Hello. I write, produce and develop comedy and comedy drama for television and film. And I write and perform funny (and sometimes heart-wrenchingly poignant) songs. Have a read of my Foot in the Door blog where I remember some of the stupid things I’ve done in my media career; you might find it useful. Thanks for having a look.
The new ten part comedy series I’m producing is now on BBC Sounds. Two episodes drop each week and there are videos to accompany each one. Here’s the first…
And the second…
It’s a brilliant show all stitched together with music and soundscapes by talented composer Augustin Bousfield.
Do listen and share!
The podcast I’ve made with the incredible Michael Spicer is now available on all your podcasting platforms. And it seems to have been very well received, which is lovely. Do have a listen. It’s short…
https://podcasts.apple.com/gb/podcast/michael-spicers-it-happened-to-me/id1564179393
And if you’re not an apple fan, then… http://hyperurl.co/nzlrj
Or you can listen here whilst admiring Andy Tuohy‘s wonderful artwork…
If you follow any comedians on Twitter, read arts pages in newspapers / online content providers or are in Edinburgh in August then you’ll know that the Edinburgh Fringe is happening. Right now. I’m on the train heading up there, literally now. Has it finished yet? No, it goes on for blimmin’ ages. It lasts pretty much the whole of August. Which is why people bang on and on about if for ages in August. I’ve done it, I know. Talk to my friends. Actually, don’t; they wish to hear no more about it. But as a writer/performer/producer/directer, whether you’ve got your foot in the door and stepped directly onto the ladder while passing go and collecting £200 or are stood waiting at the door in the pissing rain with no coat or umbrella then it’s worth thinking about Edinburgh.
A good friend of mine asked for some advice about this recently. Someone who is already a successful actor and a very good writer. They thought it would be an idea to ask someone who has never appeared on telly – unless you count Points of View or a, thankfully fleeting, moment in my critically acclaimed Channel 4 documentary, Bare & Breakfast – for some thoughts on the matter. So, as someone who has taken several shows to the fringe and achieved no small success whatsoever, here’s my two penneth.
You definitely should put on a show. Edinburgh is a great, but expensive way to do it. It is gruelling and can at times be dispiriting, but it is also inspiring, challenging and can lead to opportunities you’d never imagined even if you are not nominated for any awards, which I certainly never was. I made a lot of mistakes along the way, but writing and performing fringe shows got me into comedy professionally. It was a loss leader on the road to moderate achievements.
And here’s some specific tips, numbered to give it that clickbaity, buzzfeedy vibe….
1) Go to Edinburgh to watch stuff. You can’t imagine what it’s like until you’ve been. I visited for the first time in 2002 with my erstwhile partner Michael Spicer. Some shows were amazing and many were just okay. I thought I could definitely do an okay show and have certainly proved it. Michael and I returned full of ludicrous vigour and ambition before embarking on our highly successful 4 star – or 2 depending on your choice of publication – two hander sketch show Soft Toys in 2003.
2) Start writing. Now. You can never have too long to write your script. Want to do a show next year? Start getting your ideas down. Work on your structure. You want to be ready to perform previews early in the new year if you can – even if it’s just trying out sections of a show, putting something before an audience is the best way to see what’s working or not. Stand ups, character acts and sketch groups generally try out material across the year as they gather an hour of sure fire rock solid comedy gold. That’s the idea, anyhow. And many have been writing and performing for a few years before they take their first full show up, so it’s often three or more years in the making.
3) If you’re unknown or even if you do have a bit of profile, it’s probably best to start on the free fringe unless you know you’re going to have a knock out, very professional show that is worthy of people’s time and money. And if you put a great free fringe show on people will come, they will put money in your bucket, then you can take your show on tour around the country, then the globe, clean up and you will be a millionaire within months. That’s my guarantee to you.
4) Be your own producer. When you do your first show you could spend a huge amount of effort trying to find someone who will produce your show. And they do cost money. I’ve done it both ways and having a producer is great; it takes a huge amount of stress and time out of the process and you have someone to moan at, but you still have to be responsible for your show and getting people to watch it. It’s tedious admin but you can do it. Other shows had their highlights, but that 2003 show is still probably the most successful I did and the most cost effective. Deadlines for submissions to the fringe programme etc. come early in spring (I can’t remember exactly when and I’m on a train, the wifi is intermittent so you’ll have to do a bit of research, soz) so start planning early.
