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SITUATIONAL COMEDIES

WHAT IT TAKES TO WRITE COMEDY

“Does it have to be funny?” While the answer may seem rather obvious, this is a question I am asked repeatedly. Each time, I am a little taken back. The word “sitcom” is actually a hybrid of two words: situational comedy. What this means at a core level is that sitcoms are about funny people in humorous situations. So yes, sitcoms must be funny — hilarious actually — and the people who write them must be amazingly quick-tongued and witty.

While I can teach you how to find stories, format a script, and set up and pay-off jokes, I cannot, unfortunately, teach you a sense of humor. You are either born with one or you are not.

Think about the people in your life. Now, break them into two groups — those that are funny and those that are not. See how easy that was?

Now, it’s your turn. Let’s do a little soul searching…and let’s be painfully honest. The truth is, deep down, you know if you’re funny. You know because people tell you and they’ve probably been telling you all of your life. You know because they laugh at your jokes and they look forward to your stories. You know because you are the life of any party. In high school you were probably one of two people: class clown or smart aleck. (Either, by the way, is a perfect fit for a career in comedy writing.) You can find humor in nearly everything, unlike the more serious-minded people in your life who think topics like politics and religion must be avoided at all costs. Most likely the term “politically correct” is not part of your daily vocabulary, and this is a good thing.

In addition to being funny, there are other traits you must possess in order to succeed in the comedy world. First, you must be bold and daring. The comedy business is not for the shy or bashful. When writing jokes, you have to be willing to take chances. Once you get a staff writing job, part of what you will be paid for is to rewrite scripts. This is a group process. All of the staff writers lock themselves in the writing room and go through a script, line by line, punching it up. You will have to holler out jokes on the spot. Not to mention that often, in the middle of a taping, an executive producer will gather the writing staff around to come up with funnier jokes while the actors and audience wait. This can be nerve wracking to say the least. But again, it is part of what you are being paid the big bucks for. If you sit around like a shrinking violet without participating, I promise you won’t last long. You have to understand and be okay with the fact that many of your jokes will bomb and never see the light of day, while a few will get a huge laugh and be put into the script. If you are at all shy, you need to get over it quickly. A good way to do this is to take classes in acting or better yet, join an improv group. Anything to get you comfortable with thinking on your feet and sharing your ideas with others. In comedy — good, bad, or ugly — you have to be willing to put it out there.

You should know, too, that the writer’s room can be raunchy. When you get a bunch of comedy writers locked into a small space, you can’t expect the jokes to be clean and politically correct. Some people are offended by these kinds of jokes. That’s okay, but if you are one of them, then comedy writing probably isn’t for you. If you are going to sit there like somebody’s mother, with a disapproving scowl on your face every time someone makes a joke that you feel is inappropriate, you will be scowling all day and half of the night. This will only serve to make everyone around you uncomfortable. Soon, they will label you as someone who isn’t much fun, and you will be gone.

You must also be a team player. Comedy writing is an extremely collaborative process; drama writing tends to be a little less so. Thus, you have to be willing to let go of some of your jokes — even the ones you thought were absolutely brilliant — if the writing staff deems them not funny. It’s not about your ego, but rather about what’s best for the script.

Another important quality you must have as a comedy writer is unlimited patience. Writing scripts that are funny from beginning to end takes an enormous amount of time and brainpower. I have seen skilled writers work from early evening until sun-up, punching up the jokes in a script. One of the notes I see on scripts (and actually write on scripts I am critiquing) is “funnier line,” which translates to “write a better joke.” Easier said than done. Nonetheless, a big part of writing is rewriting…and as a comedy writer, you have to push yourself — and I mean really push — in order to find the best possible jokes.

CHECKLIST FOR FUNNY

If you answered “yes” to the above questions, then comedy writing is probably a good fit for you. If you answered “no” to some or to most of the questions, then I would caution you that you might have a difficult time writing comedy. It might be wiser for you to try your hand at a different kind of TV writing.

HOW SITCOM WRITING STAFFS WORK

Before you jump in headfirst and start writing your spec script, it is important to understand how the sitcom business works. After all, if your professional goal was to be an airplane pilot, you wouldn’t just hop into the cockpit, take off, and hope for the best, would you? My guess is first you’d learn all you could about aviation — you’d study important details like the science of how airplanes work, how they fly, how they land, weather patterns, etc. Likewise, it is crucial to understand how the sitcom business operates before you randomly take off.

