COMMISSIONING GUIDELINES SPRING 2012

1: THE COMMISSIONING PROCESS...... 2 1:1 TIMETABLE...... 2 1:2 HOW TO SUBMIT AN IDEA TO RADIO 4...... 3 1:3 RESPONSES TO PROPOSALS...... 5 1:4 HOW THE COMMISSIONING BRIEFS WORK...... 7 1:5 FAQ ABOUT THE COMMISSIONING PROCESS & PROTEUS...... 9 1:6 BBC GUIDELINES & COMPLIANCE...... 11 1:7 CHECKLIST FOR DRAMA AND SCRIPTED COMEDY...... 12 1:8 SUPPORTING MATERIALS FOR DRAMA AND COMEDY...... 13 2: THE BBC RADIO 4 AUDIENCE...... 15 3: DRAMA COMMISSIONING BRIEFS...... 17 4: COMEDY & ENTERTAINMENT COMMISSIONING BRIEFS...... 46 5: SPECIALIST FACTUAL BRIEFS...... 60 6: GENERAL FACTUAL BRIEFS...... 79 7: SPECIAL EVENTS AND SEASONS...... 96 8: WORKING WITH BBC RADIO 4...... 98

1 1: THE COMMISSIONING PROCESS

1:1 TIMETABLE

This is the main round for 2012. We aim to commission most of our programmes in drama and factual slots for 2013-14 (although issues of topicality will apply to some).

Guidelines published Friday 24 February

Briefing in the Radio Theatre, Monday 27 February Broadcasting House

Pre-offers deadline Wednesday 28 March - 12 noon

Radio Drama Afternoon Play Wednesday 04 April - 12 noon Pre-offers deadline

Pre-offers results Friday 27 April

Final offers deadline Thursday 31 May - 12 noon

Results released Thursday 26 July

2 1:2 HOW TO SUBMIT AN IDEA TO RADIO 4

Pre-offers submissions

This first stage of the round invites you to submit very brief outlines of your ideas. They will be sifted by the commissioning team who will shortlist those they think most worth developing for the final offers stage.

All ideas must be entered in the Proteus website by the stated deadline. We do not require hard copies of any proposal.

Enter in: Year: 2013 2014 Round: 1

At the top of each commissioning brief there is an indication of the kind of track record we require in suppliers to that slot. Please don’t offer proposals unless you have the necessary expertise.

For pre-offers we require only the minimum information to enable short-listing. The following must be entered for each proposal: · title (of your proposal, not the slot) · commissioning brief number Enter each proposal in one schedule slot only. If we consider it suitable for another slot, we will transfer it. · delivery date Enter a nominal date e.g. 01/06/2013. · number of episodes · duration · short synopsis: maximum 200 words (Except for drama - see below)

Price per episode This is automatically entered for each brief. Long synopsis Do not enter anything in the field at this stage. It will not be read.

For drama slots, we need 2 paragraphs in the short synopsis field:

· A maximum 100 word paragraph summarising the plot. ("Brilliant 17th century Danish Prince seeks to revenge the mysterious death of his father and in so doing loses his mind, destroys his family and overturns the state of Denmark. Renaissance tragedy. Period verse drama." would do for Hamlet. 35 words.)

· And a maximum 200 word paragraph telling us why you want to do it, how you want to do it and why it would work for Radio 4. Do not use the second paragraph to continue summarising the plot. Some information about the author would be useful, especially if he or she is a first time writer for radio.

· Author of book field: complete, if relevant.

When commissioning editors have read all pre-offers and selected those they think worth further development, we release the results in Proteus. Proposals will show as either ‘rejected’ or ‘re-requested’.

3 If your offer is ‘re-requested’, this means we want to consider it in the final submission stage. A proposal short-listed in pre-offers does not have to be set up from scratch when entered as a final offer. It will of course need to be edited to reflect the requirements for the final offers stage (see below). You are invited to discuss short-listed ideas with commissioning editors. Time pressures may require this to be by phone rather than face to face.

Owing to the large number of submissions at this stage (over 3,000) we are unable to provide feedback on rejected pre-offers.

Final submissions

Following conversations with commissioning editors, the offers you develop for final submission should be entered in Proteus. Generally, final submissions will be those which we “re-requested” at the pre-offers stage. It is also possible to submit fresh offers which have not been discussed.

All proposals must be delivered in Proteus by the deadline.

Enter in: Year: 2013 2014 Round: 1

At the top of each commissioning brief there is an indication of the kind of track record we require in suppliers to that slot. Do not offer proposals unless you can demonstrate the necessary expertise.

Please submit a realistic number of proposals in view of the slots available, observing the cap where this has been applied. If the cap says a maximum 10 proposals per supplier, we will only read your first 10. Fewer, better ideas are more likely to get through. In some cases the number of commissions is far fewer than the number of individual programmes available, when each commission is for multiple episodes.

The following must be submitted for each proposal: · title If your idea is commissioned you must not subsequently change this title without written agreement of the commissioning editor. · commissioning brief number Submit each proposal in one slot only. If we think it suitable for another slot, we will transfer it. · achievable delivery date (linked to anniversary / event dates where relevant) · price per episode Radio 4 has a set price that it expects to pay for the majority of commissioned programmes. This is entered automatically in the guide price field. If your idea requires a budget significantly above or below the guide price, make this clear in the long synopsis and explain your reasoning. Although ideas submitted below the guide may increase your chance of a commission, the editorial proposition is always paramount in commissioning decisions. · producer · executive producer Include CV in long synopsis field, if the exec is new to R4. · number of episodes · duration · The short synopsis for the final proposal must be under 50 words. It should convey the essence of the programme. · The long synopsis must not exceed 2 x A4 pages of size 11 type.

4 · key talent Any intended writer/abridger/performer/presenter etc should be shown in the long synopsis. You do not have to secure talent agreement before submitting an offer but you should let us know the degree to which named talent have expressed an interest in the project or have intellectual ownership of it.

Style guide

· Don’t use Notes field. Anything in this field will be deleted. · Don’t insert a space or dots or asterisks before beginning the title. · Don’t put double spaces in the title. · Don’t put quotation marks around the title. · Don’t start the title with a slot name, e.g. The Friday Play. · Do begin titles in Proteus with The or A as appropriate, e.g. A Short History of… · If you are preparing proposals offline to cut and paste into Proteus, keep formatting simple: bold, underline and italic only. Proteus will remove other formatting, including bulleted and numbered points, as well as converting your font to the equivalent of Arial size 11.

Supporting material (audio, books, scripts etc) must be delivered to the Radio 4 commissioning office by the closing date of the round. Complete the pro-forma in section 1:8 of this document to provide us an inventory of what is sent.

1:3 RESPONSES TO PROPOSALS

Results will be released in Proteus. We do not send out hard copies.

Proteus will display one of four standard responses to each offer: · rejection · shortlist · pilot · conditional commission

Rejection We will provide brief feedback on our reasons for not commissioning a proposal.

Shortlist Shortlisting happens for 3 principal reasons: · We are seriously interested in the idea but feel more work is needed. In this case, the commissioning editor will be in touch to explain what we are looking for. · Competing offers delay the commissioning decision. We need more information before deciding between them. · We do not have space to commission the idea but want to keep it in reserve in case gaps appear in the schedule later.

We try to clear proposals from the shortlist quickly and we review it every 3 months or so to see whether we are in a position to move an idea forward or to reject it. If at any time you wish to withdraw an idea from our shortlist, please just let us know.

5 Pilot We need to hear a pilot before committing ourselves. You should discuss this with the commissioning editor before doing further work.

Conditional commission Acceptance of all ideas is conditional on the following issues. Radio 4 is not responsible for any costs incurred prior to the full agreement. o Price and rights Each conditional commission will be made with a fixed price offer that has been judged as value for money by the Commissioning and Finance and Business Affairs teams. It is intended that most will be at the published guide but we reserve the right to propose an alternative price if we believe it appropriate. If our price is accepted by you in writing there will be no need to submit a detailed budget. Contracts will be issued immediately to independent suppliers.

If, however, you wish to challenge the offer made then a detailed budget in Proteus will be requested and scrutinised by our Finance and Business Affairs team with the aim of reaching agreement.

Conditional acceptances may be withdrawn if agreement on price is not reached within a reasonable period.

Radio 4 requires an appropriate set of rights dependent on the type of programme. This will vary only in exceptional circumstances. The price quoted on the commissioning brief is based on buying the standard set of rights for that programme. If fewer rights are bought, the price may be reduced. o Internet use Rights should be cleared for simultaneous or near-simultaneous internet use, together with a 14-day “Listen again” window. Independent suppliers' rights clearance should include BBC Primary New Media rights (streaming and audio on demand). o Schedule and delivery dates Each proposal should include your ideal delivery date, though our conditional acceptance will not necessarily be able to reflect this date. We will not issue precise transmission dates for programmes not pegged to a particular anniversary or season but will give the calendar quarter in which we intend to place them. If you cannot deliver to meet the given transmission quarter, notify Tony Pilgrim, Head of Planning and Scheduling. Precise delivery dates will be confirmed well before the start of each calendar quarter. o Editorial Conditional acceptance might have specific editorial conditions attached to it, e.g. that a particular presenter is available, and fulfilment of them must be confirmed before the commission is finalised and before you start work.

6 1:4 HOW THE COMMISSIONING BRIEFS WORK

Sections 3 to 7 contain the commissioning briefs, arranged by genre: drama, comedy, specialist factual, general factual and special events. Each brief provides the following information.

Programme type

Reference number This 5-digit number appears alongside the name of the brief in a drop-down menu when you enter your proposal in Proteus.

NB: Proteus gives each proposal a reference number unrelated to this one. Also, neither of these numbers is related to programme or tape numbers!

Day Which day/s of the week the programme will be broadcast.

Time Time of broadcast

Eligibility Radio 4 requires producers and executive producers to have a considerable track-record in the relevant type of programme making.

Programme duration, including opening and closing announcements

Estimated number of programmes Please consider this when deciding how many ideas to develop for an individual slot. Remember this is the number of individual programmes, not of individual commissions. In the 1830 Comedy slot 16 programmes available might result in 3 or 4 commissions, each being for between 1 and 6 episodes.

Transmission period The period when your programme is likely to be broadcast. Please flag clearly if your idea needs to be transmitted outside this period.

Guide price Radio 4 expects to pay no more than the guide price for commissions so please budget at this level. If the cost is expected to be significantly above or below the guide price please note this in the long synopsis of your offer, explaining the reason.

If you have queries about budgeting or prices, speak to your business manager or to Patricia Field, Finance Partner, x 0254697.

Independent producers should contact Michael Davis, Head of Finance, tel 020 7765 3649.

Editorial guide Details of the kind of programme needed for this slot

7 Programmes commissioned in the last round This is to help you avoid offering programmes too close to what has already been commissioned. The list of programmes might not be complete. Often, if contract or budget negotiations are outstanding, they cannot be listed, so you may also wish to check with the relevant commissioning assistant.

Proposal to include This cannot be a definitive list, as only you can fully know what your idea needs for it to be properly assessed. Make your own judgement but if in doubt put something in rather than leave it out. However, your long synopsis should not be more than two A4 pages long.

8 1:5 FAQ ABOUT THE COMMISSIONING PROCESS & PROTEUS

Q: What’s the role of the commissioning editor?

The commissioning editor’s job is primarily to commission and review programmes, not to be the executive producer or series editor.

Commissioning editors work as editorial deputies to the Controller, BBC Radio 4. In line with her strategy for the station, they support the development of proposals by commissioning and reviewing them. They will not normally intervene in a production unless this has been specified at the commissioning stage, or compliance matters arise, e.g. language referrals and editorial policy issues. However, they are available to provide guidance, if necessary. They may, at their discretion, feel it appropriate to be more closely involved in development, casting, scripting and editing.

Q: Do I need to have an agreement from talent before I put forward names?

If you name a presenter, please say whether you hope to be able to interest them, whether they have already expressed an interest, or whether they have any intellectual ownership of the proposal. Only in exceptional cases would we expect you to have agreement from actors, as they are often only booked within a few weeks of production. Citing possible casting is useful, though, as it helps explain how you “hear” a character.

It would be unusual to quote a writer or abridger if you had not already spoken to them, but in some cases it will happen. If so, please make this clear. If you want to pitch for an open commission for a writer, speak to a commissioning editor before you approach the writer.

It would also be unusual to have gained the agreement of contributors, guests or panellists ahead of an agreed commission. Again, it is useful for us to know the lines you are thinking along, so potential running orders and cast lists do help.

Q: How do I know if an idea has already been commissioned?

Each commissioning brief gives an indication of what was commissioned for that slot in the last round. In addition, the commissioning assistant can check specific titles.

Q: Once I’ve received a conditional acceptance and all four conditions have been agreed, do I need to talk to the commissioning editor before starting work?

Normally not, but sometimes the commissioning editor will want a pre-production meeting. This is most likely to apply to major new series and we will initiate the meeting. It will be designed to make sure everyone has the same understanding of how the programme or series is to be made and what it is trying to achieve.

9 Q: How much should I contact the commissioning editor while making the programme?

It is down to you and your executive producer to make the programme as agreed. The commissioning editor will not normally get involved in scripting, editing sessions or running orders. The exception would be if any significant changes are made to what has been agreed, in particular: · presenter · title (even the change of a definite article can have important implications) · producer · executive producer

Independent companies are expected to initiate at least one work-in-progress conversation with the commissioning editor before recording their programme, and must ensure the station is informed of any editorial policy issues.

Q: Does the commissioning editor need to hear it before broadcast?

No, but independent productions must be heard and approved by the compliance editor prior to broadcast.

It is the responsibility of your executive producer/editor to deliver a programme which matches the editorial brief, complies with BBC Editorial Guidelines and is technically fit for broadcast. The Editorial Guidelines set out the referral procedures for issues of sensitive content or impartiality.

Q: What’s my proposal reference number?

You will find this to the left of the title in Proteus

10 1:6 BBC GUIDELINES & COMPLIANCE

BBC Editorial Guidelines http://www.bbc.co.uk/guidelines/editorialguidelines/

All programmes, whether commissioned in-house or from an independent producer, are subject to the BBC Editorial Guidelines. These set out the BBC’s editorial standards, policy on sensitive content, legal and political issues, and the system for consultation and referrals during the production of programmes. Failure to comply with the Guidelines may lead to the commission being withdrawn and/or a claim for breach of contract.

Compliance

We require that every recorded programme be heard by a production person of appropriate seniority and formally signed off by them. BBC programmes are signed off by their executive producer or editor. Independent programmes are signed off by the indie executive producer and by Roger Mahony, Compliance Editor, Radio 4.

These decisions are logged in a compliance form, where editorially sensitive content must be flagged. The form is available to in-house producers on Proteus and to indies on the BBC commissioning site: http://www.bbc.co.uk/commissioning/radio/compliance-and-policy/index.shtml

11 1:7 CHECKLIST FOR DRAMA AND SCRIPTED COMEDY

This is to ensure you don’t forget the basics, either in the written offer or supporting material. If you are still unsure what to send, do not hesitate to contact the commissioning editor.

For single plays you need to tell us: · what the play is about (this is not the same as a synopsis) · the end of the story, if you know it (in many instances you won’t – and that’s understood) · the complete but succinct synopsis for plot-driven works where the mechanics of the narrative are important – e.g., thrillers, detective fiction, mysteries · how the story might be told · whether you are submitting a script or sample scenes

Additionally, for dramatisations or adaptations of stage plays you need to tell us: · how the story will be told for radio · why it is well-suited to the medium

And for serials or series... · How will the work be structured? In other words, why is it a serial and not a longer single play cut into pieces? · Have you given a fairly detailed synopsis which outlines the development of character and plot over the episodes and plot lines you will be carrying? · For situation comedy, you need to give succinct details of the characters and the dynamics of the relationships that are essential to its success. Prove to us that these are strong enough to endure repetition over several episodes and perhaps several series. · Have you indicated the tone of the work?

The writer... · If he or she is an experienced writer, have you included previous credits? · For writers new to radio (however experienced in another field), have you included a full script written on spec or sample scenes demonstrating that the writer can write for the medium? At the pre-offers meeting, should you get to that stage, the Commissioning Editor will discuss what exactly is needed from the writer for each offer. · The offer should not exceed two sides of A4. Anything else must be sent electronically as supporting material.

Supporting material…

Audio and video examples should be delivered via an online file sharing service. If you are suggesting a dramatisation of a book the offer MUST be supported by a copy of that book. If you don’t the offer will be rejected. All of these must be delivered by the commissioning round deadline: A complete inventory of materials supplied must be included. See below.

Already commissioned or broadcast? A list of plays and readings of published material since 1998 is available from Tamsin Green.

12 1:8 SUPPORTING MATERIALS FOR DRAMA AND COMEDY

o Audio and video: Submit via an online file-sharing service to [email protected]. Please make it clear which proposal it is for. Audio must be mp3 format. o Unpublished written material (e.g. CVs, sample dialogue or scripts) should not be put in Proteus. It must be sent by email to [email protected]. Please make it clear which offer it is for. o All physical supporting material (published books, DVDs etc) must be delivered by the submissions deadline to: Commissioning Assistant, Drama & Entertainment, BBC RADIO 4, Rm 4028 Broadcasting House, London W1A1AA o Label each item with your name, department / company, the title and the commissioning brief number of the offer. o The package should be accompanied by a complete list of supporting materials, using this form. o Remember to indicate in the long synopsis that you are supplying supporting materials. o With the exception of published books and videos, we cannot return supporting materials to you.

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INVENTORY OF SUPPORTING MATERIALS FOR DRAMA AND COMEDY

SUPPLIER NAME

COMMISSIONING TITLE SUPPORTING MATERIALS BRIEF NUMBER

e.g. 47112 Classic e.g. The Best Play Ever e.g. Book: The Best Story in the Serial World

SIGNATURE…………………………………………………

CONTACT NAME …………………………………………..

EMAIL ………………………………………………………..

TEL ………………………………………...…………………

DATE…………………………………………………………..

