COMEDY PEOPLE LTD  seriously funny business!

By way of illustration, if you do some research on well-known actors, you will find a vast number of them have a parent, sibling, godparent or other relation who's an actor, a director, a producer or a playwright. Here's a sample list: Charlie Sheen & Emilio Estevez, Nicholas 'Coppola' Cage, Nicole Kidman, Keira Knightly, Keifer Sutherland, Emily Fox, Jeff and Beau Bridges, Kate Hudson, the Baldwin Brothers, Michael Douglas, Jennifer Anniston, Colin Hanks, Gwyneth Paltrow, Angelina Jolie, Drew Barrymore, Vanessa and Lynn Redgrave, Mia Farrow,  Carrie Fisher, Rob Reiner, Tatum O'Neal, Jamie Lee Curtis, Liza Minelli, Sean Penn, Matthew Broderick, Kate Beckinsale, Mira Sorvino, Melanie Griffiths, Emma Thompson, Zoe Wannamaker, Matthew Perry, Ben Stiller, George Clooney, Miranda, Joley & Natasha Richardson, JaneFonda,  Bridget Fonda, Ben Affleck. We must stress that famous parentage does not guarantee a career - but is certainly would seem to help...

How do I become a stand-up comedian?
Simply put, you've got to get out of the house and start practising in front of a live audience! So, write yourself five minutes' worth of material, and then phone every pub or club in your town that runs a comedy night. Ask for an 'open spot' or 'tryout' - that is, a five minute slot for which you won't get paid, but which will give you the chance to see if the audience likes your material and your performance. Remember - practise makes perfect, and you should expect to perform a large number of 'open spots' before anyone will consider paying you, and then many, many more paid gigs before you get invited to appear at the Comedy Store. Don't be daunted - practically every well-known comedian on TV started this way. Most comedy clubs are listed in publications such as 'Time Out', or on local and national web sites.

Can you turn my script into a TV show?
We get many requests each week, asking us if we can turn scripts into TV programmes, or  if we can pass on the scripts to someone who can. As the act of creating a TV show is so expensive, often requiring thousands (or hundreds of thousands!) of pounds, there are only a few organisations with the ability to look at submissions from new or unknown writers. For example, the BBC does its very best to read and respond to all the scripts it receives, although the sheer volume of material that arrives at its offices means that it can take many months to get a reply. The best thing to do is to attempt to create a relationship with individual producers who work for the large organisations, showing them that you have the ability and necessary expertise to deliver the sorts of script they want. (see next section)    top

What sort of comedy shows are TV producers looking for?
'We have no idea - and neither do they' is the cheeky-sounding but genuine reply! Most senior TV producers and executives say that the 'idea' is the most important thing. If the idea is a good one, then they'll be interested. So, look at your work and ask whether it is original, fresh and different from what everyone else is doing. If you think it is, then create a mind-blowing presentation (such as a web page) to explain your idea, and get it to the appropriate producer or production company. Use listings magazines, end credits on other shows, and company web sites  to track these people down, and then get in touch with them. It is no use being hesitant - as long as you are sensible, you should make some headway. But be prepared to follow up with the next idea, and then the next if you crash along the way. Persistence and determination is the name of the game (as opposed to 'life', which Bruce Forsythe claimed was the name of the game. Or Abba. Or someone). top

How do I get work as a writer?
You need to do two things: firstly, you need to be able to show people examples of your work, and secondly, you need to find the right people to show it to! Start looking for shows and programmes who may be willing to accept a script or two from outsiders. At the same time, read he trade press, use Google, scour TV web sites and find out who's producing a show that might accept submissions from new writers. Some people send material into the agents of well-known comedians or performers, which is always worth a try. The more activity you undertake, the more you get to know people, and the more you write, the more chance you have of getting known, and - some time thereafter - getting paid for your writing.  top

Do I need an agent?
In the words of Blackadder, 'yes...and - then again - no". The writers and performers whose work you see on TV are all represented by agents. But this leaves thousands of people lower down in the pecking order who - by and large - are finding work for themselves (both paid and unpaid). It is a bit of a misconception that agents find you work. For most people, their agents are merely 'filters' used by producers, directors and casting directors to sort the wheat from the chaff. That is, the casting director expects the agent only to have good people on his or her books. The agent is some kind of guarantor for the ability and /or experience of the actor. Therefore, the casting director will see the actor based on the recommendation of the agent. Major casting directors simply won't see unrepresented performers - they haven't got time to investigate whether or not they're any good. A similar principle applies to writers' agents, too.

