ABSTRACT
Those who aspire to work in television tend to be driven by something more than a search for employment. Many are drawn to the medium because they see it as a challenge and a form of self-expression. They would like to create material of their own devising and under their own control: produce works that express their creativity, argue for a cause they care about, or achieve an aesthetic effect. But a glance at the realities of the television world shows that the bulk of the output is driven by other priorities. Those in charge of scheduling and commissioning must balance their appreciation of creative programming with a concern for audience appeal and, often, the need to attract advertisers. Processes are increasingly formalised and commissioners are understandably cautious, preferring to rely on producers and companies with a proven track record. Creativity must find uneasy bedfellows in accounting, law and business practices. To get a programme commissioned you must demonstrate not only that the idea you have is an attractive and viable one, but that it fits with the channel’s requirements and that you are competent to produce it. This is why many television courses now include units on business practices and the paraphernalia of running a company (see Kate Beal p. 32). Effective budgeting and working to deadlines are necessary components of the practice of programme-making.
