COMEDY Commissioning Brief Spring 2019 - RADIO COMMISSIONING FRAMEWORK - Production of comedy programmes - BBC
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RADIO COMMISSIONING FRAMEWORK
Commissioning Brief
Spring 2019
COMEDY
Production of comedy programmes
Commissions mainly for broadcast from April 2020 to March 2021
Proteus 2020-2021 Round 5
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1 of 22CONTENTS
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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2 of 22SECTION 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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3 of 22SECTION 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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4 of 22We 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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5 of 22PROPOSALS 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.
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.
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.
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.
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.
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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6 of 22Supporting 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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7 of 22Step 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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8 of 22Editorial
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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9 of 22SECTION 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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10 of 22SECTION D: EDITORIAL OPPORTUNITIES
Commission Editor Sioned Wiliam
Commissioning Co-ordinator Jacqueline Clarke
jacqueline.clarke@bbc.co.uk
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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11 of 22subject, 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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12 of 22but 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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13 of 22Digital
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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14 of 22Commissioning 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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15 of 22Everybody’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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16 of 22Commissioning 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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17 of 22Fred 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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18 of 22Commissioning 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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19 of 22Commissioning 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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20 of 22SUPPORTING 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 Jacqueline.Clarke@bbc.co.uk 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.
Version 1 14.01.2019 LL
21 of 22INVENTORY 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…………………………………………………
Version 1 14.01.2019 LL
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