Commissioning Brief Spring 2019 COMEDY

Home , Kevin Eldon, Panel show, Susan Calman, Tez Ilyas

RADIO COMMISSIONING FRAMEWORK

Production of comedy programmes

Commissions mainly for broadcast from April 2020 to March 2021

Proteus 2020-2021 Round 5

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CONTENTS

SECTION A: TIMETABLE ...... 3 SECTION B: THE COMMISSIONING PROCESS ...... 4 STAGE 1: SHORT PROPOSAL ...... 4 STAGE 2: FULL PROPOSAL ...... 5 STAGE 3: CONDITIONAL COMMISSION ...... 8 SECTION C: ABOUT RADIO 4 ...... 10 SECTION D: EDITORIAL OPPORTUNITIES...... 11

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SECTION A: TIMETABLE

The commissioning process has three stages, as set out in the timetable below.

Stage Dates Activities Commissioning Early January Publish commissioning brief documentation and briefs published open round in Proteus. Launch briefings The commissioning team brief programme makers Drama & Comedy: Salford Tues 29th Jan

Drama & Comedy: London Thurs 31st Jan

1. Short proposal 12:00 Deadline for short proposals submitted in and shortlisting Proteus Weds 20th Feb

Week Commissioners shortlist proposals and notify commencing producers of outcomes. Full proposals requested 11th March from those proceeding to next stage.

2. Full Proposal Weds 13th Opportunity to discuss re-requested short March – Tues proposals prior to submitting full proposals. 9th April

12:00 Deadline for full proposals submitted in Proteus. Weds 10th April

3. Commission Mid July Commissioning decision made, subject to awarded contract. Editorial specifications and price agreed.

Late submissions cannot be accepted.

If you have any questions about this commissioning round that you need answered before you submit short proposals, please send them to the relevant commissioning co-ordinator well before the deadline.

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SECTION B: THE COMMISSIONING PROCESS

Everything in this commissioning round is open to competition. Any department or company with demonstrable suitable expertise may submit ideas for any brief.

There is no formal eligibility questionnaire. If you are registered on the BBC supplier database it is assumed that you satisfy the basic eligibility requirements. If you are not registered but would like to be, contact radiocommissioningenquiries@bbc.co.uk.

STAGE 1: SHORT PROPOSAL

Step 1

Complete your short proposal in Proteus. Observe the cap on numbers where this is applied. If the cap says a maximum 10 proposals per supplier, we will only read your first 10.

Fewer, stronger ideas are more likely to get through. In slots where each commission is for multiple episodes, the number of commissions will be far fewer than the number of individual programmes available.

We welcome proposals from suppliers who wish to group together in a partnership, as long as this is clear in the proposal. Where there is a cap on proposals, the suppliers joining together may combine their cap allowance (e.g. if the cap is 5 and two companies offer in partnership, they may submit 10). Each joint proposal should be entered only once.

All short proposals must be submitted in Proteus by the Stage 1 deadline.

PROPOSALS FOR COMEDY AND DRAMA SHOULD BE SUBMITTED IN PROTEUS: 2020-2021 ROUND 5

The following must be entered for each short proposal:

Title: (of your proposal, not the slot)

Commissioning Brief number: This number is at the top of each commissioning brief. Enter each proposal in one schedule slot only. If we consider it suitable for another slot, we will transfer it.

Delivery date: Enter an estimated delivery date e.g. 01/06/2020.

Price per episode: This will default to the bottom of the guide price range, unless you stipulate otherwise. If you think the price will be outside the range, you can enter this in the ‘Price per Episode £’ field.

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We will not consider bids above the range unless the editorial proposition clearly justifies it and Radio 4 is able to find corresponding savings elsewhere. Although submitting a lower price may help your chances of a commission, the editorial proposition is always paramount.

Number of episodes: State the number of episodes

Duration: The total allotted airtime per episode, including continuity announcements and credits, for example 14’ or 28’ (not 15’ or 30’).

Short synopsis: This is where you sell your idea in Stage 1. Maximum 250 words.

If you prepare proposals offline to paste into Proteus, keep the format 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.

To prevent corruption issues, use the Proteus “T” icon pasting tool located just above the text field box to paste into Proteus. Once in the synopsis field you may need to rearrange your paragraphs and subtitles.

Full synopsis: Do not enter anything in this field at this stage.

Step 2 Short proposals are evaluated by the commissioning team who shortlist those which they wish to see as full proposals.