THE MAKE-UP OF A SITCOM STAFF

All sitcoms have writing staffs. Unlike freelance writers who may only write one episode — and this is usually done out of their home — staff writers are under contract by a studio and/or production company to write and rewrite the show each week. Staff writers have agents who have negotiated a “deal” on their behalf, meaning they have a detailed, written contract that includes a salary, office space, benefits, and whatever other perks an agent can negotiate. Good agents will also negotiate a certain number of scripts for the writer to write. This is important, as each script that a writer receives a “Written by” credit on means that writer is given extra pay. This can add up to significant amounts. As I mentioned earlier, currently, the Writers Guild of America’s minimum for a half hour of network television is close to 25 grand. This doesn’t include residuals which, over time, can be staggering, if the show goes into syndication.

When you look at the credits on a sitcom (or a drama), you will probably notice a lot of producer titles. What you may not realize is that most producers are actually writers. A producing title means the writer gets more money, has more power, and usually more responsibility. On any given sitcom, you may find the following writer/producer titles, listed in order of rank:

The writing positions above the line carry the most power. Notice the top dog is the executive producer, also known as the “showrunner.” Most, though not all executive producers are writers. Think of the executive producer as the big boss. He or she is ultimately responsible for all aspects of the show: overseeing the writing, dealing with network and studio executives, casting, keeping the show on budget, approving the final cut of each episode, and everything in-between. The executive producer can hire you or fire you, and make or break your career. Therefore, it is always a good idea to stay in the executive producer’s good graces.

On a typical writing staff, some of the positions are filled by single writers, some by writing teams. (See Chapter 28.) The number of staff writers and their positions is determined by the show’s budget and the writer/producer’s previous experience.

In addition to these creative positions, there is also a line producer and an associate producer. These producers are not part of the writing staff. They take care of the more technical side, handling the day-today budget, making sure sets are built, hiring caterers, and overseeing post-production.

As you can see, the lower positions on a writing staff are the story editor and baby writer. Story editors were once considered entry-level positions. It was possible to go from a freelance writer directly to a story editor position. Today, that is much harder to do. The bottom rung of the ladder for new writers is a baby writer or writer position. What’s the difference between the two positions? It really comes down to money.

In addition to a hefty weekly salary, story editors (along with the rest of the writing staff) get paid for episodes they write. Baby writers receive only a weekly salary — and with the exception of residuals, which come later — that’s it. The weekly salary is more than decent: somewhere around $4000 per week. You may think that, with the job of your dreams and that kind of cash, who cares if you don’t get paid for scripts? The answer is you will. After the novelty of going to a studio every day and writing comedy wears off, you will look around and realize that every other writer who writes scripts gets paid for them in addition to receiving a weekly salary and you just get a weekly salary. For most writers, the baby-writer gig only lasts for one season, and then they are bumped up to story editor. Keep in mind that being a baby writer is an entry-level position that will get your foot in the door, give you practical experience, valid writing credits, and a string of new contacts. While you are paying your dues, you will be paid a good salary to learn what can only be taught in the field, and by doing it every day.

MULTI-CAMERA COMEDIES VS. SINGLE-CAMERA COMEDIES

Just as you might guess, multi-camera sitcoms are shot with multiple cameras — usually three to five — allowing the director to get multiple angles at the same time. Multi-cam shows also allow for instant cuts between cameras, making the show feel much more fluid. Each scene is shot from start to finish without stopping (barring mistakes) and once the entire episode is finished, the show is edited, using the best shots and takes. Multi-cam shows are generally shot in soundstages before live audiences, and yes, they usually include the canned laugh track. The story in a multi-cam comedy normally takes place on a few regular standing sets, with one or two sets added in any given week, depending on the needs of the particular episode. While the traditional, multi-cam sitcom has been around since the days of I Love Lucy, a few years back, many industry insiders pronounced the multi-cam comedy dead.

The reason for this was a resurgence in single-camera comedies that became extremely appealing to both audiences and writers. Single-cam comedies have been around since the 1950s. But the 1970s, 1980s and 1990s were dominated by the multi-cam comedy with hits like All in the Family, The Cosby Show, and Friends. The single-cam comedy made a comeback at the turn of the century and became downright hot with shows like Scrubs, The Office, and Curb Your Enthusiasm — to name just a few.