14 2: THE BBC RADIO 4 AUDIENCE

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If you have queries about audience research please contact: - Chris Hutchings, Research Manager (Radio 4 and 4Extra) Tel: (020) 7765 4347 Email: [email protected]

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3: DRAMA COMMISSIONING BRIEFS

Commissioning Editor: Jeremy Howe Commissioning Assistant: Tamsin Green

The observant amongst you may have noticed that we have changed the names of the Afternoon Play, the Saturday Play and Woman’s Hour Drama strands. Name apart, this changes nothing – it is a reflection of where the slots are now not an editorial shift: by and large we don’t do plays, we do drama, drama is a word that has more contemporary resonance than play, and if there is an underlying theme as to where we want to position drama on the Network it is as a reflection and commentary on the way we live now. That is probably the most important thing to bear in mind when you are developing offers for us.

We are also very keen to develop successors to Life and Fate, The Complete Smiley, the forthcoming Bloomsday, etc., – drama events with enormous ambition, that break both the mould and the schedule.

In terms of offering these – offer them into the slot that feels like the best fit (e.g. if it is a dramatisation of a classic put it in for the Classic Serial) but flag up your ambitions in the opening line of the pitch.

Although we are NOT anniversary fixated, there is one anniversary which we think we have covered in drama – we are developing a massive drama series to mark the 100th Anniversary of the Great War. While we realise that it falls outside of the commissioning period we are very unlikely to commission much drama set between 1914-18, and almost certainly no series.

17

Programme type: AFTERNOON DRAMA

Commissioning Editor: Jeremy Howe Commissioning Assistant: Tamsin Green

Reference number: 47019

Eligibility: NB this slot is only open in this round to in-house suppliers with an Afternoon Drama Output Guarantee or independent suppliers who have a batch. These batches will be re-tendered in early 2013.

Pre-offers deadline (for this slot only): Wednesday 4 April, 12 noon

Day: Monday-Friday

Time: 1415-1500

Tape duration including opening and closing announcements: 44’

Number of programmes: as per batch or Output Guarantee Number of programmes available for open competition: 0

Transmission period: April 2013 – March 2014

Guide price (£): 18,300

EDITORIAL GUIDE

What this slot is for

The Afternoon Drama slot is where good writing meets its audience.

There is nothing in world theatre or world broadcasting quite like the Afternoon Drama. Every weekday afternoon we broadcast drama to an audience of not far short of a million people. We commission nearly 200 programmes into this slot every year, two thirds of which are single dramas, and about 40 of which are by first or second time writers to radio.

The dramas can be contemporary, period, comedy, tragedy, crime, thrillers, domestic, drama doc, biographical, fantasy, horror, original writing, dramatisation, fiction, non fiction, poetry, etc., etc. Anything and everything plays into the Afternoon Drama, whose breadth and variety are key strengths. What it is not – or should ever be – is dull or familiar or routine. At its heart is good storytelling. You can do virtually anything in the Afternoon Drama – as long as you are telling the listener a good story.

18

Grab the audience at the beginning and keep them intrigued and guessing until the very end. Easy.

The world is your oyster here. The traditional way to go about making an Afternoon Drama is for a writer to pitch a play idea to the producer to get a commission. That is a good starting point, but only one of many. Because we are looking for the widest possible range of dramas we are also keen to encourage the widest range of approaches to programme development and programme making. As long as good clear storytelling is at the heart of your proposal, we are very keen to encourage experimentation, innovation and fresh ways of telling stories – actor led, sound led, producer led, director led, improvisation led, documentary style as well as writer led.

That said, writers and good writing are at the heart of what we do.

Series and Serials

About one third of the Afternoon Drama slot will be for these.

We will aim to commission all the series for 2013/2014 in this commissioning round.

Radio 4 wants two things from its series and serials in the Afternoon Drama slot – excellent returning series (e.g. Pilgrim, Brief Lives, McLevy, No 10) and signature pieces we can strip across the schedule (like Pandemic, The Interrogation and the award winning Lost Property).

We would much prefer these to be set in the present.

Series – we have some excellent returners which will take up most of the 50 or so episodes allocated for series, but we are always on the look out to develop new potential returners.

We want heroes. Character is as important as situation/setting. Pilgrim and McLevy are heroes, and wonderfully flawed ones.

What we are singularly looking for are ideas for a low format contemporary domestically set family based series. On Mardle Fen has been brilliant for us but is nearing the end of its life. Have Your Cake didn’t work, but if it had…we lack an At Home with the Braithwaites, a Six Feet Under, a Mistresses, Big Love, etc. This is an absolute A1 priority for series development, because -

At present we have enough detectives in the afternoon – McLevy, The Interrogation, Stone, Birkett, The Number 1 Detective Agency, Rumpole, Two Pipe Problems, Brief Lives, Legacy, The Sensitive all have crime or detection at their heart – and although there may be scope to develop on-air pilots there is not a huge appetite.

We are not keen on hospitals or medicine either.

Be as imaginative as possible and please don’t ape telly.

19 We will tend to try out new series ideas as singles.

Signature Pieces - We are looking for ambition, to give our best writers the opportunity to spread their wings. Once or twice a year we are looking for the radio equivalents of Five Daughters, Sherlock, The Hours and The Promise – shows that cut through in their scale and their subject matter, and that make for compelling listening and put a marker down that radio is the place for cutting edge drama. They should be bold, imaginative and authored.

Only writers with a serious track record will be considered.

Clearly there is likely to be a serial element to these but the more like linked singles they are the better – not many of our audience are able to listen on consecutive afternoons.

No matter how ambitious your writer aims to be – remember that these will transmit the Afternoon Drama slot on Radio 4 and have to work for our audience.

Singles

Obviously, if we are broadcasting more series and serials in the afternoon, we shall be doing fewer singles.

However, singles will be the bedrock of the Afternoon Drama. We aim to commission nearly 150 in this slot alone. BBC TV drama commissions less than 30 a year across all four Channels.

Here are a few thoughts about dos and don’ts.

· A Single Drama needs to be singular. It needs to stand out. · Radio 4 is for curious minds. The worst sin you can commit is to bore the audience. From the opening Presentation Announcement you need to intrigue them and hook them, and they need to be kept intrigued and guessing the outcome until the very end. · That doesn’t necessarily mean plot. What intrigues an audience? An interesting situation, fascinating characters, and a good story are pretty useful starting points. Taking us into unexpected places, spending time with characters who feel fresh and interesting, hearing a story that hasn’t been told this way before: that is what we are looking for in the Afternoon Drama. · In other words if it is familiar territory, or stock characters (where all politicians are venal, all journalists immoral trenchcoat wearers, old people are decrepit and teenagers misunderstood) it is probably a no. We don’t want clichés or the familiar. What is the point? · What makes the Afternoon Drama is the writer’s voice. If we were commissioning EastEnders or Holby City the last thing we would want is the writer’s voice, but that is what will make today’s Afternoon Drama different from yesterday's. It is all about difference and individuality, the story that is burning a hole in the writer’s pocket is the story we want to commission. There is nothing soapy about the Afternoon Drama.

20 · I know we all hark back to the good old days of the 90’ drama but it is worth remembering there are not many single stranded programmes as long as the Afternoon Drama on Radio 4: a story needs to sustain over 45’, to earn its length. But again this isn’t about plot – radio, unlike film, doesn’t do plot particularly well. It is about interesting characters in interesting situations behaving in a way that surprises us. · Remember who you are playing to. It is about 900,000 people daily who are nearer 50 than 40 years old, who are smart, informed (they have probably been listening to the World at One) and want to know about the world. If you do a drama about the credit crunch a large number of the audience will probably have a degree in economics, if it is about hospitals your audience will include doctors, nurses, hospital administrators as well as patients, if it is about children chances are that most of our listeners will have children. By and large our audience know what they are talking about and they won’t be amused if we appear not to know what we are talking about. It is the best kind of audience in the world – they care. But as they haven’t paid for a ticket, if you don’t keep them interested or entertained they are likely to switch off. · No subject matter is necessarily taboo for the Afternoon Drama – indeed with the decommissioning of the Friday Play we are looking for some of those tougher dramas to be commissioned into the afternoons – it all depends on how you handle that subject, how you tailor it to work for the large mainstream broad based audience listening to Radio 4 in the afternoon. The Afternoon Drama is not the Royal Court Upstairs, nor Channel 4, but if you handle it right we won’t shy away from the difficult subject, the controversial issue. We have done hard hitting dramas in the afternoon about assisted suicide, paedophile priests, drug dependency, child deprivation, oral sex, knife crime, etc. Both Number 10 & Stone started out as Friday Plays and have transferred well to the afternoon with no diminution in quality. The key is getting those subjects to work for the afternoon audience. · You have a licence to be imaginative, to take us into worlds where most theatre or television can’t and won’t go, You do not need to be constrained by the rules and formats of drama series and soaps. Please encourage your writers to use that freedom! · Simplicity is crucial. So many of the stand-out dramas have had a cast of 6 or less. Listen to Interrogation. It is hard for the listener to hold many more than 6 characters in their head at any one time, and equally difficult for the writer to create more than six fresh, original three dimensional characters in one 45’ storyline. And more characters = more actors = a bigger strain on your budget. · There is only so much gloom the audience can take - of course we want dramas that look at life through a tragic lens, but only a handful a quarter. What we are really short of are strong comedies and life affirming stories. Beware of suicide – 6000 people died of suicide in the UK last year, and sometimes I wonder if all of them are featured in the Afternoon Drama; dramatically suicide is so often a cop out. · We will only commission a very few rites of passage dramas – given the audience profile, we have a very limited appetite for dramas about teenagers coming to terms with the world, and we get offered a lot. · Diversity is important to us and we are keen to commission voices from as many different ethnic backgrounds as possible, but beware of stereotyping: dramas about arranged marriages and/or sons and daughters escaping from

21 their parents, about making the decision to become a suicide bomber, about returning to India/Jamaica/Poland, dramas about gun and knife crime, or how grim it is to be a foreign worker in a hostile UK are almost the only dramas we get offered. There is a lot more to life and indeed writing dramas than dramatising these all too familiar issues.

Please bear in mind these are not rules – they are observations. And anyway all rules are there to be broken.

We are keen to encourage writers to write for particular voices, for particular actors, e.g. we are working on drama written specifically for David Bower (Hugh Grant’s brother in Four Weddings and a Funeral).

What we are centrally looking for are stories about life as experienced by our audience now or which give a window onto their lives. We will favour contemporary stories over period.

However, we are still very keen on history and biography, but not bits of history that our audience don’t connect with. A King’s Speech is a very good example – an almost unknown story about King George VI’s struggle to overcome his stammer to deliver his coronation speech was a perfect story for the Afternoon Drama. Famous person, someone most of our audience are keen to know more about, but an unknown story.

We don’t do biopics, we do dramas: simply dramatising someone’s life is a non- starter.

Please don’t make the history obscure or worthy. We are much more interested in dramatising the big events (e.g. the Fortnum and Mason sit in by UK Uncut, the collapse of the Euro, we have a drama about the Falklands conflict from the Argentine point of view coming up), the key players and fascinating people (we have recently broadcast dramas about Churchill, Yuri Gagarin, and Les Dawson, we have ones about LS Lowry and Arthur Lowe coming up) than the byways of history, the nonentities, or people straight out of history lessons. An outstanding drama using a historical setting was the Penny Dreadfuls take on the French Revolution: it was well researched, thoughtful and completely silly. It poked fun from a position of knowledge.

Dramatisations

Outside of Rumpole and The Other Simenon we will do VERY few single dramatisations in this slot – and for us to be even remotely interested in them they need to be markedly different from the dramatisations we play out in the 15 Minute Drama and the Classic Serial. We are doing a dramatisation of The Hound of the Baskervilles which is entirely unfaithful to the Conan Doyle and performed in front of an audience: that is my idea of what makes good dramatisations in the slot.

We only rarely dramatise short stories and are not really interested in offers for these.

22 New Talent

New Directors

Without new directors drama on radio will wither. Radio 4 is committed to commissioning work by directors new to radio for the Afternoon Drama and indeed across all slots. We want to encourage you to try out new directors and will look favourably on this in programme offers.

Again this year, but outside of the round, we will pitch a new directions strand to encourage fresh approaches from new directors. This will only be open to in-house production, and will be aimed at programme makers et al who are not regular producers of drama. Please contact Alison Hindell, Head of Audio Drama, for details. We plan to launch it at the end of summer 2012.

New Writers

Every year we will commission over 40 dramas in the afternoon by first or second time writers who are new to writing for radio.

New, different and diverse voices are the lifeblood of Afternoon Drama. New, engaging, exciting ways of telling stories is what the slot is about. New writing and writers are central to this – but please make sure new talent is (i) writing for our audience and (ii) not recycling the kind of drama that they think will work for the Radio 4 audience, which too often feels like a script written 10 years ago.

A writer’s second commission is as important to us as the first.

We welcome ideas from wannabe dramatists, from poets, stage writers, journalists, novelists, short story writers and from complete novices – as long as you can convince us that they will be able to deliver a good dramatic script. Get the writer to play their strengths.

Would you please put it clearly in the opening paragraph of the Offer whether this would be the first or second time commission for radio.

You will need to include with the Offer a detailed treatment plus ample proof that the writer can write dramatically – either an existing drama script or scenes from the proposed drama.

23 RECENT COMMISSIONS and Shortlisted programmes

Series & Serials only

Five new afternoon plays focusing on key episodes in his life each of which will The Real George throw light on his work. A portrait of a flawed genius whose dystopian vision still Orwell resonates wherever the state exerts too strong a hold.

Fifth series of distinctive and popular comedy drama from award-winning master On Mardle Fen storyteller Nick Warburton.

A fourth series of adventures featuring William Palmer and his eternal walk Pilgrim between the worlds of Magick and of Men.

A short season of original dystopic science fiction. Three Afternoon Dramas: Dystopia Imaginative and intelligent character led stories that reflect contemporary issues and cutting edge ideas.

A series of stories that each take the listener on a trip to a different part of the UK; Take Me To... character driven dramas borne out of distinctive local settings.

ATCHING TAN ("stopping place" in Romani) is set in and amongst the Travelling Atching Tan community - a world with its own rules, its own language and its own way of life.

As series five opens, Frank Twist has moved in with the pregnant Sarah Gold who Brief Lives insists that having a child is not going to change her life.

A strong, contemporary, detective series tackling challenging subjects created by Stone Danny Brocklehurst and starring Hugo Speer as DCI John Stone.

McLevy Brian Cox stars in a new series of adventures for Inspector James McLevy.

The No.1 Ladies’ The only lady detectives in Botswana return in the latest instalment of Alexander Detective Agency McCall Smith's much-loved series.

The Other Simenon Fate and circumstance combine to create tragedy in three dramatisations of Georges Simenon novels set in 1960s France.

24 Glasgow's psychic detective wrestles with his own demons as he investigates two The Sensitive tense and chilling mysteries.

More satirical sideswipes at the 'New' Universities, with regulars Sophie Higher Thompson, Mark Heap and Jonathan Keeble.

Now starring Benedict Cumberbatch (who he?) and Timothy West as Rumpoles, Rumpole we have given the cantankerous Rumpole a new lease of life.

Richard Briers and Stanley Baxter return as the two retired actors trying to relive Two Pipe Problems their former glories as Holmes and Watson in real life sleuthing capers in their retirement home for actors.

The People’s Life, loves and deaths in a cathedral close in the frenetic week before Easter. By Passion Nick Warburton

Philip Palmer’s series of dramas about real life war gaming, where experts map Red and Blue out what might happen if war breaks out in Iran, a dirty bomb is detonated in the London Underground, etc.

PROPOSAL TO INCLUDE

The full offer (excluding the Proteus front page with the business details) must not be longer than two A4 sheets. For delivery of supporting material see Checklist for Drama & Scripted Comedy, section 1:7.

The most telling offers tell the story, state why you want to do this particular drama and how you want to do it. Your passion for an offer means a lot to us!

Include details of the experience of the writer(s) and previous commissions. If the writer has not been commissioned in the last 4 years it is likely the Commissioning Editor will not know their work. Please submit supporting material as mp3 via file- transfer or as script. Please state in the short synopsis if this will be the writer’s first or second commission for radio. If the writer is new to radio you will need to submit a sample of their writing and/or sample scenes. Please discuss what is required at the pre-offers meeting.

Casting information is not required unless this is a vehicle for named performers.

Don’t compete against yourself. Look at the spread of your ideas and ensure you do not overdevelop in one area at the expense of another. At pre-offers, we will look not only at individual ideas but also at the spread of material and will match that against the needs of the schedule. We advise you to present all your pre-offers together.

25

Programme type: SATURDAY DRAMA

Commissioning Editor: Jeremy Howe Commissioning Assistant: Tamsin Green

Reference number: 47080

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV drama production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include this production track record at the end of the long synopsis in your final offer.

Day: Saturday

Time: 1430-1530

Tape duration including opening and closing announcements: 57’ or 87’

Estimated number of programmes available to open competition: 7x 57’; 3x 87’

Transmission period: April 2013- March 2014

Guide price: £23,200 (for 57’)

EDITORIAL GUIDE

NB (i) we will aim to commission all the titles for 2012/13 in this spring commissioning round

(ii) Although the Friday Drama slot has been decommissioned we are still keen on carrying some of the harder tougher edged dramas that played into the slot (think of the Sony winning RIP Boy by Neil McKay about a murder in Feltham Young Offenders Institute, etc): we will do two maybe three a year at 60’, placed in an evening slot but they should be offered through the Saturday Drama; you should clearly mark the Offer as a Friday Drama.

++++++++++++++++++++++++++++

Think Showbiz. If the idea doesn’t stand out it probably isn’t for us.

People are busy on a Saturday afternoon – so what is going to make the listener stay in? Your Offers need something in them to make them a compelling must-listen pitch.

26

Our biggest title coming up are all 10 of the Martin Beck novels by Per Wahlöö and Maj Sjöwall. It is the slot where Chandler has just played out, we launched The Complete Smiley here, we have James Bond, new dramas by Peter Flannery and Frederic Raphael, a reversioning of The Wind in the Willows, Michael Frayn, Howard Brenton and a short season of Westerns: they are the kind of programmes that we hope the audience will make a date with, they are dramas that the audience would want to buy a ticket for if it was in the theatre.

