commissioning bodies

ENSFC-BTEC DIPLOMA IN CREATIVE MEDIA PRODUCTION

The commissioning process: Commissioning bodies

Getting optioned or commissioned is difficult and a lot of writers struggle to get their name recognised, some

never get commissioned or even get an opportunity to pitch. However, many different avenues exist for new

and first time writers.

Depending on the commissioning body, processes and chances of success are different. For example, if you

enter a competition, the process in which your screenplay may be commissioned is completely different to the

process in which it may be commissioned if you send your script to a major corporation.

If you have agent representation (which is recommended as it looks more professional and they have

contacts) you stand a better chance of getting producers to see your work, whether they are independent or

working for a major corporation. The attached text from The Knight Hall Agency Ltd., which exists solely for

writers, details how you can get representation from an agent and lists some of the writers they represent.

(Lee Hall is represented by Judy Daish Literary Associates Ltd.).

How to get commissioned

Firstly, produce a series of screenplays as evidence of your writing ability. The concepts for which can come

from a range of sources;

‘Spec’ screenplays

Novels

Short stories

Factual events/news stories

Existing films, television programmes and radio plays.

Commissioning bodies exist in a range of forms and vary form large corporations to small independent

production companies. In the traditional route of ‘selling’ your product to a production company, you would

encounter one of the above. As detailed when looking at the different job roles in the commissioning process,

the development executive’s duties include searching for new or untapped talent, and being scouted by one

may be a foot in the door. Other major corporations, such as the BBC, also offer a variety of opportunities to

get your work seen such as the BBC Writer’sRoom, although Sky and other TV channels also commission.

If pitching to a smaller / independent production company it may be beneficial to you if you are an unknown

writer as you will be cheaper to work with (for the most part). Smaller production companies often do their

own script editing and also sometimes receive financing from larger

corporations to develop scripts in return for revenue generated by the

final product. For example, when Stephen Moffat and Mark Gatiss

conceived the new look Sherlock (2010) they went to the BBC to acquire

funding even though it was Sue Virtue’s (Stephen’s wife) independent

production company, Hartswood Films, that produced the series.



Independent directors have an easier job of producing their own screenplays in regards to the amount of

power that they have over the final product, however, getting into the position in which you can afford to

produce your own screenplay is the tough part. Directors like Quentin Tarantino, Robert Rodriquez, Jim

Jarmusch and Paul Thomas Anderson all write and direct their own screenplays and also have involvement

with other directors. For example, aside from directing his own screenplays, Tarantino has also written True

Romance (Tony Scott, 1993) and From Dusk ‘Til Dawn (Robert Rodriquez, 1996). He also wrote and directed the

two-part episode Grave Danger for Television series CSI: Crime Scene Investigation (2005).

The same can be said for independent producers because although they have the freedom / power to find and

finance a screenplay, all decisions made are then on their heads and they are answerable to the financiers if

the finished product does not succeed, and that’s if they get to that stage. As we know, many more

screenplays are commissioned than are eventually made. Independent producers have a huge array of

responsibilities including getting the writer on-board and often according to Sue Virtue “having to do your own

script editing” (Inside Independent TV Production, July 2011).

Organisations such as The Script Factory exist to aid and nurture screenwriters and people that work with

writers. They don’t finance screenplay development but they do offer help in developing scripts and give

advice to improving work and getting it seen. www.scriptfactory.co.uk. Again, the BBC is another example of an

organisation that offerhelp and / or advice in screenwriting through the BBC Writer’sRoom.

In America and Britain, competitions often run to

find new and exciting writers. The BBC

Writer’sRoom usually has a list of a competitions

that are running both in Britain and internationally.

Competitions run all the time and they are often a

great way into gaining some recognition.

Prizes for competitions can vary but usually come in

the form of a financial reward (often in exchange for

the Option).

Option

When a screenplay is optioned it is taken by an

individual or company for a fixed cost for a fixed

amount of time.

In that time, say 1 year, the writer cannot sell that

screenplay to anyone else; it offers exclusivity.

During that time the purchaser may amend the

screenplay.



Changes to the screenplay

It is a really difficult position to be in when changes to your script are suggested; do you keep your artistic

integrity and insist on your original work being accepted or do you bite the bullet and make the changes in

order to build on your chances of getting commissioned?

Changes can be suggested or insisted upon for many reasons;

The narrative is too similar to another text (E/O insurance)

The narrative is unworkable or absurd / plot holes?

Budgetary constraints.

“Changes to the script are often motivated by budget” (Sue Virtue)

Changes to a script can occur at various stages in the production process;

Pre-production: the readers and editors may suggest changes to make the script more viable

Production: difficulties in production, such as location, may impact on the script and merit changes.

Shooting script

When a script goes into production, it will have been assigned page and scene numbers for ease when

shooting. If changes are made to the script during production, there are strict guidelines on how those changes

should be logged and distributed. Page lock-down is vital if screenplays are to be filmed / produced effectively.

Locking a page down is the process in which any changes or revisions to the script are coded specifically and

sent out as individual pages as opposed to having to manually change the numbers on any subsequent page or

force members of the cast and crew to transfer large sections of handwritten notes over and over. For

example, if a line of dialogue is removed from page 54, the original page 54 is removed and page 54A is

distributed and then, if more than one new page is needed, it would be 54B, 54C etc.