Step 3 We release the results in Proteus. Proposals will show as ‘Rejected’ or ‘Re- requested’. Re-requested means the idea has been shortlisted to go to the full proposal stage. We regret that we are unable to provide feedback on rejected short proposals.

STAGE 2: FULL PROPOSAL Step 1 If you reach the next stage, you will be invited to discuss your shortlisted ideas with a member of the commissioning team. This may by phone rather than face to face. We will not discuss ideas that have not been submitted as short proposals.

Step 2

If a proposal is re-requested in Proteus, do not re-create it from scratch; just edit it to reflect the requirements for the full proposal and re-submit it.

While it is possible to submit fresh offers which have not been discussed, experience shows that few ideas that were not offered as short proposals get commissioned.

All full proposals must be delivered in Proteus by the Stage 2 deadline.

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PROPOSALS FOR COMEDY AND DRAMA SHOULD BE SUBMITTED IN PROTEUS: 2020-2021 ROUND 5

The following must be entered for each full proposal:

Title: If your idea is commissioned you must not change this title without the 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.

Delivery Date: (linked to anniversary / event dates where relevant). This information is important and will be used when scheduling a commissioned programme.

Producer: Include CV in long synopsis field if the producer is new to Radio 4.

Executive Producer: Include CV in full synopsis if the executive is new to Radio 4.

Number of episodes: State the number of episodes

Duration: The total allotted airtime per episode, including continuity announcements and credits, for example 14’ or 28’ (not 15’ or 30’).

Short synopsis: For the final proposal this must be under 50 words. Its purpose is to convey the essence of the idea and enable us to find it quickly in our records. Think of it as a fledgling Radio Times billing.

Full synopsis: This is where you sell your idea. It must not exceed 2 x A4 pages of size 11 type.

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 has expressed an interest in the project or has intellectual ownership of it.

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Supporting material (digital or hard copy) See sections below on Submission of Supporting Material.

Appendices After setting out your idea, please add the following appendices in the full synopsis field (these are in addition to your 2 page allowance): Appendix A – Confirmation of acceptance of the key BBC contract terms: http://www.bbc.co.uk/programmes/articles/25pj6s2n6N9yVjxgbXThbNW/agreements- contracts

Appendix B – Risk management: identify any specific risks and the processes or systems that will be put in place to manage these. If you have any questions that you need answered before you submit your full proposal please ensure you send them to the relevant commissioning co-ordinator well before the submissions deadline.

If you make a mistake…

If you submit a proposal in error do not create a duplicate proposal. Please contact the relevant commissioning co-ordinator before the offers deadline and they can return it to you for editing.

Digital commissioning Beyond the standard metadata and possible clip requirements, we do not require any extra digital deliverables to be offered for these commissions. The digital commissioning editor will look at the slate of commissions along with the genre commissioning editors and assess the potential for any additional digital content, and whether it merits additional funding. The programme maker will have the first option to offer to supply this if it is required and if they have the capacity and ability to do so.

We are open to ideas that producers think will work as digital-first or podcast, followed by broadcast in the linear schedule.

Step 3 We evaluate all full proposals against the editorial brief and commission those which most successfully fulfil the brief and contribute to the most varied, original and balanced schedule for the Radio 4 audience. The following people will evaluate your proposal: Gwyneth Williams, Controller, Radio 4 The relevant commissioning editor(s) Other members of Radio 4 management (e.g. station management, finance, scheduling) may also be consulted.

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Step 4 Commissioning decisions will be communicated in Proteus. Brief feedback for rejected proposals will be given there. At any stage of the process, we may need to come back to you to seek clarification. Your answers will be factored into the evaluation process as appropriate.

STAGE 3: CONDITIONAL COMMISSION

Confirmation of all commissions is conditional on the issues listed below. Radio 4 is not responsible for any costs incurred prior to full agreement. There will be important information included in the feedback field in Proteus which will not be communicated through other means so it is vital that you take time to read this, make notes and disseminate to colleagues where necessary.

Price

Each conditional commission will be made with a fixed price offer that has been judged as value for money by the Commissioning, Finance and Business Affairs teams. Most will be within the published guide price range but we reserve the right to negotiate an alternative price if we believe it appropriate. If our price is accepted in writing by an independent company there will be no need to submit a detailed budget. Contracts will be issued immediately.

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

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

Rights

Radio 4 requires an appropriate set of rights dependent on the type of programme. This will vary only in exceptional circumstances. The guide price range 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.