At the very top end of the scale, the agent has another, crucial role to fulfil - negotiation. If you're Jack Black's agent, or Richard Curtis' agent (to pick a couple of movie examples) you don't need to find them work - the offers come in all the time. What you do instead is look for the best jobs, and then haggle over the fees - usually hiking up the initial financial offer by a significant amount. For people at the more humble end of the scale (i.e most writers and performers), an agent will have no room to negotiate - you'll simply be asked to 'take it or leave it'. Short-form writers (eg sketch writers) will find it nigh on impossible to get an agent. There's nothing an agent can do with a handful of sketches. If, however, you've written a play or a book, then there may be something to talk about. But remember - most agents will only be interested in you if you've already been successful and have something they can market. So, you have to do all the hard work to begin with, and then agents can help you move to the next stage. This may seem harsh, but why should anyone invest time and money in you if you haven't even attempted to prove that you've got something special to offer?

Ideally, you should be attacking on two fronts - firstly, trying to promote yourself, and secondly, getting an agent along to see your next show.

Finally, two things: 1.You can't get an agent unless they can come and see you in something, or watch something you've written. Don't waste your time (or theirs) with a letter unless you're doing something. Your letter will go straight in the bin.  2. Never, ever, ever give money up front to someone who claims to be an agent. Reputable agents only take their commission after they've got you some work (or after you've got yourself some work!). They do not, under any circumstances, charge you 'joining fees' or 'admin fees'. Yes, you will have to pay for your own publicity material even when you've got an agent, but that's about it. top 

Is there a standard script layout I should use?
Presentation is important, but don't spend an excessive amount of time on this. Golden rules - not too much information on one page, and probably a good idea to range it to the right-hand side and double-space your text (which leaves other people plenty of room to make notes, etc). All that really matters is that (1) your material is good, and (2) it is presented clearly and neatly. Oh, and don't bog your script down with too many directions. Get on with the funny stuff! Finally - don't send in any hand-written manuscripts. Please! top

How do I copyright my material?
Remember - you can't copyright an 'idea', per se. If you could, then there would only be one detective show on TV, one cookery show, one reality TV show, and so on. You can only copyright your original script and material. Most people do this by adding "(c) Their Name, 2005"  on the script document. Other options include sending a copy of your completed script to yourself by registered post - something which has the date or a stamped sticker across the seal of the envelope (proof that you haven't tampered with it at a later date).  Obviously, when it arrives, don't open it! (You'd be surprised...) We have heard of some people checking their scripts into a bank vault and getting a dated receipt. But we're not sure if this is (a) possible, or (b) just an urban myth.

Alternatively, why not put your script on a web site? You will have some kind of date evidence of when you uploaded it, plus you may have witnesses who have seen it on your site. Yes, we know that everyone worries about putting their material on a web page, but you'd have to be quite unlucky for someone to nick it, lock stock and barrel. If you're super-rich, hand the document to your lawyer for safe keeping.

Overall, there is nothing you can do to stop someone reading your script, liking the idea and then doing their own version (eg: you have an idea for a 'double act'-style script with a clever character and a stupid side-kick. Someone else can write the same idea, as long as they don't lift your dialogue and use your character names, and so on). Remember, though, you can copyright a very specific, original 'format' that isn't already out there (eg: a show like 'Wheel of Fortune' or 'Who Wants to be a Millionaire'). So, if you have a truly wonderful format, do not publish it on the web or tell anyone else about it until you have a deal in writing, legally bound, with a reputable company /agent /broadcaster, etc. Oh, and although sit-coms and sketch shows are described as 'formats', it's not the same thing. So, don't think you can ever own the world rights to every sit-com ever written. Nice as that would be... top

Do I need a website?
We - along with the man from Del Monte - say 'yes'. After all, the web is a resource that was more or less invented for writers. So, you can build a web page to show off your scripts, your ideas and yourself, and then email your target audience with a simple, one-click link. Think how much easier, cheaper and more 'user-friendly' this is than posting a large bundle of printed matter to a TV company.  top

Do I need to be related to someone to get on?    (< see also side panel <)
For actors, there is no doubt that having a parent who is in the business can be an enormous advantage. While they may not be able to get you a job directly, they can introduce you to the people who can. For example, while most new actors don't even get seen by the most powerful agents or casting directors, a word from mum or dad can open that particular door straight away. For most actors, it's not getting a job that's tough - it's getting seen for a job that's so difficult.