While you might guess that the single-cam comedy is shot with one camera — and that would be a good guess — you would actually be wrong. The term “single camera” refers to a production technique; the way in which these types of shows are shot. Single-cam comedies are shot using the same method that is used when shooting TV dramas and feature films. Instead of shooting a scene from start to finish, they shoot one angle at a time. So an actor may deliver a line and they get a close-up of him as he says that line. Then, the director might stop, move the camera and have the actor repeat the line, this time getting that same line from a different angle. Still, don’t be surprised if you walk onto the set of a single-cam comedy and see an additional camera. This camera may be positioned to take a wide shot as the entire scene is played out, or to pick up something extra that the director wants or needs. But don’t think an additional camera automatically means that it’s a multi-cam show. Again, it’s all about the technique being used to shoot the show.

Single-camera comedies like It’s Always Sunny in Philadelphia and Modern Family offer a lot more freedom and creative opportunities for writers because they aren’t limited to just a few sets. While single-camera comedies do have some standing sets, they also allow writers the flexibility to write scenes that take place outside of these sets, on location. This tends to give the show a much more open feel, which audiences seem to appreciate. Single-cam comedies are usually not shot in front of an audience and don’t usually contain a laugh track. Single-cam comedies also have more scenes than multi-cam comedies — and the scenes are shorter, making it feel like the story is moving at a faster, more exciting pace.

It is not surprising to me that the single-cam comedy made its comeback just as reality television was getting hot. Reality television has, in its own way, I believe spoiled viewers. While we had been used to watching television that takes place on a few sets, shows like Survivor and The Amazing Race have taken us literally around the world. From our living rooms, we travel to exotic places filled with action and excitement. We have been visually spoiled. Therefore, a TV show that takes place in a character’s living room, kitchen, basement, and bedroom can seem awfully dull. Without even realizing it, we feel boxed in.

Still, after all this, it turns out that the death of the multi-cam comedy was greatly exaggerated. In recent years, it’s made a comeback that many industry insiders didn’t expect. Why? One word: money. Single camera comedies are much more expensive to produce than multi-cam comedies. There’s location costs, permits, and much more demand on production crews who put in longer hours and therefore garner much larger paychecks. Thus, networks and studios look carefully at what a show is at its core concept before deciding whether to make it multi-cam or single-cam. I have heard of more than one producer who has sold a single-cam pilot only to be told by the studio and network to retool it as a multi-cam comedy. Occasionally, this is done in mid-stream while a show is on the air. Case in point: NBC’s Up All Night, starring Christina Applegate went on the air as a single-camera comedy, and finished its run as a multi-camera comedy.

From a writing standpoint, another big difference between the multi-cam comedy and the single-cam comedy is that the scripts look totally different. I kid you not. Even though they are both (with few exceptions) considered half-hour shows, the scripts are formatted completely differently. They even contain a different number of pages. We’ll get to all of that shortly.

Meanwhile, keep in mind that some producers have found a compromise between multi-cam comedies and single-cam comedies. They have created a hybrid that takes the best of what each has to offer. How I Met Your Mother is a perfect example of a show where producers have meshed single-cam and multi-cam, and they have done so with great success.

A WEEK IN THE LIFE OF A SITCOM STAFF WRITER

Most multi-cam shows tend to operate on a five-day schedule. While writing staffs usually work Monday through Friday (writers may be called in to work an occasional weekend, but this is extremely rare), this does not mean the shooting schedule operates on a Monday-through-Friday schedule. While actual production days vary from show to show, the following is an example of a typical shooting schedule for a multi-cam sitcom.

Day One (Friday)

The first day of production is a “table reading.” The writers, producers, studio executives, network executives, cast, and director literally gather in a room around a large table. The atmosphere is relaxed, and table readings are usually catered. As everyone sips on coffee and munches bagels, the cast reads the script straight through from the “Fade In” on page one to the “Fade Out” on the final page. This is a very important day as it is the first time the writers and producers are hearing the script read out loud by professional actors. It is easy to ascertain what jokes work and what jokes fall flat and need to be rewritten.

While the script is being read, the writing staff (along with the director and executives) will scribble notes on their scripts. Once the reading is finished, the actors will either go to the stage and start to bring the script to life or they may go home for the rest of the day and wait for the writers to deliver a new draft. Once the actors have left the room, the writers, producers, executives, and director huddle together for a “notes session.” They go through the script page-by-page and discuss what worked as well as what needs to be changed. The studio and network executives have the most power, since, as I mentioned earlier, they own the product. If they insist something be changed, odds are it will be, even if the writing staff disagrees. Likewise, when the executive producer calls for changes, these are also likely to be incorporated. After the notes session, the executives and director leave. It is time for the writing staff to go to work.

