The way I see it is that I'm not in a hurry to get good... if me getting good is even possible of course.

I'd rather take my time and work through it bit by bit. I guess a course such as the one described above could help but I've always worried about missing something unique that can ONLY be learned by doing things myself the long and, sometimes, hard way.

I'm happy to work with guidelines (especially for the mechanics of scriptwriting) but what if my stumblings reveal a hitherto undiscovered idea that I'd not necessarily get by following other advice?

Sure, I may not end up writing that killer SitCom (I know, I know 'it's all been done...') but I'll have a lot of fun doing so... and be £99 up.

That kind of money can get you a decent shag on a desperate Friday night!

What Ed says is true though. If YOU'RE not completely satisfied then no-one else will be. (That's with your scripts).

The answer is write, rewrite, rewrite etc. Coming backto it fresh you can see the weaknesses and then get someone whose opinion you respect and are not frightened of. ie. - not someone who will jusat say it's good because they're a friend.

Signed - someone who has so far achieved absolutely nothing in the world of comedy writing.

Quote: Darren Goldsmith @ May 6, 2007, 4:52 PM

Sure, I may not end up writing that killer SitCom (I know, I know 'it's all been done...') but I'll have a lot of fun doing so... and be £99 up.
That kind of money can get you a decent shag on a desperate Friday night!

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Yeah, but after a £99 shag you feel you've abased yourself. But after writing a ratings-busting, catchphrase-driven, lowest common denominator sitcom you feel ..

True.

To a large degree you make your own luck in this business.

A few years ago I set up the chucklebucket, which was a comedy writing group. And anyone could attend. Big mistake. I had all manner of loons, although there were one or two people who showed promise.

Going along to these things it's important to have something to show, or at least an area you would like to examine and see if you can develop.

For instance, I can't write gags. I don't understand them properly, and I hate people telling me jokes. I lose interest because I know how they work and they have to be pretty interesting to hold my attention. But I can do narrative, satire, parody and situation. But there are some people who can't do what I can, and others who can do both.

Point i am trying to make is although these things are normally a rip off, Brad knows what he is talking about. But that is only half the reason for going. I think the other reason is to network with other writers.

Quote: JohnnyD @ May 8, 2007, 11:38 AM

Yeah, but after a £99 shag you feel you've abased yourself. But after writing a ratings-busting, catchphrase-driven, lowest common denominator sitcom you feel ..

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like you've written something for Nicholas Lyndhurst?

Quote: David Chapman @ May 6, 2007, 11:29 PM

What Ed says is true though. someone who has so far achieved absolutely nothing in the world of comedy writing.

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Dave, can I use this as a signature? It's so rare these words are spoken...

I see you've edited it slightly.

That's the trouble with this isn't it. Like trick photography.

Be my guest. I'll only charge you a small royalty. (like Lichtenstein or somewhere)