Commissioning Process Essay – Unit 24

1. By Chelsie Brandrick
Commissioning Process Essay – Unit 24
The commissioning process for writing for television and film consists of
several different steps and includes multiple job roles. From scriptwriters to
commissioning bodies there are many people involved in the process of
turning a script into a produced piece of work.
Commissioning itself means to order or authorise the production of
something. In relation to writing for television and film a script can be
commissioned in a variety of ways. The most common way for a script to be
ordered is by a commissioning body such as the BBC or Channel 4. During
this process, the writer and commissioning body may also face many legal
and ethic issues, like copyright, plagiarism, bias, libel and censorship that they
will need to take in consideration for the script to continue to be produced.
Although the writer plays an integral part by producing the script and playing
an active role in the production process, the commissioning bodies also play a
large role in the process, as they are responsible for bring the script to life.
A commissioning body is the part of a company that chooses which film or
television programmes should be made from the scripts that they have been
sent by budding writers. There are a variety of different commissioning bodies
such as corporations, independent production companies, independent
directors or producers, organisations and competitions.
Corporations are large companies, group of companies or individuals. A
corporation is a legal body that is separate and distinct from its owners.
Corporations can access the majority of rights and responsibilities that an
individual can. For example, a corporation can enter into contracts, loans, and
has the ability to borrow money, sue and be sued. In addition it can hire and
fire employees, own assets and pay taxes.
Popular examples of corporate commissioning bodies are Channel 4 and the
British Broadcasting Corporation (BBC). The BBC and Channel 4 produce
their own productions as well as commissioning work from independent
production companies to create work on their behalf.

2. By Chelsie Brandrick
The BBC is a British pubic service broadcaster and is the world’s oldest
national broadcasting organisation. It is funded by an annual license fee,
which is charged to all British households that wish to watch television.
The BBC commissioning process consists of a few routes. Writers affiliated
with an independent production company can submit their scripts to the BBC
and it will be entered into an online proposal system called ‘BBC Pitch’.
The BBC treats all proposals as confidential as they have signed up to the
Alliance for the protection of copyright code of practice (APC). By using the
online Pitch system it allows the BBC to comply with their commitments.
An idea submitted to BBC Pitch will first be looked at by the relevant genre
commissioner. If they think it meets with their current priorities, they may ask
the producer to develop it further. However the BBC have certain quotas and
targets that they need to fulfill each year, so they may decline a writers script
not because of the idea but simply because the quota for the category it falls
under has been completed. For example, if a writer is pitching an idea for a
drama that is suitable to BBC 1, but the commissioners are in need of a
comedy for BBC 3 it is unlikely that the script will be chosen for
commissioning.
This way of getting a script commissioned is good as it gives writers a better
idea of what the BBC are looking for and therefore what they should write and
submit. But it is not designed for rookie writers or those not affiliated with an
independent production company. Writers who fall under this category will
have to submit their work to the BBC Writers Room. The writer’s room creates
opportunities for undiscovered writing talents, by enabling them to submit their
scripts and have professionals within the BBC to read them. This creates
avenues for people who have never had any work published or do not have a
literary agent. This method is favorable by new writers despite the BBC
requesting full scripts and only allowing submissions during certain months of
the year. I believe this is because the Writer’s Room is a free, fast paced
service as well as being one of the few ways for new writers to get themselves
out there.
Channel 4 is a publicly owned non-profit and commercially funded public
service, and is a member of the BAFTA Albert Consortium, which features 12
of the UK's top production companies and broadcasters.

3. By Chelsie Brandrick
Despite Channel 4 and the BBC both being corporate commissioning bodies,
Channel 4’s commissioning process is different to the BBC’s.
The BBC has a simple online system that enables writers to submit their
scripts; in addition they have a facility for new writers to make a name for
themselves. Whereas Channel 4’s commissioning process has been broken
into genres and timeslots. Each category includes lengthy criteria and forces
the writer to define the intentions of their script. For example, on the Channel
4 website there is a list of requirements for independent companies to fulfill if
they wish to submit a documentary proposal. It states that proposals must be
authentic, fresh, and innovative, include a compelling story and enable the
viewer to have an extraordinary and pleasurable privileged viewing
experience.
This commissioning option is only available to writers and directors who are
established in the industry and are affiliated with an independent production
company. This compares to the BBC’s Pitch system but Channel 4 does not
have an option for new writers unlike the BBC. Channel 4’s equivalent to the
BBC Writer’s Room, ‘First Cut’ for documentary filmmaking, is only available
to directors with relevant and previous experience in directing for large
broadcasters.
Channel 4 have less ways for a writer to be commissioned and no ways for a
new writer to have their programme made. This makes Channel 4
unappealing to writers when submitting their scripts, thus resulting in Channel
4 not gaining and producing as many scripts in comparison to the BBC.
Arguably this could be one of the many contributing factors that has lead to
the increase in the BBC’s viewing share, which is substantially higher than
Channel 4’s (in 2015 Channel 4 was at 5.6% compared to the BBC at over
30%).
Independent production companies are a crucial part of the commissioning
process, as established writers require them if they wish to submit work to
corporate commissioning bodies. Independent production companies have
the ability to choose and produce scripts as well as commission projects for
corporate companies. For example, independent production company Tiger
Aspect Productions has produced many notable programmes such as Mr.
Bean, The Vicar of Dibley and The Catherine Tate Show for various

