no initials, they're my comments.

AW reports that "The first London BSCW Networking Day was held downstairs at the Comedy Pub. It proved to be a surprisingly popular and thus cosy event."

As for the speakers, Nikki Rothery, a script editor on 'The Bill' explained her role, and how writers fit into that. AW got a lot out of Nikki's talk, explaining "a beautiful, creative whirlwind of a lass - as a script editor on The Bill, Nikki explained that she has to plan ideas over the 96 episodes shown per year to run through single 48 minute episode stories. Episode 4 was being filmed with episode 85 now being developed for a Christmas Showing."

AW continues "The show is all about conflict between the regular characters with stories shown through their eyes. Nikki has to make sure that characters come and go to reflect the interest of the viewers and that all 25 regulars get a fair taste of the script.

"Budgeting is important. A quick trip in a Police Helicopter can suck up outside broadcast funds for the series. Usually around 70% of the The Bill is filmed at base with 25% on location and 1 day or so mobile.

"When looking for writers, Nikki is not just looking for people with a pen or keyboard - though this helps. She needs people with writing experience and thousands of good episode ideas, each ideally summed up in a single mind blowing sentence. Writers also need the ability to dramatize those ideas. I got the impression that Nikki would have liked nothing more than to bring on keen new writers but the reality is that she has no time to look through piles of unsolicited scripts. Writers come to her notice mainly because of their on-going experience and proven track record. So forget the spec script and get in there - somewhere!"

AW's favourite quotes from Nikki were "We have to rotate them (characters) so that they aren't out fetching a file for 3 weeks" and "Actors get very upset if they don't get more than 5 lines in the episode - I know."

I enjoyed Nikki's talk, finding it refreshingly realistic. Yes it will be difficult to get a role writing for The Bill, but I don't want to be told it's too easy, and then wonder why TV writing jobs don't flow to me. Success, it seems, as we always knew, comes from consistent hard work. (More on where to direct your hard work later!)

After lunch, AW reports that "successful scriptwriter Keith Lindsay ran a sitcom workshop. The essence of writing sitcom is summed up as characters, characters, characters! Keith illustrated the need for distinct voices through a Golden Girls script and implored us to imbue our own characters with attitude."

Keith's talk continued, AW reports, by telling us that "Relationships can be defined by hierarchy as in Dad's Army where one is superior to the other, or symbiosis as in Steptoe and Son where each is dependant on the other. Some like Frasier, used both. Characters should compliment or conflict with each other in different ways. Often there were years of past history or a backstory to add depth to storylines.

"Keith urged writers to bring the disciplines of drama to their comedy, the difference was that sitcom lets you off the hook with a final laugh. Scriptwriters can not afford to be precious and collaboration is essential. With a characteristic twinkle in his eye, Keith suggested that we started the process by hugging the person next to us. Sitting as I was elbowed in between two handsome hunks, the suggestion was tempting!"

AW's favourite quotes from Keith were "If you want to test your gags, you have to do it with people on a seat - laughing" and reiterating Nikki's discussion of work on a script, that "If you can't deal with collaboration, television will kill you." He also recommended "Watch the c**p because if you don't, you won't know when yours is."

After Keith finished, and a coffee to help take so much information in, the next speaker was up. AW reports "Tom Owen, a man who shares the soft voice and sparkle of his father, the late Bill Owen, spoke about his experiences in 'Last of the Summer Wine' in which he now plays Compo's son. Roy Clarke has written every script of the series that has run for 30 years with, at the height of its popularity in the mid 70s, 22 million viewers. The show with 5 main characters was piloted as part of Comedy Playhouse in February 1972 but the new series due to start in May has 13 regulars.

"Tom stated that he felt that it is essential to pull back the essence of sitcom and there was some discussion about why the show continued to be popular. The general feeling was that the superbly crafted scripts, gentle humour and beautiful images of the Yorkshire countryside combined to produce a soft-edged programme, a welcome relief in modern entertainment trends. Tom is currently engaged in a project with BSCW President Ken Rock."