Radio 4 will welcome proposals with co-production funding.

Schedule and delivery dates

Each proposal should include your ideal delivery date although our conditional acceptance will not necessarily be able to reflect this date. We are unlikely to 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 Amanda Benson (Schedule Planning Manager) within 14 days of results publication. Precise delivery dates will be confirmed well before the start of each calendar quarter.

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Editorial

A conditional acceptance might have specific editorial conditions attached to it, e.g. that a particular actor is available. Fulfilment of them must be confirmed before the commission is finalised and before you start work.

Compliance and BBC Editorial Guidelines You will be required to deliver programmes that are in line with the BBC’s Editorial Guidelines and be able to adapt to the BBC’s changing editorial and business needs during the period of the commission.

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SECTION C: ABOUT RADIO 4

Radio 4

Radio 4 is unique in the breadth and quality of its informative, educational and entertaining programming. Every day, on air and online, Radio 4 has more original content than any other broadcaster in the world. Its authoritative news and current affairs journalism is complemented by programmes exploring many areas, including science, arts, history, religion, ideas, drama and comedy, offered through regular strands, one-off programmes and special seasons.

While the average age of its 11 million plus audience is 56, Radio 4 is constantly evolving its schedule and tone to attract the next generation of listeners. All proposals must bear this in mind. It also seeks to continue to build appeal to audiences across the UK and among ethnic minorities.

Audience data for the briefs which have prescribed schedule slots will be available on the commissioning website in January.

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SECTION D: EDITORIAL OPPORTUNITIES

Commission Editor Sioned Wiliam Commissioning Co-ordinator Jacqueline Clarke [email protected]

Comedy on Radio 4

After a period of expansion I am continuing the process of consolidating commissions, offering existing shows an opportunity to return to the station and to grow an audience. That means there is less space for new material, so please pay particular attention to the shopping list for new business later in this document.

From now on, returning business in all slots will be commissioned on an ad hoc basis. As soon as a show has transmitted please contact me to discuss recommission. This means there will no longer be a hiatus while the round progresses and producers will not have to wait for mid-summer to hear about a recommission. I will deal with outstanding current recommissions at the end of January.

Please note also that we will keep back a small amount of space for reactive programming.

A SHOPPING LIST FOR THIS ROUND

Stand Up on Sunday (see Brief no. 47202 Comedy Sundays)

The 30’ slot on Sundays at 19.15 offers an opportunity for both new and more established comedians. Often they have a thesis or a subject they want to interrogate. Ruby Wax was fascinating on Mindfulness and we heard moving and funny contributions from her audience as well. Ashley Blaker gave us a hilarious and highly informative account of life as an orthodox Jewish comedian and Bilal Zafar talked us through his experience of Muslim dating apps. Coming up in 2019 we have Sofie Hagen on body image, Olga Koch on Russia, and Jacob Hawley on Brexit. There are shows also from Suzi Ruffell, Phil Wang, Heidi Regan and Michael Legge.

A New Sketch Show (see Brief no. 47031 18.30 Comedy and Brief no. 47058 23.00 Comedy)

We have some fantastic sketch shows on the station – The Pin, Absolutely, Small Scenes and of course John Finnemore’s Souvenir Programme, are all brilliantly distinctive and original. Sketchtopia from Gusman Productions seeks out new BAME talent for the station and there are plenty of stand ups who also use sketches to flesh out comic ideas. I’m looking for a sketch show that doesn’t sound like any of the above, with a range of voices, tones and textures. Something that redefines what you can do with the medium and feels unlike anything currently on the station.

Late Night Conversation (see Brief no. 47059 Comedy Conversations)

I’m looking for the informality and wit of the best comedy podcasts. Intelligent people having interesting conversations. It can be informative and really drill down into a

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subject, or just a hugely likeable informal exchange of opinions. Comics chatting to each other, or unlikely combinations of people in odd, unexpected places.

These are my priorities in this round. However, if you have an idea that feels original and distinctive or involves a key piece of talent not already on the station, you are welcome to submit your ideas into the 18.30 or 23.00 briefs.

Specials are also welcome. Again they have to involve a piece of key talent. But one-offs or short runs of two or three episodes allow us to explore an idea and find a place on the station for some of our finest performers, who may not have the time to commit to a longer run.

