(I’m joking of course! The dialogue needs to be versatile - we looked at how the opening lines not only make the audience laugh but also drive the plot whilst introducing the main characters and their personality traits. He explains how gaining a place in the group via our open script submission system has led on to him being a member of the writers' room for Radio topical comedy shows including Newsjack and The Now Show. Omar Parvaz was one of the 15 writers in our Comedy Room writer development group for 2018/19. Just a little a joke to end with there. Read about our approach to external linking. The scheme not only opened doors but opened my mind to a world of new writing opportunities that I had previously never even comprehended. The Now Show with Steve Punt and Hugh Dennis. The first sketch that I got featured was a story about a BBC Radio Norfolk DJ who happened to share the same name as a notorious French Rapper who had just released an inflammatory new rap single. Our second meet-up started with us revealing the fruits of our homework. Firstly, what is this…’Comedy Room?’ Is it like an escape room, but you have to desperately try and find your way out whilst an awkward clown distracts you with some terrible jokes? When submissions are open the deadlines are midday Monday for sketches and midday Tuesday for one-liners. As soon as I see the email header I’m dancing around the room doing my best Diddy bop, thinking about the type of tweet I was going to unleash to let the world know I’m now a bonafide comedy writer. This section of the day was all about writing for a brief. Some form of new entertainment only to be enjoyed in exotic locations?” However I was fortunate enough after submitting a comedy pilot script to BBC Writersroom to be selected from 2,632 entries (but seriously, who’s counting?) However that wasn’t the end of the ride. Comedy Room writers pitched scripts for Valentine's Day and 3 were made and published on the BBC's social media (including BBC Comedy, BBC One and BBC Two), racking up over half a million views! I don’t know where this topical comedy writing journey will end but I know where it began. The Comedy Script Window Is Open people. We caught up with John Hickman and Stephen Robertson, a writing duo who are part of this year's Room, to find out how things went on Day One. Having finished the scheme a few months ago I've still been invited to a number of events and been given the opportunity to pitch ideas for current shows simply because I am part of the Comedy Room alumni. There was a deadline of 1pm to email a draft of our 1st sketch to the producers who would give us some feedback to tweak if necessary. As it’s all very well being able to write a sitcom script where every character is a thinly-disguised version of myself, but what if I’m eventually required to - heaven forbid – write something that’s not about me? They usually meet once a month for six months and receive targeted training and development including workshops (with practical writing exercises), masterclasses, introductions and networking events, and writing briefs with the opportunity to pitch. Salim Allybokus from our 2016 Comedy Room was commissioned to write a monologue celebrating the power of music for BBC Music Day 2017. She blogged for us about why the Edinburgh Fringe is such a great place for writers. What everyone failed to mention was that this topical comedy writing is a bit like a drug (one can only assume). Get behind-the-scenes insights from writers and producers of BBC TV and radio programmes. They don't thrive as the lone female voice in a writers' room "There can all too often be a sense of tokenism towards the lone female," she wrote on the Comedy 50:50 website. If Hollywood were thinking of doing another Karate Kid re-make and instead of learning martial arts, Daniel-son had to come up with one-liners and gags, then she would be the frontrunner to play Ms Miyagi. After lunch we had a session with BBC Comedy Room Executive Simon Nelson, who is kind of like our Head Teacher, as in he sets our homework and makes us sing hymns at the start of the day. There was also standup comedian and all round funny man Ian Smith, so I was in very good company. We were advised to read the papers in advance and come armed with 2 or 3 ideas for sketches. The hosts Hugh and Steve joined us in the morning and we discussed some of the key topics that we were going to focus on and had a clear idea of the areas to target. There are a few people to blame for infecting me with this contagious disease. So I wrote a sketch about this hapless DJ receiving a bunch of calls from angry French people during his local mid-morning show. ** Who were also free at the time. Get behind-the-scenes insights from writers and producers of BBC TV and radio programmes. Hi there! Following the reading process the Comedy Room group 2019 met for their first session in September 2019. We were set two tasks – firstly, we had to come up with concepts for sketches based on the original brief for Tracey Ullman’s Show. Newsjack airs on BBC Radio 4 Extra on Thursday evenings when it's on-air. It’s important to mention that just because you are in the Writers' Room for the day, it doesn’t guarantee your material being featured. It wouldn’t have made sense to have them both in the show. My name is Amy, I’m a comedian and writer and I have been tasked with telling you all about our second