4. By Chelsie Brandrick
broadcasters, like the BBC and Channel 4. As well as commissioning and
producing many films that they have distributed themselves.
It is often easier for writers who aren’t established to get their ideas developed
and commissioned through an independent production company. Independent
companies have more time to look at scripts and are more likely to give
feedback. It is cheaper for an independent production company to employ
aspiring writers so there is a higher chance that their scripts will be
commissioned this way.
Unlike corporate production companies, writers can submit their scripts to a
variety of independent production companies at once, which improves the
writer’s chance of getting their project made. However before submitting a
project to a company it is important for the writer to research the company’s
previous productions, and check that the company is making productions at
the standard and budget they will require.
In comparison to corporate bodies, independent production companies
provide a much more attractive, easier and accessible route for writers to
follow.
Writers can also get their work commissioned by contacting independent
directors and producers. Independent directors and producers are freelance
creators who have the freedom and choice to commission the projects they
believe in as they are not employed and dictated to by a television station or
film company. Independent directors and producers can range from top
Hollywood professionals to unheard-of low-budgeters. But typically
independent directors and producers will mainly work on smaller scale
projects, with a limited team available to assist them due to smaller budgets. It
can be argued that independent creators have a wider responsibility regarding
what goes on in front of and behind the camera.
Independent directors and producers usually choose to produce screenplays
that they have written themselves or have had a large part in the writing
process. However they will produce other writers creations but the directors
and producers will most likely only be willing to do this if they feel strongly
about the script and it’s potential.
Being commissioned by independent directors and producers is suitable for
aspiring writers, as independents have the skills to create the writers vision,

5. By Chelsie Brandrick
help them form relationships within the industry and show future investors the
writers talent. Whereas if an upcoming writer were to send their script to a
famous director such as Michael Bay, the chances of him even
acknowledging it are thin. Michael would most likely have a team of people
working for him that would read the script before him, and if they don’t think it
is suitable or something he would be interested in then it will never even reach
its way to Michael Bay himself. Although being picked up by a famous director
or producer would be extremely beneficial for a writer’s career as well as
enabling and ensuring the production of the writer’s script, it is highly unlikely
that it would happen.
It can also be difficult for directors and producers to make projects, as they do
not have direct access to an abundance of funding. Despite this scripts can
still be commissioned and produced with a minimal budget and be successful.
For example, Robert Rodriguez wrote, directed, produced and edited the film
El Mariachi in 1992, with a budget of $7,000 and it made over $2 million at
box office. Independents usually have to take on multiple roles to lower the
costs to ensure a script can be made.
It is worth sending scripts to directors or producers because they’re the ones
that truly recognise the potential in a script and can bring the idea to life.
Organisations, such as charities, will hire writers to create films, adverts or
sketches for their television shows. BBC's Comic Relief Red Nose Day
Specials hire writers to produce their popular segments, in a hope to raise
funds for their cause. Organisations will mainly employ well-known writers as
it ensures that they will receive quality content, but they will also hire aspiring
writers for smaller segments. This is a good way for upcoming writers to get
their foot in the door and start to develop a career in the industry.
Competitions are a good way to get a head start in the industry, as a winning
script is a highly acknowledged achievement in addition to the win improving
the writer’s confidence and contacts. Typically most of the competitions
available invite writers to submit short scripts online that contain a few scenes.
The best is selected and the winner’s script is developed into a film or shown
at a film festival. Submitting a script online takes significantly less time than
searching for the addresses of the relevant people and posting it to them.