We are still looking for “family friendly” titles: these will largely be dramatisations, mostly at 60’, and the titles we are looking for are the books that parents want their children to read rather than the books children (7-16) are reading, and should be tailored to the grown up audience rather than 10 year olds. We are keen on non heritage fiction – Peter Pan in Scarlet rather than Peter Pan. These should be 60 minutes not 90.

They do need to be headline titles: if the title isn’t in the public domain chances are that we won’t be interested.

1) 60’ Saturday Dramas

The Saturday Drama is about compelling, narrative driven stories. Plot is crucial.

They should not be extended Afternoon Dramas.

This is not a slot for new writing.

We are not looking for old fashioned, old school radio drama – we want the Radio 4 equivalents of The Adjustment Bureau, Source Code, Soderbergh’s Contagion, the new Sherlock Holmes movie, The Ides of March, The Social Network, etc. i.e. must listen popular high class entertainment. Beware the rustle of crinoline: again we are more interested in the way we live now than doing radio Downton Abbeys.

Although we are primarily interested in Singles, if you were to come up with something as compelling and ambitious as The Lord of the Rings we would run with it.

What is the next Chandler? The next Martin Beck?

Because of the Beck we will do almost no dramatisations of detective novels – but if you have a really big idea we will commission ahead.

The Saturday Drama is the home of genre fiction. We are looking for: · ghost stories · great trials · family listening · love stories · thrillers, etc etc -

BUT THEY HAVE TO STAND OUT

27

As these rub shoulders with the stage dramas in the schedule it is really important that they make as much noise as them – your new drama is likely to be sitting alongside The Browning Version or the next James Bond, and they need to be as much a treat for the audience as those.

2) 90’ Dramas

We do about a dozen 90’s. They need to be stand out titles, and are currently almost all stage dramas or unproduced screenplays.

We would be very keen to commission major writers to write original 90’s.

Unless it is as completely left field as Zen and the Art of Motorcycle Maintenance (dram. Peter Flannery) we are not interested in dramatisations.

Titles that have been really successful for us have been Pat & Margaret, the Rattigans, Tom and Viv, The Man of the Moment, The Lady and the Van, etc., whereas the Royal Court at 50 season, for all its merits, did not go down all that well with the audience.

3) Friday Dramas – if we receive Offers that we think can only be played in an evening slot we will commission them out of the Saturday Drama commissioning pot. If we don’t get any really strong Offers we won’t commission any, and it is likely to be no more than 2 or 3 over a year – but we do not want to lose the capacity to run tough uncompromising stories by the best writers in radio. Recordings Recovered from the House of Leaves was a seriously scary Friday night listen. Please make it very clear in the first line of the Offer that this is for broadcast at 2100. They will be commissioned out of the Saturday Drama commissioning budget.

Recent Commissions

Title Short Synopsis

Recently included in The Observer's list of ten best modern Martin Beck European crime writers, Per Wahlöö and Maj Sjöwall’s 10- Series book series featuring detective Martin Beck set the standard for all subsequent Scandinavian crime fiction.

The complete run of 10 Swedish detective novels – the Martin beck ultimate curmudgeonly detective, forerunner to rebus, Wallander, etc.

Neverwhere A dramatisation of Neil Gaiman's novel.

Bloody Poetry Howard Brenton’s brilliant play about the death of Shelley.

28 A love story set over five days as two people are brought Love Me Do together by the Cuban missile crisis by Marks and Gran.

Adrian Penketh's psychological thriller is a triangular story of One Train May Be love and power. A compelling French low-budget movie for Hiding Another Saturday afternoon.

Talking It Over Julian Barnes’ novel dramatised.

Court room drama adapted from a screenplay and based on The Real Trial of Oscar Wilde's private prosecution of the Marquess of Oscar Wilde Queensbury for criminal libel.

A striking, vibrant and terrifying new version of this classic Pinocchio tale of a wooden puppet, that wants to be a boy.

Based on Don Quixote, the story of two competing brothers who journey through contemporary Scotland in search of a Donal Q childhood sweetheart. Specially written for Brian Cox and Billy Connolly.

In a two-part dramatisation Ian Rankin's Inspector Rebus The Black Book descends into Edinburgh's criminal underworld - with the help of a notebook full of coded clues.

A haunting blend of 19th century ghost and detective story, The Haunted Hotel based on the final novel from Wilkie Collins.

Shane The classic western.

Strike for a A Welsh murder mystery set in a mining village during the Kingdom 1926 miners' strike.

The story of the Bradley Manning, the 23 year old American The Air Gap soldier accused of the biggest information leak in history, told from his cell where he is held in solitary confinement.

29 South Downs David Hare’s contemporary version of The Browning Version.

Two assassinations bring Pakistan to a social, political and Two moral turning point - they may also hold the key to the future Assassinations of the world. Docudrama.

The world's most famous Secret Service agent returns in James Bond on another thrilling drama. 007 shakes and stirs amongst Radio 4 for 2014 international villains.

Barbara Demick's extraordinary portrait of North Korea - Nothing To Envy pieced together from interviews with defectors now living in the South.

Ten years after the invasion of Iraq we dramatise events The Iraq behind the scenes in the Blair government in the build up to Resolution war.

Noel Coward's outstanding autobiographical comedy of Present Laughter manners, full of razor-sharp one-liners.

Award winning playwright Hattie Naylor offers this dark and The Forgotten sinister retelling of The Sleeping Beauty that explores the (The Sleeping human capacity to forget and the painful consequences for Beauty) those forgotten.

On 20 October 2010 Saud Abdulaziz bin Nasser al Saud, a The Saudi Prince grandson of the King of Saudi Arabia, was sentenced to 20 and the Pauper years for strangling and beating Bandar Abdulaziz to death. (w/t) Bandar was his servant, his lover, his punch-bag and his slave. By Neil McKay.

Alistair McGowan and comedy writer David Spicer team up to Kind Hearts and create a radio version of one of Britain's best loved Coronets comedies, also starring Alistair as eight members of the doomed D'Ascoyne family.

30 PROPOSAL TO INCLUDE

(See Checklist for Drama and Scripted Comedy offers in section 1:7.)

The full offer (excluding the Proteus front pages and any supporting script material) should not be longer than two A4 sheets.

Please include details of the experience of the writer/writers and previous dramas commissioned from them.

Casting information is not required at this stage unless this is a vehicle for named performers. If you suggest cast in the Offer and the programme gets commissioned you are under an obligation to deliver that cast.

If it is a dramatisation you must include a copy of the book, if it is a published drama a copy of the drama. If you do not the offer will be rejected.

31

Programme type: 15 Minute Drama Commissioning Editor: Jeremy Howe Commissioning Assistant: Tamsin Green

Reference number: 47010

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV drama production at both producer and executive producer level. If you have not previously made programmes for Radio 4, you should include this production track record at the end of the long synopsis in your final offer.

Day: Monday-Friday

Time: 1045-1100

Tape duration including opening and closing announcements: 14’

Repeat: 1945 weekdays

Estimated number of programmes available for open competition: 50

Transmission period: April 2013 – March 2014

Guide price: £5,200

EDITORIAL GUIDE

NB We aim to buy the entire WOCC and fill Output Guarantees for in house production of 15 Minute Drama for 2013-14 in this round.

This strand gets more airtime and gets the largest audience of any drama slot on Radio 4 outside of The Archers. It offers writers more minutes per week to tell their story and explore their characters than any other commissioned drama strand.

The change of slot name does not mean there is an editorial shift for the slot.

We are looking for a mixture of approx – - 13 + weeks of returning series (currently we don’t have enough) - 14 + weeks of signature pieces by our best writers (ditto) - 15 - weeks of dramatisations of post 1945 & contemporary writing (we have too much currently) - 10 + weeks of dramatisations of classics (we have too few) If you have an Output Guarantee we will expect your range of offers to reflect this editorial mix.

32 Things to think about:

· Will the story bear being stripped across the week?

· Does it have the weight to bear 10 transmissions per week? The tone of the programme will help define the tone of the Network the week it is broadcast – you need to think about the impact it will make.

· Simplicity is the key.

· The slot requires a strong idea, a simple sharp format led by characters whose story we want to follow over several episodes. Getting the audience to fall in love with a character is as important as getting them gripped by the story. Too many characters will confuse the audience – and blow your budget.

· One week is the norm, except for dramatisations. However, we will rarely do a little known novel that needs a fortnight. 3 or 4 weeks is epic (but we like epic: Possession was a hit), 5 weeks is uncharted territory….

· While programmes in the slot will often reflect the values of Woman’s Hour, we do not need to be slavish about this. Importantly, we also need to make the slot work for the post Front Row audience.

· Because we are running Elizabeth Jane Howard’s The Cazalets over 9 weeks across 2012-13 in (approx ) 3 week runs there is not much appetite for dramatisations of books in a similar vein and because this has already been commissioned there will be less space for dramatisations generally. However, we would be interested in receiving ideas and Offers for the successor to The Cazalets for late 2014 (ie next year’s commissioning round)

(i) We want more series with strong returning characters.

(ii) We want to encourage our best writers to attempt 75’ signature pieces. An hour and a quarter split into 5 fifteen minute chunks is the length of a short feature film. Unlike most feature films it will play to a sizeable audience.

(iii) Think broadly around the kind of book we will dramatise in the slot. Please consider all types of book – essays, travel journals, cookery books, science, art history, self help, stage dramas, biography, history, social history, memoir, etc.

Of course you need to find a clever way of dramatising them, a boldness of approach that is challenging and exciting, but I think one of the best dramatisations we have done recently has been Robert Forrest’s turning a book of lists into a murder mystery. The Pillow Book is brilliant, is now on series 4, but bears almost no relationship to the printed text…

Because we will still be playing out Pepys’ diaries and Writing the Century please hold back on diaries etc.

Surprise us, surprise the audience.

33

Who knows: there is probably a good Instruction Manual out there just begging to be dramatised.

We don’t want books off the Book of the Week reject pile.

Unless the idea is exceptional it is unlikely we will be commissioning series of 15’ unlinked singles in this slot - Rebecca Front doing Incredible Women is the exception- ie talent driven.

· Returners.

We currently have about ten. We want more.

Characters are what returners are all about. Get the audience to fall in love with them and you are halfway there.

Don’t make the precinct or the format too complicated – two elderly ladies writing letters to each other worked for nicely for a decade and Ladies of Letters is now on TV. If it is too complicated to explain in a Radio Times billing it is probably too complicated an idea – murder and detection in the emperor’s Court in 10th century Japan, two single parents flirt as they tussle with all the challenges of being a mum and a dad in an internet chatroom, comedy about a young woman with learning difficulties taking on the world, etc. Keep it simple!

We would like returners to play out as single weeks but are keen to keep them running every 6 to 9 months to build up audience loyalty to our characters – if you produce a returner it may well be worth your while offering us two series at once.

Darleen Fyles was originally a Friday Drama, Chronicles of Ait was originally an Afternoon Drama – the single is a good way to find if a character/setting has legs for a series.

It is worth noting that many of the writers of our returning series have considerable experience in writing series TV.

· Dramatisations of classic novels and contemporary fiction will remain a major element of the strand. PLEASE NOTE THAT WITH PEPYS AND THE CAZALETS THERE WILL BE CONSIDERABLY LESS SCOPE FOR DRAMATISATIONS. The Color Purple and Q&A both won Sonys, and books like The Far Pavilions and Possession are a real treat for the audience. This slot, along with Book at Bedtime, will be the place to play out long form contemporary fiction on Radio 4. We are looking for new titles that we think will break through or have broken through, the bigger more well known the title, the better, and the very best in recent contemporary fiction (i.e. think of modern titles we are unlikely to broadcast in the Classic Serial slot): but remember they will need to break down into 15’ episodes. While it is obvious that some writing is very male skewed (we suggest you do not offer Len Deighton here) the reading public for - say - Nick Hornby, Tony Parsons, William Boyd, Ian McEwan et al - is as much female as male. We want to commission them for this slot.

34

· Enhanced abridgements (which we now call Semi-Narrated Dramatisations) - because narration works so well in this slot we want to find novels – both contemporary and classic - that will work as semi-dramatised abridgements, multi voiced (but not full cast) and underpinned by a soundtrack. It won’t work for some books – as a rule of thumb the prose needs to be very well written, the dialogue needs to be crisp and it helps if the narrative voice is either part of the story or has a very strong attitude towards the story. Voltaire’s Candide or Helen Fielding’s Bridget Jones would work well, whereas Agatha Christie probably won’t. We are looking to abridge the novel rather than dramatise it, reduce the number of voices and to retain the novel’s written integrity. These will have a lower budget than full dramatisations, but we expect to give the audience a good listen. Please flag up prominently on the Offer if this will be your approach. · We want non-fiction titles. I Love My Rifle More than You and Baghdad Burning were very successful for us: they were contemporary and they were about the ordinary lives of people caught up in the biggest news story of the decade. At least two titles per year will be like this. · Detective and crime stories, mysteries or thrillers are most welcome.

PROGRAMMES COMMISSIONED IN THE LAST ROUND

A full list of published works that have been dramatised or read on the network over the past few years is available if you have not already received it.

Recent Commissions:

Returners/potential returners –

A man and a woman - strangers on Chronicles of Ait - The different paths - are drawn into the Moon Garden extraordinary east coast settlement and into the vortex of an enigma.

The series which uses contemporary accounts of history throughout the 20th Writing the Century 20-22 century using listeners unpublished letters and diaries.

Rosie and Tom return as our reluctant Soloparentpals.com singletons.

Jackie Hartwell is a Police family liaison officer. She deals with the conflict Small Town Murder between trying to support the victim's family whilst treating them as suspects.

35 How Does That Make You A comedy about therapy. Feel?

The Pursuits of Darleen A further five enchanting episodes in the Fyles Series life of Darleen Fyles.

Craven DCI Sue Craven is back

Further adventures with Beverley and Shirley at HighLites, the hairdresser that HighLites sends you home feeling worse about yourself.

Return of Rebecca and Jeremy Front’s Incredible Women series profiling monstrous women.

Shonagon and Yukinari return! A further instalment of our distinctive thrillers set in The Pillow Book 10th Century Japan. Inspired by the writings of Sei Shonagon. From the novel of the same name, this is now wholly originated comedy about a The Little Ottleys love triangle that never resolves set in upper class London in the twenties.

Dramatisations –

Katherina meets a man at a party, spends the night with him and all hell breaks loose The Lost Honour of next morning. He is a suspected terrorist Katherina Blum on the run. A brilliant exploration of the corrosive impact of the media on the life of one young woman. Heinrich Boll.

John Irving's audacious, hilarious and The World According to heartbreaking story about the life and Garp times of T.S. Garp.

Dramatisation of a major new novel that will appeal fundamentally to both the Woman's Hour and Front Row audience. Big New Novel of 2012 For over a decade Di Speirs has sought out and dramatised a title from amongst the most exciting new titles of the year for the slot. Leaving the convent in 1819, Jeanne, the only daughter of two ageing aristocrats on the tempestuous northern coast of France, Une Vie has already cast herself as the heroine of a romantic novel. Twenty-nine years later we find her, true to form, the downtrodden

36 heroine of a Maupassant novel.

Maupin’s account of sexual mores of 80s Tales of the City San Francisco.

Ada grows up in the poor Jewish pogroms of the Ukraine. She secretly loves a distant relative, Harry Sinner, son of a rich The Dogs and The Wolves financier. When Ada moves to Paris she discovers Harry too has moved and forces of fate, finance, family and love cruelly collide, changing her life forever.

The complexities of love and the vagaries of the human heart are the subject of this I Love You, Goodbye funny and moving story set in a Highland village.

Adventure spy series, with exotic Modesty Blaise: A Taste locations, a female action heroine called for Death Modesty Blaise, and a funky sixties setting.

Tom Stoppard’s love story, set in England and Germany before and during the 2nd World War. Contemporary discoveries in biology and physics thread through the story, which makes parallels between the Hopeful Monsters coincidences, meetings and splittings in the couple's lives and the behaviour of split atoms. Complex, touching, episodic.

Charles Dance narrates five more dramatizations of Roald Dahl's darkly comic short stories.

Following the success of Kiss, Kiss and Someone Like You, the Roald Dahl estate has offered us the rights to five more of Five More By Dahl (w/t) his stories. Stylishly plotted and vividly characterised, the tales we hope to adapt are made unforgettable by their breezy cynicism, their hilariously bleak view of family life and the ingenuity with which they transform such apparently innocuous objects as elevators into vessels of retribution.

37

One offs

The story of Elizabeth, kidnapped in Pakistan. Each episode is told from a different viewpoint. Elizabeth's, Kidnap Amir one of her captors, the hostage negotiator, a soldier and Elizabeth's daughter. Richard Monks

Inspired by journalist Claire Longrigg's interviews with women in the Mafia, an original series that does for Mafia Women the wives and women involved in the Italian Mafia what The Sopranos did for their New Jersey menfolk.

Emily has the same pressures of many young professional women - biological clock ticking, stressful work, a partner working long hours, but, as an MI5 surveillance officer, she also has the safety of In The Van hundreds of ordinary citizens in her hands. She has to make the right decisions to preserve her relationship, and prevent a terrorist attack. Beeban Kidron directs.

A compelling and surprising adaptation as three young UN workers support each other through some of the most brutal war zones of the end of the Emergency Sex twentieth century, fuelled by fear, idealism, drugs, sex and gallows humour. Adapted from real stories by Tina Pepler.

A comedy series about HRT, femininity, and growing Feminine Forever old disgracefully. By Caroline & David Stafford.

What happens when you begin to suspect that your Loving new husband may be a congenital liar and a bigamist?

Jane Purcell tells the true story of Ida and Louise Cook. As young women in the 1930s, they hit the jackpot when Ida discovered her talent for writing Mills and Boon. They used their money to buy their first gramophone, and became opera groupies: Ugly Sisters w/t eccentric virginal sisters who followed favourite opera stars around Europe. So they blundered entirely unaware into Nazi Germany, and the fact that they now had the perfect cover, and the money, to smuggle Jews to safety. This is the story of how they chose and rescued 29 families.

A third series of linked plays responding to Woman's Woman’s Hour Reactive Hour listeners' own experiences. This time them Drama theme will be "escape".