AW's favourite quote from Tom was "Why should anyone want to watch a programme about three blokes?"

During Tom's speech, someone from the BBC did try to respond to certain criticisms that arose of the BBC. Trisha was prepared to accept that the BBC has had problems with finding and developing new writers. She was keen to know and make a note of specific problems writers had faced, and although not in a role to take scripts herself, was eager to encourage people not to give up on the BBC. She felt work was being done by the corporation to address this problem.

Whatever the results of this, we as writers have to work with the BBC and television companies in general as they are now. Thankfully Nikki and Keith had already given us some idea of this, to point writers in the right direction, even if that is a different direction from thirty years ago.

AW has a couple of other favourite quotes. One was Ronnie Wolfe on starting out: "I started in the days of radio. It was easier then - no media studies." Another was Narinder Kaur (who appeared on Big Brother 2) on acting opportunities in the UK "Why do I have to go to Bollywood? Why can't I do it here?"

Throughout the day, Ken Rock introduced people like Ronnie and Narinder to the delegates, one of whom was a real hit with AS - "The BSCW Networking Day has provided me with one of the absolute highlights of my comedy life - an hour's one-to-one chat with the unbelievably prolific sitcom master, Vince Powell. We chatted about how he got started (via Morecombe & Wise), early days writing for Harry Worth, his personal favourite that never took off (anyone remember The Wackers?) and his inspiration for Mind Your Language (his French au pair, who'd come down to breakfast every morning asking: 'Are there any French letters for me?').

AS "was particularly interested in his experience of getting 'Never Mind The Quality, Feel The Width' off the ground. He pitched the idea (about a Jewish tailor who made jackets teaming up with an Irish catholic who made trousers) to the then head of comedy, who was pretty unenthusiastic. He then took the same idea to the producer of Armchair Theatre, who immediately bought it and aired it as a one-hour play. Subsequently it was developed as a sitcom and ran for 40 episodes.

"Of course there are other examples of a sitcom starting in a different form - Rising Damp was a stage play (The Banana Box) and Reggie Perrin was a novel (The Death of Reginald Perrin).

"It seems to me there are some advantages in this approach - especially in these days of sitcom famine. With a longer time slot, and without the need to make an audience laugh quite so frequently, you can work on depth of character and a more complex plot. Then, if you get the chance to turn it into a sitcom, you can produce a really tightly-written piece with strong characters and a fast-moving plot. And, if you don't, well at least you've got a play or book, rather than an unbroadcast (or unmade) pilot.

"I hasten to add this is the opinion of someone who's yet to have his first sitcom aired. I'm sure many of you have different opinions and experiences, and I'd be interested to hear them.

"In the meantime, I'd just like to say what a thoroughly nice man Vince Powell is. Generous with his time, interested in what I was up to, and bought me a drink too. Cheers BSCW!"

Glad you enjoyed it Alan! And what a welcome to the BSCW to Vince!

To continue the report AW goes on to say "The day concluded with information about future workshops, courses, festivals, member's successes and of course the BSCW conference. Attendees then drifted upwards at varying rates, not to higher things but to be nearer the bars, ready for the evening's networking party. All in all, a jolly good day."

One personal highlight was Nikki stating that any writing experience is good experience. (I'll get back to my articles then!) I know another writer was delighted to be able to hand lots of information on her work straight over to a BBC radio producer who promised to take a good look at it. What were yours? Do share them on the general forum.

My other major highlight was talking to a Producer from BBC Radio Entertainment towards the end of the networking party. He promised to read my work, and to give honest feedback. He also promised to do the same for any BSCW member. Yes, you did read that right. If your script is for TV, he'll pass it on to someone suitable, and make sure they get back to you. Whether it's comedy or drama, the same goes.