But for comedians, the good news is that this level of nepotism does not seem to apply to the UK comedy circuit. Offhand, we can't think of any famous stand-ups who are the children of other stand-ups! Nor are there many comedy writers who seem to be offspring of other comedy creators. All of which means that they have had to start their careers without any contacts.  Instead, most comedians have to start networking and getting to know the right people - those who can progress their careers. And with a few exceptions, this comes down to talent and sheer perseverance. It is very unlikely that you will see a truly abysmal comedian in his or her own TV series - it just doesn't happen. (You may not like their style or material, but that's a different matter!). So, the very good news is that you don't need a famous relation to kick off your comedy career - the playing field is fairly level. But you will need to develop some kind of contacts in order to move on. This can only be achieved if your performances or material are outstanding - offering something fresh and original. So, stop reading this and get on with it!   top

how do I write an effective programme pitch?
Answer - as briefly as possible. Put yourself in the position of the person reading your pitch - they may have another twenty to read that morning! If a single paragraph is enough to explain your idea, then don't write ten pages! Even better, place a   'tag-line' at the top of the page which explains the idea in a single sentence. Eg: for Dad's Army; "A bank manager and twelve old men attempt to defeat the Nazi menace" (okay, so you could probably think of a better one than that!). If the person receiving your pitch doesn't know you, then you really should stick to the 'less is more' principle. If they like your opening gambit, then they may get in touch for more details. This is when you can add the character breakdowns, future episode synopsis, details about your experience, and so on. If you have spoken to the person you're submitting to, and they're expecting to hear from you, then it will be acceptable to flesh your presentation out to a couple of pages. Rather than sending in a paper submission, why not write a web-based presentation first? (see above).  The home page can contain the single paragraph (not too much to read), plus you can put links to all the other information. Oh, and a couple if simple, eye-catching graphics probably wouldn't hurt, either. Remember, if the idea is good and original, you will get a response. You don't need to write a novel-sized pitch. It simply won't get read. top

How do TV shows get cast?
This is a generalised answer. There will be many variations, but this is the sort of process:
A producer (either a staff member at the BBC, or an employee of a TV production company) has an idea for a show. After numerous meetings, a broadcaster (eg BBC, Granada etc) agrees to pay for - or 'commission' - the show. The producer engages a director to direct the piece. The director rings up a casting director to source the best possible actors for the show. The casting director rings an agent they trust to ask to see one or more of their clients. The client (i.e, the actor) is invited to an audition or 'casting', where he or she meets the casting director, the producer and the director. The actor reads from the script, and everyone is jolly nice and friendly to each other. Some time later, the producer and director agree they want the actor, the director phones the agent, and the agent phones his client (the actor) with the good news. For the actor, it's a weird process - for fifteen or twenty minutes (often much less!) they're interviewed for a project they know virtually nothing about, but which the producer and director may have been living and breathing for weeks, months or even years! For those few minutes, they're extremely close to getting a job, which means work and money! They may have had the script to read a few days earlier in order to prepare, or they may have received it when they arrived, which means they'll have to sight-read. In either case, in the days leading up to the audition - and in the horrendous few days after it, until they hear back from their agent - the actor will be a bag of nerves, hoping against hope that they will be /have been lucky. If they're rejected, then they have a miserable 24 hours, after which they have to dust themselves down and start all over again.    top

How do I take a show to the Edinburgh Fringe Festival?
Time to speak to your bank manager, because you will need some kind of finance to take a show to Scotland in August. Anyone can be part of the fringe programme of events - as long as they pay the membership fee. Then, you also have to hire a venue, plus you'll need to pay for your accommodation, food and transport - all on top of the cost of creating your show (props, costumes, publicity, etc etc). However, as thousands of shows appear each year at the fringe, it's not as scary as it seems. Go to www.edfringe.com for full details of how to join in the planet's biggest annual arts festival. Meanwhile, hit the web and look out for specialist comedy festivals, too - Bath, London and Leicester, to name a few, do something most years.
see the fringe producer's handbook for more detailed information        top

How do I get an Equity card?
The best place to find an answer to this question is at Equity itself (www.equity.org.uk). It has been against the law for many years for any union to enforce 'closed shop' system, whereby they can prevent any non-union member from taking jobs. However, even in the 21st century, most artists agree that they need some kind of union support. This is because comedians, writers and performers are ranked somewhere below pond life when it comes to being taken seriously in financial terms. Accountants don't account without fees, doctors don't doctor without receiving payment, and lawyers won't do anything without billing you every six minutes. Yet there seems to be a belief that actors and writers don't need to be taken equally seriously unless they are famous! So, we suggest you visit the Equity web site to learn more.
 

see our comedy sketch writer's handbook  and our producer handbook for more info!
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