38 Inspired by a real event in an Italian women's prison where the inmates set up their own fashion label.

Based on factual research of UK prisons. Tomorrow The Catwalk

Full of humour, and drama, a love story with an edgy tone about sexuality and transformation. By Francesca Joseph.

A radio soap set in the tribal Pashtun areas of the Afghanistan/Pakistan borders, the heartland of the An Everyday Story of Afghan Taliban. Over five episodes it offers British listeners a Folk unique opportunity to understand the lives of the ordinary people behind the headlines. Liz Rigby.

After an evening out, 24yr old Madeleine Cook is raped by an acquaintance, who afterwards behaves as if nothing happened. Her best friend, and her Not a Love Story parents urged her to press charges, which she does, thereby beginning of a journey from which she emerges stronger and with a result, but unsure as to whether it's all been worth it. Shelagh Stephenson.

PROPOSAL TO INCLUDE (See Checklist for Drama and Scripted Comedy offers in section 1:7.)

The full offer (excluding the Proteus front page with the business details) must not be longer than two A4 sheets. Any supporting material must be submitted in hard copy and not entered on to Proteus.

A clear sense of how the style and tone fit into Woman’s Hour and will drama out after Front Row.

A synopsis, an outline of potential characters and a sense of the structure, if the series is over several weeks. Proposals should also include suggested writers.

Proposals for the treatment of existing texts should explain why the work is suitable for this slot and how it will be treated in this format. You must include the book with the Offer, or it will be rejected.

How you want to do it. Why you want to do it – your passion is key!

39

Programme type: CLASSIC SERIAL

Commissioning Editor: Jeremy Howe Commissioning Assistant: Tamsin Green

Reference number: 47112/1500/SU

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV drama production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include this production track record at the end of the long synopsis in your final offer.

Day: Sunday

Time: 1502-1600

Tape duration including opening and closing announcements: 57’

Estimated number of programmes available for open competition: 14

Transmission period: April 2013 – March 2014

Guide price (£): 22,200

EDITORIAL GUIDE

NB we will be commissioning a full year’s work.

What this slot is for

WHAT IS THE NEXT SMILEY? THE NEXT I, CLAUDIUS? THE NEXT LIFE AND FATE?

This is number one on our shopping list – something big bold and brilliant that will make a statement. The title having instant audience recognition would help! Do not be frightened of scale – we want The Big Title for 2013, and we want epic listening and landmark productions.

Of course we will continue to do two and three parters but we want -

B O L D N E S S

Otherwise for the Classic Serial – what is in the tin is on the label, so to speak.

40

The strand is not exclusively about classics. It is about high-quality serialisations of literature in the widest possible sense that are a good Sunday afternoon listen – classics, modern and ancient literature, poetry, non fiction etc. What it is absolutely not a museum for dusty old literature that we think the audience ought to be made to endure.

What has really stood out recently?

o We were gutted when we couldn’t get the rights for The Godfather.

o The Mumbai Chuzzlewits and A Tale of Two Cities were both outstanding, because both tackled the text in such a fresh exciting and dynamic way. It is likely that we will rest Dickens for a bit – unless a blindingly good offer comes our way.

o The Heat of the Day was a mesmerically good adaptation (by Harold Pinter) of the Elizabeth Bowen novel.

o The History of Titus Groan was bold, big and brilliant.

The titles we are most likely to commission for the Classic Serial will be well known.

Good clear storytelling is at the heart of the strand. The title of the book is key. This doesn’t mean we will do only well-known titles. But, without a strong title to sell, the offer really needs to whet the appetite.

Our definition of “classic” has latitude and classic does not just mean classic novels – but remember that storytelling is the thing that drives the slot, the bedrock of which will still be the big 19th Century titles, etc.

What we broadcast here

Across the year, The Classic Serial will contain a mix which is enjoyable, popular, occasionally surprising and/or stretching – but, above all, something to stay in for.

A lot of Classic literature has a tendency towards gloom – we are keen to commission titles that are very entertaining. We want feel good fiction to have a strong place in the schedule.

Please refer to the Full List of Published Titles document if you are in doubt. This should be your bible – we will probably not commission a title that has been done on Radio 4 or Radio 7/4 Extra in the last ten years. We also will not commission a title that has been done by TV or been made into a feature film over the same period – unless there is a compelling reason to do so.

Here is how our thinking of the slot breaks down.

41 The Classic Classic

The bedrock of the strand – nearly half of the titles – will be the big classic titles (mostly 19th-century or early 20th-century and mostly, but by no means exclusively, English-language).

They are treats for the audience and will have a familiar title and/or author. If it isn’t a classic, it needs to be a brilliant piece of storytelling with a well-known title. We will be obvious, not obscure or clever. High-quality nostalgia works very well on a Sunday afternoon, as does the occasional children’s classic – but think of modern children’s writing rather than nostalgia (Roald Dahl rather than E Nesbit).

Don’t be afraid to be robust with the book in your treatment. I am not even sure that the production team read the turgidness that is Holinshed when they embarked on the wonderful Plantagenets – just dramatising the book would have made for exceedingly dull listening.

The Unexpected Classic

“Classic” in the Classic Serial doesn’t necessarily mean “classic novel”.

About two titles per year should come from left field - poetry, history, biography, the documentary book - whatever: surprise us, surprise the listener, push the envelope of the slot. This year we have Songs and Lamentations from the Old Testament – a perfect title for the Classic Serial.

However, it must be a good story and you must have a firm handle on how it should be produced.

It is our intention to commission at least one non fiction title and one poetry title.

Surprise us!

20th Century Classics

What is the next Smiley or Life and Fate?

We are also keen to commission the big texts from world literature – we have Buddenbrooks and Pather Panchali coming up. Titles like this do need a hook, a reason for doing them, a resonance for the audience.

There are ranks of brilliant but neglected story tellers – Nevil Shute is one we have championed over the last few years – who arguably plays out much more satisfactorily than more obvious 20th Century Classics by the likes of Virginia Woolf, DH Lawrence, Joseph Conrad, Franz Kafka, John Paul Sartre, etc.

Please remember that the Classic Serial is not meant as a substitute for a degree course in literature – its primary aim is to be a good listen on a Sunday afternoon.

42 Dramatiser

Who dramatises is as important as the title. We want our best writers writing for the slot.

We want writers who are passionate about the book they wish to dramatise, but we want them to be inventive and bold, to capture the essence of the novel rather than merely abridge it. Listen to Mumbai Chuzzlewits or A Tale of Two Cities to get a sense of imaginative and bold dramatisation.

Because a writer suggests a certain book, it does not necessarily mean they will dramatise it or have a monopoly on that book.

We will not commission first time writers to write the Classic Serial.

Narration

It is emphatically not a badge of courage or boldness to dramatise a novel without narration. Narration is a very effective way of guiding the audience into a story and of course gives the audience a flavour of the prose of the book, but this is not a hard and fast rule – sometimes narration can be deadening and is lazy dramatisation.

Approach

Meddle with Jane Austen, for example, and you may get crucified – the wayward film of Mansfield Park sank very fast. But, if you are not robust with some books, your programme will fail.

If you don’t have a bold approach to the “unread” classic such as Burton’s The Anatomy of Melancholy - the audience will wonder why we bothered – Radio 4 is not a museum for literature.

A key scene in the opening le Carre novel of the Complete Smiley– and which set out the stall for the series and gave the motivation for Smiley over the next 20 hours of radio - was based on one sentence.

Will the title in question fit better into the Woman’s Hour slot than in Classic Serial?

Take note!

No singles please. Not keen on Dickens (we have just had a sack full), no James Joyce (we are running a dramatisation of Ulysses on Bloomsday), no Evelyn Waugh (we are doing The Sword of Honour trilogy), no Orwell (we have a season in 2013).

If you do not submit a copy of the book with the Offer you will get the Offer rejected.

You must use the proposal to spell out the tone and production values you envisage and to indicate who will write the adaptation for radio and why that person is right for what you want to achieve. This will be as much a part of our commissioning decision as the work itself.

43

We will consider proposals for programmes that need longer lead-times than the transmission dates indicated above – for example, where there might be rights complications. Smiley took nearly three years to land.

Please give us realistic delivery dates – we will schedule according to the dates given on the Proteus form, and rescheduling the Classic Serial is tricky.

WORKS RECENTLY BROADCAST OR TO BE BROADCAST A full list of published works that have been dramatised or read on the network over the past few years is available from Tamsin Green at Radio 4.

2011/12 Commissioned titles PLANTAGENET by Holinshed x 3 UNCLE FRED IN THE SPRINGTIME PG Wodehouse x 2 The Great Gatsby x 2 MRS DALLOWAY x 2 Publish and be Damn'd: The Memoirs of Harriette Wilson x 2 Songs and Lamentations from the Old Testament x 2 Ulysses by James Joyce The Diary of a Nobody / Mr & Mrs Nobody x 2 The Chrysalids x 2 The Graduate x 2 An Angel At My Table x 2 The Grapes of Wrath x 3 Buddenbrooks x 3 Frankenstein x 2 Dracula x 2 Far from the Madding Crowd x 3 The Count of Monte Cristo x 4 The Eustace Diamonds x 3 The Real George Orwell: 1984 x 2 The Real George Orwell: Homage to Catalonia x 2 The Red Shoes/Snow White x 2 Pather Panchali: Song of the Road by Bibhuti Banerjee x 2 Great Scott x 3 – three novels by Walter Scott in 3 hours Esther Waters by George Moore x 2

PROPOSAL TO INCLUDE

A copy of the text. If you don’t send it the Offer will be rejected A brief synopsis of the text. We want to know how the story ends. A brief treatment of the text. This should include o An indication of the intended style and tone and a glimpse of how dialogue and characterisations will be handled. o How you want to do it. o Why you want to do it o CV of producer and dramatist. The full offer (excluding the Proteus front page with the business details) must not be longer than two A4 sheets. Any supporting material must be submitted in hard copy and not entered on to Proteus.

44

Programme type: FRIDAY PLAY

Commissioning Editor: Jeremy Howe

Reference number: 47053

Day: Friday

Time: 2102-2200

Tape duration: 57’

The slot has been decommissioned. Please see the Saturday Drama brief.

45 4: COMEDY & ENTERTAINMENT COMMISSIONING BRIEFS Commissioning Editor: Caroline Raphael Commissioning Assistant: Tamsin Green

Helpful general notes for 11.30 Comedy 18.30 Comedy/Sunday Comedy 23.00 Entertainment

Including:

How to offer

What to include

This section includes important details of delivery requirements for the supporting material for the Spring 2012 round.

Please also read the Checklist for Drama and Scripted Comedy, section 1:7.

GENERAL NOTES

Competition for all three Comedy slots is intense. To be successful your company or department will need to be able to demonstrate substantial and considerable experience in radio comedy and/or television comedy at a senior level. Work online is useful and interesting but will not be enough to demonstrate you can provide broadcast quality programmes that meet the editorial, talent development, compliance and technical levels we require.

Very few new programmes are commissioned in any round.

At the pre-offers stage I am seeking brand new ideas featuring exceptional new or established talent (writing or performing) who are not already appearing regularly on BBC Radio 4; and innovative formats.

When judging how similar an idea is I will be seeing it from the audiences point of view. Nuanced differences to something already on air is not going to convince me. We want to take audiences to the widest variety of places, through a myriad of emotional experiences and let them enjoy the greatest range of comedic talent. And make them laugh.

The idea needs to be suitable for the core Radio 4 audience. Be edgy by all means, but not smutty.

46 Diversity We are committed to continue offering patronage to talent from a rich diversity of backgrounds and communities. Please consider how your programme idea or choice of presenters can help the network represent the diversity of modern Britain.

Celebrity Led Shows Remember, we have many shows across the network that revolve around a different celebrity interview or guest each programme. Think of iconic programmes such as Desert Island Discs, A Good Read, With Great Pleasure to newer titles such as Great Lives and Chain Reaction. So…we are not looking for any new ones.

Series or Serials? In a series, programmes can, to a greater or lesser extent, be placed in any order and do not need a heavy explanation each week to explain what has happened so far. Serials do. We want series. We do not want serials.

THE PURPOSE OF PRE-OFFERS

This stage of the process allows us to ensure we are developing the right mix and number of programmes, that we are not encouraging work that will be too close to programmes already in development or returning.

Obviously we cannot judge the quality of the writer's work or talent's skills - but we can and will judge the subject matter.

That is why it is important that you use your 200 words carefully to sum up what the show will be about.

Do not waste space telling me how wonderful the show will be or how brilliant the talent - that is taken as read!

WHAT TO INCLUDE IN PRE-OFFERS

Returning Series Programmes that have gone out or will be going out between November 2011 and end of July 2012 that are seeking a further commission should be offered in this round.

And, very important, they should be submitted to pre-offers.

Offering work that has previously been rejected If you have been asked to re-offer it, please make that clear in writing at the pre- offers stage by adding ‘Offer re-requested’ to your synopsis.

If you have not been asked to re-offer it then we would politely suggest you don't.

Presenters and Talent If the programme is the talent’s or the presenter’s idea or they have been involved in its development, please make this clear to save possible confusion and embarrassment later.

47 Choice of Talent Unless you are building a show round a named individual you are not expected to approach performers at pre-offers or final offers stage.

It is a waste of time and can cause embarrassment if the programme is not commissioned. We also know that by the time a commissioned programme is ready to be recorded the chance of said individual still being available is negligible.

Long lead times We will consider proposals for programmes that need longer lead times than the transmission periods indicated in the slot briefs – for example, where there might be rights complications or the talent is supremely busy. Please make this clear in your offer.

AT PRE-OFFERS MEETINGS

If your offer gets through the initial pre-offers stage we will meet to discuss the idea in more depth and in particular focus on the following:

Your writer Are they ready?

Writers with no experience of writing for radio must provide a sample or draft script specifically written for radio at final offers. The experience of the writer in other media will determine how much I need to see with the final offer.

Discuss with your writer, prior to submitting a pre-offer, if their script will be ready in time for the May final offers deadline. If it is unlikely you are advised to wait for the Autumn round.

Comedy is commissioned twice a year.

Rights and Permissions It is pointless to clear rights ahead of a commission. This wastes your time and money. It is not the end of the world if an offer falls over later because rights not available.

However in some instances where we know there are historical difficulties with the rights holders, we will ask you to clear them. We will agree this at the pre-offers meeting.

Preparing for the Final Offer We will discuss how to write the final offer to make the proposition as clear and attractive as possible!

48

FOR FINAL OFFERS

Writers Please include details of writers past commissions for radio and/or experience elsewhere. Please make it clear if television or radio programmes were pilots only or if they went to series.

Rights and Permissions If, as above, you were asked to clear rights in advance of the offer, please indicate if you have been able to do so.

Choice of Talent As above, unless you are building a show round a named individual you are not expected to approach performers at pre-offers or final offers stage.

But, for final offers, indicative names are needed so that we can judge the tone or attitude of the programme. Please consider these carefully and ensure that across your offers there is a spread of talent. Too many of the same names are still cropping up again and again.

Offers for returning series When offering these you must include your critical thoughts on the series to date and how you might develop the show further.

Length of the offer The final offer must not be longer than two sides of A4 apart from the Proteus front business page.

Supporting Material This is only required for final offers.

Please note that apart from published books and commercially published DVDs all work must be sent electronically.

Examples of Presenters and Talent If they have work online (YouTube, blogs, podcasts etc) please include a link in your offer rather than sending in downloads etc.

Delivery of Supporting Written Material Written material (e.g. CVs, sample dialogue or scripts) should not be put on Proteus. It must be sent by email to [email protected]. Please make it clear which offer it is for.

Delivery of Supporting Audio and Video Submit via an online file-sharing service to [email protected]. Please make it clear which offer it is for. Audio must be .mp3 format.

You do not need to include audio for returning series as we already have access to the programmes.

49

Programme type: 1130 COMEDY

Commissioning Editor: Caroline Raphael Commissioning Assistant: Tamsin Green

Reference number: 47013

Eligibility: Competition for this slot is intense. To be successful your company or department will need to be able to demonstrate substantial and considerable experience in radio comedy and/or television comedy at a senior level. Work online is useful and interesting but will not be enough to demonstrate you can provide broadcast quality programmes that meet the editorial, talent development, compliance and technical levels we require.

If you have not previously made programmes for Radio 4, you should include this production track record at the end of the long synopsis in your final offer.

Day: Monday, Wednesday and Friday

Time: 1130-1200

Tape duration including opening and closing announcements: 28’

Estimated number of programmes available to open competition: 18

Transmission period: April 2013 - September 2013

Guide price £11,300

IT IS IMPERATIVE YOU READ THE GENERAL NOTES ON COMEDY & ENTERTAINMENT SLOTS

What this slot is for

Radio 4, from Today through to Woman's Hour and many of the 11.00am features, is reflecting the contemporary world, current thinking, scientific thought and the history of ideas with first class journalism and conversation.

This 1130 comedy slot unashamedly introduces a lighter note to the mid-morning schedule. It is light in tone and with an easy to follow structure.

50 What we broadcast here

Comedy drama, situation comedies, panel shows, sketch show, comedy monologues.

Please note - we rarely commission dramatisations. The exception will be the detectives and mysteries such as the Agatha Christies or Charles Paris series which we are already committed to.

What we are looking for this round

Although this is the prime slot for scripted comedy this round we already have a very high number of excellent and returning comedy dramas and situation comedies with some new ones in development.

So, this round, we will absolutely prioritise new ideas for:

· Sketch shows: interesting but easy to follow formats that must introduce a wider range of voices to the comedy slots.

· Storytelling: Meet David Sedaris has been very successful in this slot and I am keen to see who else we might broadcast in this vein. The combination of beguiling humorous stories with a captivating personality and voice suits this slot well.

· Panel Shows: we have two panel shows at this time already. There might be room for one more if the format and tone is right. While emphasising wit and banter shows for this time of the day need a higher level of proper questioning and answering than those at 1830.

If you are intent on offering a scripted comedy show please note the following:

Scripted comedy shows must have

· Excellent writing, clear, simple plots and smaller casts.

· A plot or structure that makes it easy for listeners to follow the narrative – this is still a busy time of day.