6. By Chelsie Brandrick
Writers can also be comforted by an email from the competition site
confirming they have received the script submission, rather than worrying if
their script was lost in the post or if it made it, whether it’s now propping a
door open in their office.
Competitions allow scriptwriters to have contact with high profile industry
figures, which can increase the popularity of the writer. Even if the writer
doesn’t win, being a finalist can raise their profile and can result in the writers
work being shown to a wide audience. For example the notable screenwriting
competition Red Planet Prize offers winners the chance to be mentored by
Red Planet Production Company and Kudos Production Company. Winners of
this competition usually shoot to writing success. Robert Thorogood was the
competitions first winner in 2007, since his win he has written many dramas
for well-known corporate bodies, a recent hit was ‘Death In Paradise’ for the
BBC.
Competitions are a brilliant way to gain exposure and start a career as a
writer.
During the commissioning process there are a variety of job roles that turn the
writers idea into a finished product that an audience can enjoy. After the writer
has created an idea, it is passed on to an agent, commissioning editors,
directors and producers and script editors who all play a part in bringing the
story to life.
The writer is responsible for creating a story worth telling and without them
producing a story; there wouldn’t be a commissioning process.
A writer is a generic term that is used when describing someone who uses
tools and techniques of language and storytelling to craft a piece of writing. In
the television and film industry writers are called screenwriters or scriptwriters.
No specific qualifications are needed to become a writer but a good
understanding of language is essential. Having the ability to produce a
grammatically correct and well-formatted piece of writing is vital for writers to
show commissioning bodies their professionalism and worthiness to be
commissioned.
If a writer is following the traditional commissioning route they will pass their
finished script to their agent and if they like the script it will be passed on to

7. By Chelsie Brandrick
the commissioning editor.
An agent is employed by the writer and acts on their behalf, which allows the
writer to focus on their writing. Agents are responsible for promoting the writer
to get their name known within the industry as well as using their knowledge
and contacts to get the writer work. The agent will deal with
commissioning bodies and try to promote and sell the script in a hope to find
the best financial or high profile deal. They can also send the writers script to
relevant contacts they have to try and get it commissioned.
It is vital for a scriptwriter to have a good agent as it can progress their career
dramatically.
This relationship allows the writer to write without the stress of looking for
work and thinking about money. However, an agent will take a cut of any deal
for their service, which is typically 10% or 20%.
Large production companies employ commissioning editors to advise them on
what scripts to produce. Typically commissioning editors will work on a set
genre; the BBC hires a variety of commissioning editors who each work on a
genre or channel, like drama or BBC1. The commissioner will receive the
scripts sent in by writers and have the responsibility to decide which ideas
they think will be a success and suitable for the company to represent, in
addition to the scripts that should be rejected. When the commissioner finds a
script they like and want to make, a contract can be drawn up between the
writer and production company. On occasion the script is developed
according to the commissioners recommendations. Once the commissioner
has approved the script it and given the go ahead for production, it will be
passed to a script editor.
Script editors are a member of the production team who have many
responsibilities including finding new script writers, developing story lines and
series ideas with writers, and ensuring that scripts are suitable for production.
Editors need to work fast and to a high quality to complete a script, as the
industry requires a fast turn around which can put them under a fair amount of
pressure. Script editors offer assistance to writers by identifying problems and

8. By Chelsie Brandrick
consequences of the current screenplay, which in the rewrite, will help
reinforce it when it comes to the actual production stage.
The editors review the writer’s work and give feedback on their script and
make the writer aware of areas for improvement.
Problems can occur when there are multiple people working on a project as
they all have their own interpretations, which can lead to disagreements.
Script editors work full time and are often employed by a commissioning
company, Johnny Byrne is a good example of a script editor who worked for a
corporate commissioning body. Many of his working years were spent writing
and editing scripts for the BBC. Some of his most notable work was Doctor
Who, All Creatures Great and Small and Heartbeat.
Script editors usually spend a lot of time with the producer because they need
to have a good understanding of the script and what the producer is looking
for.
Producers are one of the key players in the television, film and video
industries. They oversee each project from conception to completion and can
also be involved in the marketing and distribution process.
J.J Abrams is a famous film and television producer who has worked on many
well-known franchises such as Mission Impossible, Star Wars and Lost.
Occasionally producers are in charge of fundraising and budgeting; they need
to ensure that the director and writers vision can be made within the financial
constraints. For example if a film requires CGI and the budget is only £20,000,
the producer would need to make changes to the script to ensure that the film
can be made appropriately.
Producers have the ability to hire writers and the producer is in their own right
to ask for as many rewrites as possible to get the piece written to their
specifications. In addition, producers can bring in other writers if they believe
that the current writer isn’t performing the way they hoped or if the writer
needs help with forming a storyline.
Directors are responsible for all the interpretive aspects of a stage, film, or
television production. They supervise and control the integration of all the
elements involved in bring a film or television show to life, such as acting,
staging, lighting. Directors can either have a huge part in writing process or be

