You have been involved with the BBC Writersroom for several years. What was your first introduction to us?

In 2016 I was working in production as a researcher and managed to convince a producer I was working with to read one of my scripts. It was a day when it was just the two of us out filming so I knew he’d probably feel he had to agree, knowing that the rest of the day would be pretty awkward if he’d said no. But thankfully he did actually read it and liked it. He took it to the BBC and it went into development for a few months but ultimately didn’t get made. The commissioner at the BBC passed it over to the BBC Writersroom who read it and invited me to interview for the Comedy Room development group and luckily I managed to get into it.

How did being part of the Comedy Room help develop your career?

The Comedy Room was an incredible slice of luck for me to get on as it gave me the one thing any writer needs, which is access to the people you need to impress. In our second meet-up we were all put in a room with what seemed like every comedy producer in London. Although I did what most people do at these things, mainly stand in the corner and drink free beer and talk about how I wish I knew how to network, over the course of the scheme I did learn how to network and to build relationships with producers. It’s really simple. Just don’t talk about your work. Talk about comedy. It’s not an official rule but it took the pressure of me – as well as whoever was listening to me.

As well as that, we were given the opportunity to submit material for a whole range of shows and I very quickly managed to get some credits under my belt, which was huge. Mainly it was for things I’d never considered doing before, like radio or children’s TV. I didn’t think I’d be right for these things but teaching yourself to write for different mediums and audiences is a really useful thing to do. Adapting your voice to fit an existing show is really handy when it comes to getting jobs in writers' rooms.

I was lucky as well that the BBC Writersroom regionalised at the same time I was on the scheme so all of a sudden there was a Scottish office. I emailed and asked if I could come in for a coffee (generally good advice – people are always keen to get away from the office – when offices were a thing) and there I met Angela Galvin and Audrey McFadden. They have played such a massive part in my career from that day on and soon got me my first script commission for BBC Three’s The Break and put me up for a writer’s residency at The Comedy Unit in Glasgow, writing on BBC Scotland’s Scot Squad.

Angela and Audrey basically became my unofficial agents until I got my actual agent, who they introduced me to. So everything really goes back to the Comedy Room and meeting them.

So you are about to have your first network pilot broadcast. Can you tell us how did Beep come about?

Back in 2018 I was invited to interview for the Scottish Comedy Writer’s Programme run by BBC Writersroom Scotland. You had to submit a spec' script which was going to be read by comedy commissioners so I was determined to write something new for it. Beep was an idea I’d been playing with in my head for a while and I used the deadline for the Comedy Writers' Programme to get the first draft done.

I managed to get selected for the programme and through it I met Neil Webster at Happy Tramp North, who is the exec on Beep. Happy Tramp were the perfect home for Beep and working with Neil and the team there was a real joy. We developed the script over the next few months and quickly went to a table read which went really well, despite me spending most of it shaking in the back row. A pilot was then commissioned off the back of that.

Was working with Happy Tramp North your first experience of working with an independent production company?

No I’d worked for the best part of a year at the Comedy Unit in Glasgow as a staff writer, which was the best job in the world. To get up in the morning and not dread going to work was a new feeling, mainly because I was mostly terrible at every other job. Also their office was a five minute walk from my flat so, perfect really.

I also worked in TV for six years in production, as a runner and then as a researcher on various shows. It’s a useful path I think for people wanting to break into writing as it gives you that insight into how the industry works - and I also have a very detailed memory of how a lot of people take their tea, so when this all blows up and I have to go back to it, I’ll be able to pick up seamlessly from where I left off.

Was the development process for Beep plain sailing?

The development process was challenging in terms of logistics. Beep is mainly set in one hospital room but that room is essentially a family living room and the ‘world’ outside (the corridors and neighbouring rooms) had to feel like a little world of it’s own. Nothing like that existed already in Scotland so we had to have a set built, which was incredibly exciting but naturally took a bit of time.

The pilot was commissioned in May 2019 and we were finally set to film in April 2020. And then...yeah. (The pandemic happened just to be clear).

So then I just panicked for six months but we finally managed to film in November last year. Making my first pilot during COVID was a weird experience. I still couldn’t really tell you what any of the crew look like from the eyes down. But it was great to get lost in the little world we had created and get some respite from the reality outside. We had the best crew in the world basically.

But other than that it was a breeze. I was working with fantastic people at Happy Tramp. Neil was a constant source of support and encouragement throughout – and helped pick me up when the show seemed to be on constant pause during COVID. I was also really fortunate to work with two amazing producers (Ali Marlow and Jane Bell) on the show. Creatively the development couldn’t have gone any better and I’ve met people who I hope to work with for the rest of my career.

I’m also eternally grateful to the BBC for sticking by the show. Their support never wavered really and that meant a lot.

So when can we watch BEEP?

Beep will be on the BBC Scotland Channel on Friday the 12th of March at 10.30pm. It will also be going out on BBC Two as part of the BBC’s Festival of Funny on Sunday the 14th of March at 9.45pm. And of course it will be on BBC iPlayer (watch Beep now on BBC iPlayer). We’d love to make more so I’m not saying watch it three times but I am also saying that.