Depending on the number of changes (which can be significant on Day One), the writing staff goes back to the writing room and collectively rewrites the script. This can take hours if something just isn’t working or they need to come up with some different jokes. Once the script has been rewritten, it is turned over to the script assistants, who make the changes in the computer, proof it, and send the new copy to all concerned, including the cast.

Day Two (Monday)

The cast and director will take the new version of the script and spend the day rehearsing on the stage. Meanwhile, the writing staff is back in the writing offices, doing any number of things. First and foremost, the staff will be feverishly working on getting next week’s script ready for the next table reading. Here and there, a writer might be writing the first draft of a future episode that he or she has been assigned. In between, the staff may take pitches from freelance writers who have story ideas they are trying to sell to the show.

Later in the afternoon, the staff will venture down to the stage for a “run through.” A run through is just like it sounds: the cast runs through the script from cover to cover. At this point, they probably have not memorized their lines and are still reading from their scripts. But, the show is slowly beginning to take shape, as the director has some of the blocking down. During the run through, the writers and producers sit in chairs at the edge of each set. Every time one scene ends, they literally pick up their chairs and move to the next set, as dictated by the script.

After the run through is over, the actors go home for the day. The director, writers and producers, however, go into yet another notes session. Just as they did after the table reading, they discuss what worked, what didn’t, and what needs to be changed. When the notes session ends, the writing staff once again retreats to the writing room. If the changes are fairly minor, the staff will make them and then go home. If, however, the changes are considerable, they may order dinner and hunker down to start the revision process.

Some shows are in sync: the writers work well together and can make changes quickly. Other writing staffs have been known to work ‘til the wee hours of the morning. This usually happens on newer shows or shows that are in trouble, rating wise. In both cases, the writing staff is usually struggling to find the show’s characters and/or direction.

Day Three (Tuesday)

The third day tends to be a repeat of Day Two, the only difference is that the show is really starting to take shape. Actors are now probably working without scripts. (If they forget a line, the script supervisor is following along and quickly gets them back on track.) Also, because tape day is looming on the horizon, the number of changes will usually start to drop off. By now the producers and writing staff are pretty much set on the direction of the script. They had better be, as actors are only human and thus not usually capable of memorizing an entire new script in one or two days.

Day Four (Wednesday)

This is known as rehearsal day. It is huge. The writing staff continues about its normal business of preparing the next script, taking pitches, etc. But then, something a little different happens.

When it comes time for the run through, the producers and writers go down to the stage. But today, unlike other days, they do not sit at the edge of each set. Instead they sit in the seats reserved for a studio audience. Network and studio executives are also in attendance. As the cast runs through the script from beginning to end, the show is actually taped. It is a practice run. While the writers and executives can easily see the action on the stage, they also keep a careful eye on the television monitors that are in front of them. This is crucial, because what they see on those monitors is exactly what the director intends to put on tape for good the following day. This is the last chance to discuss any changes in dialogue, wardrobe, shot composition, or anything else pertinent to the show.

After the rehearsal, there is a final notes session. Everyone must voice any objections now or live with the show as is. For example, let’s say you are a staff writer, working on a show with a teenage girl, and the current episode is about the girl going to her prom. But when the girl came onto stage during the rehearsal, she was wearing a god-awful, bubble-gum pink Little Bo Peep-type dress, rather than the short little black number you had envisioned. Now is the time to bring that up. If the executive producer agrees with you, he or she will call the wardrobe person over to discuss a costume change. In the unlikely event that the wardrobe person doesn’t have a little black dress in house, she will go shopping that night. The following morning, the producers will have several little black dresses to choose from.

After the meeting, the writing staff may in fact make more changes to the script. But with tape day less than 24 hours away, the changes are usually extremely minor, meaning a little tweak here and there.

Day Five (Thursday)

This is tape day and, without question, it is the most exciting day in the week. Multi-cam shows will almost always utilize a live studio audience. Live audiences are important for any number of reasons. First and foremost, they add real laughter to the production. Second, live audiences can boost an actor’s performance. If you have ever been to a comedy club and witnessed a comedian tell one bad joke after another, you can feel the energy drain from the room — and also from the comedian. Likewise, if a comedian is on top of the material, audience laughter boosts the energy even higher. The same is true in sitcoms. When the actors hear the laughter and sense the audience likes what it sees, the performances will usually be heightened.

