BBC Comedy Development Unit

Matthew Carless, Former Script Associate

Basically we are a very small unit within the development section. There are three people reading scripts. We are a bi-media department now - radio and television. We get about 1500 scripts a year - 99% of which are no good. We also provide feedback. We now look at comedy drama, series and comedy films.

When you send a script in you will get a postcard with an acknowledgement number and eventually it is read and a recommendation made on whether it is suitable to take any further. We do work with writers to make the script better but they have to be of a certain standard. We are always making pilots for radio and television and that's normally from scripts that come into the Unit.

We do more for radio then for TV - we had three TV pilots last year. Radio ones tend to be made properly in front of an audience in the radio theatre but they are not broadcast. They go to a programme discussion group (PDG) - a group of people who have listened to the tape - and a decision is made then. This may happen after many months so if the show is topical and gets a series it would have to be re-made. Obviously there is a lot more at stake with television.

I try to find as many second-read scripts as possible. What we mean by that is when your script is read it will come back as one of three recommendations. The most common one is a rejection that's when the script is crap. The writer will then send in a letter of complaint saying all his friends read the script - they'd never read a script before - and they find it hilarious.

If a script has some kind of potential; if there is evidence there that the writer knows a bit about what they're doing; they know how to put a script together, they know the kind of language to put in a script and there is evidence of a handle on characterisation, focus and narrative then there is - instead of a rejection - a comeback. It's like the standard letter saying, "we would be happy to look at other original scripts but not this one".

Usually a script is rejected for its idea - it isn't entertaining, innovative or interesting enough. If the script is funny then there is a second read by Bill Dare, the Script Executive or another reader. If they find it funny then it goes to another reader or back to me and then who knows. If everyone likes it we work with the writer and try and take things further. We're not just there to pick up funny scripts but to develop talent as well.

We have a set of guidelines. Too many people send in scripts without reading the guidelines and then complain bitterly when we reject scripts.

There are four things that a script reader is looking for.

1. Idea
2. Story
3. Character
4. Dialogue

Normally a script will fail on all of these things.

It isn't a good idea to have too many characters. My personal suggestion is that - if you are a new writer - you try and come up with an idea with only two or three main characters. The biggest weakness of a new writer is characterisation. You might be good enough to write an ensemble piece but just bear in mind try not to go above four.

You need to be able to write your idea in one sentence but you have to think about how much mileage there is in that idea. What kind of stories would work in this idea? I suggest think hard about your idea first. Come up with a format, type out your characters. Think of five or six story ideas.

There are people who complain and say "but this really happened - this is real life". Fiction is more interesting than real life. A script should not be a facsimile of real-life. You have to be aware of that - your characters have got to be larger than real life.

We have a list of the most common ideas: flat shares, stately homes, undertakers, footballers. If you're able to find an idea which is a little bit different… Having an original idea is the most important thing when you start. I've had people saying, "This is Men Behaving Badly with a different title" And they actually say that. But we have Men Behaving Badly, why would we want another one?

If you can come up with a fresh idea, some originality, something that people are familiar with. I've had scripts sent to me that could be Friends transcripts. Having an original idea is the most important thing when you start. Try and set a trend - don't copy a trend. If it's already been done, don't do it. Think of something else. Try and find a whole new market.

The Writer's Guidelines are available online at The Writers' Room