Any tips advice for writers when you have an idea rejected?

Just keep going. It sounds glib but it’s not. Rejections hurt and it’s fine to take a few days to lick your wounds but ultimately, writers write and soon you’re back in front of the laptop. Also, if the person who is saying no is explaining why it didn’t work for them and where to improve, try to take their notes on board. Some of the best advice I ever got was during rejections. And if they’re giving you that advice, it’s because they want you to come back fighting. I have definitely had lots of moments of sitting up at 4am, writing a spec' script that no one has asked for or is paying me for, wondering if anyone will even read it and feeling so far away from where I want to be. So no one is alone in feeling that. Keep going.

What’s next for you?

I’m currently a writer and associate producer on the UK remake of the French Netflix show Call My Agent! and have a few other projects in development. And hopefully there’s more Beep to come!

Beep was produced in partnership with Screen Scotland, find out more on their website

Find out more about Bryce Hart

The Writers

This is not a scheme for untested writers OR overly experienced writers with significant television comedy credits. This is an opportunity for writers in the early stages of their career and is set up to allow them the space, time and financial support to produce their best work to date. The shortlisted writers have at least one professional credit to their name and have already demonstrated talent and passion in their previous comedy work, and are ready to make the next step. They have all written for theatre, television, radio or film.

Final Outcome

We hope that each writer will deliver a compelling script for the Network Comedy Commissioning team to consider and hope that the four projects demonstrate enough potential that one or two can move to the next stage of development post script delivery. Long term, our programme will hopefully be a catalyst for our selected writers and Indies to have a continued productive working relationship.

"Nurturing new talent is absolutely central to everything we do in BBC Comedy so we couldn’t be happier to announce this joint initiative with BBC Writersroom. Script development is the engine room of comedy and it’s crucial that writers are given the license to find their voices and hone their craft in a supportive environment, which our excellent producing partners will provide. Scripted comedy in Scotland is at an all time high but we’re always looking for the next great idea and can’t wait to see what the selected writers come up with."

Gregor Sharp, Commissioning Editor for BBC Comedy

The Writers and Production Companies

HAPPY TRAMP NORTH & BRYCE HART

"Happy Tramp North is delighted to have been asked by the BBC Writersroom to participate in the inaugural Scottish Comedy Writers’ Programme. The standard of the shortlisted writers in the project was exceptionally high, and we couldn’t be happier that we’ve been paired with Bryce Hart. In a strong field, Bryce’s writing stood out for us."

Neil Webster from Happy Tramp North

"Since being a part of the 2016 Comedy Room scheme, BBC Writersroom has been a huge champion of my writing and their support has continually allowed me to take the next step in my career. I am thrilled to be taking the next step with Happy Tramp North. I am a huge fan of their work and believe together we can come up with something special – and hopefully funny."

Bryce Hart – Writer

BBC STUDIOS COMEDY & LORNA MARTIN

"We’re delighted to be part of a programme for developing and supporting new comedy writing talent. Without this talent, the industry would soon fall apart, and support like this feels significant. In particular, we’re delighted to be working with Lorna Martin who writes brilliant characters, straight from the heart, and has a great knack for capturing the chaos and comedy of our everyday lives."

Owen Bell from BBC Studios Comedy

"I've received fantastic support from BBC Writersroom over the past few years and I'm delighted to be selected for this programme and excited to be working with everyone at BBC Studios Comedy."

Lorna Martin – Writer

KEIRON NICHOLSON & YOUNG FILMS

"It’s very exciting to be a part of the BBC Writersroom Comedy Writers' Programme as the quality of the participants has been very high. I’m always interested in working with new Scottish Talent and so I’m thrilled to be working with Kieron Nicholson as we go to the next stage. His spec script really made me laugh and I’m looking forward to developing it further."

Chris Young – Young Films

"I’ve always loved comedy, and getting to be a part of the first-ever Comedy Writers’ Programme is just a dream come true for me. The chance for new writers to write an original TV pilot script doesn’t come along very often. I couldn’t be happier to be working with Chris Young and Young Films, who have been producing award-winning comedy and drama for over 30 years."

Keiron Nicholson – Writer

SUSAN RIDDELL & THE COMEDY UNIT

"The Comedy Writers Programme represents a tremendous opportunity to develop new comedy for BBC network. Scotland is home to a host of established, new and up and coming comedy writers bursting with great potential.The Comedy Unit is really delighted to get to team up with Susan Riddell as part of the scheme. Susan is a superb stand up and writer and we’re really looking forward to developing a new script with her as part of the scheme."

Rab Christie – The Comedy Unit

"I'm delighted to be selected for this new Comedy Programme and very excited to work with The Comedy Unit. I grew up watching Chewing the Fat, Burnistoun and Still Game so this is an amazing opportunity to be part of."

Susan Riddell – Writer