Sitcom Survey

This survey was originally done in 1997. The advice is still relevant but the contacts aren't. An up-to-date list of comedy producing companies is available here. 

John Bishop, Controller of Entertainment and Comedy, Carlton Productions

Are you able to accept unsolicited scripts or proposals?

Yes, from experienced writers and agents only.

How should scripts/proposals be submitted?

If unsolicited - whole scripts and storylines. Known writers - treatments/storylines or script

How long is the average wait for a response to a script/proposal?

4/5 weeks.

Are you able to develop writers that show potential but where the actual scripts/proposals aren't suitable?

Yes - within reason. Carlton TV already runs an annual writers course for sit-com. We also have a team of in-house writers who are developing ideas etc.

Which type of scripts/proposals would you reject outright (i.e. content, how they're presented)?

Badly handwritten, scripts that on the surface look unsuitable for prime-time ITV.

Do you have the resources to give feedback on scripts/proposals?

Yes - but to a limited extent.

What type of scripts/proposals are you looking for?

Primarily sitcom or comedy drama suitable for an ITV audience.

Are you in a position to recommend scripts/proposals not suitable for yourselves to other production companies?

Yes.

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Alan Marke, Channel X Communications,

Are you able to accept unsolicited scripts or proposals?

Yes.

How should scripts/proposals be submitted?

Treatment and part-script is probably the best first step so that we can get a feel of the project.

How long is the average wait for a response to a script/proposal?

Unfortunately it probably averages around six weeks because there are not many of us to read scripts.

Are you able to develop writers that show potential but where the actual scripts/proposals aren't suitable?

Yes.

Which type of scripts/proposals would you reject outright (i.e. content, how they're presented)?

If they are poorly written first and secondly if the content is not of interest. Channel X tends to specialise in comedy.

Do you have the resources to give feedback on scripts/proposals?

We try to.

What type of scripts/proposals are you looking for?

Situation comedies and comedy dramas.

Are you in a position to recommend scripts/proposals not suitable for yourselves to other production companies?

Yes.

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Kathleen Hutchison, Noel Gay Television

Are you able to accept unsolicited scripts or proposals?

I don't advertise the fact but everything sent will eventually be looked at. Enough material comes in from agents to keep me going. However all new talent needs a chance - it just has to be patient.

Many new companies won't because time and resources spent reading don't come anywhere near offsetting the tiny success rate.

How should scripts/proposals be submitted?

There is something in sending in a four line idea but no point whatsoever sending a treatment or part of a script. I've seen many wonderfully written treatments that go on to be very badly written scripts.

All information should be contained within the dialogue: obviously the storyline, but as importantly, the characterisation. I hate to see pages of detailed character description. No need for it. Also it should come across in the writing but sadly often doesn't.

How long is the average wait for a response to a script/proposal?

Unsolicited around 3 months.

Are you able to develop writers that show potential but where the actual scripts/proposals aren't suitable?

To an extent. If I like the first script as a sample of work only, I'll ask to see something else. If I think the first script has potential, I'll put my notes to the writer and see what they think. This process culminated recently in me commissioning a new work by an unknown writer on the back of previous samples I'd read - fingers crossed - it has been submitted to BBC2 and C4.

Which type of scripts/proposals would you reject outright (i.e. content, how they're presented)?

I'd never consider anything racist or anti-women unless sympathetically handled. I wouldn't put myself through the trauma of reading anything written with a dodgy typewriter - in my experience a dodgy mind usually wrote it! However - "The Young Ones" script notoriously came in covered in marmalade with dog-eared corners. N.B. Don't send things so elegantly bound that the reader can't get to the script. A butterfly clip in top left hand corner is perfect.

Do you have the resources to give feedback on scripts/proposals?

I always personalise my letters to writers. And try to be as positive as possible. But I am honest so there have been times when I've received aggressive replies.

What type of scripts/proposals are you looking for?

Sitcom; game shows; long running drama series

Are you in a position to recommend scripts/proposals not suitable for yourselves to other production companies?

Not other production companies, but certainly broadcasters e.g. if something is hugely expensive or a short film or a one-off that's not financially viable for an independent production company.

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Pete Atkin, Script Editor, Hat Trick Productions

Are you able to accept unsolicited scripts or proposals?

Yes.

How should scripts/proposals be submitted?

We're happy to respond to ideas in any form, but it's almost always difficult if not impossible in practice to offer a sensible judgement on anything much less than a full script. Too many promising outlines turn into disappointing scripts, and there are too many successful programmes that would have looked like nothing much at all in synopsis form.

How long is the average wait for a response to a script/proposal?