· Characters and situations that are rooted in a reality the audience will recognise or easily and quickly engage with.

· Surreal or complex pieces do not sit comfortably in this slot, but wry or witty pieces do.

51 Please don't offer

· Comedy Chat shows. · Topical comedy. · Comedy crime. · Anything to mark the Olympics or the BBC's 90th birthday as we have programmes already in place. · Spoofs or parodies of television or radio programmes or formats. · Programmes about those who work in the media or the arts. · Serials.

Audiences

Shows recorded in front of an audience are enjoyed in this slot. They bring energy and warmth to this time of the day and sometimes repeat well at 1830.

Other things

Occasional one-offs can be considered, but only as on-air pilots for series or as part of a talent development strategy.

ALL PROGRAMMES COMMISSIONED IN OR SINCE THE LAST ROUND

Please check earlier Commissioning Guidelines for previous commissions. We will clash check across slots so you are advised to match your idea against programmes listed for all comedy slots. This list includes shortlisted programmes and pilots from the last round.

Two more of Richmal Crompton’s richly comic stories performed before a live Just William - Live audience by Martin Jarvis. In And Out Of The More recipes, mishaps and musings from the kitchen diary of cookery writer, Kitchen Damien Trench (Miles Jupp).

Written by Arthur Mathews, an atmospheric audience sitcom based in the 1930s The Golden Age in Broadcasting House to mark the 90th anniversary of the BBC.

North by Katherine Jakeways' bittersweet narrative series set in a small English town Northamptonshire somewhere near Northamptonshire. Wordaholics The wordplay panel game where funny, clever people...... play with words.

Hard To Tell Relationship comedy from Jonny Sweet where the lovers never meet on air. The newly retired HR manager and his colleague find life financially and HR emotionally challenging. A comedy drama about love, sex and other foolhardy mistakes made by the Secondteens modern 50-pluser.

A comedy series about Kerry Godliman's obsession with lists. Through stand up, Kerry's List sketches, interviews, vox pops and emails, she will take a look at her weekly list and see how she copes.

52

Programme type: 1830 COMEDY

Commissioning Editor: Caroline Raphael Commissioning Assistant: Tamsin Green

Reference number: 47031

Eligibility: Competition for this slot is intense. To be successful your company or department will need to be able to demonstrate substantial and considerable experience in radio comedy and/or television comedy at a senior level. Work online is useful and interesting but will not be enough to demonstrate you can provide broadcast quality programmes that meet the editorial, talent development, compliance and technical levels we require.

If you have not previously made programmes for Radio 4, you should include this production track record at the end of the long synopsis in your final offer.

Day: Monday-Thursday

Time: 1830-1900

Tape duration including opening and closing announcements: 28’

Estimated number of programmes available to open competition: 30

Transmission period: September 2012 - March 2013

Guide price £11,300

IT IS IMPERATIVE YOU READ THE GENERAL NOTES ON COMEDY & ENTERTAINMENT SLOTS

What this slot is for

This slot provides a variety of energetic “as live” entertainment formats performed and written by the best of the experienced and newly established talent for early- evening listeners, many of whom have arrived home from work or are still travelling. It is also a recognised entry point for certain listeners new to the network and is popular with replenishers - the 35 to 54 year olds.

This is not the slot to test the boundaries of taste or form.

53 Sunday Comedy

This slot launched in October 2011. We are trying a range of formats very similar to those at 1830 with the emphasis on audience based entertainment but with an increased warmth, relaxed pace and easy listening feel that might work well at the end of the weekend.

We don't have many quarters worth of audience research yet so we are still keeping an open mind as to what works best.

Talent

We will treat our listeners to the best of new and established performing and writing talent in the country from a range of communities and backgrounds.

We are also interested in either single programmes or short-run series featuring major comedy talent who perhaps cannot commit to a full four or six-part run.

Shows must have

Wit and intelligence. Coarse or crude humour does not work.

A simple structure and production values. Listeners will be busy doing other things at this time of the day. They may be able only to dip in and out of the programme. This is why panel games with rounds, sketch shows and so on are particularly successful here.

What we are not looking for

· Quizzes – these are placed at 1330 but we are not currently looking for new titles.

· Topical and satirical shows - we already have The Now Show and The News Quiz and we have a new late night satire programme Tonight with Rory Bremner.

· Interview / chat show formats. We have several here and across the network all vying for very similar guests.

· Spoofs or parodies of television or radio programmes or formats or programmes about those who work in the media.

· Anything to mark the Olympics or the BBC's 90th Anniversary as we have programmes already in place.

· Serials.

· Panel shows. These are the staple of this slot and we do not need any new ones at the moment.

54 Audiences

These programmes will be recorded with an audience. The act of sharing laughter with the studio audience enriches and energises the listening experience at this busy time of the evening. You may hear programmes broadcast at 1830 without an audience; this will almost exclusively be repeats from other slots.

ALL PROGRAMMES COMMISSIONED IN OR SINCE THE LAST ROUND

Please check earlier Commissioning Guidelines for previous commissions.

We will clash check across slots so you are advised to match your idea against programmes listed for all slots.

Just a Minute, I'm Sorry I Haven't A Clue, The News Quiz, The Now Show, The Museum of Curiosity and Chain Reaction continue in this slot.

This list does include shortlisted programmes and pilots from the last round.

The panel game in which four comedians are encouraged to tell lies and compete against one The Unbelievable Truth another to see how many items of truth they are able to smuggle past their opponents. The Museum of Curiosity invites guests from a The Museum of Curiosity wide variety of disciplines: to gift something to the museum. How did we reach this juncture of civilisation? Why do we live the way that we do? How do we Andrew Lawrence Asks - How Did We move forwards from here? A comedic exploration End Up Like This? of the catastrophes and triumphs of human progress. John Finnemore's Souvenir From satire to whimsy: a far ranging sketch show. Programme More tales of heroism and adventure from Lower ElvenQuest Earth. Mark Steel travels around the UK to perform shows about some of our most interesting and Mark Steel's In Town unusual towns. Funny, moving and revealing, it's the antithesis to the 'Tesco-isation' of Britain, and a celebration of our unique and eccentric country. Sue Perkins presents the panel show that poses Dilemma its guests with difficult moral and ethical decisions. Australian comedian Adam Hills uses his warm, Adam Hills' Mess Around charming comedy persona to involve members of the audience to become the show. Where fully grown celebrities are given the chance to revisit their formative years by opening My Teenage Diary up their deeply intimate teenage diaries, and reading them out in public for the very first time. A returning character sketch show about family The Family Way (w/t) life across the generations. Marcus Brigstocke asks his guest to try something I've Never Seen Star Wars they have never tried before - in front of an audience.

55

Programme type: ENTERTAINMENT

Commissioning Editor: Caroline Raphael Commissioning Assistant: Tamsin Green

Reference number: 47058

Eligibility: Competition for this slot is intense. To be successful your company or department will need to be able to demonstrate substantial and considerable experience in radio comedy and/or television comedy at a senior level. Work online is useful and interesting but will not be enough to demonstrate you can provide broadcast quality programmes that meet the editorial, talent development, compliance and technical levels we require.

If you have not previously made programmes for Radio 4, you should include this production track record at the end of the long synopsis in your final offer.

Day: Tuesday, Wednesday and Thursday

Time: 2302-2330

Tape duration including opening and closing announcements: 28’ or 14’

Estimated number of programmes available to open competition: 31

Transmission period: April 2013 - September 2013

Guide price £11,300 (28’) £5,650 (14’)

IT IS IMPERATIVE YOU READ THE GENERAL NOTES ON COMEDY & ENTERTAINMENT SLOTS

What this slot is for

This is not just a comedy slot. We encourage programmes that play with genre, form and sound in a clever and entertaining fashion for intelligent and curious listeners.

This slot will remain a performance space for those with an idiosyncratic voice who – through entertainment, performance or conversation – want to explore the world in a way not afforded by other parts of the schedule at a time of the day when listeners are prepared to see the world differently.

It will continue to be a safe space in which less experienced talent can find their radio legs and where established talent can try something new.

56

In order to aid development for the key comedy slots we will also continue to develop a few titles late night with an eye to eventually moving them, if they prove to be successful, and appropriate, to the daytime slots.

We have a fairly well balanced schedule at 2300 so:

This round we are looking for

· New innovative formats that will bring surprise to the slot both in terms of content and sound or subverting a familiar genre

· Ideas for games that will work late night

· Situation comedy

· New ways of bringing talent together who perhaps may not be ready to undertake a full series, with each, perhaps, offering a single programme

· Proposals are invited for 15’ short-form ideas, too

We are not looking for

· Chat or interview shows. We have several.

· Sketch shows.

· Anything to mark the Olympics or the BBC's 90th Anniversary as we have programmes already in place.

· Spoofs or parodies of television or radio programmes or formats or programmes about those who work in the media.

· Topical satirical programmes, as there is a full range of these scheduled at 1830 and in this slot.

· Monologues – as this programme follows Book at Bedtime, these are discouraged and should always be discussed with the Commissioning Editor before they are offered or too much development has been done on them.

· Dramatisations.

· Serials.

57 Other things

Careful consideration should be given to how audiences and location might enhance the show.

ALL PROGRAMMES COMMISSIONED IN OR SINCE THE LAST ROUND

Please check earlier Commissioning Guidelines for previous commissions.

We will clash check across slots so you are advised to match your idea against programmes listed for all slots.

This list does include shortlisted work and pilots from the last round.

These programmes are either 30 or 14 minutes long.

Will Andrews and Greg McHugh present their Meanwhile, it's Will & Greg surreal, live audience sketch show. The greatest epistolary equine love story ever Warhorses of Letters told. Two horses united by love and sundered by fate, and writing letters to each other about it. In these funny, poignant monologues, written by Sarah Millican and performed by Sarah and Sarah Millican's Making Your others we peek behind the curtains of our sisters, Mind Up (w/t) grandmothers and children, capturing them at various crossroads in their lives. A stand-up show recorded in interesting places in which Andrew Maxwell digs behind the clichés Andrew Maxwell's Public and lazy assumptions about 'slow news' bugbears Enemies (WT) that are vilified and consumed with equal vigour in British society. We get our musical teeth into public figures and institutions and give them the West End Musical 15 Minute Musical make-over they deserve. In tailor-made, bite-size, original, fabricated, sugar-coated, glorious musicals. A team-written sketch show set in the world of call The Headset Set centres, that aims to develop emerging new writing talent with its open door policy. The News Quiz (with US chair and panellists) will News Quiz USA come from New York and reflects on this Election year. Mark Watson's Live Address to Entertaining, thought-provoking, interactive and the Nation live! 3 million men over 30 still live in the parental Living with Mother home. Here we hear the comic stories of a few of them. Terry Alderton's Unpredictable An improvised comedy featuring the talents of (Pilot) Terry Alderton. The Boom Jennies - Challenging Hopeless journalist Jane and her eccentric friends Jane embark on a series of adventures. Is Radio 4's "Mentally Ill Correspondent" Tony Manson "genuinely mental" or merely a self- Mentally Ill with Tony Manson centred, self-obsessed solipsist with the volume turned up to full?

58 In a remote corner of Cheshire lies a top-secret research facility, with a government remit to "think the unthinkable" (as long as it's within budget) and Clayton Grange "to make life a little better". The scientists can't do these things particularly well; Society is not yet ready for what goes on and if anything gets out there'll be trouble. Late night comic fantasy: Discworld returns to Discworld: Eric Radio 4 with a new adaptation of 'Eric'; a parody of Faust. A sketch show written by and starring Diane Two Episodes of Mash Morgan and Joe Wilkinson mixing sketches and banter. The comedy discussion show which ponders life's unanswerable questions - this time visiting Great Unanswered Questions locations around the island of Ireland that will act as the perfect backdrop for our funny and enquiring panel. Comedy at the first UK City of A comedic partnership and one hour special to Culture 2013 mark the very first UK City of Culture in 2013.

59 5: SPECIALIST FACTUAL BRIEFS Commissioning Editor: Mohit Bakaya Commissioning Assistant: Shauna Todd

Programme type: TUESDAY DOCUMENTARY

Commissioning Editor: Mohit Bakaya Commissioning Assistant: Shauna Todd

Reference number: 47038/2002/TU

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV documentary production at both producer and executive producer level.

We expect a proven track record in the relevant sphere of journalism at both producer and executive producer level. If your proposal involves journalism in foreign countries we expect to see experience of such work in countries relevant to your offer. Foreign travel to countries where conflict or other factors incur high risk will require proof of accredited hostile environment training. Radio 4 will not be able to pay for such training.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Tuesday

Time: 2002 - 2040

Tape duration including opening and closing announcements: 37’

Repeat: 1702 Sunday

Estimated number of programmes available to open competition: 11

Transmission period: April 2013 – March 2014

Guide price (£): 10,200

60 EDITORIAL GUIDE

These programmes run in the File on 4 break. In the past this has been the place for one off investigative documentaries covering a large range of subjects: arts, religion, social affairs, science, health, sport and international stories.

The successful launch of The Report on Thursday evenings means that, whilst this slot will still be home to high end investigative journalism, there is more scope for using the slot for the occasional crafted documentary that needs the extra space that the 37’ duration affords and where 2 x 28’ is not appropriate.

If you are proposing to use the slot for this purpose you need to set out clearly why your feature is a single programme and why it needs the extra 9’ that the evening feature 28’ slot would not give you (ie more actuality to allow content to breathe).

Investigative documentaries

The key to the slot is to ensure that the programmes have potential to make an impact. This might be due to:

exposing the facts behind an aspect of life significant to a large portion of the audience.

attaining profile by the authority of the presenter and contributors

marking events and developments which merit long-form treatment whatever else might be on the network.

We understand that, at this stage, it is harder to think about treatment than content, but please be aware that offers that clearly explain how they will use location, actuality and other techniques to liven up the airwaves in the evening will be warmly received. Clearly, some stories are best told in a more studio based, talking heads format, but we are keen to make the evening schedule more lively and engaging

Some further guidance:

Documentaries in this slot should have a strong narrative or thesis. These programmes should surprise the audience with their content and approach.

What’s your angle? It is not enough to identify an area of interest. Too many proposals fail to clearly set out a specific line of enquiry.

It’s important to note that this is the only 37 minute documentary slot on Radio 4 and proposals will need to show how use will be made of this longer form.

File on 4 sits in this slot for the majority of the year. Think hard about why your documentary idea wouldn’t be the kind of story that the File on 4 team would get to in the usual course of events.

61 UK-based ideas are particularly welcome here this time. We tend to get more programme ideas for world affairs than for domestic journalism.

We understand that it might not be possible to supply all the data for an investigation at the proposal stage, but the proposal should indicate the approach taken and the evidence so far that further work can be justified.

Careful consideration should be given to the potential resonance of the idea in six months or mores time, when the programme will be transmitted.

We will also take reactive ideas in this slot.

Sometimes this slot is used to tell quite complicated stories. Where the subject matter is dense, proposals should suggest ways in which actuality and texture will be used to give the audience time to digest and reflect. Too often evening features can sound relentless, giving the listener little chance to catch their breath and absorb all the fascinating things they are being told.

Please indicate whether the presenter has been involved in the development of the proposal.

Podcasts

Radio 4 may wish to include programmes from this slot in one of its podcasts. With your agreement, the Radio 4 Interactive team would publish the podcast from the supplied programme. Radio 4 will meet any additional clearance costs attributable to the podcast. When we ask for your agreement to the podcast, we'll also ask for an estimate of clearance costs to enable us to decide whether it is practical to proceed.

SOME PROGRAMMES COMMISSIONED IN THE LAST ROUND

An exclusive look inside the most challenging security operation Securing the Games British police and intelligence services have ever faced.

Jonathan Powell reveals what goes on behind the scenes at Summit Fever international summits. In schools, in the street and in the workplace, sexual harassment and Sex Wars how to respond to it is finding a new voice. The shocking story of tens of thousands of babies taken from their Franco's Stolen Babies mothers, and given to 'more suitable' parents by Franco’s regime.

The Lifecycle of a Bullet A journey through the lifecycle of a single bullet, from manufacture to deployment on the battlefield. The Truth about Triple A - how credit rating The credit rating agencies' word is gospel to markets. But can we trust agencies rule the world these powerful organisations and how exactly do they work?

The Deprofessionals What does it mean to be a 'professional' at a time of widespread deprofessionalisation? Zoe Williams investigates what is going on within Michael Gove's Inside The Ark (w/t) "education revolution, spending time inside several of the academies and free schools being operated by charity ARK Schools.

62 PROPOSAL TO INCLUDE

Outline of the subject, presenter, locations, number in run.

Treatment: explanation of techniques (location recording, actuality etc) that will be deployed to ensure the original journalism in this slot hits the listener’s ear in a clear, lively and engaging manner.

CVs of presenter and producer.

63

Programme type: WEDNESDAY DEBATE

Commissioning Editor: Mohit Bakaya Commissioning Assistant: Shauna Todd

Reference number: 47040

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in relevant types of radio or TV production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Wednesday 2002 (repeat Saturday 2215)

Time: 2002-2045

Tape duration including opening and closing announcements: 43’

Estimated number of programmes available for open competition: 26

Transmission period: April 2013 - March 2014

Guide price (£): 8,000

EDITORIAL GUIDE

This slot contains a variety of debate formats. We continue to seek new approaches, formats or subject areas for debates that will contrast with The Moral Maze and other formats we have used on Wednesdays.

We are on the lookout for new formats and ideas in this slot for 2013/14.

Proposals should also be aware of the Any Questions? format on Friday evenings.

Some further guidance:

A debate at this time should lift the tone of the evening schedule and inject some energy into proceedings.

Think about light as well as heat. Whilst, it is important that a diversity of views is heard, debates should be illuminating and not simply seek out heat for heat’s sake.

64 Wit can be an important component even though this is an authoritative factual programme.

This is a chance to develop fresh formats which could turn into returning strands on the network.

Beware of overly mannered programmes – ones where the format is laid out a little too heavily.

Do keep diversity in mind. Too many of our debates in the past have under- represented both women and people from ethnic communities.

Do think about how the programme might interact with listeners beyond the usual “Oxford Union” or phone-in formats.