session with the BBC Comedy Room. Watch now. Wahey! She gives us an insider's take on Day Two of the Comedy Room workshops, which covered generating ideas, writing to a brief and pitching. By Lynda Kennedy, who was in the 2018 Comedy Room development group. Stay updated with the latest posts from the blog, Murmurs - Creating a new Podcast Drama Series for BBC Sounds. Our mission was to submit sketches and one-liners for the next few weeks to the BBC’s Newsjack. Naturally being in the room increases your chances but the material will still be judged alongside all of the other content submitted for that week. We meet monthly at the BBC in very large room … Watch an interview with comedy writer and performer Gemma Arrowsmith. Whilst being on the Comedy Room and having the pleasure of listening to a vast number of comedy writing legends such as Gemma Arrowsmith, Ged Parsons, Logan Murray, Sarah Morgan and many more there seemed to be a recurring theme. Our 2019 Comedy Room writer development scheme kicked off in the autumn. Script Room Script Room is our main open submission opportunity for all writers aged 16 and over and resident in the UK or Republic of Ireland. Find out more and listen to his monologue 'The Boxer's Epiphany' now. It definitely felt like quite a challenge as not only did they have to be funny, they also had to be educational and on the level of the average 9 year old (that bit wasn’t too hard for me.). Welcome to BBC Writersroom We discover, develop and champion new and experienced writing talent across the whole of the UK. Secondly, we had to think of sketch ideas for Horrible Histories. Claire Wetton and Bryce Hart from our 2016 Comedy Room were both successful in our recent Class Dismissed sketch writing opportunity for CBBC. Get top tips on script-writing and follow the journeys of writers who have come through BBC Writersroom schemes and opportunities. I was chuffed to be invited and managed to get some more material featured to bolster my credits. Keep up to date with events and opportunities at the BBC Writersroom. If you stuck around until the end then I appreciate it, you’ve stayed with me longer than anyone who comes to see my stand-up. Also there were the super funny BBC Radio Comedy Bursary writers Catherine Brinkworth and Kat Sadler. Wahey! Read about our approach to external linking. Nope, that’s just one of my stand-up gigs. is recorded live in a studio and Double Acts is not, so both shows are quite different in pace and tone, due to the former having to get that instant reaction from the audience. Gráinne dropped some serious “wax on, wax off” techniques that got me feeling like I could karate chop any headline into a comical gag. Nevertheless take heart because making the script is still deemed a solid achievement and the good folk at Newsjack will send you an email of encouragement to let you know your material made the script but unfortunately not the final edit. We focussed on two radio shows – the Penguin Diplomacy episode of John Finnemore’s Double Acts, and an episode from the first series of Shush! The Comedy Room is a group of writers who were chosen after sending in scripts to the BBC via their annual submission process. He describes their sessions with the BBC Childrens department, with lots of great advice, including why you should learn to embrace your insecurities. We're delighted that Amy Gledhill, who was part of our Comedy Room for 2018/19, was also the recipient of the Caroline Aherne Bursary, named in honour of the late award-winning comedy writer and performer. He attended our introduction to Children's day at Media City in Salford, run in conjunction with the Drama Room development group. Our second Comedy Room scheme, Comedy Room 2016, kicked off in November 2016 with 2 days of workshops including a meet and greet, a joke workshop, a session on writing great openings and a day of advice from comedy script guru Andrew Ellard (scriptwriter and script editor for shows including the IT Crowd, Miranda, Red Dwarf and Count Arthur Strong). They met for their last session in February 2018 and went on to have script-editing support on their sitcom scripts. as one of 15 writers to participate in the 2018/19 Comedy Room group. I was surrounded by a room full of funny women including Laura Major who has written on everything such as Have I Got News for You, 8/10 Cats, Mock The Week and too many more to mention. Coincidentally, this was also the catchy name of the seven-piece girl band I was briefly in during year ten. She explains how comedy can be the best medium to share and relate to tragedy. Now I need to go and pick up my satin pyjamas from the dry cleaners so I’ll leave you with this. I’ll start with the award-winning stand up comedian and writer Gráinne Maguire. I’m often one for letting an idea stew in my head for months and months before I tell anyone about it (not a great technique for writing topical comedy) so it actually felt quite liberating to say my half-baked concept out loud – and a useful exercise as well, seeing as writing comedy often involves throwing ideas out there to other writers before you’ve had much time to think about them. Your material may make it to the show’s script and may even get performed and recorded. Following this they receive the support of a Script Editor for a further 6 months to develop their original spec' script. All in all it was really good to be in the room and