5) If you can’t afford PR (which can be expensive) then do your own. Find an angle, write a press release and send it out to any relevant publications. Contact people throughout the run to keep momentum. If anything happens, a small newsworthy (at least in the festival press) story, then contact journalists and you might get a mention. In 2003 there was an incident – I was accused of theft by a small Edinburgh post office where I was doing some photocopying. It really kicked off. You literally couldn’t write this better. Let me paint a picture of the drama; a post office worker said, ‘Did you nick that Blutack?’ and I replied, ‘No, it’s mine. I already had it on me.’ And they said, ‘Oh, sorry mate.’ The story somehow exploded into me being apprehended for an hour before breaking free and only making it on stage with seconds to go. I know, shock PR tactics. I was helped by a journalist friend that year, so I did have an advantage.
6) Have an idea of what you want to get out of it. I certainly had no idea when I started. For stand ups there is a clear path to follow, so if you’re in that game then talk to others and have a look at what they do. For character acts and sketch groups there is also a well-trod path; do a show, get great reviews, get an agent, get on radio then on telly, do a bunch of shows, have a lean period, split and do some serious acting, be a comedy walk on or baddie in a Hollywood movie, get back together for a money-spinning tour. Or do a few bits and bobs, then get a regular job in TV production and blog about it in a bid to make people think you know what you’re talking about.
If you’re a stand up or are involved in the circuit then you’ll be talking to people who know what the game is about. I guess it’s similar if you’re involved in fringe theatre. If you’re from outside those worlds then it may seem like a mystery, but throw yourself in. It’s like eating olives; you don’t know what you’re missing until you force yourself to eat them. There is still plenty to be gained and learned by taking a show to the Edinburgh Fringe Festival. I still don’t like olives, though.
Essentially my advice is; talk to anyone who might know anything and read loads of stuff online. I feel like I’ve barely scratched the surface with this but I’m approaching Edinburgh and will need to get off the train, jump in a taxi and head straight to destination comedy. So this must end now. Good luck.
Happy New Media Year.
It’s a new year and a new you. And a new me. This year we’re all really gonna make it. I absolutely guarantee it. Money back. Although, I am still largely working in old media. Except here, that is. Here is where, unlike all you millennials out there, I am a digital immigrant, culturally enhancing the online space with my grey matter (hair).
I thought I’d post a couple of things I’ve helped out with and like.
Here’s a rather brilliant short film I had the pleasure of being involved with a small bit. I’ve been really impressed by Meat Bingo’s shorts and project CS911346d, written by and starring Sanjeev Kohli, is no exception. They’re based in Devon, from whence I hail, and I had the pleasure of meeting up with the director John Panton and some of his talented collaborators in an Exeter pub just before Christmas. That’s the power of Twitter, which is how we first got in contact. I’m looking forward to seeing more from them, hopefully a feature sometime soon.
I first became aware of Meat Bingo through their collaboration with Michael Spicer who’s output online continues to be brilliant, original and funny. His latest work Rec 601. is ace. Here’s a preview clip – it’s one of my favourite sketches from the series. There are three short episodes on YouTube, so do check them out.
Why isn’t he on the telly yet? Maybe I’ll do a blog about that, but I hope his work finds it’s way on to the small screen soon and, yes, I am trying to help make that happen.
I hope those bits inspire you to do stuff. Write, shoot or whatever you want to produce. They inspire me. I’m releasing some stuff later this month, mostly music based as I’ve been working on some tunes which I’m really happy with. At the end of January I’ll be releasing We’re In This Together – my song about the (sadly) fictional kidnapping of George Osborne along with a video and ludicrous short story.
Please do contact me. I like hearing from people especially if they at least pretend that they’ve read, watched and listened to everything I’ve ever done. Many get in touch asking for advice on where to send their script or how to contact production companies. Here are a few blog posts that should help with that.
May the force awaken for you in 2016.
Yes, I watched the Star Wars film over Christmas. I quite enjoyed it.
