The Business of Getting an Agent

I was listening to the UK Scriptwriters' Podcast the other day and was interested in their discussion about agents. It was very interesting and I recommend downloading it and having a listen. I realised this is something I'd never mentioned on this blog before. So, briefly, here are a few thoughts on agents with sitcom specifically in mind.

How I Got An Agent
Firstly, I got an agent via a very odd route. I was a temp at the agency, filling in for someone and typing letters. I was writing bits and pieces for radio shows and a bit of TV (Smack the Pony and Rory Bremner) and had, unwittingly, built up a CV that was interesting to an agent. When they asked if I, as a writer, wanted representation, I was genuinely surprised and agreed pretty much on the spot.

The reason I was so happy to get an agent was not primarily because it made me look and feel like a proper writer (although it did), but because I hate talking about money and asking for more of it. I am quite capable of getting angry about not being paid properly (see here) but when confronted with the issue face-to-face, I immediately say everything's fine and that I don't really need the money right now. I'll say anything to make that conversation end.

Having an agent was brilliant because I had someone on my side who would ask for more money, chase it up and pore over contracts - and understand them. An agent, then, is a wonderful ally in a lonely business; someone who is looking out for your interests. And I've stuck with the same agent for my whole career as I like being represented by her - and I like the way she operates on my behalf. Sometimes people can use their agents to be unpleasant and unreasonable so that they themselves don't have to be, hiding behind them to get more money in a rather nasty way. I'm not into that at all - and want my agent to be my genuine representative in discussions about money, rights and conditions.

Why do you want an agent?
For those trying to break into the industry, it's worth asking yourself why you want an agent. I understand that it's very hard to get a novel published without an agent. Publishers, it seems, now use agents to sift manuscripts and do not take unsolicited work. I couldn't comment on movies and drama.

But sitcom and comedy generally doesn't work like that. Agents are not the key to getting work or getting noticed. If you want to break into the industry, there are plenty of routes. Write for open-door shows on Radio 4 (eg Newsjack) or television. Send sketches to producers who make sketch shows. Put on comedy shows, make them good and then put them on in Edinburgh, and try and get them noticed. Write a really good sitcom script - and keep rewriting it until you're really happy with it, and then send it to producer who makes programmes you like. If the production company says they don't accept unsolicited scripts, I would ignore that. But don't plague them with calls either. In short, write funny and show it to people.

You'll notice an agent doesn't feature in any of the above. And the fact is that if you're a really good comedy writer, it is only a matter of time before you will succeed. Good sitcom scripts are rare. If you write a good one, you will get meetings and some interest, although it make take ages to come anything. When it does, an agent will be a great help, in terms of taking care of money and contracts. They will also be much easier to get by that stage. They may also be able to set up introductions to new producers or contacts. But pinning your hopes on getting an agent as the 'way in' is misguided when it comes to writing comedy for TV and radio.

Finding You Work
Some agents get their writers short-term jobs on panel games and entertainment shows - mine doesn't, but then I've never asked her to because I'm hopeless at that sort of comedy writing. I'm a narrative guy. And my agent understands that and is always on the look-out for opportunities in that area. And that's what an agent will do for you - help you. But they don't make or break you. You and your jokes will do that.

That's my take on agents. I'd be very interested to hear the views of others.

Why You Should Seriously Consider Writing for Newsjack

After leaving university, I applied for a number of jobs - mostly in advertising and copywriting. I had no idea that I could be a professional comedy writer, although in a way, I must have done subconsciously. I remember being asked in one interview 'Where do you see yourself in five years time?' I answered 'Writing a sitcom for television'. Now, I know there are no right or wrong answers in interviews, but that is a very wrong answer. I should have said something like 'Spearheading an award-winning campaign that changes the way people think about washing powder' or something. But I didn't. The truth came out.

And so I moved to London to do some work experience at a magazine, which I broadly hated. But one lunch time a week, I would turn up to a writers meeting for Week Ending - the open-door Radio 4 comedy show that was, frankly, on its last legs. Nonetheless, in the evenings, I would try and write some topical sketches and after about six weeks, succeeded in getting a few jokes or a sketch on. Can't really remember. I've got it on a cassette somewhere.

It was a really good experience - even though the actual show itself felt way past its best. It taught me to work hard, work fast, turn over ideas, read the newspapers, rewrite, accept failure and, above all, write jokes. These are all key lessons that can be learned 'on the job' (if by 'job' you mean unpaid writing). I also met some other people in my position and was able to swap stories, experiences and contacts, and overall began to 'feel like a writer', which is no small thing.

And so to Newsjack
That's why I would urge all aspiring comedy writers to seriously consider writing for Newsjack, a new series of which starts a week today. I don't work for the show - and never have, but I do know that they read everything they get. And not only that, they want every sketch they are sent to be hilarious. It often doesn't feel that way stuck at home, and hearing another show broadcast in which your work isn't broadcast, but it is true. They want funny. And they can spot funny. And if you're sketch isn't spotted, the likeliest reason is that it's not as funny, or well-executed, as you thought.

I worked on Recorded For Training Purposes, and my approach was the same. I wanted each sketch I was sent to be really funny, fresh and original - and ideally not about Sat Navs, Phone Call-waiting menus and TV producers pitching terrible programme ideas to TV execs, which were topics covered by about 33% of all sketches.

Read the shows instructions carefully - and follow them. It's all here. Think about every sketch you send in - before you send it in. Lots of people don't do this and just send it off unfinished, half-written or too long. (Some thoughts on that sort of thing here)

Ask yourself, is the sketch original? Is it one idea written well, with a nice twist at the end? If so, good. Or is it two ideas whammed together and not really about either? If so, bad.

Is it short/edited so that it's just funny after funny, so that the studio audience is laughing out loud every few seconds? Is the set-up as crisp and quick as it could be?

Does it end properly? THINK OF A PROPER PUNCHLINE - one that is surprising rather than cliched or convenient. Your sketch stands a much better chance of being used if it ends properly, since a script editor won't have to take up precious time thinking one up for you. (Some thoughts on writing jokes here) Also bear in mind the audience are much happier with traditional punchlines than you might think.

Is the sketch easy to read? Don't worry too much about exact formatting, but make sure it's easy to read (see here).

And so, if you can bear to spend the time on it, give this a go with both barrells. Even if you're not interested in topical comedy, you'll benefit from it. Even if you're not interested in sketch comedy, you'll benefit from it. Even if you fail to get a single joke onto the show, you will have benefited from the overall experience, and had a good work out. You may find the task to be thankless, largely unpaid and virtually impossible. If so, welcome to the world of comedy writing.

More info at various links here, mostly by Dan Tetsell who used to script edit the show.