I do this work for Hat Trick as a freelance, and so other production work sometimes means the backlog builds up alarmingly, and I seem always to be catching up. At worst it can slip to 6 months, but 2 months is probably a reasonable average, sometimes, with a bit of luck, much quicker.

Are you able to develop writers that show potential but where the actual scripts/proposals aren't suitable?

Yes, if a script demonstrates talent which I think the Hat Trick directors should be aware of I don't hesitate to pass it on to them, even when the particular script or idea may not be immediately practicable or appealing.

Which type of scripts/proposals would you reject outright (i.e. content, how they're presented)?

I don't reject anything outright that comes within Hat Trick's range of interest. Bad presentation is irritating, but it never means I don't read it. It's the easiest thing to put right in a script, after all, and the one thing an audience will be utterly unaware of.

Do you have the resources to give feedback on scripts/proposals?

Giving as much feedback as possible is central to my role. The extra time it takes contributes to the backlog sometimes of course. But for scripts in the area of Hat Trick's main interest I try to give as much reason for rejection and as much constructive advice as possible. I'm always aware, though, that constructive advice from our particular point of view may be sending a writer off in the wrong direction from the point of view of another company; I know from the seminars I occasionally do that reconciling conflicting advice is one of the hardest things for writers to come to terms with. I also try to stress the personal nature of my response; I hope I don't ever give the impression of making large and absolute statements and judgements. What happens is that I read and respond to everything and pass the best things on to Hat Trick's regular 3-weekly Sitcom development team meeting, which includes the directors. Scripts tend to get only one go with them, so in order to give promising scripts the best possible change I do sometimes ask writers to do some more work on spec. Hat Trick's ability to spend actual money developing a script short of a network commission is extremely limited, of course. Things do make it through this process to production though. "Father Ted" for Channel Four was developed in precisely this way.

What type of scripts/proposals are you looking for?

Without wishing to rule out the possibility of any kind of good idea entirely, Hat Trick are nevertheless interested in new ideas for series comedy and comedy/drama that are strong on character and plot construction, that have something new to say, that have some kind of relevance to some kind of reality (i.e. whimsy doesn't go down big here), that ideally have long-term (at least 2 or 3) series potential - oh, and which are incredibly funny.

That means that we are much less likely to be able to get behind one-off ideas, games and quizzes, documentaries, and also (perhaps surprisingly to some people) sketches and sketch show proposals. Most such proposals are turned down fairly straightforwardly, but still with as much constructive comment as possible and relevant.

Are you in a position to recommend scripts/proposals not suitable for yourselves to other production companies?

Yes, sometimes, when we know who they might be. In most cases, though, to be honest, we probably know no more about who other suitable companies might be than the writers themselves.

Sarah Williams, Development Consultant, LWT Productions

Are you able to accept unsolicited scripts or proposals?

Yes

How should scripts/proposals be submitted?

Generally prefer full scripts.

How long is the average wait for a response to a script/proposal?

Within a month.

Are you able to develop writers that show potential but where the actual scripts/proposals aren't suitable?

Only if a writer shows exceptional talent.

Do you have the resources to give feedback on scripts/proposals?

Yes, on scripts/writers we feel have real potential.

What type of scripts/proposals are you looking for?

Sitcoms; half-hour filmed comedy drama series; one-off comedy films

Are you in a position to recommend scripts/proposals not suitable for yourselves to other production companies?

Occasionally.

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Charles Brand, Tiger Aspect

Are you able to accept unsolicited scripts or proposals?

Only unsolicited proposals or short outlines.

How should scripts/proposals be submitted?

Treatments or outlines of proposed idea. We prefer these from unsolicited submissions as it allows us to respond more quickly. As we have a considerable amount of scripted comedy in development we can immediately advise the writer if their idea clashes with anything currently in development.

How long is the average wait for a response to a script/proposal?

Two weeks for a proposal (max).

Are you able to develop writers that show potential but where the actual scripts/proposals aren't suitable?

Yes, if we like the idea (or script) but it unsuitable we will ask to meet with the writer to discuss other ideas.

Which type of scripts/proposals would you reject outright (i.e. content, how they're presented)?

We are not keen on proposals that we feel have been sent on a mass mail out by the writer or agent. Not keen on anything written in the vein or similar to "Blackadder" or "Mr Bean" for obvious reasons as the producers.

Do you have the resources to give feedback on scripts/proposals?

Within limitation yes - our development department is very active and their time is often taken up with projects in development or in production.

What type of scripts/proposals are you looking for?

Funny ones! As always fresh and original.

Are you in a position to recommend scripts/proposals not suitable for yourselves to other production companies?

We have done this and will continue to do so if we feel committed to the writer but the project does not work for Tiger Aspect. As a general rule we do not do this as we cannot usually spare the time.