9. By Chelsie Brandrick
brought in after the script has been written.
Directors have a variety of important responsibilities including: becoming the
eye of the production and brining it to life, ensuring the actors, props and
cameras are in the right place and are ready to be used during filming. Plus
they have to be aware of where the cameras are during filming, as they need
to get the best angle when recording.
After a screenplay is finished, it is passed to the director to produce a
shooting script. The shooting script is then divided by its scenes/shots and
numbered, broken down to key components required for the film. The
directors and production assistants then decide an order for the scenes to be
shot to make the best effective way of making use of resources, cast and
locations. The shooting script also contains much more detailed description of
the scenes with exact camera angles, movements and positions. This is a
logical and universal way to for directors to complete productions.
Steven Spielberg is one of the most iconic and well-known directors in
Hollywood. He has earned his reputation by being the creative vision behind
some of the most famous films in history, like Jaw, Jurassic Park, Indiana
Jones and Saving Private Ryan.
The writer plays an integral part in the commissioning process from the pre-
production to post production stages. During the pre-production planning
stages the writer creates the storyline, completes any research necessary and
collates their findings into a script. Research is important as it enables the
production team to create an accurate piece of work. For example, if the story
was set in the Victorian times, the writer will research how people lived,
dialogue people would’ve used, who was in power or the monarch. The more
research the writer does the more authentic the production will seem. It
prevents mistakes being made in the production stage, which is vital to avoid,
as there can be legal implications if events are not portrayed accurately.
Once the writer has completed the script it will be passed to a script editor to
review and amend when necessary. The script editor gives feedback to the
screenwriter about how to improve the script. The screenwriter does not have
to make the changes but the director could hire a new writer to take over if the
current writer refuses to cooperate. After the script editor and writer come to

10. By Chelsie Brandrick
an agreement about the script and change it where needed, it will be given to
the director to review and so they can make the shooting script.
A shooting script breaks down the original script into organized chunks that
allows the director to plan what to film, when and how to organize it so the
project is cost effective. To make the script easier to shoot page numbers and
scene numbers are added. Sometimes changes need to be made to the script
when production has already begun. If this happens there are guidelines on
how this should be distributed and logged. These guidelines usually include
something such as sending all cast and crew that the changes will affect the
new pages with the changes on them
When the writer, director and producer are happy with the script and are
confident that it is good enough to film, a page lock down will occur. A page
lockdown means no more edits or re-writes can happen and means that
filming can start. The script will then be published and distributed to the
production team. If any scenes need to be rewritten or changed, locking the
pages allows them to be easily tracked and keep the revised and unrevised
pages separate, which will show the difference between the original script and
the changes. The writer will still have a large input during the production, or
filming stage, as they will work closely with the director and producer to
ensure their creative vision is being executed. However the director and
producer have the final say and control the project, which can have negative
effects on production, as they might want to change the writers idea too much
which has often caused arguments on films. But often the director, producer
and writer get along and share the same creative vision, which allows them to
produce an enjoyable piece of art.
When working as a writer, agent representation is vital. An agent is needed as
it makes the writer look more professional and can be beneficial as the agent
has access to more contacts which can give the writers work more exposure.
The majority of writers are self-employed freelancers; they may be hired for
short-term contracts such as films or long-term jobs, like working on a
television show that requires a constant stream of episodes.
Writers can earn money in a variety of different ways other than by writing film
and television scripts. They can earn money by blogging, ghostwriting and

11. By Chelsie Brandrick
journalism, leading writing workshops, working as a communication manager
or teaching in a traditional school or university setting.
A lot of the time scripts are recycled or have used part of an idea belonging to
an existing screenplay. When this happens the production companies that
want to use the material have to pay royalties to the original writer or whoever
owns the rights to the material. If this is not done the person or company that
own the material can sue the screenwriter for plagiarism.
If a writer wants to be taken seriously then they’re expected to have
professional presentation with their work. Grammatical errors and the
incorrect formatting of a script will reduce the writers chance of being
commissioned as the commissioning body will be less likely to invest in them
as their work is not a good standard. Arriving to meetings appropriately
dressed and well prepared will allow the writer to make a good impression
and show the commissioning body that they are trust worthy, dependable and
should be invested in.
Time management also allows writers to show commitment to a project. By
producing a script to a deadline will enable the production to start on time and
won’t waste the studios money. Producing a creative piece of work under
pressure can be difficult for some writers as they experience writers block or
claim to not be in the right mindset or mood to create the script. If a writer fails
to meet deadlines there is a chance that they will be fired from the production
and someone else will take their place. A writers working hours will vary from
one hour a day to working 20 hours a day, depending on deadlines and
budget.
During the commissioning process, the writer and commissioning body may
face many legal and ethic issues, like copyright, plagiarism, bias, libel and
censorship that they will need to take in consideration for the script to
continue to be produced.
Copyright is a law that covers many forms of artistic creations such as literary,
dramatic, musical, art, sound recordings, broadcasts and films and protects
the creator from having their work stolen by giving them proof to have control
over their work which can enable them to receive payments for royalties and
such. While copyright can project a creation it can not protect an idea,

