Quote: Tiggy @ 1st December 2014, 10:09 AM GMT

My advice?

Don't pick it.
Measure twice, cut once.
Better out than in.

And count you blessings. The last half hour comedy script I annoyed people with got 20 ignores, a couple of "thank you but it's not what we're looking for"s, a "not funny"(though it's hardly my fault if the idiot missed both the jokes), and eventually a "It's a fun idea, but doesn't fit in with our current projects". I'll be carefully cutting out the words "It's a fun idea" and pinning them up somewhere. I'm calling that script a partial success.

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The problem is why pay a freelancer if your eventual sitcom goes nowhere?

If you didn't have fun writing it Paul, then you have already lost.

I'm just suggesting it's probably best to keep going, rather than just give it up as a bad job.

Quote: Paul Wimsett @ 2nd December 2014, 12:29 PM GMT

I'm just suggesting it's probably best to keep going, rather than just give it up as a bad job.

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Unless it is a bad job.
Knowing which ones to pursue is the trick - rather than flogging a dead horse.
And that's where hiring someone else to help can sometimes be of benefit.

Talking of which, I looked into getting an agent but, it transpires you don't choose them, they choose you. Bizarre. They are there to help us progress. Whether they can is our decision surely. I didn't approach anyone after finding that out. How do you get around that neat little Catch 22?

Might be useful to face what really happens and add a paragraph to your intro letter along the following lines.

If you like my style but see no current opportunities for the enclosed sitcom, please treat the script as an indicator of my capabilities and consider employing me as a co-writer on one of your existing sitcoms.

Quote: Steve D @ 2nd December 2014, 1:27 PM GMT

They are there to help us progress.

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No.
They are there to make money.
If they think you have earning potential they will talk to you.
If you don't - they won't.
The truth of the matter is they rarely take anyone one if they can't see themselves making some dough in the VERY near future.
It's only a Catch 22 if you labour under the mis-apprehension that the only way you get work is through an agent.

Within the 'getting an agent' theme, it is a Catch 22, even if it isn't anywhere else.
We are both there to make money, at least that's part of the plan on our side. It is very Alice in Wonderland, everything topsy turvy. Not having the confidence to think they can make money, sounds like an admission of failure, in which case, no-one would want them anyway. A self-fulfilling circle.

Quote: Steve D @ 3rd December 2014, 1:37 PM GMT

Within the 'getting an agent' theme, it is a Catch 22, even if it isn't anywhere else.
We are both there to make money, at least that's part of the plan on our side. It is very Alice in Wonderland, everything topsy turvy. Not having the confidence to think they can make money, sounds like an admission of failure, in which case, no-one would want them anyway. A self-fulfilling circle.

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They can't polish a turd.
If they're not confident they can make money from the writer - they're probably right.
They're not plumbers on hand to fix up un-commercial writers.
They're there to handle the complexities of contracts, introduce you to new people, keep their ears to the ground for suitable work.
And take a cut of the profits.
If you take other people rejections of you and your work as a reflection of their shortcomings, rather than your own, then you'll never get anywhere.

Quote: Steve D @ 2nd December 2014, 1:27 PM GMT

Talking of which, I looked into getting an agent but, it transpires you don't choose them, they choose you. Bizarre. They are there to help us progress. Whether they can is our decision surely. I didn't approach anyone after finding that out. How do you get around that neat little Catch 22?

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Hard work, contests, film your own pilots, enter the sit comission, chat up producers and actors.

Quote: Steve D @ 29th November 2014, 2:08 PM GMT

The 6music one was a letter, to by-pass all this tech nonsense like filters.

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What did you want to do at 6 Music, Steve? You don't have to name them, but who did you approach (Producer, Editor, etc)?

Quote: Lazzard @ 3rd December 2014, 1:52 PM GMT

If you take other people rejections of you and your work as a reflection of their shortcomings, rather than your own, then you'll never get anywhere.

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Yep.