The studio audience will primarily be made up of out-of-towners — people who have come to California to get a firsthand look at Hollywood. (For people who live in Los Angeles, stars and tapings quickly become old hat.) Out-of-towners make great audiences, as TV tapings aren’t commonplace on the farm in Iowa or in the mountains of New Hampshire. Therefore, they are seeing something new and they are usually quite jazzed about it.

Multi-cam shows shoot in two different ways, depending on the show:

1. They bring in one audience and tape each scene repeatedly until the director has on tape what he or she needs. This means an audience will hear the same lines and the same jokes over and over again. Once a scene is finished, they move on and tape the next scene until they have it right.

2. They tape a show using two separate audiences. The first audience comes in and the show is run from beginning to end. If the actors make mistakes or forget lines, they may redo just that portion of the scene. Once the show has finished taping, there is a break, usually for dinner. The cast and crew eat and relax while a fresh audience is brought in. Then, the show is taped again and the two versions are edited together.

While neither way of taping is right or wrong, I prefer the second way. In my opinion, a fresh audience — though more expensive — helps keep the cast energized. It also allows writers and producers the luxury of making little tweaks, if needed, after the first show. However, particularly for shows that use minors, taping the show once can be a more practical way to go because of child labor laws.

That said, I think utilizing only one audience can be difficult if things don’t go smoothly on stage. An audience will have to keep sitting through — and laughing at — the same jokes. If a joke wasn’t particularly funny the first time around, it will be less funny the fourteenth time around. Thus the laughter will start to feel forced, which can directly affect an actor’s performance. Also, when there is just one audience, the taping will usually run longer. I have gone to sitcom tapings that have started at 5 p.m. By 7 p.m., I am thinking about dinner. By 10 p.m., I am downright irritated — I just want out. If a taping goes too long, the audience will start to piddle out, which again is not good for the actors or for the show. Recognizing this, some shows actually order pizza and soft drinks for the audience and serve it between scenes.

Single-camera shows operate under a completely different time schedule. Like multi-cam shows, they have a table read and based on that, changes get made to the script. From there, they immediately start shooting, and changes get made on the set. Because there are more locations than in a multi-cam script, the shooting schedule is much more gruelling. For example, if a scene takes place at a gas station in Beverly Hills, the actors and crew go to the location and shoot. They have to get what they need that day. It’s too expensive to come back every few days to add a new line or joke. Not to mention, they don’t have the time, as they have to move on to the next location and shoot the next scene. Therefore, with some writers and producers on location, lines get changed and rewritten on the spot. Of course, the rest of the writing staff is back in the room, working on future episodes.

HOW A FREELANCE WRITER FITS IN

Unfortunately, a freelance writer is not usually invited to the table reading or to any of the run throughs or rehearsals. Once you turn in your script, the staff writers take over and handle the revisions. While this may not seem fair, it is actually for your protection. Since you are not technically on the show’s payroll, asking you to come in every day would be asking you to work for free. Look at it this way: you are worth more than free, aren’t you?

If you have written an episode for a single-cam show, hopefully they will invite you to watch some of the shooting. For a multi-cam show, there’s more fanfare. On tape day, freelance writers are generally given an invitation (which usually includes a guest) to come and watch the taping of the show they have written. Prepare yourself. This can be a rather nail-biting experience. How much has the script been rewritten since you turned it in? Have your favorite jokes survived all of the rewrites? Has the writing staff added things that deep down you really don’t like? At this point there is little you can do about it. What’s in the script is in the script and that’s what they are going to shoot. You just have to trust that it’s going to be good. And usually it is.

Once you arrive at the stage, you will feel very important — and deservedly so. An usher will take you to an assigned seat in the audience. Before the show begins and during breaks in the taping, you will be entertained by a “warm-up” person. This person’s job is actually just as it sounds — to get the audience warmed up, ready to laugh, and in good spirits for the taping. The warm-up person will usually be high energy and tell lots of jokes. He or she will also explain what is going on as well as answer questions from the audience. Questions can range from “what’s the difference between a producer and a director?” to “who is the star currently dating?”

At some point during the taping, there will be a break in the action — perhaps it is a set change or even a costume change. At this point, the warm-up person who is told in advance where you are sitting, will walk over to you, pull you onto your feet, and introduce you to the audience as the person who wrote the episode. The audience will applaud. You will smile and wave. This is a big and thrilling night for you. They are shooting your episode.