His name is Steve Mitchell, and he can be e-mailed on steven.mitchell@bbc.co.uk. You can post your script to him at Room 5400, Broadcasting House, Portland Place, London, W1A 1AA. Tell him you are a BSCW member / subscriber, and he promises me he will read and comment on your work. Get that in as soon as possible, as Steven has specifically ear-marked some time in the next few weeks for reading your scripts!



BEAUTIFUL LITTLE MOVERS
by Annette Ward

"You have 30 minutes to create your character." Now there's a challenge! I was attending a one day animation workshop led by Kayla Parker and Stuart Moore of Sundog Media as part of this year's Animated Exeter Festival.

The first exercise involved moving paper cut-outs, a technique used in early episodes of South Park. Then there was the satisfaction of pummelling plasticine. For me this resulted in an irregular mauve blob which bore little resemblance to the wonderful models in Chicken Run or in fact any living creature, but I was happy and called it "cat".

Most animators start by using a super 8 camera in the attic. It helps if you are meticulous, patient, artistic, single minded and have little ambition towards a social life - at least not for a few years.

At the workshop we enjoyed the advantages of professional expertise and several thousand pounds of video equipment. In the space of a four and half hours, 16 short animated pieces were produced. Characters included a sunbathing Greek philosopher, daleks, decadent dodos, a pair of Yin Yan dolphins and a helpful butterfly called Adam.

There are none of the usual restrictions for sets, location or even perspective. You don't need a helicopter to view a castle from the air, nor a microscope to see a bacteria on a fly's wing. Characters can appear, roll into a blob and then reappear as something else. Another bonus is that you can give a personality and voice to everything from the Millennium Dome to a bent paperclip.

In animation, appearance and movement are as important as character profiles and motivation. Advice from the professionals is to do as much work as you can to define and identify the characters with your script before approaching animation companies. It might be better to publish in book form or make a trial animation to prove copyright. I'm off now, in search of modelling clay. Anyone got a super 8 camera?

Animated Exeter is run in February. Tel 01392667080
www.exeterphoenix.org.uk



A PRESCRIPTION FOR SUCCESS
by Gill Smith

We're constantly told about how difficult it is to get work writing for TV, and then find producers going on about how hard it is for them to find writers. Tempting as it is to set up a tent outside Broadcasting House, with a sign reading 'Will write for food,' there must be other ways, mustn't there? Otherwise the cast of Eastenders would all be making up their lines on the spot, snogging anyone they felt like, killing each other, taking drugs... mayhem... oh.

So, how do you as a writer get into the position of giving the evil Janine her comeuppance, or planning some extra in-bed scenes for Emmerdale's Tricia?

You don't. Not yet. First, you write for something else. Probably something day-time. Almost certainly something lower budget and less key in the schedules. Soaps want writers with experience. So where do you get that? Writing for something else. And one option is BBC 1's 'Doctors.'

Script editor Peter Lloyd objects to the occasional billing as a "daytime soap," as he feels the series offers more self-contained episodes than that. However, the main writing principles are the same. Peter says to "tell a good story." It is that simple.

There is, sadly, no blueprint to doing so. There are the usual guidelines, that hold for Doctors, Eastenders, Holby City, Casualty, and so many other shows. So much so that these other shows frequently poach Doctors' writers. But Doctors isn't alone in giving a useful 'foot-in-the-door' to further TV writing. Channel 5's 'Family Affairs' is another show with a turnover of writers as they get work on other shows. 'Night and Day' accepts beginners too, with Carlton having a new writers' initiative.

The course I went on, however, was about Doctors. It's a friendly show, with likeable characters. Being a medical series, there are some life or death situations, and careers permanently on the line. If you haven't ever seen it, set the video and have a look. Try the other options too. Decide which one you enjoy most, and focus on that. Doctors is an open door at the BBC, but it can close quickly if you seem to see this as a chore on the way to other things. Peter says "I don't want writers to come to us if they only want to use Doctors as a stepping stone - they've got to WANT to write for the show - if they don't, then I'm afraid we can tell."