The title of this blog suggests some kind of self help manifesto. A quick internet search reveals a gap in the market. There appears to be plenty of titles aimed very specifically at men who would like to approach women, but none for people who would like to approach people. I’m not saying you should never approach a woman, but if you do please be polite, avoid unwanted physical contact and take rejection gracefully; smile and walk away. Also do your research. No, don’t do that. Unless you’re Bill Murray in Groundhog Day it’s a bit creepy if you already know everything about them.
Actually, all those rules apply to approaching people in the media with your idea, but this time include the research. It is good to know a bit about people before you make your approach.
I’m writing this because I had a message from a gentleman called Marcus Ako asking for advice. Here it is:
Hello,
Thank you very much for your incredibly informative and witty blog. Would you be able to spare a moment to give some advice?
I am a writer/actor with an idea for a tv show (yes, I know… I am one of those, but please don’t hit delete yet). I have a pilot script written and a synopsis for eleven 30-minute episodes. I believe the idea is solid for a company like Tiger Aspect. What is the best way to approach them or other companies to score 10 minutes to pitch? I know I could stand outside their office with a boom-box, but I’m afraid they may miss the reference and have me arrested.
Any advice short of “give up” would be welcomed.
Marcus
Thanks for the message Marcus, which is a pretty decent example of how to contact someone. Flattery may get you somewhere. Try not to cross the line into obsequious brown nosing or continue further until the person you’re contacting starts to worry that they’ve cultivated a stalker. The opening sentence is good. It makes me feel good about myself and therefore more receptive to getting off my arse and typing this. Flattery doesn’t always guarantee a reply. I’m going to write a separate post about one approach someone made. It wasn’t a bad example, in fact it was an incredibly good one and I didn’t respond, which I feel immensely bad about, so I’ll rectify that in a blog.
Marcus goes off the boil a bit when he mentions Tiger Aspect1. Why aren’t you sending it to me at Channel X, Marcus? What have we ever done to you? But a quick look on Tiger Aspect website shows they don’t accept unsolicited scripts. In which case the boom-box may be your only hope. Please don’t employ the boom-box. I’ve already demonstrated how these tactics are doomed to failure.
Here are some tips in no particular order of usefulness.
1) Find production companies that do accept unsolicited scripts. Research them and see if they are producing shows in a similar vein – in tone or type – as some, but not all, companies do lean towards certain styles. Many, however, are just looking for good scripts and the fact that their last show was a studio sitcom doesn’t mean that is all they want to make. The PACT website is very useful and The British Comedy Guide is quite a good resource too.
2) It’s not really worth sending an email asking what people want to see. If you’re not already a contact of the person you’re approaching then the only thing that’s going to get a response is material they think is great. And if they haven’t read your work before then they want to see a script or at the very least a well written treatment with some sample scenes. So just write as brief and polite an email as possible with a bit about you and the project and attach the work. I just want to click on the attachment and have a look. It won’t guarantee a response, of course. Not getting a response happens to all of us. It still happens to me and it is frustrating, but the only answer is to keep trying, but try to avoid showing your frustration.
3) It’s not really worth emailing with a request to come in and pitch your idea. It’s very unlikely that I would invite someone who hasn’t already proved their credentials in for a meeting and I’d guess that probably goes for most other execs. But I have asked people to come in if I liked a script, an idea or a video link they sent me.
4) You can’t expect feedback. It’s great if you can get it and I try to give some feedback if I like something and see potential, but there’s rarely time to give detailed notes. I need to find projects that I think have real potential to be commissioned. I want to find projects that I find interesting and funny and work with people who are interesting and funny. I have to be able to look a commissioner in the eye and say that I back that project fully. I’m a very bad liar. And I do feel bad about not getting back to people. I know my guilt isn’t going to help you progress but at least you can take some comfort in the fact.
5) Even if you’re sending your script to an info email address, find a name at the company to address your email to. The least you can do is have a look at their website.
6) Maybe tell the company that their last show was ace, no matter what the critics or the rating said. If you hated their last show then don’t go on about how your script is ten times better and how you can’t believe that show got made. The company will either be well aware that their show went to shit or disagree with you and think it was brilliant. Have a look through their back catalogue and say that you loved one of their shows that only ran for one series and was criminally overlooked. For Channel X that might be Snuffbox or for me at Channel X North that might be one of the Comedy Labs we made that never went to series. At the very least, they had their moments.