One-off debates are possible, though these need to command their place in this slot in particular rather than being a special edition of a specialist of magazine programme.

Where a format is proposed and it is not possible to look forward to issues for 2013/14, it would be useful to include an indication of the subjects that would be covered were this series about to be transmitted.

Presenter:

The right presenter who is able to hold the ring with authority and wit is essential to these programmes. Please indicate whether the presenter has been involved in the development of the proposal. The ability to create some kind of sense of event and manage a complex, often audience-based format, is essential.

SOME PROGRAMMES COMMISSIONED IN THE LAST ROUND Debate format which engages with the arguments that rage around Bringing Up Britain contemporary parenting Discussion series exploring how those in power balance principle and Decision Time practicality when they make the big decisions that affect all our lives. Clive Anderson brings together the country's most eminent legal minds Unreliable Evidence to discuss issues of national and international importance. Andrew Rawnsley is joined by leading journalists to compose the Leader Conference following morning’s leader pages. A series of three landmark debates recorded in front of an invited The Education audience at London's Institute of Education, and chaired by John Debates Humphrys.

PROPOSAL TO INCLUDE Outline of the subject, presenter, locations, number in run. Treatment: breakdown of “live” vs. taped elements. Audience or studio based. Format. CVs of presenter and producer.

65

Programme type: SCIENCE (DOCUMENTARY)

Commissioning Editor: Mohit Bakaya Commissioning Assistant: Shauna Todd

Reference number: 47051

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV documentary production, preferably with a track record in science, at both producer and executive producer level.

Where your offer is journalistic, we expect a proven track record at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Wednesday/Thursday

Time: 2102 - 2130

Tape duration including opening and closing announcements: 28’

Estimated number of programmes available to open competition: 10

Transmission period: April 2013 – March 2014

Guide price (£): 8,100

EDITORIAL GUIDE

Scientific discovery and technological innovation are changing our world at a rapid pace, and this is a place to make programmes that help our audience understand how these changes will affect their lives.

These will mostly be built feature/documentary-style programmes which will reveal areas of discovery, new developments or issues in science. However, there is also opportunity for well told history of science here, especially when the past shines a light on contemporary events.

Please note we also have topical weekly magazine strand Material World, as well as the feature series Frontiers, which explores big ideas and developments in science.

66 Also, please note that there have been two new additions to Radio 4’s science portfolio – The Life Scientific and Inside Health.

We will also consider some natural history material here - features which reflect the inter-relationship between the animal kingdom and the environment as a whole. But please be mindful of the Natural History Unit’s output on Radio 4.

We understand that, at this stage, it is harder to think about treatment than content, but please be aware that offers that clearly explain how they will use location, actuality and other techniques to liven up the airwaves in the evening, will be warmly received. Clearly, some stories are best told in a more studio based, talking heads format, but we are keen to make the evening schedule more lively and engaging.

Some further guidance.

Think carefully about what Radio 4 already does in this area and what science might be naturally covered by returning strands. Too many ideas are simply ideas that would sit best as a 7 minute item in a magazine programme.

The history of science can work well here, especially revisionist history and/or sometimes where the story involves a compelling human dimension.

Please take special care when writing your proposal to show how you will make the story come alive for the (non-scientist) audience at home; this is of particular importance when dealing with the “non-human” sciences.

We should not shy away from difficult science here, but need to continue to work on ways of making this accessible (proposals should address this).

Whilst ideas about health and the environment are welcome here, producers should also bear in mind that Tuesday at 2102 is dedicated to health and Costing the Earth runs in this slot for half the year.

We are also keen to encourage a more diverse range of presenters and contributors in this slot.

Please indicate whether the presenter has been involved in the development of the proposal.

Radio 4 reserves the right to commission some of the individual ideas and schedule these under an umbrella with work from other suppliers.

Podcasts

Radio 4 may wish to include programmes from this slot in one of its podcasts. With your agreement, the Radio 4 Interactive team would publish the podcast from the supplied programme. Radio 4 will meet any additional clearance costs attributable to the podcast. When we ask for your agreement to the podcast, we'll also ask for an estimate of clearance costs to enable us to decide whether it is practical to proceed.

67 SOME PROGRAMMES COMMISSIONED IN THE LAST ROUND

Please check earlier Commissioning Guidelines for previous commissions.

Does Science Need How should scientists deal with the political implications of their Spin? research?

The End of Drug Ben Goldacre asks if the pharmaceutical industry will ever find drugs Discovery that will cure the diseases that are killing us in the 21st century. Can you apply Darwin's theory of natural selection to create the perfect Darwin's Tunes song? Could high-rise farming be the solution to feeding our cities or is it just Vertical Farming another example of head in the clouds utopian thinking?

Alex Butterworth investigates the world of pervasive gaming and State of Play transmedia to find out what solutions the world of computer gaming can apply to global situations. The forgotten story of the unassuming Belgian Catholic priest who Father of the Big Bang originated the most important scientific theory of our time: Big Bang Theory. Frannie Armstrong explores the explosive impact of Rachel Carson's And No Birds Sing: 1962 book 'Silent Spring', a passionate and revelatory account of the Rachel Carson and damage done by unrestrained use of pesticides, which inspired the birth Silent Spring of the environmental movement. On the Trail of the Entomologist Adam Hart explores the controversial phenomenon of American Honeybee industrial honey production in America Explores the important consequences for the crucial public, media and Climategate Revisited scientific debate about climate change, and asks what lessons should we learn from this episode. Amber Marks explores the burgeoning science of olfactory surveillance - Terrorism: Plan Bee the monitoring of personal odour - and its implications for our security and our human rights. The intriguing story of Hermann Rorschach, the Swiss psychiatrist who Mr Inkblot pioneered inkblot personality tests Science is under attack from within, the essential concept of scientific Reclaiming the scepticism is being used by anti-science movements to attempt to Sceptic discredit it. Has its decline had a genuine impact on science and innovation Whatever Happened to the Chemistry Set?

An unflinching look at the history of Prozac The Prozac Economy Faster, higher, What controls whether humans are reaching the limit of their sporting stronger: the limits of performance? human performance

PROPOSAL TO INCLUDE

Series ideas should give an indication of what each edition might include. Reasons for why we should do this story now. Details of presentation and production style. CVs of presenter and producer.

68

Programme type: ARCHIVE ON 4

Commissioning Editor: Mohit Bakaya Commissioning Assistant: Shauna Todd

Reference number: 47088

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV documentary production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Saturday

Time: 2002-2100

Tape duration including opening and closing announcements: 57’

Estimated number of programmes available for open competition: 24

Transmission period: April 2013 – March 2014

Guide price (£): 8, 000

EDITORIAL GUIDE

Archive on 4 is a jewel in the Radio 4 schedule. At its best it can transport you to another time…another place. As a producer, broadcast archive offers you glittering treasures; the challenge is how you deploy the archive to best effect.

One of the challenges for those making programmes in the Archive on 4 slot is to tell stories that can sustain the hour. Proposals should set out how the idea justifies a 57 minute origination, which is the longest feature slot we have. Careful thought should also be given to the choice of presenter here as this is a long script, and at times a personal take is needed to carry the subject matter.

And please remember the key word here is: STORY. It is not enough to identify a new source of material without a clearly thought out view of what story you want to tell with it.

Here are some pointers that may prove helpful when putting your offer (and programme) together:

69 This strand should include a wide variety of ideas: individual life stories or biographies, social, politics, sporting or entertainment history.

There is also an opportunity for using Archive on 4 to drive a thesis or revisionist historical argument. Please think hard about whether your idea is really an Archive on 4. Too many offers come in where the bulk of archive available is written or where the fact that some archive exists becomes the sole reason to submit to this slot. Offers should demonstrate why the story is best told through audio archive.

Programmes can/should include new interviews, where appropriate, but the slot is not funded or designed to feature a large amount of new material. You are also allowed out of the studio on occasion!

Archive sources beyond the BBC’s have worked well. Indeed, some of these are better suited to providing longer inserts than much of the BBC News material. But beware offering programmes simply because the archive has become available. The story told must still be compelling.

In the past, we have had too many anniversary pegged programmes that move gently, but rather predictably, through their story, without offering any new insights. If you are submitting an anniversary pegged proposal do say how you might introduce surprise and challenge expectations.

The authority, charisma and energy of the presenter are all vital to the success of programmes in this slot. The presenter needs to actively engage with the archive and do more than simply link clip A to clip B.

Also, when choosing the presenter do think carefully about how his/her voice would contrast with the type of archive that will dominate the hour.

Please indicate whether the presenter has been involved in the development of the proposal.

Be mindful of the cumulative effect of an hour of very old archive…it can make listening hard work!

There is always high competition for programmes celebrating elements of the history of radio. Therefore producers are advised to be especially self-critical in developing ideas in these areas. There are also a large number of American-based ideas, so competition is particularly tough in that area.

Podcasts

Radio 4 may wish to include programmes from this slot in one of its podcasts. With your agreement, the Radio 4 Interactive team would publish the podcast from the supplied programme. Radio 4 will meet any additional clearance costs attributable to the podcast. When we ask for your agreement to the podcast, we'll also ask for an estimate of clearance costs to enable us to decide whether it is practical to proceed.

70

SOME PROGRAMMES COMMISSIONED IN THE LAST ROUND

Please check earlier Commissioning Guidelines for previous commissions. David Willey uses archive to try and make sense of a country that has hovered From Our Rome in our perceptions between the most sophisticated and cultured of holiday Correspondent destinations and a complete basket case. From Easy to In an internet age of gaming and quick access to information, scientists argue Cryptic - a 100 that the simple crossword on flimsy paper still rules after 100 years years of the crossword Bamber Gascoigne's Former Radio 4 Controller Mark Damazer and avid University Challenge fan Eccles Cakes: takes on a quest to discover just why the show has endured fifty years on Fifty years of screen to become a cult national treasure. University Challenge Meeting Myself Public figures replay their own sound archive and use the experience to re- Coming Back - evaluate their younger and less-experienced selves and shed new light on Series IV their careers. What is it about the sax that invokes such passionate responses? We discover The Devil's Horn the answer by telling the story of the so called 'devil's horn' through archive, readings and interviews. Sean Street explores the political consequences of controlling time in a Time Travel: The programme which itself could literally travel back in time Politics of Time Linda Colley argues that popular history programmes on radio and television over recent decades have not only decisively shaped the public's view of Making History historical events but also profoundly influenced the way historians have to ply their trade. John Cage - a John Cage was one of the Twentieth Century's most controversial and exciting Century of musicians. We explore what lay behind the artistic personality and personas of Controversy Cage's archive appearances. Lunch is for When was the last time you took a lunch hour? Mining a rich seam of archive, Wimps this programme investigates a huge social change which has gone unnoticed. This is the story of one of the most dramatic moments in British politics. We The Night of the will hear the story afresh, told by the one man who was there, and keeper of a Long Knives hitherto unknown diary of the night: Jonathan Aitken. Nixon at 100 Sir David Frost chronicles and evaluates the roller-coaster life and career of Richard Nixon 100 years after his birth on January 9 1913 Tony Parker dedicated his life to giving voice to the marginalised. Alan Dein The Great turns the tables on the Great Listener - creating a portrait of Parker in the Listener words of his own subjects. Bards of the How racing commentators provided Paul Farley his first poetic inspiration…. Back Straight and should be considered as linguistic craftsmen of a very high order. Melvyn Bragg looks back at Richard Burton's life and career in the light of the Faust of the little black books in which the actor recorded his private thoughts for much of Valleys his life. Which is a better use of our land? A beautiful green field, or a human home? Houses v Fields Anne McElvoy charts the way in which this debate has played out over recent times. Attention All An archival and accidental journey round the Shipping Forecast by the man Shipping who used to read it – Peter Jefferson. Great Spy Books Peter Hennessy explores the authenticity, impact and historical context of the great spy novels of the past century.

71 Instant History What if a sound archive can be created in a single day, in response to a significant event in the news? Pulitzer prize winning journalist Maureen Dowd traces the history and The Smart Dumb significance of Blonde Hair and argues that once upon a time Dumb Blondes Blonde were smart. A Brief History Using archive we present an impassioned argument on how playing the blame of Blame game is the defining characteristic of life in the 21st century. The Paperback The story of how a series of slim vols kept poetry alive from the 1960s Poets onwards. Without it poetry might never have made it into the modern world. The Debate of Our Times How has political debate changed in this country over the past five decades? Remembering Sheena Macdonald marks the anniversary of the first full year of the Greenham Greenham Common Peace Camp - 1982

PROPOSAL TO INCLUDE List of possible subjects / themes to be covered. Clear details of audio archive available and whether access has been secured. Treatment. CVs of presenter and producer.

NB: Where the programme is to comprise clips of archive recordings/pre-recorded material, details of ownership and availability of rights should (wherever possible) be provided. If no preliminary enquiries have been made, this should be stated. As far as entire or complete programmes are concerned (i.e. where we would normally expect to take a licence to broadcast), details of availability of broadcast rights, ownership and price per broadcast must be provided.

72

Programme type: DOCUMENTARY

Commissioning Editor: Mohit Bakaya Commissioning Assistant: Shauna Todd

Reference number: 47194

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio or TV documentary production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Monday 2002 - 2030 Sunday 1330 – 1400 Tuesday 1602 - 1630

Tape duration including opening and closing announcements: 28’

Estimated number of programmes available for open competition: 32

Transmission period: April 2013 – March 2014

Guide price (£): 8,300

EDITORIAL GUIDE

This is the 28’ history and social affairs documentary slot.

Overall, we have been short of the bigger, ambitious series ideas for this slot in recent rounds.

Whilst features in this slot should have a seriousness of intent, they should strive to engage as well as inform. This is a place for more serious journalism, ideas, investigation and “new evidence” based programming, but proposals should have a section on “treatment” to indicate how they intend to create clear, lively and engaging radio.

The slot is also home to It’s My Story, which should feature compelling personal stories that shine a light on contemporary society.

This is not a place for science, nature or in-depth investigative current affairs documentaries.

73 Please keep diversity in mind when offering to this slot, we could do with a better range of subjects and presenters here, women as well as people from ethnic communities.

Please indicate whether a named presenter has been involved in at proposal stage.

Some further guidance:

1. History

Most history programmes in this slot should uncover new evidence about the past, often as a means to a better understanding of the present, and/or challenge received ideas about events of the past.

Some things to keep in mind when writing your proposal:

Series which trace the roots of our modern society, attitudes or policies are welcome.

Proposals should explain how a good historical story will be turned into lively, engaging radio, presenting more than a simple stream of talking heads, particularly when dealing with pre-20th century history.

Sometimes this slot is used to tell quite complicated stories. Where the subject matter is dense, proposals should suggest ways in which actuality and texture will be used to give the audience time to digest and reflect. Too often evening features demand a level of concentration that is harsh for this time of day and the subject at hand.

Please consider UK history as well as foreign.

Where there might be a book deal involved, this MUST be flagged up in the proposal.

More polemic and thesis driven programmes and series would be welcome in this slot.

An anniversary or an interesting period in history is not a sufficient condition to win the commissions in this area.

Presenters will probably be writers, historians or journalists. The range of voices and viewpoints should be as wide as possible.

2. Social Affairs

This is a key strand of single documentaries providing significant insights into contemporary society, mainly using personal stories to do so. At its heart lies It’s My Story.

74 a) It’s My Story

Each programme tells the story of an individual or small group whose extraordinary life/actions will either inspire or give the listener a fresh insight into an issue. The focus is on the human experience or quest told from the perspective of the leading character(s).

It is not necessarily enough that someone should have lived an extraordinary life; proposals should show how the protagonist’s story will shine a light on society today.

The proposals should go beyond an extended or feature-style interview with the protagonist(s).

It’s My Story presents an opportunity to get more colour (actuality, music, out and about recording) into the evening schedule.

You will need to demonstrate how the narrative of the programme will unfold on air. Too many ideas come in where the main events in the story have already taken place and the protagonist is recounting the past. Interview is often a better format when that is the case, but this is not the place for straight interviews.

Whilst “battles against adversity” can make compelling listening, we are inundated with these. Please consider other types of stories as well.

The majority of stories commissioned will have a UK focus.

When submitting ideas, consider whether a significant event will take place during the course of the programme.

Proposals with a very strong point of view should address how issues of impartiality might be addressed in production or by the network elsewhere.

Where there might be a book deal involved, this MUST be flagged up in the proposal. b) Other Social Affairs Features:

Most importantly, think why this story should be told in long form documentary and would not be best covered as an item or series of items on a regular Radio 4 strand.

These need to be provocative and unusual, but the focus should be on stories or issues that are important and/or emotionally engaging. The implications for society at large

Programmes about institutions must be clear as to whether they are based on special access and if so they should say what access has been granted and how it will be used in the programme.

75

Straightforward portraits of places, people or projects are unlikely to be commissioned. The need for narrative or argument is fundamental to this slot.

Radio 4 reserves the right to commission some of the individual ideas and schedule these under an umbrella with work from other suppliers.

Podcasts

Radio 4 may wish to include programmes from this slot in one of its podcasts. With your agreement, the Radio 4 Interactive team would publish the podcast from the supplied programme. Radio 4 will meet any additional clearance costs attributable to the podcast. When we ask for your agreement to the podcast, we'll also ask for an estimate of clearance costs to enable us to decide whether it is practical to proceed.

SOME PROGRAMMES COMMISSIONED IN 2010/11

Please check earlier Commissioning Guidelines for previous commissions.