So, as has been said before, don't try to write for a show without watching it. Take lunch break late, or set the video. Watch Doctors, or your target program. Find out if you enjoy it. Then get thinking of ideas for the characters you like. Enjoy watching. It will show in your writing.

Now you know what you're writing for. So what next? Firstly, in planning your great story, know who the audience is. Who watches the show? Why do they like it? Look at the house style, and the time slot. There are medical issues that can't easily be shown in the early afternoon. You wouldn't really want your pre-schooler knowing the symptoms of crabs!

Think about what the show is about. Is it really about showing the public medical issues? Or are the characters relationships under pressure more interesting? How do the Doctors deal with their mistakes? Does a patient's problem hit home, upsetting a character? These are far more fun to watch than perfect, clinical diagnoses.

So, who are your characters? What do they want from life? From the next ten minutes? From each other? Why? What are they doing to get it? What's blocking their goal? How do they cope with that? What's actually going on behind the nice polite, stilted conversation? What are they really thinking? And feeling?

Of course, the answers to those questions do have to be interesting. But people are, so characters should be. Give them something to gain - or lose.

Peter Lloyd ask his writers to seduce the audience; make them want to look, want to keep watching. And do so fast. Start right in the story with a kiss or a kick.

At Peter Lloyd's workshop, which was advertised in the BSCW's market information, the group had opportunities to analyse an episode of the show, and to plan their own plots in groups. My team had fun making a workaholic female Dr deliberate an unwanted pregnancy. Peter pointed out this could happily underlie half a series! He did, thankfully, approve of our approach of putting a character in the most traumatic situation we could think of for them.

Make life difficult for your characters. Then, after they start to cope, make it worse. If your episode has time, make it worse still.

Every scene must count. Have action, show character, let the audience know what they're feeling. Let the audience know why a character is interesting - why they should watch what happens. Keep it visual and keep dialogue economic, and always with plenty of subtext going on underneath the words actually spoken.

What Peter Lloyd wants to see from you is mainly ideas. Lots and lots of good plot ideas. Preferably ones that can be simply summed up, but lead to plenty of drama. He also wants to see a sample script, to know that you can write. It doesn't need to be a TV script, just something to allow him to assess you as a writer. Send those together to Peter Lloyd at the BBC's Pebble Mill address, or e-mail them to Peter.Lloyd@bbc.co.uk.



PLAYER-PLAYWRIGHTS
by Tony Kirwood

Attention London and SE sitcom writers.

Player-Playwrights is a long-established writers' group with a rich and vibrant involvement in sitcoms and comedy. Every Monday a full script is read by a team of professional actors, and given an in-depth discussion. It's a great way of hearing how your stuff sounds, checking where the laughs come (.I won't say "if they come") and you come out full of ideas on how to give it those vital tweaks before sending it off.

I think we can boast a bit about our track record: Marks and Gran are long-standing members: "The New Statesman" and "Birds of a Feather" were first aired at Player-Playwrights meetings. The current group includes some established names in comedy, so roll up, folks, and get your feedback from the Stars.

About 1/3 of our programme is sitcom, so BSCW London members - what are you waiting for? Got something better to do on a Monday night?

We meet Mondays, at 8.00pm upstairs at the Horse & Groom, 128 Great Portland St. Check the Player-Playwrights website: playerplaywrights.co.uk. Or email us at P-P@gen87.pipex.com

See you there!



UPCOMING SEMINARS


MCKEE

From Johanna Reder: "I am writing to inform you about our up-coming Robert McKee's seminars and to especially draw your attention on Comedy taking place on the 23rd of May.

"As you know, Robert McKee's courses teach the principles involved in the art and craft of screenwriting and story design, and proves the essence of good story is unchanging and universal. Whether on the big screen, on television, in novels, on stage and in all creative work, everything works in the shadow of classic story design. For over 15 years, Robert McKee's Story Seminar has been the world's ultimate writing class for over 35,000 screenwriters, filmmakers, TV writers, novelists, industry executives, actors, producers, directors and playwrights.

