Following Wednesday’s annual public meeting, CBC Live hosted a panel about how to pitch unscripted content to the public broadcaster. Featuring executive director, radio and audio, Chris Boyce, Sandra Kleinfeld, director of development, studio and unscripted content, Mr. D writer-actor-producer Gerry Dee,  and CBC Radio’s How to Do It hosts Sarah Treleaven and Josh Bloch

To augment the unscripted pitch guide, Playback asked Sally Catto, executive director of commissioned and scripted programming, for advice on pitching for scripted primetime.

PB: How much of the scripted programming on the CBC is from independent producers?

100% of our scripted programming is from independent producers. We don’t produce in-house on the scripted side.

One of the main points discussed during the panel was that “it takes more than just a good idea.” So when you’re looking at scripted, what else contributes to a standout pitch?

It’s different every time. What we look for in a scripted comedy will be different than a scripted drama. For example, in an ongoing drama series, it’s important to see the sustainability of the idea. Is there a blueprint there for a series that will hopefully go on for more than one season? Are the characters distinct? Are their relationships engaging? Is the subject matter going to draw the audience in? But really, it comes down to the writing – after the pitch – it’s all about the execution. That’s the most exciting part – hearing an idea that is intriguing but then seeing in a written pitch or script that idea come to life in a way we could not have imagined. I think also, as the public broadcaster, we are looking for material that you won’t find on the privates – stories that will speak to Canadians and offer something different than what you’ll see on other networks.

How do responses to pitches work on the scripted side?

We receive a high volume of pitches – between comedy and drama it can be as high as 1000 a year. This means we can’t always provide detailed feedback as to why we’re passing but we always provide an explanation. We have such a great team and I find them exceptional at giving feedback and guidance in terms of what might work better for us. Sometimes though, we pass on a project simply because we have something similar in development – not because the pitch is problematic.

Of the pitches you receive, what percentage usually go into development, and how many are then greenlit to pilot?

I think there’s a range at any given time – 5 to 10% are developed. It’s hard to determine what percentage are greenlit as it can change from year to year. We factor in existing shows that are renewed. If we have a number of shows being renewed, the greenlight percentage is smaller. We aren’t currently piloting in scripted – if we order, it will likely be straight to series.

Is there a pitch that has led to a successful show that stands out to you as memorable? 

I will always remember the pitch for Being Erica with Jana Sinyor and her producers (Temple Street). Jana was so clear as to Erica’s character – where she was at in her life – that time when you are at a crossroads feeling the sense of time passing and wanting your life to come together in a way that it hasn’t. The idea of going back in time, to reliving moments in the past was unique and exciting to us. And Jana’s honest, funny and equally weighty voice brought the pitch to life. I am still approached regularly by people who tell me how much they love the show. Definitely a success on all fronts.

RELATED: How to pitch to the CBC: part one