12. By Chelsie Brandrick
meaning copyright can protect your written work but not your general idea or
concept for a movie or television show. A writer should copyright their script
as it can save them legal battles that may occur in the future and it can give
them a piece of mind knowing their work can’t be stolen.
The copyright office has an easily accessible online system called eCO that
allows a writer to register their script electronically. All forms of copyright are
enforced by the current legislation in the UK, the Copyright, Designs and
Patents Acts 1988.
Copyright can protect writers from plagiarism, which is the act of claiming
credit for another persons work. If the rightful owner has copyrighted the work
then they can sue the person claiming it.
Another issue writers face is bias; bias is the act of being prejudice for or
against a person or a group especially in a way that is considered to be unfair.
Not being bias is an important factor a writer has to consider as many of the
views people have come from the media. Writers have to make sure they are
not biased towards someone’s ethnic group, a nation, religious belief, social
class, political party or academics as this can give the commissioning body or
writer a bad reputation. Making sure a writer isn’t bias means they are not
being one-sided, lacking a neutral viewpoint or not having an open mind. If
that person or organization is considered being bias, they could face justice.
Libel is a law that is aimed to balance the right of free speech against
protection for reputation of an individual from an unjustified attack. In law a
person is defamed if statements in a publication expose them to hatred
speech that can cause the person to be shunned, or lower them in their
estimation in society such as their work life. Writers must take libel into
consideration when working on a script, especially if the story is about a real
person.
Watershed exists to protect children from harmful material on television and
the radio. Watershed is the time when adult content (violence, nudity and
sexual intercourse) may be shown on the television. The times in the United
Kingdom are 21:00 and 05:30. As of the 1st of October 2011 the watershed

13. By Chelsie Brandrick
stopped at 05:30 but now stops at 6:00 for premium channels.
For example the channel will require a pin to unlock and enable the viewer to
watch a movie rated 18 in the daytime. Anything over the rating of 15 cannot
be shown until the watershed.
Television shows like Doctor Who, The Simpsons and Futurama are thought
to be child friendly and consequently are rated 12, so can be show before
21:00. Rated 18 content will not be shown unless it is after 22:00; this applies
to advertisements as well as programmes and films.
If a writer were to put adult content in their script it would have to be shown
after watershed, meaning possibly fewer people would be able to view it.
Censorship is similar to watershed, as it requires the script to not contain
anything that is inappropriate to a target audience. Censorship is the
suppression of speech, public communication or other information which may
be objectionable, harmful, sensitive, politically incorrect or inconvenient as
determined by governments, media outlets, authorities or other entities.
For example, if a script contains references to drugs, sex and has swearing
then it would not be suitable for a television channel like CBBC as it is
targeted towards small children. Censorship protects viewers from offensive
content by highlighting what the film or television programme contains. This is
often done by showcasing the rating and featured content on the back of a
DVD cover or in the television guide.
In conclusion, the commissioning process is a lengthy system that involves
many people each contributing to a script that can then be finalized into a film
or television programme. A writer can be asked by a commissioning body to
create a script or they can produce a script and send it through their agent to
a commissioning body to be commissioned. The writer is arguably the most
important player in the process because without them there wouldn’t be a
script or story to bring to life. The writer has a large responsibility as they are
needed to guide the production in the right direction to ensure their vision has
been correctly created.
Producers play a big part in the production as they ensure budgeting is kept in
order and help capture the writer’s vision during casting and production.
Scriptwriters should be prepared for change and be open to criticism, as

14. By Chelsie Brandrick
they’ll be asked to re-edit and adjust ideas in the script throughout the
production process. Directors ultimately have the final say and are
responsible for bringing the writers vision to life.
Before an audience can see a final production in the cinema or on television a
large amount of work will have been put in by a variety of different people.
The production may have started with the writer but wouldn’t have been made
possible without the help of the production team.
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