7) What is your show about and is there a unique or particularly interesting angle? It is still the writing that counts, but a timely idea or an area that has not been explored before is more likely to garner interest. And pitching a show with a similar subject matter to a recent show is always unlikely to work. So, sending a script to me about a family set in the North East is probably a waste of time. If you have written that script and it is brilliant then it could still work as a writing sample, but you’ll need to have other ideas. And write those other ideas. Hopefully your next script will be even better and cover a subject that hasn’t been done before or at least not in the last ten years, so people might have forgotten about it.
8) Find other ways to bring attention to your writing. This is probably the thing I try to hammer home at any event where I’m asked to speak. The series I’ve developed have come from writers who have brought themselves to my attention in different ways. David Isaac who wrote Lunch Monkeys had been helping a talented director, Jason Wingard, create sketches set in Manchester mini-cabs called Where to Mate? featuring a very funny comic actor, Peter Slater. I’d seen Peter live, his agent showed me the sketches and then I met Jason and David. David asked if he could send me some scripts and because he had already proved he could write funny stuff I said yes. In the case of Hebburn, I had seen Jason Cook’s stand up and was keen to work with him. Simple as that (well, plus several years trying to get the thing commissioned). Also both of them were very nice, polite and a pleasure to deal with. Obviously the power’s got to them now and, like me, they are insufferable.
9) Further to the above, bring your scripts to life. One of the great things about working with stand ups and having done stand up myself is that when you perform live you know when something is funny and you know the pain of when it is not. Find some actors to read your script aloud, ideally with an audience. Film some scenes. Do something. Otherwise you might be sat at your laptop for years going bananas.
10) Take a punt on contacting people – producers, agents, people you are a fan of. But be polite and don’t expect a response. Companies may not accept unsolicited scripts, but you can send them a link to something you’ve had filmed or invite them to a showcase. If your stuff is good enough eventually someone will talk to you.
11) Use social media. Post links to your work. But be polite. Don’t constantly tag Graham Linehan or any other famous comedy tweeters. But do think before you make approaches and don’t overdo it. I was once contacted on Facebook messenger by a writer who had previously emailed me material. I think I had responded to one project, but not to a subsequent one. He could see that I was online, but when I ignored him he sent several messages asking ‘are you there? Matt? Hello????’ It was in the evening and I was just on Facebook looking at endearing family pictures of friends and posting sincere comments. I’m not at work when I’m fannying about on Facebook, unless I’m doing that at work, in which case don’t tell the boss. So do be careful how you use social media. But if you are funny and interesting on Twitter or Facebook there’s a good chance you are funny and interesting in other ways. My friend Michael Spicer, who I met because he sent sketches on a VHS, yes a VHS tape, to a company I was working for many years ago, is a great example of this. He is very funny on Twitter and consequently people go and look at his sketches on youtube which are also very funny.
12) Be resilient. There is a line here. If people are forever ignoring you and no one ever gives you one iota of encouragement other than your mum, then of course there is a point when you should look at your work and ask yourself, ‘could be improved?’ The answer is probably ‘yes.’ Almost all scripts can be improved. I’m not going to tell you to give up. I’d never tell someone to give up. Several people on youtube have suggested that I give up on life entirely, but fortunately enough people have said things like ‘don’t kill yourself Matt, this stuff is average,’ to inspire me to carry on regardless.
So those are my tips, which have conveniently made a list of twelve. So there you have my official top twelve tips for approaching people.
I can offer a zero percent guarantee that they will work, but I hope they are useful. I’m sure there are other things you can do, so if anyone has any suggestions then do let me know.
And finally, as I mentioned in tip 2, it is unlikely that someone will invite you in to pitch face to face unless they like something you’ve written or made. There are other tips for face to face meetings and maybe I’ll blog about those, but I’m running out of steam now. I fell asleep in front of the telly in the early hours watching Spiral on Netflix leaving a half eaten brown stew chicken from the local Jamaican take away on the coffee table. An insight into the glamorous life of the television executive for you there.
Good luck Marcus.
1 I have nothing against Tiger Aspect, which was a lovely place to work when I was with them.
We’re In This Together short story is available in the Kindle store:
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