get a front row seat on how the show is constructed. Katie Redford gives an insight into what happens behind those hallowed Comedy Room doors... Getting Your Comedy Script Ready to Submit, 10 Reasons Why You Should Enter Your Script in the BBC Writersroom's Comedy Window, Find out more about the Comedy Room 2019 on our blog, The Comedy Room Day Two: Generating Ideas, Writing to a Brief and Pitching, The Comedy Room - Children's Day and an opportunity to pitch to Radio Drama North, How Comedy Room led to writing for Topical Comedy shows, a session including advice on writing for digital platforms, Why you should enter your Comedy Script - in 5 inspirational quotes, "How on earth are you going to make that funny? I think having a particular actor at the centre of a brief that was otherwise quite broad helped to focus our suggestions, as we had to keep in mind the kinds of characters that Tracey could play, or the celebrities she could perhaps do an impression of. Turns out, however, that not all pitches are exactly like the ones on The Apprentice and we actually had to come up with a new idea for a comedy show. You find yourself trawling the headlines day after day mining a joke from every headline and article. As I mentioned earlier, word on the street was that Newsjack was a great way to start your comedy writing career and it will help open the door for other opportunities. He describes their second development day, with a focus on TV comedy writing for sitcom. She explains what happened. Just because you’re not glued to the parliament channel doesn’t mean you can’t whack out some topical comedy. Helen Parkinson is part of our Comedy Room writer development group. At the end of this workshop, the second culprit Amanda Farley, who co-runs the Comedy Room (along with the equally culpable Simon Nelson) decided to set some homework. Now one of them had to be dropped, not because it wasn’t funny but simply because both wouldn’t work within the same episode. Class of 2017 member Stephen Large sums up his Comedy-writing journey, and why you should enter your script. She gives a rundown on the group's recent two-day workshop at Media City in Salford which covered writing for Children's plus an opportunity to pitch a short Radio Drama. That might sound like a no-brainer but I guarantee if you are submitting good material for 8 weeks consistently, you will get noticed. Submit to Newsjack EVERY WEEK. Our first Comedy Room group began in October 2015 following our open submission comedy script window earlier in the year. Submissions of Comedy scripts will open around mid to late March. It was very eye-opening to zoom in on the little details in both scripts and explore how they pull the story together as whole. We’d been given a bumper pack of information to read for our homework (*swishes pigtails*) which consisted of a LOT of facts and research that the writers of the show use to base their sketches on. We meet monthly at the BBC in very large room which we’ve been repeatedly told is bomb proof (presumably because our collective talent is so explosive and a threat to public safety*), where we take part in workshops run by the best comedy writers and producers in the business. Nevertheless I decided to give it a go. I had never pitched anything before. Simply because of the sheer volume of entries the team can’t respond to everyone so you’ll only receive an email if any of your material is selected to appear on the show. Congratulations Athena! With David we looked at the evolution of scripts from the early draft stage to broadcast. I ensured I had about 6 ideas ready to go just to be safe. ‘I can do better than that!’ I thought, and my mind was instantly put at rest. He spoke to us about comedy archetypes and we learnt that the majority of characters fall into one of seven categories; The Loveable Loser, The Neurotic, The One Who’s On Their Own Planet, The Sane/Logical One, The Bitch/Bastard, The Dumb One and The Horny One. The second week I submitted my sketches and one-liners as per the deadline and waited. I can confirm - the streets don’t lie. Tash Marshall took her play Half Breed to the 2017 Fringe to great reviews. So Thursday rolls around and I receive an email from the Newsjack team. The 15 writers in our Comedy Room group for 2018 (including writing pairs) were: They met for monthly sessions, including TV comedy, Children’s and Radio Comedy with their final session taking place in March 2019. I’m off to start my next lot of homework now (*writes ‘I love Robbie Williams’ all over pencil case*). Keep up to date with events and opportunities at the BBC Writersroom. Now this poor old Radio Norfolk DJ was mistakenly receiving online abuse and trolling. Next we were joined by actor and comedy writer Gemma Arrowsmith who shared with us the knowledge she’s gathered from writing and script-editing for shows such as Tracey Breaks the News, Class Dismissed, Newsjack, The News Quiz and The Now Show. Lou Conran told the story of the loss of her baby at the 2017 Edinburgh Fringe. Whilst the show is still based around topical news, where it slightly differs from Newsjack is that the aim is to write material for the hosts of the show - the legendary Hugh Dennis and Steve Punt. Sounds harsh but that’s the breaks. Death in Paradiseby various writers. There are sixteen writers (including one writing pair) in the Comedy Room for 2019. The 2017 Comedy Room group met for