Our development priorities are updated for every commissioning round (last updated July 2010). We also include information on the commissioning team and process.

Daytime now commissions all video content on all platforms including bbc.co.uk, mobiles and interactive 'red button' services as well as for television.

Background

Ambition and originality are key to Daytime. We are looking for bold, clear concepts which capture a mass audience.

Ideas need to have breadth. They must play equally well with a retired postman and a stay-at-home mum. We have a 40% male audience so ideas that alienate men are unlikely to be commissioned.

Ideas should have returnable potential. Can you imagine yours sustaining 25 episodes a year or even become hit brands like Bargain Hunt, Escape to the Country or Homes under the Hammer?

On-screen talent is key to a daytime show. We're keen to hear about the new generation of experts. The faces of daytime are all respected for their knowledge, charm and enthusiasm. We don't have to have established names but new faces need to be the sorts of people the audience would share a cup of tea with!

Development Priorities July – October 2010

Full details of our specific Development Priorities are available here.

• Factual & Current Affairs for 0915
• Factual Entertainment for 1000
• Consumer Affairs for 1100

• Entertainment for 1630
• Factual Entertainment for 1715
• Events for 1830

What's been working well?

BBC ONE Daytime is keen for companion shows that combine Factual and Drama formats to link up the daytime schedule. A recent example of the success of this was the pairing of The Week We Went To War and Land Girls.

BBC One Daytime marked the 70th anniversary of the outbreak of the Second World War with a week long series The Week We Went To War, presented by Katherine Jenkins. The show featured the stories of both celebrities and everyday people who lived through the war, from families who took in evacuees, to ordinary people who went into bombed buildings at risk of their own lives to save those trapped inside. Each day Katherine was joined in the studio by Michael Aspel talking about his wartime memories and Tim Wonnacott looking at the everyday wartime items which have become today's collectables.

Daytime continued its commitment to drama with the warm and vibrant period drama Land Girls. The series was stripped across a week as a one-off special event and played at 5.15 to allow it to be seen by as wide a daytime audience as possible. The show paid tribute, not only to the many lives that were lost in the Second World War, but also to the land girls who played such an important role on the Home Front. The show secured a talented cast led by Nathaniel Parker.

Daytime is committed to finding new entertainment formats for the afternoons. Pointless is a new quiz in which obscure knowledge is the key to success. The show, presented by comedian Alexander Armstrong, involves five pairs of contestants competing for a cash prize by winning the fewest points. Every question on Pointless is asked to 100 people before the show. Each day Alexander is joined in the studio by Richard Osman, the Pointless keeper of facts and figures, who reveals the most popular, least popular and most bizarre answers given by the 100 people before the show. Pointless is an innovative twist on the traditional quiz and an entertaining, irreverent addition to the Daytime portfolio.

1100 on BBC One has traditionally been the home of property but we are interested in extending the brief to include current affairs and consumer affairs ideas. Recent successes in this area are Cowboy Trap and Real Rescues.

In Cowboy Trap, homes expert Clive Holland visits people across the country whose lives have been disrupted due to the chaos caused by 'cowboy' workmen. Clive assesses the damage from building work - or lack of it - and calls the builders, plumbers, electricians, roofers or joiners to account for their shoddy workmanship. In each case the problems are fixed by the programme's team of skilled workmen.

The show feels really relevant to viewers as in the current market fewer people are moving house and more are turning to builders to improve their homes. This series exposes the cowboys and shows viewers how they can avoid becoming victims themselves.

In Real Rescues, Nick Knowles and Louise Minchin present dramatic events from the day-to-day work of the emergency services, going behind the scenes at one of Britain's biggest police control centres. From hearing a 999 call made by a three year old which saves his mother's life to a car wedged between trees with the driver trapped inside, viewers are compelled to watch the emergency services in action, wanting to know the outcome of each rescue.

The Audience

There is no generic daytime audience. It is very diverse - from the retired, to home workers, shift workers, housewives and students.

Overall there is a female bias to the BBC Daytime audience but 40% of the audience is male so ideas must take their needs and interests into account.

The BBC attracts an older audience in Daytime but this does not mean they should be underestimated. The success and appreciation of new genres introduced over the last few years on BBC ONE suggest an audience appetite for more challenging programmes.

The Daytime landscape has changed dramatically over the last few years. The audience now want high quality programmes during the day - an expectation driven by increased choice, the ability to time-shift and the availability of peak-time repeats on digital channels.

Tariffs

Please read the full details regarding entertainment genre tariffs for independents

Your Feedback

Your feedback about these development priorities is welcome here

• As from April 2007, all proposals must now be submitted via our e-Commissioning system.
• This enables both in-house and independent producers to track their submissions online.
• Proposals will no longer be accepted via email.

Roles

• Daytime commissioning covers daytime drama, entertainment and factual entertainment.
• The Controller of Daytime oversees all daytime output and commissioning, whether supplied in-house or by independent suppliers.
• Details of the daytime commissioning and business team are shown.

Timeline

• All proposals are registered on a confidential database and independent suppliers receive an acknowledgment of their proposal within seven working days of receipt.

• An editorial response follows no later than six weeks after that.

Queries

• At any point during this period, an external supplier may write to the Controller of Daytime asking for a progress report and be guaranteed a response within 10 working days of receipt.

Page last updated 19 July 2010