There can be aspects of one’s online life that one would really Do I have a right to be rather forget. This is one person’s personal journey to discover if it forgotten? is possible to get them deleted More paper chases through the archives to uncover some darker Document - 2012/13 moments of history that those in power might have preferred remain undisturbed. Twelve year old Molly Campbell secretly left her Scottish home to start a new life in Pakistan with her father. In another exclusive she From Molly to Misbah details her decision to return to the UK and her hopes for the future. The BBC's Home Service, from the early 1920s onwards, And now an urgent broadcast SOS messages and Eddie Mair has an itch to tell their SOS message... story. British women are gambling more now than ever before. Whereas Luck Be A Lady online bingo and lottery scratchcards used to be the poison, Tonight women are increasingly turning to bookies to get their gambling fix. Using newly-discovered papers, psychoanalyst and historian The Nazis on the Couch Daniel Pick uncovers the story of the attempts of British psychologists to unlock the mind of Nazis like Rudolf Hess Michael Portillo presents a series highlighting the exaggeration in Things We Forgot To the common understanding of key events in our history at the Remember expense of other, often less palatable ones. Former engineer and radio ham enthusiast, Jimmy Porter, tells the story of how he acquired a ninety foot mast used during the Cuban Ham and History Missile Crisis and reveals how his love for technology has allowed him to witness some of the world's most historic moments. 2012: Everything you wanted to know about The End of Time, but 2012 - The End of Time were afraid to ask. Humphrey Barclay used to produce sitcoms. Now he's Chief of an It's My Story: White Ashanti village in Ghana. What he's achieving in Kwahu-Tafo is re- Chief Humphrey defining the way Ghana views foreign aid. Military tradition runs strong in some families but what does that do Sins of the Father to father-son relationships when war keeps coming round?

76 After Yo Blair! In Philip Dodd goes in search of a new civility - from private to public, Search of a New Civility from street to ivory tower, from Wolverhampton to Washington. Justin Webb taps into the unexploited potential of America's fastest Can Latinos Save growing minority and asks whether Latinos can save the United America? States? The Map That Made Two hundred years since the beginning of its construction, this Manhattan feature explores the New York grid system as real and imagined Millie died just before she was two, but her short life changed the It's My Story - lives of those who met her. We explore the difference she still Remembering Millie makes It's My Story: The We accompany one man in his final weeks inside, through the Prisoner Released gate, and out into the real world. The Victim's Voice Victim and perpetrators come face to face. Interrogators Without We look at the history of 20th century interrogators, focusing on the Pliers debate about interrogation – in the "War Against Terror". The story of how teenage offenders are being teamed up with Me And My Dog dangerous dogs, in hope of improving behaviours on both sides. The people of Dover are taking control of their port to make Dover The People's Port a jewel in the nation's crown once again. The programme follows Boundary Commissioners and Boundary Bounders campaigners during the boundary review, likely to be the most controversial and politically contentious in decades Things Ain't What They We examine the factors behind the persistent popularity of Used To Be 'declinism' - the idea that society is in permanent decline. In this surprising and counter intuitive documentary we explore Mexico Mexico's status as an emerging economic powerhouse. Slumdog football We follow young football players on the TV show 'Indian Soccer millionaire Prince' competing to train in the UK. In the wake of the phone-hacking scandal we lift the lid on the Seedy Heroes shady, complex and often misunderstood world of the private investigator. The story of Eva Peron's embalmed corpse, and the fantastic Evita's Odyssey odyssey it made over nearly two decades. Sir Paul Nurse tells the story of cancer's journey from an obscure, The Big C: The Story of shameful malady of the ancient world to the defining disease of our Cancer age. A positive, empathetic, exploration of the challenges facing young Dads Who Do black dads who are serious about parenting. Is Eve Still in the Helena Kennedy explores concerns that women are still receiving Frame? rough justice within the British legal system. Christina Patterson asks what has gone wrong with nursing - have Care to be a nurse? our nurses forgotten how to care? Misha Glenny presents a series about our closest European The Invention of France neighbour - France. Pound Shops are one of the few retail success stories thriving in Pound Shops R Us the dark shadows of recession. Where have they come from and what fuels our attraction to them? What does world history look like when seen through a Persian Through Persian Eyes lens?

77 PROPOSALS TO INCLUDE Synopsis of story. Short description of characters. Description of style of presentation and treatment of subject matter. Reasons why we should hear this programme now. CVs of presenter and producer.

78 6: GENERAL FACTUAL BRIEFS Commissioning Editor: Jane Ellison Commissioning Assistant: Shauna Todd

Programme type: 1102 FEATURE

Commissioning Editor: Jane Ellison Commissioning Assistant: Shauna Todd

Reference number: 47011

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio features production at both producer and executive producer level.

Where your offer is journalistic, we will expect a proven track record in the relevant sphere of journalism at both producer and executive producer level.

If your proposal involves journalism in foreign countries we expect to see experience of such work in countries relevant to your offer. Foreign travel to countries where conflict or other factors incur high risk will require proof of accredited hostile environment training. Radio 4 will not be able to pay for such training.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Monday, Tuesday Wednesday & Friday

Time: 1102-1130

Tape duration including opening and closing announcements: 28’

Estimated number of programmes available to open competition (across this slot and Saturday 10.30): 100

Transmission period: April 2013 – March 2014

Guide price (£): 8,200

79 EDITORIAL GUIDE

The 11.00 features represent the biggest shop window for your skills in blending creative story-telling and journalism. So we need your best ideas - your most compelling stories on the past, present and future. These features, whether in series or in one-offs, should reflect a Radio 4 that is modern, relevant and representative of the contemporary Britain we live in. Finding fresh ways of reflecting the UK is a key priority. This of course should not discount ideas that are international in ambition but that will feel relevant to the Radio 4 audience. Your ideas should be borne out of your own passions to both challenge and inspire our audience's views on modern life and society.

If you want to offer a series connected to the centenary of World War 1 please see the separate brief on this, World War 1 Features 47206

This slot is hugely popular with an average of around 800,000 listeners a day, and always presents us with very tough choices. We are therefore continuing to invite fewer pre-offers ideas to achieve a more realistic balance between proposals and the volume of business available. There are only 100 programmes available to open competition across 11.02 and Saturday 10.30.

For that reason we are asking you to submit fewer offers with more development relevant to the brief behind your best ideas.

Please do not enter more than 10 offers for 11.02 and for Saturday 10.30 slots combined.

For BBC departments with an output guarantee, please limit your total offers to twice the number remaining in your guarantee.

Do not exceed two written pages of A4.

We will be looking for series that promise unique access, revelation and original first- hand testimony. We are looking for a range of approaches to more vivid feature making. Even at paragraph stage, your proposals should suggest how the material lends itself to well crafted and powerful story telling.

We are also keen on intrigue and humour in our feature making. Our audiences appreciate the network’s reputation for accuracy and authority but also want to be provoked, surprised and entertained. Entertaining and provocative one off ideas are also welcome. Finding the right range of material to bring lightness of touch and thoughtful treatments – or just ingenious fun – is also a challenge at 11am.

There is less scope for “round-up” programmes, anniversaries, well known history and unquestioning nostalgia. Please note that this is not the place for arts features. Current affairs investigations and science documentaries will be more likely to succeed in the evening, as will personal stories that fit the It’s My Story strand.

We will continue to look for one or two projects that we can broadcast as series across the Monday/Tuesday/ Wednesday of the same week.

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PROPOSAL TO INCLUDE · a clear date for any peg · brief synopsis explaining focus of the idea and indicating style and treatment · proposals for series should give an idea of the breakdown into episodes · suggested presenters should be included, where appropriate, with a note on whether they have been approached or involved in developing the idea · any book deal or other commercial activity linked to the material

Downloads Radio 4 may wish to include programmes from this slot in one of its podcasts. With your agreement, the Radio 4 Interactive team would publish the download from the supplied programme. Radio 4 will meet any additional clearance costs attributable to the podcast. When we ask for your agreement to the podcast, we'll also ask for an estimate of clearance costs to enable us to decide whether it is practical to proceed.

SOME PROGRAMMES COMMISSIONED IN THE LAST ROUND

Title Short synopsis Interviews men and women who have crossed the floor from being Going Straight gay - to being straight. A lyrical, creative telling of a once in a blue moon story which has to Hearing Ragas be heard to be believed. Experiences of the Health Train, in South Africa bringing medical Phelophepa attention to a population that has one doctor to every four thousand people. Putting The Black Country On A geographical and anthropological investigation into the origins the Map and boundaries of the Black Country. Bill Bailey in The Hobbit the musical, last performed in 1968 by The Hobbit, The Musical school pupils, with Tolkein himself in attendance. Tolkien In Love The story of Tolkien's early forbidden love affair with Edith Bratt. Deesperately Seeking We investigate the growing phenomenon of Munchausen's by Sympathy Internet. Grahame Dangerfield – Back Grahame Dangerfield, returns to the Serengeti in Tanzania to to Kenya watch the Chinese build a road through what he thinks is Paradise. Old Photographs Fever - The We hear Chinese people encountering their photographic history as Search for China's Pictured they piece together a past destroyed by Mao's Cultural Revolution Past The story of the busiest day in the life of an occasionally crowded One Day in Summer county. Reports from the International Lumberjack Olympics on how wood Tall Trees Tough Men felling has become central to the American psyche The unique environment of Glastonbury is dubbed the capital of The Mystery of the Holy spiritual-but-not-religious Britain. We investigate a crime which has Thorn divided the community. The story of Walter Poucher, the leading British mountain The Perfumed Mountaineer photographer and guide book writer, whose day job was a perfume inventor for Yardley. What's it like to be a living god? Jolyon Jenkins asks the Boy Lama who turned his back on his destiny but is now emerging from denial The Reluctant Lama and seclusion and moving towards an acceptance of his place in Buddhism. H.V. Morton - Travelling into We retrace five journeys of pioneering travel writer H.V.Morton the Light As France goes to the polls, Andrew Hussey offers his unique view La France, Maintenant! of his adopted homeland.

81 Thousands of Bradford babies are being followed in the biggest Born In Bradford health survey of its kind. 50 years later, the grandchildren of the evacuees of a remote island Children of the Volcano retell the story using the latest technology.

In a walk across the dangerous sands of Morecambe Bay, poet Crossing the Bay/Cedric the Paul Farley collapses time and journeys into the ever-shifting Sand Pilot geography of this most indeterminate of English places. Every Day in Every Way The bizarre rise and fall of the French psychologist Emile Coue Christopher Matthew brings back Freedom Pass for a one-off Freedom Pass Special Christmas or Easter special. Portraits of three long-established migrant communities, each Journeys Down My Street situated in a specific street in Britain The story of lost ideals and broken dreams through letters sent Letters To the Russian Front between a family as they fought for Germany in the Second World War. What has made mankind treasure and trade the gemstone for so Letting Out the Light long. Human stories and dilemmas and the cultural and emotional Lives in a Landscape landscape in which they operate. Adil Ray tells the extraordinary story of Queen Victoria and Abdul Queen Victoria and the Secret Karim, the young Muslim manservant gifted to her from India Diaries of Abdul Karim

The experiences of an eleven year old blind boy as he leaves home See It My Way to travel in the footsteps of BBC presenter, Peter White, who attended the same special boarding school forty years earlier. Smile Explores the history and development of the modern winning smile. The Flower Fields A feature about the beautiful, tiny, flower fields of west Cornwall Capturing the unique flavour of one of Britain's least known island The Island fastnesses, a place of windswept deprivation a stone's throw from London. Enjoying, observing, reminiscing and exchanging gossip about Touchline Tales - Series three some of the greatest pleasures in their lives. We hit the tracks with the new breed of urban adventurers, which Trainhopping in the USA some call Yuppie Trainhopping Down periscope - the science Examines the science and technology that has taken underwater of the submarine. travel from Egyptian hunters to the sci-fi craft operating today Those nagging songs you find yourself humming on the bus. Earworms Psychologists from Goldsmiths have worked with BBC 6Music to gather data for the largest study on earworms to date We follow Clare Brigstocke and Michael Whitehouse to the 10th Mad Cooks and arrondissment where restaurateur, Sophie DeSouza, has invited Englishwomen them to take over the kitchen of her bistro for an evening Let's Speak Elizabethan! is not so much about bringing the past Bill Bryson's 'Let's Speak alive as demonstrating that so much historic English never died in Elizabethan' the first place. The British Library's Newspaper Library at Colindale is one of the Colindale Closes (w/t) holiest shrines in the world to researchers and is closing 40 years after the ground-breaking Summerland resort was opened The Summerland Story we tell the story of the great Manx tourist attraction's ambitious inception, prosperity and untimely destruction The story of hunting, shooting and fishing in Britain Hunting, Shooting & Fishing

The Missing Persons' Bureau, the national point of contact for all Missing, presumed... the country's missing people and unidentified human remains. The Bureau has to track the living and try to identify the dead. The Wood Pusher/The Wood A close encounter with the chess players of Washington Square Pushers park. Everyone now accepts that the dominant economic powers of this The World Is Moving East century will be in the east - whether China or India. But will ways of

82 life from that part of the world slowly saturate the west too? How the irrepressible Henry Cole, pioneer of the Penny Post and Mr Cole Comes to Kensington inventor of the Christmas card, transformed British design in the 19th century Torture in the 21st Century Torture flourishes worldwide, whether openly, secretively, or in the (wt) face of official denial. Where and why? But also - does it work? Daljit Nagra revels in the extraordinary story of Hobson-Jobson - A Very English Enterprise 'the legendary dictionary of British India'. Considering the role of cricket in post-colonial landscapes, with a Over the Boundary little help from CLR James. Tim Branigan is black and Irish. He examines the unprecedented social change Northern Ireland has gone through since the Good United Irishmen Friday Agreement as ethnic minorities have arrived in significant numbers. Investigates through teenage and parent interviews as well as Teens, Tears and Tantrums expert contribution what is 'normal' teenage behaviour and what are symptoms of something more serious The Pathfinder The birth of the glamorous post-war flying age Vonnegut - The Way He'd Martin Amis tells the story of Vonnegut according to the author's Have Told It own rules. 'I have come because I am disturbed by reports that coloured When Malcolm X Went To people in Smethwick are being treated badly. I have heard that they Smethwick are being treated as the Jews were under Hitler.' – Malcolm X Every day, around 10 children seeking asylum arrive alone in this A Place For Us country. We follow 3 of these recent arrivals through their ordeals In search of the largest and loudest creature ever to have lived on Deep Blue Notes the planet and broadcasts its song. Paul Evans sets sail across a sea of imagination in search of Hy- Brazil, a phantom isle and discovers an Atlantis of Erin, a land Hy-Brazil borne out of the imagination, where fact and fiction co-exist in a strange reality. Did Czech intelligence come close to recruiting a former British Bohemian Rhapsody prime minister and help put Margaret Thatcher in No.10? Reveals how a meeting of Bolshevik exiles, attended by Lenin and Lenin in Letchworth held in a Hertfordshire garden city a century ago helps to explain why Britain had no violent twentieth century revolution. Lucy Ash looks at an increasingly diverse, confident community and The French East End asks what its rapid growth tells us about the current state of France and her former colonies. As the DDR collapsed, the Stasi got the order to shred the millions of documents it kept on the people. A painstaking process to put The Stasi Jigsaw Puzzle the shredded files back together has been going on. Now a new machine could speed up the process by hundreds of years. What's in a name? A witty and insightful exploration of names in contemporary Britain. Follows up the experiences of families who some years ago took China Girl Revisited part in a Radio 4 series about adopting babies from China.

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Programme type: All 15’ FEATURES (9.30, 13.45 weekdays or 14.45 Sunday)

Commissioning Editor: Jane Ellison Commissioning Assistant: Shauna Todd

Reference number: 47006

Day: Mon – Fri, Sunday

Time: 0930-0945, 1345, 1445 (Sunday)

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio features production at both producer and executive producer level.

Where your offer is journalistic, we will expect a proven track record in the relevant sphere of journalism at both producer and executive producer level. If your proposal involves journalism in foreign countries we expect to see experience of such work in countries relevant to your offer. Foreign travel to countries where conflict or other factors incur high risk will require proof of accredited hostile environment training. Radio 4 will not be able to pay for such training.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Tape duration including opening and closing announcements: 14’

Estimated number of programmes (across 0930, 1345 and 1445): approx 120 or roughly 24 series of 5 episodes

Transmission period: April 2013 to March 2014

Guide price (£): 3,100

EDITORIAL GUIDE

The fifteen minute feature can range from the funny, to the provocative to the challenging - but always clear and coherent. Four or five episodes are preferred but single features are also welcome. Proposals for occasional single features are also welcome. These features need to stand out as key building-blocks in the schedule.

These short features open up opportunities for audiences to engage with storytelling and journalism with a different rhythm and pace, introducing some new ideas with new voices and presenters.

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With One to One now a key building block in the schedule, these programmes will generally be broadcast during the summer to complement 9am series replacing Start the Week and In Our Time. Essays and talks have not been commissioned here because of the reading which follows at 0945.

The other slots that they are scheduled in will be 14.45 on Sunday afternoons.

To avoid confusion, all ideas for 5 x 15’ features programmes should be entered here. In this round we are looking for material primarily for the slot but it may also be placed or repeated at 14.45 on Sunday depending on the needs of the schedule. If you have an idea that would be better scheduled on consecutive days please flag it up in your proposal.

Narrative History and longer series are under a different brief.

If you want to offer a series connected to the centenary of World War 1 please see the separate brief on this, World War 1 Features 47206.

LATEST PROGRAMMES COMMISSIONED OR SHORTLISTED Title Short Synopsis Explores the way in which musical keys have curiously become Key Matters associated with specific emotions. Robert Hanks, part-time dog lover and full-time dog owner, looks Dog Days at the roles dogs play in our lives and our imaginations, through five literary dogs. Mother Tongue Five personal sound essays of lives in new languages Interference Dominic Arkwright presents a third series of compelling stories The Call - Series 3 triggered by life-changing phone calls. Celebrating great debates, combining archive of the original Head to Head (series 4) debate with contemporary anecdote and analysis. A Scribbled Aside Ian Sansom considers the notebook as the crucible of creativity. Deborah Bull's Dance The social history of popular dance in Britain Nation Hardeep chooses a word, and the word leads him to people, all 15 By 15 connected to it in different ways. Moving at speed, he's learning most of the time. Hardeep Seeks Serenity In an age of anxiety and austerity, Hardeep seeks serenity. Murray Lachlan Young takes the universal ballad form, introducing The Alien Balladeer contemporary themes over traditional tunes, to create a series of timeless comments on modern day life. Brett Westwood presents this accessible, informative and A Guide to Mountain entertaining guide to some of our best known mountain and and Moorland Birds moorland birds. Cricket Cabaret A musical cabaret of sound inspired by the songs of crickets. In Pursuit of the Matthew Oates believes that some quests are inherently Ridiculous ridiculous and visits five natural history hotspots to prove his point. A series of illustrated essays exploring the notion and reality of the The Cave cave and its role in human civilisation as interpreted by geology, biology, philosophy, art and human history. Kirsty Lang takes a series of snapshots off the beaten track in On the French Fringe France looking at the state of the nation through the prism of arts and culture.