We want to continue broadcasting comedy that reflects the rich diversity of modern Britain. We’re also keen to know how you’re addressing diversity issues in your production teams. I am particularly keen to secure a broader range of shows for the 18.30 and 23.00 slots. Do consider this before offering ideas and voices that are already well represented on the station.

Although editorial excellence will be the major deciding factor in securing any commission, we will look favourably on offers with competitive prices.

WHAT WE DON’T WANT

We broadcast a tiny amount of Improv on the station – Austentatious has worked very well at 19.15 on a Sunday. But I’m not looking for any more improvisational comedy at the moment.

I commissioned a raft of new narrative pilots during the last round which will play out over the next year. And, as there are also many returning sit-coms and comedy dramas in the schedule, I am not looking for any more narrative comedy in this round.

I don’t want any ideas featuring impressionists, or spoofs or parodies of broadcast shows. I’m not looking for literary parodies at the moment either. And I’m not looking for new chat shows or panel games.

We are piloting several new satirical formats in 2019 and there are new runs for both Lobby Land and Where’s The F In News. These shows along with our regular Friday night satirical output mean that we are not looking for more satire at the moment.

GENERAL NOTES ABOUT THE ROUND

Short proposals

In Phase 1 of the round we'll be making a judgement based on the 250 word short synopsis and talent details submitted to us. Please do not exceed this word count - expressing the essence of the idea in these few paragraphs is a useful exercise and helps focus on what is most important about the pitch.

Please do not resubmit ideas that have been rejected in an earlier round. We are happy to look at ideas that have been previously offered to television companies -

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but please make this clear in your short synopsis. And do ask your writers to reimagine the idea for radio before submitting it to us. Convoluted sight gags and long winded visual set ups are not helpful when considering shows for radio.

If you have an idea that has previously been shortlisted, you do not need to reoffer this – it will still be on our list and will not be forgotten.

The talent involved in an offer is hugely important - particularly the writers, who must be available and committed to the project. Casting ideas are very useful too, and please let us know if you have a particular relationship with a performer. A major advantage of radio, of course, is that some of the biggest names in comedy and entertainment are happy to take a few days out to do a radio recording. So do aim high!

Please confirm whether you want your shows performed in front of an audience. The tone and pace of an audience show is very different and it's important to note it at the short proposal stage.

Meetings

If your offer gets through the short proposals stage you will be invited to discuss it in more depth. Usually we'll discuss the talent involved and what material you might submit in support of the idea.

It may be that a new writer will need to submit a whole script in order to convince us, but more established writers can send in a treatment with sample scenes. In both cases, a strong sense of where an idea might go next is needed. Please bring your writers along with you to the meeting if at all possible.

Snippets of performance, taster tapes or online content illustrating the talent involved in your offer are always useful! Do offer up examples of previous work that feel relevant - anything that helps argue your case.

While invitations to live shows can be useful, it is important to remember that theatrical shows don't always effectively convey how the performer might work on the radio. A full proposal must give a clear idea of how any radio incarnation might work.

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 are not available. However, where we know there are historical difficulties with rights holders, we may ask you to clear them. We will agree this at the short proposals meeting.

Full proposals

Do remember to re-submit your idea as a full proposal in Proteus. If you don't, I simply won't see it.

Remember to submit all the supporting material that was agreed in the short proposal meeting. It is useful ammunition with which to pitch this project to the Controller on your behalf.

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Digital

Ideas in this area will be welcome and these ideas should be emailed directly to Sioned Wiliam or discussed in a face to face meeting. Rhian Roberts, Commissioning Editor, Digital will assess the potential for any additional digital content.

Co-production

Radio 4 will continue to explore co-production opportunities for comedy projects in this next commissioning period. We welcome programme offers that have potential co-financing already attached. Please include any such details in your offer.

Eligibility

Your company or department will need to be able to demonstrate considerable experience in radio and/or television comedy at both producer and executive producer level. If you have not produced programmes for Radio 4, you should include your track record in the long synopsis of your full proposal.

The following briefs are open in Proteus Round 5 2020-2021:

Brief no. 47031 Brief name: 18.30 Comedy

Brief no. 47058 Brief name: 23.00 Comedy

Brief no. 47059 Brief name: 23.00 Comedy Conversation

Brief no. 47202 Brief name: 19.15 Comedy Sundays

The following brief is not open in this round:

Brief no. 47013 Brief name: 11.30 Comedy

I will only be commissioning returning series into this brief. There is no need to re- submit these series.

