No blog this week, instead a YouTube video with lots of advice. We talk a lot about script formatting, there’s also a discussion about writing tools (and inevitably, a joke about tools). We talk about the BBC and the plans they have for reading sitcom scripts (tl/dw: looks like they still haven’t definitely decided yet) […]
Let me introduce myself. One of the most rewarding exercises you can do to help work out who your characters are is to think about the first time we meet them. It’s amazing how much information you can get across. I haven’t seen a James Bond film in oh, oh seven years or more, but
Since lockdown I’ve been running a series of courses designed to help you speed from nought to first draft in eight weeks flat. I’ve just finished the fourth course and been amazed at the response. Initially thought hardly anyone would get there. In the ad for my course I hint heavily that the journey is
Redress by Ralph Jones
Gains by Joel Frosh & Joel Brooks
Coconut Republic by Rebecca Bain & Alex Garrick Wright
For the last couple of weeks I’ve been urging you to be like the characters in your sitcoms, and to take a more proactive approach to your desire to be a comedy writer. I can’t guarantee that you won’t also end up like them. You might get into scrapes because you tried something that not
Last week I congratulated you for becoming a capitalist. I appreciate you coming back for more. I know the majority of comedy writers are namby-pamby left-leaning do-gooders and you probably didn’t take kindly to being labelled as wannabezos with giant warehouses packed full of cheap shoddy merchandise stuck together by slave labour and brought to
the changes happening in comedy right now are most advantageous to you, whether you’re starting out or have been bashing away for years.
Welcome to February. Apologies if January was boot camp in tone. I find it hard not to get swept up in the excitement and anticipation generated by the artificial deadlines we impose on ourselves around this time of year. As though if we have a new idea on 28th December we should wait until the
If you want to make a living as a comedy or drama writer, sooner or later you’re going to expect to spend some time working for the BBC. It’s as true now as it was when I began my comedy writing career writing jokes for BBC shows in 1983. There are no other organisations in
In the current episode of Sitcom Geeks (https://www.comedy.co.uk/podcasts/sitcom_geeks/episode_157/) James Cary and I talk about the importance of reading. James discusses it in its noblest form – you read to expand your knowledge of the world, not just to confirm your prejudices as you scroll down your reading machine of choice. More important you should read
Last week we looked at topical comedy as one of the quickest ways to become a professional paid comedy writer. There’s still time to decide if that’s for you – don’t forget you can sign up at funnyup02@gmail.com today for 10 free daily emails. Unfortunately writing topical comedy is also one of the most exclusive