their first session in September 2017. A year-long development scheme for comedy writers. Jonny Addy reports back following January's session, with guest speakers including Steve Pemberton. She was responsible for running a Comedy Room workshop explaining the art of writing topical comedy and how to construct gags from headlines and articles. The comedy in Shush! Don’t be disheartened if you aren’t featured and don’t think that it’s because your material wasn’t funny enough. My typical writing process consists of me lounging at home, satin pyjamas, smoking jacket, surrounded by important magenta coloured encyclopedias and dictionaries, the smell of freshly opened potpourri and the soothing sounds of Enya’s Orinoco Flow to get the juices moving, so truth be told - I was looking forward to a change of scenery. There are normally between 15 and 20 writers or writing pairs on the Comedy Room. BBC Writersroom's Comedy Room is a 1-year development scheme for writers identified through our open submission script room and other talent searches. We received 2728 scripts in our Comedy Script Room window which closed in April 2019. The other writers in the room also chipped in with suggestions on the ideas pitched, the whole experience was really laid back and it was a supportive environment with tons of encouragement and great ideas on how to improve and frame concepts. The aim of the scheme is to encourage and develop the best in new comedy writing and to give these writers the opportunity to build strong connections with producers and help them gain BBC broadcast commissions. Our annual submission window for Comedy scripts is open from 10am on Monday 1st April to 5pm on Monday 29th April. Being in the Writers' Room really opened my eyes to see there are a plethora of reasons why your sketch or one-liner may not get included and it could have absolutely nothing to do with how funny it is. – a comedy set in a library written by Rebecca Front and Morwenna Banks. Read about our approach to external linking. So it doesn’t always have to be breaking news. Having arrived at BBC HQ we all sat down in a rather swanky room and for the first couple of hours took turns in discussing our ideas. For example there were two completely different sketches pitched in the room, both equally as funny but both were centred around an emergency room type situation. This was all about generating ideas that were obviously hilarious and ideally low-budget (no paragliding over Niagara Falls or fighting a duel on the back of an elephant), but were also suitable for Tracey. So please, stop reading my incoherent ramblings and start your own journey. From our former Belfast-based Development Producer Keith Martin. I’m not convinced though. The Comedy Room writers 2018/19 At the end of this workshop, the second culprit Amanda Farley, who co-runs the Comedy Room (along with the equally culpable Simon Nelson) decided to … I think we were all slightly intimidated by the task at first but the pitching session was very informal and it was fascinating to hear the range of ideas that everyone else came up with. Keep an eye on our Opportunities page and social media for details. Shetlandby various writers. Just a little joke for you there, now we can get down to business. October's session concentrated on sitcom (including analysing an episode of Not Going Out) and November's focus was CBBC and CBeebies. The BBC Writersroom Comedy Room is truly a money-can’t-buy type of experience. In January 2018 they had a session including advice on writing for digital platforms and pitched ideas for Valentine's Day sketches on the BBC's social media platforms (3 of which were made - watch now). The Comedy Room is a group of writers who were chosen after sending in scripts to the BBC via their annual submission process. The reading process is currently ongoing and we'll let everyone know the outcome as soon as possible. That’s when I caught this topical comedy writing bug. *feels young again*) We were asked to come up with a pitch to present to the rest of the group. Subsequent sessions included a day in Salford on writing for Children's TV with guest speakers from both CBeebies and CBBC and kids' shows Danger Mouse, the 4 o'clock club, Class Dismissed and Diddy TV. (Yes, we have homework! To round off the day, we had a visit from TV and radio comedy producer David Tyler, who’s worked on shows such as Cabin Pressure, Armando Iannucci’s Charm Offensive, Coogan’s Run, Dinnerladies, The House of Milton Jones and countless others! Once each writer had at least two solid sketch ideas we had the rest of the day to work on them. Claire Wetton was one of the commissioned writers in the Newsjack writers' room for the last series of the topical sketch show. The producers were welcoming, funny and constructive in their comments and feedback. SUBMIT! I received an email from one of the Newsjack producers inviting me to submit material for Newsjack Unplugged, a shorter version of the show which airs for five weeks after the main show finishes. Unfortunately (for me) we weren’t able to name drop the BBC Writersroom scheme and get any special treatment, we simply had to submit via the “open to the public” regular Newsjack submissions email address. Get top tips on script-writing and follow the journeys of writers who have come through BBC Writersroom schemes and opportunities. 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