Agents: How to approach them

How to approach us

If you're interested in approaching us for representation, please note: we cannot agree to meet any

prospective client without first having read or watched a piece of their work, nor without an appointment.

No exceptions - if we don't know your work there is nothing to discuss! Please do not arrive at our office on the

off-chance that someone will see you, as you will be turned away.

Some people will advise approaching agents one at a time, but we don't agree. It's important you find an agent

you feel comfortable with and have faith in. If two or more agents like your work it's a very good idea to meet

them both/all. We won't feel offended but you, hopefully, will be able to feel all the more confident in

whatever decision you ultimately make.

Before contacting us, please take a few moments to look through the Who We Don't Represent section. This

may save you time and postage!

If none of those examples is you, please:

Write initially, telling us a little about yourself and briefly describing your work - just enough to give us a

flavour. E-mail approaches are fine, provided you send no attachments

Wait until we respond before sending a sample

Never send attachments by email. We are virus wary! E-mails containing attachments from unrecognised

sources will be deleted unread

If we request a writing sample please post it together with a stamped addressed envelope (sufficient for its

return in the event we're not the right agents for you; please don't send cash instead) and a biography/cv.

Please send no more than one sample script unless specifically requested otherwiseSample scripts can only

be accepted in hard copy form - not by e-mail nor on disk

Be patient! Because of the qualities we are looking for we read all material ourselves - we employ no external

readers. All reading is therefore done outside office hours in evenings and at week-ends - and naturally our

existing clients must take priority. We'll respond to you as soon as we can. However, given the amount of

scripts we receive every day this can take some time - please don't keep calling to find out if your material has

been received/read. If you'd like an acknowledgement of receipt, please enclose a stamped addressed

postcard. If you've sent your material by recorded delivery/registered post, please don't call us to find out if it's

arrived - you can check this with The Royal Mail/Consignia online at:

http:/www.consignia-online.com/portal/default/all/home?paf_gear_id=1800001&paf_gm=content&paf_dm=full

The Rod Hall Agency is not responsible for the content of external internet sites

http://www.rodhallagency.com/index.php?art_id=000159

http://www.consignia-online.com/portal/default/all/home?paf_gear_id=1800001&paf_gm=content&paf_dm=full



How NOT to approach us

Whilst we’re always on the look out for new talent, please, please remember that Knight Hall Agency isn't a

public service.

If you really want to put us off the idea of representing you, here are a few tips (some may raise a smile but

we've had them all – yes, even the last one - and some are commonplace):

1. After checking with the Post Office that your recorded-delivery package has arrived, phone us to ask if it has

arrived. Call again a week later "not chasing, only wondering" if we’ve read the script and consider you a

genius but have just forgotten to mention it

2. Phone us repeatedly before you’ve written anything

3. Turn up at our office, barge past the receptionist and inform him/her that you know we say we don’t

arrange meetings before seeing a prospective client’s work but as you’re here … (NB: no one likes anyone

who’s rude to the receptionist, and anyone who is gets caught out here - we don’t have one)

4. Phone, cupping the mouthpiece, to say you’ve got a brilliant idea but for legal reasons you can’t tell us what

it is. Or who you are.

5. Send us a wooden guitar-case packed with scripts written in a vast array of exciting fonts and illustrated

throughout. And forget to enclose return postage.

6. Enclose a bunch of kind rejection letters from producers and/or other agents

7. Write "Dear Road Hell, My name is [insert] and I am a writer, " enclosing photos of yourself in fancy dress

8. Having already received two polite letters from us explaining that we don’t feel we’d be the right agents for

you, submit your third "spec" adaptation of a copyright novel to which you have not obtained the relevant

rights/sequel to someone else’s hit movie/episode of an existing TV series

9. Send a "zany" letter that runs to several pages, or a one-liner that tells us nothing about the work you'd like

us to read

10. Inform us that a spirit guide dictated your masterpiece to you, and you can prove it by your remote-control

healing powers.



Who we DON’T represent

"I'm an actor/dp/costume designer"

No actors or crew - sorry.

"I'd like you to find a publisher for my novel"

Sorry, we are not publishing agents.

"I need an agent to sell my novel to a film/television company"

Yes, we can help you - but only if we really think we have a great chance of selling it; and only if you have a

contract with a bona fide publisher (one that is paying you, not charging you, to publish your novel).

"I've had a great idea for a film/television series/play"

What fires us is the writing itself - the choice and arrangement of words. By all means contact us when you've

written a complete script, but not until then.

"My ambition is to write for THE BILL or EASTENDERS"

We prefer to represent writers who create series. I'm afraid we don't handle writers who wish to write

exclusively for returning series.

"I live in Montana but my writing has a very English sensibility"

We represent clients living in the UK and Eire only. This is a personal relationship and we also like to introduce

our clients widely.

"I've tried to submit my screenplay to film companies but they will only accept scripts from agents. I just need

someone to send mine in for me"

If we enjoy your writing and we both want to work together, great. But we will not "go through the motions"

of submitting a script by a writer with whom we don't have a committed agent-client relationship.

"I'd like to meet you before showing you my work"

I'm afraid we never do this. We have to know your work before suggesting a meeting.

"My hobby has always been writing and now that I've retired..."

Sorry - writing drama requires a very active, energetic commitment and so we're only interested in people for

whom it is a genuine career choice rather than a pastime.

If none of these is you please click on the orange menu bar to find out how to approach us.

commissioning bodies

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