Chortle Conference: Writer's Session
Panel: John Finnemore, Laurence Rickard, Bennett Arron, hosted by Alex Rochford.
The panellists begun by discussing their backgrounds. John talked about starting by writing sketches on spec to various radio and TV programmes (doing a great deal of research in the process) before his work was accepted by Smack The Pony. Bennett also discussed sending sketches on spec and got involved in stand-up to see first hand whether or not his material was funny before subsequently progressing to sitcoms. Laurence initially worked with a writing partner on what he described as "a high concept sketch show", before eventually getting a Comedy Lab pilot through Channel 4 with Tiger Aspect.
Bennett initially wrote for Graham Norton and Genie In The House with Nickelodeon. Recalled the details of a BBC meeting where he was told the corporation wanted "something like Gavin and Stacey", by which they meant successful. John revealed that he still finds it difficult to write, that he tends to write alone and that people are "sharp elbowed" in writing rooms. Bennett says he's never worked in a writers room larger than six, telling a nightmarish story about script editing for Davina McCall's sitcom and being ask to complete comprehensive rewrites on the day of filming before a studio audience.
Laurence discussed writing on Horrible Histories, where he predominantly worked solo. He now writes for Yonderland, which is table written initially before the writers split off into pairs. Alex asked the panel what writing agents do. Laurence say they generally work with writer-performers who have a mutual understanding and that the split between opportunities he discovers and those discovered by his agent are about 50/50. John concentrated on getting work before finding an agent.
Laurence says that in terms of sketch writing for the radio, the material needs to be short, funny and punchy, no longer than 3 pages in length. Bennett warned of the perils of writing by committee, referring to a time when a comedy commissioner gave him so many notes that it badly compromised his work, before telling Bennett that he shouldn't have listened to him after 8 drafts. If you believe in the idea you're writing about, you should stick to it.
John says that despite that, it's important to work with notes and writers should not be obstinate about this. You should do as many drafts as of a spec script as you possibly can before you send it in. All the panellists agree that aspiring writers should not pay to enter writing competitions. Laurence and Bennett describe scripts as being "meticulously structured", like "building a house". Character voices must be well defined, we must know who they are and what they want.
The panellists begun by discussing their backgrounds. John talked about starting by writing sketches on spec to various radio and TV programmes (doing a great deal of research in the process) before his work was accepted by Smack The Pony. Bennett also discussed sending sketches on spec and got involved in stand-up to see first hand whether or not his material was funny before subsequently progressing to sitcoms. Laurence initially worked with a writing partner on what he described as "a high concept sketch show", before eventually getting a Comedy Lab pilot through Channel 4 with Tiger Aspect.
Bennett initially wrote for Graham Norton and Genie In The House with Nickelodeon. Recalled the details of a BBC meeting where he was told the corporation wanted "something like Gavin and Stacey", by which they meant successful. John revealed that he still finds it difficult to write, that he tends to write alone and that people are "sharp elbowed" in writing rooms. Bennett says he's never worked in a writers room larger than six, telling a nightmarish story about script editing for Davina McCall's sitcom and being ask to complete comprehensive rewrites on the day of filming before a studio audience.
Laurence discussed writing on Horrible Histories, where he predominantly worked solo. He now writes for Yonderland, which is table written initially before the writers split off into pairs. Alex asked the panel what writing agents do. Laurence say they generally work with writer-performers who have a mutual understanding and that the split between opportunities he discovers and those discovered by his agent are about 50/50. John concentrated on getting work before finding an agent.
Laurence says that in terms of sketch writing for the radio, the material needs to be short, funny and punchy, no longer than 3 pages in length. Bennett warned of the perils of writing by committee, referring to a time when a comedy commissioner gave him so many notes that it badly compromised his work, before telling Bennett that he shouldn't have listened to him after 8 drafts. If you believe in the idea you're writing about, you should stick to it.
John says that despite that, it's important to work with notes and writers should not be obstinate about this. You should do as many drafts as of a spec script as you possibly can before you send it in. All the panellists agree that aspiring writers should not pay to enter writing competitions. Laurence and Bennett describe scripts as being "meticulously structured", like "building a house". Character voices must be well defined, we must know who they are and what they want.
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