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Commissioning Brief no. 47031 Brief name: 18.30 Comedy

Duration 28’ (including announcements)

Schedule slot Weekdays 18.30

Number of programmes available TBC

Transmission period April 2020 - March 2021

Guide price range per episode £11,100-£11,500

Commissioning Round 2020/2021 Round 5

Editorial Opportunity

This brief will be open for a very small amount of business so please just submit your best ideas here. There are many returning shows looking for a home in this slot.

I’m hoping to pilot some new sketch shows in this slot next year and am looking in particular for shapes and tones new to this time. So by that I mean a diverse range of voices, highly distinctive and original comic ideas and fresh ways of exploring them.

Audience laughter can do much to give a show pace and energy, but increasingly audiences are used to comedy shows that don't have this sound and it's important for Radio 4 to produce a range of comic experiences for our audiences at 18.30 both with and without an audience.

Just a reminder that book adaptations and quieter, more introspective pieces don’t feel right at 18.30.

New commissions for 2019-20 include an eclectic mix of sit-com, stand up and panel games. We’ve made real headway commissioning more women into the slot, including Gaby Roslin, Sarah Millican, Victoria Coren Mitchell, Sarah Kendall, Angela Barnes, Ellie Taylor and Susan Calman, but we still have more work to do in extending the range of voices and stories playing at 18.30.

Tom Wrigglesworth and Mark Watson are returning to Radio 4 with new sitcom and stand up respectively and there is more comedy also from Simon Evans, Daliso Chaponda, Rhys James, Andy Hamilton and Joe Lycett.

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Everybody’s favourite grumpy writer Ed Reardon (by Chris Douglas and Andrew Nickolds) makes a welcome return, as does Alexei Sayle’s Sandwich Bar.

The mix of audience and non-audience shows seems to be working well, so a comedy drama such as Love In Recovery with its stellar cast and Pete Jackson’s nuanced scripts, can sit alongside The Pin’s metatextual sketch show, the dreamy soundscapes of Small Scenes and razor sharp storytelling from David Sedaris. The aim is to offer the frequent listener a real choice of sounds and textures.

We will continue with Neil Pearson’s project to restore The Missing Hancocks whilst also bringing some brand new narrative pieces to the slot such as Reincarnathan by Henry Paker and Tom Craine, which stars Diane Morgan and Daniel Rigby. John Finnemore will be offering us more exquisite writing in his Double Acts and another series of his Souvenir Programme.

It's important for the personnel involved at this time to be as varied as possible and producers are asked to extend the range of performers they book for this slot. Please note that for all comedy programmes airing Monday to Friday at 18.30 (and comedy panel shows at any time), panellists must be cleared with Radio 4 before they are booked for a recording. This is purely a clash-checking process to avoid having contributors on more than once a week (excluding narrative repeats) in the highest profile slots.

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Commissioning Brief no. 47058 Brief name: 23.00 Comedy

Duration In general 28’ ; some programmes at 14’ (including announcements)

Number of programmes available TBC

Schedule slot Weekdays 23.00

Transmission period April 2020 - March 2021

Guide price range per episode £11,100-£11,500 £5,500 - £5,700 for 14’

Commissioning Round 2020/2021 Round 5

Editorial Opportunity

There are many shows looking to return for another series at 23.00 so please do not over offer. A new sketch show is on the shopping list for this slot.

As ever, I’m looking for shows that bridge the gap between the workaday world and late night. Taking the audience on imaginative flights of fancy, or immersing them in a great story or a piece of sharply written stand up. This slot often houses comedy that may need a late night placing because of form or content and it’s a place in which comedy with a younger feel can be curated.

Late night stand up works particularly well at 23.00. John Moloney is well established here and returns in April, but we also have a host of new voices including Rosie Jones, Twayna Mayne, Darren Harriot and a welcome return for Sophie Willan and Sindhu Vee.

Patrick Marber and Peter Curran will be back in late 2019 talking nonsense in their Bunk Bed, and this time round there will be a celebrity version for BBC Sounds. As with the recent Tez Ilyas series, we are working with Sounds where possible to extend our commissions.

Sarah Millican returns to Radio 4 with a brand new anecdotal panel show Elephant In The Room, and there will be another run too for Where’s The F In News with Jo Bunting.

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Fred At The Stand brought a great range of comedians to late night in 2018 and gave the slot a less metrocentric feel. The show is back in 2019, this time broadcasting from Glasgow.