It's not a reflection of their shortcomings, as I've never met any agents. It's the illogic of it. The desire to make money isn't exclusive to the agent, it is a mutual motive so, work together and make it happen. Deciding at the very start that they can't make money is a cop-out. Persevere, together. Any success achieved will be all the sweeter, for both parties.

With 6 Music, I put forward a format for a series designed to discover broadcasting talent amongst listeners, of which there must be plenty. An enthusiasm for and knowledge of music, with individuals personalities the icing on the cake. Shows either made at home or in their studio for finalists. The idea came from the observation that many musicians with no previous presenting experience were being parachuted in to 6 Music and Radio 2. Iggy Pop, Lulu, Elaine Paige, Tom Robinson, Guy Garvey, Michael Ball, Huey Morgan, Terry Hall and others. Some are very good, some are a bit dull. Iggy admitted he hadn't done such a thing before and the same applies to some of the others at least. Allowing the listeners equal opportunities, perhaps X Factor style (preferably not though), seems a format with mileage.
I don't know any producers names so, it was sent to their general address, about 3 weeks ago. No reply. A rejection is a reply so, it hasn't been rejected, yet.

Quote: Steve D @ 3rd December 2014, 8:40 PM GMT

It's not a reflection of their shortcomings, as I've never met any agents. It's the illogic of it. The desire to make money isn't exclusive to the agent, it is a mutual motive so, work together and make it happen. Deciding at the very start that they can't make money is a cop-out. Persevere, together. Any success achieved will be all the sweeter, for both parties.

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Look, they can only work with a set number of people, if they're going to commit a reasonable amount of time to each client.
So they can't afford to take a punt on someone with no observable means of earning an income.
And why should they?
They have to put time in - for which they don't charge, and only get paid if you do - and they need nine clients earning to make the same as one writer.
They are not there to nurture talent.
We have to do that for ourselves.

Quote: Steve D @ 3rd December 2014, 8:40 PM GMT

I don't know any producers names so, it was sent to their general address, about 3 weeks ago. No reply. A rejection is a reply so, it hasn't been rejected, yet.

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Then it'll probably be read by an office junior.
Get a name next time.

EDIT

I put 'Radio 6Music producers' into Google.

Paul Rodgers, Head of Programmes, BBC 6 Music

Julian Grundy, Manager, Commissions & Schedules, BBC 6 Music

Quote: Steve D @ 3rd December 2014, 8:40 PM GMT

With 6 Music, I put forward a format for a series designed to discover broadcasting talent amongst listeners, of which there must be plenty. An enthusiasm for and knowledge of music, with individuals personalities the icing on the cake. Shows either made at home or in their studio for finalists. The idea came from the observation that many musicians with no previous presenting experience were being parachuted in to 6 Music and Radio 2. Iggy Pop, Lulu, Elaine Paige, Tom Robinson, Guy Garvey, Michael Ball, Huey Morgan, Terry Hall and others. Some are very good, some are a bit dull. Iggy admitted he hadn't done such a thing before and the same applies to some of the others at least. Allowing the listeners equal opportunities, perhaps X Factor style (preferably not though), seems a format with mileage.

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6 Music did actually have something called the Listener Mix, where listeners would create their own playlist, then if selected, they'd be invited in and get to present a show alongside a presenter. They axed it though, so they probably won't go there again.

I agree that some of those parachuted in musicians make better presenters than others, but you should probably cut Tom Robinson some slack.

Quote: Steve D @ 3rd December 2014, 8:40 PM GMT

I don't know any producers names so, it was sent to their general address, about 3 weeks ago. No reply. A rejection is a reply so, it hasn't been rejected, yet.

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As Lazzard has demonstrated, it's quite easy to find names - and that alone will give you a far better chance of getting your letter read.

I used to be a runner at Virgin Radio and part of my job was to deliver post to every person on every floor. The fact that I can't remember what I used to do with mail just addressed to the station should give you a clue as to where your letter has probably ended up...

Thanks for all that, I'll act accordingly. ( shuffle along the street muttering and swearing about how unfair life is while people cross the road to avoid me) Then, I'll follow your advice.