Sam and I have just got back from the seminar on writing for TV and radio at the Waterside Arts Centre in Sale, Manchester.
Joanne Lafferty was there from BBC radio, Jane Smith, literary agent and Ric Michael from Baby Cow productions.
We were a mixed bunch of about 25 attendees but I think it’s fair to say that Sam and I were at the top end, age-wise. Images of Baby Cow’s recent hits, The Mighty Boosh and Gavin and Tracy kept reminding me that most of the comedy on TV these days seems to be written for 20-somethings with a love of surreal humour and 30-somethings who still think they’re 20 something. I’m not sure there is a market for our Cheshire based dysfunctional family with characters aged 40 AND OLDER.
The seminar ran for four hours and was packed full of info. There was only one blonde in the room which I found very interesting for some reason. Does this mean the rest of us all wanted to be taken seriously?
Anyway, I spoke to Ms Blonde and discovered that she had already been taken very seriously indeed, with a scholarship from De Montfort University to do a masters in screenwriting and a meeting planned for tomorrow with Lime Pictures (responsible for Hollyoaks.)
It must have been the fact that I couldn’t park the car earlier and was a bit flustered and cross, bit for some reason I took umbrage. Any way I apologise now for playing one-upmanship, but I just couldn’t help myself.
I stayed very quiet about my credentials of course and just ‘dropped’ into the conversation that Sam used to work in telly – for a period of 10 years – for well known programmes – and she wrote scripts. (Most of the scripts were for Richard and Judy and guests such as Monty Don. Sam can wax incredibly lyrical on the beauty of daffodils if you give her a five minute slot, but I didn’t mention that.)
Anyway, Jane Smith was very good on the subject of getting an agent. She mentioned agencies Blake Friedman and Darley Anderson as well as PFD - or was it PDF? Suffice to say, a quick Google search will bring them up, I’m sure. She emphasised the importance of doing your research to make sure you approach the right agency for you; no point sending romantic fiction to a children’s book specialist for example. She mentioned the Writers and Artist Yearbook and the London Book Fair catalogue and the critical covering letter and don’t whatever you do say: ‘My friends loved it’. Join the Society of Authors and PEN and network for all you’re worth. She spoke of the Hay-on-Wye festival were she had heard fantastic talks by authors as well as writers for TV such as Maurice Gran and Laurence Marks.
Joanne Lafferty worked for the BBC in Manchester with specific responsibility for radio drama. She explained the lengthy process of getting your work on to one of the slots for drama on BBC radio. We all made notes furiously and were all heartened to hear that 20% of broadcast drama on the Afternoon Play on Radio 4 is from first time writers.
It was time 3pm and time for a coffee which was fortunate as I needed to put some more money in the parking meter. I dashed off and laughingly said to Sam; ‘That’s Ric Michael of Baby Cow, why don’t you introduce yourself to him?’
I got back just in time to take my seat before Ric launched into his part of the afternoon.
‘I spoke to him,’ said Sam as she took her seat next to me.
I was impressed with her boldness and said so.
‘He said send in our script once we’re ready; he’d love to read it.’
I looked at Sam in complete bewilderment. I’d only been gone 10 minutes.
‘I doubt it’s his sort of thing though,’ said Sam. ‘Baby Cow seems much more interested in straight comedy.’
I took a sip of my coffee. How can Sam have persuaded an award winning production company such as Baby Cow to read an unknown couple of writers’ screenplay?
We’ve only been doing this for a month, so there’s only one conclusion: they’re desperate.
Either that or Ric Michael loves daffodils too.
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