"I am sure that Comedy and Story would be of great interest to your members and I am wondering whether you would like to include an article about the courses on your website as well as in your e-mail bulletins. I would be very glad to offer your members a 10% discount on both courses (they would need to quote bscw when booking a place)."

Johanna's company, Media Exchange, can be found at:
www.mediaxchange.com


FIT2FILL

Brian West (who was at the Networking Day, and the last BSCW Conference) reports:

"Andrew Barclay and I will be presenting one of our all day COMEDYWORKS writing workshops on Saturday 27 April 2002 at:

The Comedy
7 Oxenden Street
Piccadilly Circus
London SW1

Places will be limited. For more information and registration details
visit: http://www.comedyworks.co.uk
To reserve a place, email workshops@comedyworks.co.uk"


SCREENWRITERS WORKSHOP

SEMINAR: Friday 26th April 2002.

SUE TEDDERN a Comedy Writer is a veteran writer of "Birds Of A Feather" with 13 Episodes to her credit. Her pilot comedy drama "Happy Together" was broadcast on ITV and she is currently writing a sit-com with comedienne Jo Brand.

Sue has also written exclusively for radio and has worked as a comedy script editor for the BBC and LWT.

ENTRY: Open to all. Places available on the door.

INFO: Any change of speaker will be announced on our information line, 0207 387 5511.

TIME: Door and bar open at 7pm onwards. The talk starts at 7.30 pm approx plus Q & A session. From 9 pm onwards an informal social evening and an excellent way to meet the speaker, SW writers and other industry professionals in the audience.

FEE: £7 non members. £5 members. [Please bring your membership card with you]. (NB, this is aimed at members of the Screenwriters Workshop - however as a special offer, BSCW members / subscribers are also being offered the discount. As we don't have membership cards, I will be sending a membership list to the organisers. Let them know you're a BSCW member / subscriber to ensure you get the discount.)

VENUE: The Screenwriter's Workshop, Suffolk House, 1-8 Whitfield Place. London W1. The nearest Underground station is Warren Street [Victoria &
Northern Lines].

Come out of the Underground Station and turn right into Warren Street. Walk along Warren Street and take the first left turn into Whitfield Street. Along on the left is a caged in football practice area. At the far side of the practice area is Suffolk House close to Whitfield Street.


OTHERS...

At the networking day, we learnt of three more conferences...

The Isle of Wight writing conference - 18-20 Oct
National Association of Writers Groups Festival - Durham 6-8 September
The Cult TV Festival - 25-28th October


BSCW ANNUAL CONFERENCE

And don't forget that the BSCW's 3rd International Comedy Conference takes place 1st-3rd November 2002. The venue is confirmed to be The Apollo Hotel, 243 Hagley Road, Edgbaston, Birmingham B16 9RA.

The format will be roughly the same as last year, with speakers, workshops, special events and entertainment. The cost is £185 for BSCW members and subscribers, or £205 for non-members. Full details of how to book will be posted on the website after Montreux.



YOUR SUCCESSES

Rather short on your successes this month! I was asked at the Networking Day what counts as a success, as some of you don't know what to send me. Anything you feel proud of. There are very experienced members who may not count selling one gag to the Huddlines - I would, as it would be an achievement for me. Time to send me plenty more successes for May's E-zine!

David Bodycombe reports "A game show I have devised in conjunction with fellow BSCW member John M. Lewis has been backed by S4C. Two pilot shows, in English and Welsh, will be recorded over the Summer. The programme has a working title of "A Day for the Brain", a mistranslation from the Welsh for "King for a Day" which has stuck ever since."

Gill Smith walked away from the Chelt'n'slam poetry slam with one of the prizes - a bottle of wine... pity it was thanks to sitting next to the tee-total winner!



NEXT MONTH:

What is Slam Poetry?
Your Successes - please send me plenty!
Reviews - sent in by you! (Subtle hint!)
Any courses you let me know about...

Don't forget, you can e-mail anything, including your articles, reviews, comments and successes to gill@bscw.co.uk.