u/PomegranateV2

This is from David Cohen's email newsletter and written from the perspective of specifically comedy writers. If you are already writing drama then it should still be useful.

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There are two ways to become a professional comedy writer (assuming you’re not a performer).

You either pick up a credit or credits as a joke or sketch writer for BBC Radio – and since 2021 we’ve put 58 of you on that first step of the ladder.

Or you write a script that’s so amazing it attracts the interest of the main channels and they commission you to write.

Opportunities for the second option don’t come often so when they do turn up you should seriously consider them.

Every September Channel Four launch their screenwriting competition that’s-not-a-competition-it’s-a-course – but if you want to be one of the 12 winners chosen from the 2500+ submissions you’re going to have to be better than more than 2488 of the entrants.

Beyond the usual requirements for a great script I talk about frequently here - you know the ones, character, story, jokes, jokes and jokes – what is Britain’s second biggest comedy-making Channel looking for in a script?

Here’s your guide to the seven c’s and how to sale them…

Channel 4

The purpose of the course, run by top script reader Philip Shelley, is to offer 12 writers an insight into how the industry works and to work with them as they write an original script.

If you make it through to the last 12 you’re paired with an experienced script editor and work with them on a series or serial pilot script over a five-month period. At this stage, don’t try too hard to second guess what Channel Four commissioning editors are looking for. Write what you’re obsessed about. (I’m bringing out a new edition of Complete Comedy Writer next year and no doubt I will be revisiting ‘write what you know’ for the dozenth time)

Competition/Course

You’re expected to send them “an original C4/E4 one-hour drama series or serial pilot episode, and 2-3 page outline/pitch for the series/serial as a whole.” Which is a massive ask for new writers.

20 years ago wearing my Writers’ Guild Union Rep hat I would have complained angrily at the expectation of getting so much for a fee of zilch. Now I just think ‘ooh there’s a one in 200 chance you could win this, those are do-able odds.’ 

Be aware how much work it is. (Clue, think of how much time it’s going to take you, then double it.)

Comedy

Yes it’s called the Drama Screenwriting Competition but don’t let that put you off unless you’re sending the kind of sitcom like Not Going Out where nothing changes and no one ever learns anything.

Indeed, one of the complaints that script readers have talked about on Philip’s blog is that too many of the scripts they read are too serious. This is where comedy writers have a big advantage. We don’t shy away from writing about climate catastrophe and AI dystopia and family conflict but at least we make an effort to be funny about them.

And that matters. As one reader put it, “there is absolutely no obligation for your submission to be funny, but by our 300^(th) script, we sure do appreciate the occasional laugh.”

Clarity

Clarity is everything. You’d be amazed how often you write something and people don’t know exactly what you mean. You were sure of it in your head when you wrote it down. And now you’re having to explain exactly what you mean (Dave, I’m talking to you). As Philip says, he wants ‘A clear dramatic hook and how you introduce your lead character on page one.’

Crack…

There’s a page on the Screenwriter course website featuring testimonials from previous winners. https://script-consultant.co.uk/channel4-course-testimonials/

Definitely worth a read. One thing that comes through time and time again is the winners saying ‘this wasn’t the first time I entered’. If you fail to get on this time, be sure to have a crack next time – and be sure to have learned what went wrong before.

…Cocaine

Philip complains: "So much cocaine!" I must admit I don’t think I’ve heard this about scripts from readers in any other coursepetition. Then again this is Channel Four and I guess if enough whining old farts continue to complain that there’s too much sex and drugs on Channel Four, the Channel will attract the kind of writer who puts in too much sex and drugs.

Cosy Crime

To directly quote one reader: “To be clear, I am NOT warding you off writing a cosy crime submission – many of our best were. Just be mindful that once we’ve read ninety-nine scripts featuring a maverick detective with a dead wife, the hundredth does need to be undeniably distinctive to rise above the parapet.”

AMA now closed.

Check out the teaser for Fortune Cookies:

https://www.youtube.com/watch?v=7AcWeKun2oM

And read about it here:

https://www.weareresonate.com/2026/07/new-british-chinese-comedy-fortune-cookies-lands-on-prime-video/

 

British Chinese feature film Fortune Cookies has officially arrived on Prime Video, giving viewers a look at a 1990s family comedy set right here in the UK.

Written and directed by Brenda Lee, the Northamptonshire-based production follows the Lee family as they fight to keep their local Chinese takeaway afloat during the summer of 1997. Facing pressure from HMRC and declining sales, the family sees a lifeline when they score a spot on their favourite television game show, Fame To Fortune.

How do you pitch to Amazon Video? Are UK Asian writers now in demand? I thought fortune cookies weren’t actually Chinese?

Bring your questions here to r/screenwritingUK starting at 11am this Thursday.

British Chinese feature film Fortune Cookies has officially arrived on Prime Video, giving viewers a look at a 1990s family comedy set right here in the UK.

https://www.weareresonate.com/2026/07/new-british-chinese-comedy-fortune-cookies-lands-on-prime-video/

If you want to give something back to this community – now’s the time. Share this post on your socials, Facebook writing groups etc and think of what you’d like to ask Brenda Lee.

Knowing you lot someone will probably get this within 5 minutes.

P artnering with Entertainment 360, Atari has signed a deal with Universal Pictures giving the studio the right to develop 10 classic Atari video game properties for the big screen. Universal has bought the first project from the new p artnership, a feature film based on Atari IP which will be produced by Entertainment 360's Guymon Casady from a screenplay by Matt Reilly and Carl Hampe. Both of them will also be producers.

https://uk.news.yahoo.com/atari-makes-universal-movie-deal-172321066.html

"For more than five decades, Atari has created games and worlds that have remained part of popular culture long after their original release," said Atari chairman and CEO Wade Rosen in confirming for Deadline. "We are excited to work with Universal and Entertainment 360 to bring the spirit of our iconic brand and games to a new medium."

The 10 properties include the ones we grew up playing until we were bleary-eyed: Asteroids, Adventure, Berzerk, Breakout, Centipede, Crystal Castles, Millipede, Missile Command, Pong and Yars' Revenge. The aim is to use the IP to create big-scale action-adventure fare.

The catalyst was an original spec by Reilly, the longtime studio exec at Universal who pivoted to screenwriting and producing, and Hampe, a producer on Hellboy who also worked on Jungle Cruise among other films.

"Matt Reilly and I grew up playing Atari 2600 games and have remained fans ever since," said Casady. "The best Atari games dropped you into a world and let your imagination do the rest. Carl and Matt saw an opportunity to take that same spirit and build an original, large-scale adventure around it. From the moment we read the screenplay, we believed there was a great movie here."

Atari is represented by IAG and Vanderkloot Law. Universal did not comment.

The Sundance Institute Episodic Program provides artists with the tools and training to develop their original series and pilot script. Offering one of the few training grounds for independent voices, the program is designed to help creators move their projects and careers forward.

https://www.sundance.org/programs/episodic-storytelling/

The Sundance Institute Episodic program supports two cohorts every year. One cohort will attend an in-person six-day Lab, and another will experience a condensed virtual two-day Intensive. Working with accomplished showrunners, Fellows will participate in one-on-one story meetings, craft workshops, and simulated writers’ rooms. Together, these meetings provide an elevated creative strategy for artists to advance their projects.

The 4th one is a big dodgy.

I think most people should be able to get this in 3

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