The critically acclaimed Agendum by Joel Morris and Jason Hazeley is back in the summer and Date Night with Marc Wooton promises to be darkly funny in January. The Rip List, an obituary show like no other, will boast the talents of some of our finest comedians.

Narrative pieces and sketch shows can be offered here, and it's a great place to develop new writing and performing talents in those genres as well as a safe space in which to explore darker comic themes, as in the work of Liam Williams who will be returning to the station in 2019. Also back are Kevin Eldon with his idiosyncratic sketch show and Lazy Susan with their sharply observed parody of the podcast world, the East Coast Listening Post.

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Commissioning Brief no. 47059 Brief name: 23.00 Comedy Conversations

Duration In general 28’ ; some programmes at 14’ (including announcements)

Number of programmes available TBC

Schedule slot Weekdays 23.00

Transmission period April 2020 - March 2021

Guide price range per episode £5,000

Commissioning Round 2020/2021 Round 5

Editorial Opportunity

This is a new commissioning brief. Do think about bringing voices not currently on the station and offering us something you feel is new and distinctive.

I’m looking for the informality and wit of the best comedy podcasts. Intelligent people having interesting conversations. It can be informative and really drill down into a subject, or just a hugely likeable informal exchange of opinions. Comics chatting to each other, or unlikely combinations of people in odd, unexpected places. They can demonstrate a comedian’s obsession or an ambition to do something or speak to someone unusual. A show that meanders perhaps but has enough wit and charm to keep the listener engaged for 28’’.

We are looking to commission this in bulk, at £5,000 per 28’.

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Commissioning Brief no. 47202 Brief name: 19.15 Comedy Sundays

Duration 28’ (including announcements)

Number of programmes available TBC

Schedule slot Sundays 19.15

Transmission period April 2020 - March 2021

Guide price range per episode £11,100-£11,500

Commissioning Round 2020/2021 Round 5

Editorial Opportunity

I want to commission a series of 6-8 Stand Up on Sunday specials in the Spring and a further series towards the end of the year.

This 30’ slot offers an opportunity for both new and more established comedians. Often they have a thesis or a subject they want to interrogate. Ruby Wax was fascinating on Mindfulness and we heard moving and funny contributions from her audience as well. Ashley Blaker gave us a hilarious and highly informative account of life as an orthodox Jewish comedian and Bilal Zafar talked us through his experience of Muslim dating apps.

Coming up in 2019 we have Sofie Hagen on body image, Olga Koch on Russia, and Jacob Hawley on Brexit. There are shows also from Suzi Ruffell, Phil Wang, Heidi Regan and Michael Legge.

There are also other returning shows in this brief which I will consider on an ad-hoc basis.

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SUPPORTING MATERIAL FOR COMEDY

Supporting material is only required for Full Proposals. It must be delivered by 17.00 on the day of the deadline, with a complete inventory, using the form below.

Examples of work of presenters and other talent:

 Do not embed links to audio or video in your Proteus submission.

 Audio, in mp3 format only, should be sent to the commissioning co-ordinator Jacqueline Clarke [email protected] via a file-sharing service. Identify which proposal it is for in the filename.

 Do not include audio for returning series as we have access to the archive.

 Video streaming links should be emailed to the commissioning co-ordinator.

 Video on DVD should be sent to the address below.

 Unpublished written material (CVs, sample dialogue or scripts etc) must be sent in hard copy. It should not be put in Proteus.

 You must send hard copies of any books. eBooks and PDFs are not accepted.

 All material in hard copy must be delivered to: o Commissioning Co-ordinator, BBC Radio 4, Room 4028, Broadcasting House, London W1A 1AA

 Label each item with your name, department / company, the title and the commissioning brief number of the offer.

 State in the long synopsis that you are supplying supporting material.

 With the exception of published books and DVDs, we cannot return supporting material to you.

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INVENTORY OF SUPPORTING MATERIAL

A complete inventory of materials supplied must be included, using this form.

BBC DEPARTMENT / INDIE COMPANY

COMMISSIONING BRIEF TITLE SUPPORTING MATERIAL and NUMBER

e.g. 47031 18.30 Comedy e.g. Marcel Marceau’s e.g. DVD: The best of Greatest Gags Marcel Marceau

CONTACT NAME …………………………………………..

EMAIL ………………………………………………………..

TEL ………………………………………...…………………

DATE…………………………………………………………..

SIGNATURE…………………………………………………

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