85 A series of five portraits by Clive Lawton of the greatest Old The Prophets Testament Prophets. Five More Ages of Gyles Brandreth's entertaining and idiosyncratic take on Brandreth prominent individuals he has encountered. The People's Passion Two invited visitors explore one of 5 of Britain's great Cathedrals. Eat, Pray, Write a Ian Mcmillan goes in search of how to write a memoir. Memoir Mr. Gee discovers that this introspection in prison often finds a Poetic Justice surprising outlet - poetry. For Valentine's week 2013 (or 2012), Poet Laureate Carol Ann Tell Me The Truth About Duffy explores the heady world of love poetry from first flush to Love final parting. Roger Law and the Roger Law takes a tour of the new world of Chinese museums. Chinese Curiosities Off the wall humour and a fresh insight into the Chinese mind. Professional mediator Karl James gets behind the story of two Foes Reunited people who don't get along and follows them as they prepare to meet again. 5 individual stories of families torn apart by conflicts or natural Found disaster.

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Programme type: SATURDAY FEATURE

Commissioning Editor: Jane Ellison Commissioning Assistant: Shauna Todd

Reference number: 47144

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio features production at both producer and executive producer level.

Where your offer is journalistic, we will expect a proven track record in the relevant sphere of journalism at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Saturday

Time: 1030-1100

Tape duration including opening and closing announcements: 28’

Estimated number of programmes available to open competition (across this slot and Saturday 10.30): 100

Transmission period: April 2013 – March 2014

Guide price (£): 8,200

EDITORIAL GUIDE

The Saturday Feature is an invitation for bold, fun, arresting, surprising programme- making. There is a heavy, though not exclusive, leaning towards popular culture and higher profile presentation. With audience figures in the region of one million, the Saturday morning feature is prime real estate on the network for accessible, creative strong story-telling. Programmes here need a good narrative.

If you want to offer a series connected to the centenary of WW1, please see the brief on this, number World War 1 Features 47206.

Once again, we are asking you to submit fewer ideas with more development relevant to the brief behind your best ideas. There are around 100 programmes to buy in the open slots across 11.02 and Saturday 10.30.

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Please do not enter more than 10 offers for 11.02 and for Saturday 10.30 slots combined.

For BBC departments with an output guarantee, please limit your total offers to twice the number remaining in your guarantee.

Do not exceed two written pages of A4.

Please be aware that this is not a specialist arts strand (keep aware of the 11.30 weekday slots) – we are very keen to explore popular culture in its broadest sense.

Saturday morning can also be the place for big series that connect to events of national significance – popular reminiscence if you like - if done in a sharp and inclusive way for the audience.

Strong presentation is key to commissions in this slot. Please could you indicate clearly whether you have signed up key talent or whether your idea for presentation is just indicative.

A lot of the programmes in this slot have been pegged. That may be inherent in the way Saturday 10.30 has developed but we are keen to make sure we do not have too many anniversaries marked here. They are best avoided unless you have a truly original take.

PROPOSAL TO INCLUDE · details of your proposed presenter. Please indicate clearly if the presenter has been approached or is involved in the creation of the proposal · a clear date for any peg if there is one · a brief episode breakdown for any series

PROGRAMMES COMMISSIONED OR SHORTLISTED IN THE LAST ROUND

Title Synopsis Alice's Restaurant Ian McMillan sets out to meet Alice M Brock, heroine of Arlo (w/t) Guthrie's musical monologue released in 1967 Small Crowd Paul Merton delves into the BBC Sound Archive to discover some of Watching a Puppet the more bizarre entries among the thousands catalogued. Show in Denmark Mark Watson tours the nation's touchlines to find out why watching Gobby Morons football can still be such a miserable experience. The DJ Derek - A This is a profile of one of the godfathers of the Bristol music scene Local Legend and some of the many myths that surround him. In the run-up to the next Oscar awards, Paul Gambaccini reveals the And the Academy stories behind and social history revealed by four more Oscar Award Goes to... winning films Blind Man Roams Peter White sets out to discover the world's cities through his ears. The Globe Boldly going in search of the real histories - personal and social - Britain in a Box - behind the success of some of Britain's greatest television Series 5 programmes. Re-visits the occasions on which four more classic live albums were For One Night Only recorded and grants the wish of each of us who have played them

88 and thought, 'If only I could have been there' Steve Punt investigates more cases of shady goings-on, Punt P I unexplained oddness and extreme weirdness. Traces the roots of the urban footwear explosion through the eyes of Sneaker Freaker those who were there. From our uncertain approach to the Middle East to our more Tehrangeles sporadic Special Relationship with the US, we're living through a sea-change The 'arse that Jack The Bard of Barnsley goes in search of the isogloss in its native Built habitat. Harold Barlow and Sam Morgenstern wrote their 'Dictionary of The Barlow- Musical Themes.' Armed with the Barlow-Morgenstern method, we Morgenstern Method go in search of Barlow, Morgenstern and a completely original tune. Midge Ure unpacks the story behind the album and explores its The Stardust impact on the music industry and the fans, the effects of which are Memories still being felt today. Twitterpated! An exploration of our enduring expectation of love in the springtime. Ssshhh! (The best- What really goes on inside the British Library. read office in London) Asian Weddings: Few weddings come as big as British Asian weddings. Yasmeen Something Gold, Khan gives an intimate view of the rituals, the negotiations, and the Nothing Borrowed, bling. Everything New Gilbert and George's Gilbert and George's observations, memories and stories about the Social History of the East End of London woven through the sounds and music of the East End city. Trevor Nelson tracks down the U.S prisoners who released records Prisoner Soul from behind bars during the 1960s and 70s to find out how the music shaped their lives. "If people tell you they don't have a country song they relate to, then Eddie Goes Country they're already dead" - Eddie Mair is passionate about country music. He's not alone. Tony Hawks goes Looking For Ruritania - what is its hold on us? Looking forRuritania

Stephen Smith dips a toe in the waters of this great national In Praise of the Lido institution - alas, now in jeopardy. Jane Russell and the Gerry Anderson and the story of the woman from Derry who handed Springtown Mother over her son to the Hollywood goddess, Jane Russell. Jo Brand, tells the story behind one of the greatest and funniest The Bricklayers comic stories ever recorded - Gerard Hoffnung's The Bricklayers Lament Lament. The Lost Art of Paul Bayley unearths forgotten examples of important, modernist Churches visual art, hidden in the nation's churches. Berry Gordy Sarfraz Manzoor speaks to the legend behind the birth of Motown. Can the star of The Shawshank Redemption offer redemption to The Actor's Gang some of America's most hardened criminals?

Graham investigates whilst becoming increasingly exasperated as Graham Linehan's his producer continually tries to make his radio programme into one Game of Life big game... Rob Brydon meets three Welsh actors - who happen to be friends The Burton Crusade and Hollywood superstars - on a mission to get their idol, Richard Burton, into the Hollywood Hall of Fame. As the British women's synchronized swimming team prepares for The Synchro Girls its debut in the Olympics, we look at our difficult relationship with the sport Bill Cosby - Activist Bill Cosby was voted in the top 100 most influential African and Educator Americans by a leading academic.

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Programme type: NARRATIVE HISTORY

Commissioning Editor: Jane Ellison Commissioning Assistant: Shauna Todd

Reference number: 47169/1345/WD

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio features production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Monday-Friday

Time: 13.45 – 14.00

Tape duration including opening and closing announcements: 14’

Estimated number of programmes available for open competition: 60, or 2 series of roughly 30 episodes

Transmission period: April 2013 - March 2014

Guide price (£): 3,100 per episode

EDITORIAL GUIDE

To paraphrase the British historian E.H. Carr, our narrative history strand should serve the purpose of recording the past in the most dynamic and imaginative ways in audio terms for the benefit of future generations. It’s a slot that offers huge opportunities for creative and intellectual ambition. Please do not offer any 15’ feature series here.

In this round, we are interested in exploring ideas for narrative history on Radio 4 for 2013 and 2014. We will consider one or two really ambitious series with very high profile talent for long term development. If you want to offer a series connected to the centenary of World War 1 please see the separate brief on this, World War 1 Features 47206.

Narrative History can run in 30 episode or six week blocks roughly with a weekly one hour revised repeat. We will also consider one or two shorter ten part series.

90 We already have the following projects in the pipeline · a history of sound · a history of doubt · a history of books

If you wish to offer a shorter ten part history series, this is also the place to submit it. We have developed some very successful shorter mini histories such as the History of the mobile phone.

Explain why you want to introduce, or re-introduce, the Radio 4 audience to the history you are passionate about. Are there new things to say about it? Is it in some way relevant to today?

It will also be very important to establish why you think the 15’ format is right for your idea. Atomising complex subject matter into short episodes has implications for the narrative, the number of characters you can introduce to the audience, the level of detail. There are important structural and dramatic issues to consider. The end result must elucidate and inform, not become reductive.

We would expect a rough outline of how the series would be structured across six weeks.

Who will write the series and present it will also be key. We would expect to know who your historical presenter, adviser or consultant will be and how the editorial authority of the project will be guaranteed. On a major project, presenters will need to dedicate a lot of time to the series.

We may also consider a substantial website and online presence, with interactivity, for a proposal of this magnitude. This should be included in your thoughts.

To be commissioned in this slot, programme areas or companies will have to demonstrate that they have a significant track record in the making of major history series, going beyond the ad hoc documentary. The ability to craft complex arguments over several episodes will be key, as well as the expertise that will be brought to the project, either from within the team or through advisers.

In summary, the proposal should include: · a clear but not over-detailed synopsis of the idea; · an editorial motivation for the events you have chosen; · a preliminary sense of how the breakdown into weeks might work; · detailed thoughts about authorship and presentation; · ideas about treatment; · realistic budget assumptions; · a proposition for online.

91 NARRATIVE HISTORIES COMMISSIONED

The Chinese in Britain America Western Music Medicine Private Life Childhood The World in 100 Objects Mathematics Russia The Brain The Post Office The Art of Monarchy Sport and the British An alternative history of modern Europe through its fictional detectives Noise: A Human History Edwardian Britain in the run up to WW1 Shakespeare’s Restless World Honest Doubt: The History of an Epic Struggle The Story of Terrorism Books

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Programme type: WORLD WAR 1 FEATURES

Commissioning Editor: Jane Ellison Commissioning Assistant: Shauna Todd

Reference number: 47206

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in radio features production at both producer and executive producer level.

If you have not previously made programmes for Radio 4, you should include your production track record at the end of the long synopsis in your final offer.

Day: Various

Time: Please indicate which slot you think your idea is best suited to

Tape duration including opening and closing announcements: 15’ or 30’

Estimated number of programmes available to open competition: a small number of series

Transmission period: 2014 and beyond

Guide price (£): Not applicable

EDITORIAL GUIDE

With the centenary of World War 1 from 2014 to 2018 now on the horizon, many of you will be wanting to offer factual programme ideas to the Narrative History, 11am / Saturday Feature and Popular Arts slots or as 15 minute Features. Please enter all general factual ideas about the centenary here and indicate which slot you are aiming them for.

This is a major anniversary that has already generated a lot of thinking. The purpose of this brief is to set a context to your thinking so that we can save energy for all and concentrate on the best and most creative ideas.

To many in our largely 20th century audience, World War I marks the birth of the modern age. It heralds the end of the age of empires. It was a conflict with global ramifications that still echo today. There are no more survivors from “The Great War” but with a new generation of historians comes new research and perspectives on it. These can now enhance the public conversation and redefine our understanding of some of the most powerful images of mud, poppies and poetry. There are new

93 audiences too with new technological opportunities and expectations. It will be for them to curate and exploit the considerable collections – national, international and personal with vast historical, cultural and genealogy assets - now moving into the digital public space. We are looking for a small number of big factual ideas that will help our audiences understand the war and the social change it brought in the light of today's fresh insights, beyond the trenches and Northern Europe. The home front, the world aspect, the changing historiography are all subjects of rich potential - and you will have thought of others.

Given that the period of interest across the UK will span four years, we will also need to think of how we choreograph and develop ideas over a longer time frame.

In that context, you need to know that Radio 4 is developing a major four year drama project that will follow a group of soldiers throughout the First World War. Using Band of Brothers as a model, the drama will follow in real time the lives of 3 or 4 tommies through the course of the war. Although “Tommies” is still in development, it is very unlikely we will want any more drama about 1914-18 over the next 5 years.

Programme proposals will need to complement this and take it into account. A narrative history of 1913 has also been commissioned by the network.

We would ask you at this stage to keep your offers to a small number of bold and original pieces as opposed to a large number of one off features. Please also take into account the fact that the Radio 4 strands will be dealing with material around this subject and that what we commission needs to strike home and enrich the national conversation in an original and illuminating way.

Finally we know that there are a lot of institutions around the UK making plans. Key amongst them are the Imperial war Museum and the University of Birmingham. They and others have told us that they are delighted to help with development but fear they may not have the resources to answer multiple queries all at the same time. We do not wish to get in the way of contacts you may have but hope to ease the pressure for key potential partners. We have suggested to RIG and BBC departments that where possible you wait until a paragraph has been shortlisted so that there is network interest before approaching the IWM for detailed advice and research.

The link below will take you through to the centenary site and much of what is happening around the UK as a first port of call. http://www.1914.org/partners/

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Programme type: 9 O’CLOCK SERIES

Reference number: 47004

Day: MONDAY- FRIDAY

Time: 0900 – 0930

Tape duration: 28'

Transmission period: April 2013 – March 2014

We are not opening this slot in this round. However, for 2013/14 we will commission into it by selecting the offers submitted to other slots that we feel will work best at this time in the schedule. There will be the same amount of business as in previous years so this is just a different way of commissioning 9am, not a reduction in the number of slots available. By all means when putting offers into other documentary or feature slots, do state if you think your idea will work particularly well at 9am.

As ever, as well as one-off proposals, we are interested in format ideas that may work for a run of 3 - 6 episodes in these slots.

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7: SPECIAL EVENTS AND SEASONS

Reference number: 47132

Eligibility: We invite proposals from BBC departments and independent production companies who can clearly demonstrate considerable experience in the relevant genres of radio production at both producer and executive producer level.

Transmission period: April 2013 – March 2014

Guide price (£): Not applicable

EDITORIAL GUIDE

What distinguishes a Special Event, Focus or Season is that it should be a proposal on a single theme which crosses strands or day parts. The impact will be different and distinctive from the rest of the network’s schedule. A sense of occasion or celebration may be created.

Special Events proposals might span a variety of commissioning briefs and their coherence becomes obvious only when the various parts are assembled.

Sometimes, small, carefully constructed clusters might be commissioned from a supplier in their entirety, but most often the Network will want to take an active role in scoping out the scale and scheduling of a season.

Therefore, ideas for Special Events that get past the pre-offers stage should be discussed with Commissioning Editors and the Controller before you do any work on the detail.

Anniversaries and seasons might be celebrated on several or all networks. What we need is for your proposal for Radio 4 to be utterly distinctive and clearly shaped for our audience.

However, we can be over-reliant on anniversaries. Therefore, we particularly welcome suggestions of events or a focus on a subject that will surprise the audience and be distinctive. Innovative treatments of more predictable events are also welcome.

Some of our Special Events are contained within one day. D-Day in 2004, A Day in Africa in 2005, The King James Bible and Big Bang Day are examples.

96 Others - such as A History of the World, Uncovering Pakistan, Year of Science, Darwin, 1968: Myth or Reality?, 1989, Life and Fate, Film Season, London, Science Fiction, The Brain and Le Carre - have been spread more widely, both in terms of programme style and timetable.

The following clusters and seasons are planned for 2012/13: Dickens, Shakespeare, The Listening Project (based on the US Storycorps project), Orwell.

With such events, the core programmes and the idea might come from one group of producers, but other programmes might subsequently be commissioned from elsewhere.

We have recently found that events ideas which have been created collaboratively between different teams with varied expertise can be particularly striking. So, a seasonal event or idea might come from one source. But the network will always reserve the right to create a portfolio of programmes from other sources to provide the listener with the best possible schedule.

So, Radio 4 is looking for:

· special days or nights; · landmark events; · programmes, across the genres, which merit a different duration from what the normal schedule allows.

Interactive:

Proposals for Special Events should also outline any interactive component they may have. This does not mean that every event has to have a big interactive wing or a “vote” – but it is an important consideration. Note the success of the Big Bang Day and History of the World online component.

We are looking for big ideas with a fully integrated interactive dimension. Remember, though, that we are looking to commission only a very few such ideas this year, so do be realistic about the development time you devote to this area. Do not enter a budget estimate for the interactive element of your proposal. This will be considered on an ad hoc basis once we decide to take an idea forward.

Your proposal should be submitted using commissioning brief 47132. Do not also put ideas for component programmes into other briefs unless asked to by a Commissioning Editor once we have assessed the special events we want to proceed with.

97 8: WORKING WITH BBC RADIO 4

Working with BBC Radio 4 is the essential handbook for all suppliers. Available in-house at: http://explore.gateway.bbc.co.uk/audioandmusic/audiomusichome/radio_4.aspx and to indies at: http://www.bbc.co.uk/commissioning/radio/what-we-want/radio-4.shtml

It covers: · Who’s who at Radio 4, with contact details · Delivery · Schedule information · Editorial requirements · Compliance · Title changes · Technical requirements · Listening copies · Live programmes · Durations · Announcements and credits · Programme Descriptions (billings, promotion notes & presentation details) · On-air promotion and written trails · Repeats Scheduled and revised repeats Delayed repeats · Publicity · Marketing · Audience Research · Audience Lines Arranging Audience Lines support Trailing Audience Lines on air Feedback · Radio 4 Interactive · Broadcasting on the internet · Health and safety · Radio 4 contacts · Appendices A: Topicality status B: Credits on Radio 4 C: Making better trails D: Synopses for serials E: Summary of paperwork requirements F: Programme paperwork templates

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