SitcomWriter
Los Angeles, CA
Female, 33
For over ten years, I’ve had the extreme pleasure of being staffed on several half-hour network sitcoms, rising in the ranks from Staff Writer to Co-Executive producer. My writing partner and I are now developing our own material.
Yes. There are absolutely people who give good notes. I will also say even the people that don't "get it" and give bad notes are worth listening to. No pilot is perfect and a good writer should always look for ways to make it better. But yes...a lot of the notes we get are dumb.
I'd want to work on a show that's on for ten years. That's Emmy-winning. That doesn't know the meaning of the words "Too broad." That's hours are 11-5. And that films at a studio a block from my house.
I went to film school. I took one basic writing class. It was a waste of time. You can learn structure from a book. You learn how to be a better writer by writing. You learn how to be useful in a writers' room by being in writers' rooms. You can't be taught a sense of humor. There were benefits to going to film school. I met my writing partner there. I joined a sketch comedy group which was great practice for professional writers' rooms. Moving to Los Angeles was less scary since there were so many classmates who had or who were also making the journey.
It's here to stay. And is that such a horrible thing? When it's done right it's pretty dang good. And when it's done poorly you can change the channel. The honest truth is at least on my staff - we all talk about Top Chef or Real Housewives of Beverly Hills almost as much as we talk about Game of Thrones or Downton Abbey
Pharmaceutical Researcher
Is there or isn't there a cure for AIDS?Audiologist
Can just one loud concert do serious damage to your ears?Claims Adjuster
Will you get disciplined if you approve too many claims?On a network sitcom that goes a full season a first-time writer probably makes about $150K. It is not crazy for a high-level writer to make over a million a year.
I think that there are two reasons you watch scripted TV. You either want to turn your brain on and be engaged. Or you want to turn your brain off and be relaxed. (Now a show like honey boo boo....I have no theory on) I don't think the public is stupid. I think that after a hard days work you put on something like Two and a Half Men because it's easy. You don't have to think. You can just enjoy and shut your mind off. Can't blame them for that. It's why the Food Network is on my TV like 22 hours a day. And I personally don't think Audiences are becoming smarter. I think they've always been smart. They just have more options now a days (thank you cable!). Twin Peeks, Northern Exposure, Buffy... all had hard core fans. And those fans have just moved on to Homeland, Community and Downton Abbey etc. But you didn't ask me what I think. You asked what the execs think. I don't know. But I do know that in development the simplest ideas are always the ones they want to buy (I can't tell you how many times an idea is bought because the title is funny). They are also aware that the critically acclaimed shows don't get nearly the ratings of the "easy" shows. (Modern Family the exception).
I don't let people pitch me ideas. There are a limited number of ideas in this world (relationship, workplace, crazy family etc.). The odds that I (or someone else) pitch/produce something that is similar to your idea are high. I don't want anyone thinking I "stole" their idea. Having said that, most ideas could be tv shows. Well written, good characters, funny. That's what makes a great show. Not some amazing premise. Think of Everybody Loves Raymond. What was the premise? A man stuck between his wife and his mother? Not original. But well done.
This is a hard one. Maybe I've been doing this too long, but everything feels done. Some do it better than others (30 Rock comes to mind), but no one is breaking any new ground.
Whoops. Sorry for the delay. When a pilot gets picked up nine times out of ten it is only given 13 episodes. If it does really well it gets the "back nine" for a full season. If it does badly it's canceled even before those episodes are shot. So new shows rarely think past those first 13. Also each show and show runner is different. I've been on shows where each episode is a crapshoot. And I've been on others where the first thing we do is figure out what major thing will happen to each character and decided a time line to introduce that major thing and when we will pay it off. I have never been on a show that's thought past the season it was working on more than a wistful "Maybe in season six X and Y will start dating..."
The laugh track question I can't answer. As to the second question: 1. They are well written. A well written show is timeless 2. They have amazing actors creating unforgettable characters. 3. They are simple premises and simple ideas so no matter what the year it is gettable and relatable and you can watch one episode and know everything you need to know about the show - which makes it all the more sad how today the development process is all about "Big ideas!" "big worlds!" (I'm not bitter...I swear.....okay....maybe a little)
Not including things like draft writing and story breaking I would look for decent human beings. You're going to be with these people for a long time so they have to be nice. I'd want people who are funny to talk to. People I would want to be friends with outside of work. I'd also want people with humility. People who don't think they know everything and are very supportive of others' ideas. I'd want people that don't think too highly of our position on the show. In TV writers are treated like we're the top of the totem pole and a lot of writers feel that they are. I would want to work with people that realize how important everyone on set is. And appreciate how hard they work. I would want people that could pull long hours. I get it if you have to leave early one day for a school play or something like that, but 99% of the time I expect you there into the wee hours of the morning if that's what it takes to get the job done.
I’ve written everything from crappy multi-cameras that didn't make it through the first season, to Emmy award-winning single-cameras that I am proud to have on my resume.
I assume everything is going to fail until it doesn't. Call it a defense mechanism.
Honestly I have no idea. I can't imagine that number is very high. It might creep up toward the 30-40% mark if by "decent living" you mean any money whatsoever. There are so many more outlets now a days. Cable, internet, podcasts etc. But most of those outlets are not going to buy you a house in the hills. Actually some of those outlets aren't going to pay you enough for a studio in the valley. As for what they do when they drop out... I've seen people try to make a go at it as a standup. I've had friends take corporate jobs. I would say the biggest majority go on to get their teaching degrees. I guess it's the same as graduating from college...just a few years later.
The final call is the head of the network. You might write the greatest script ever. Everyone loves it. It's a sure thing! Then the network president sees it and he's not a big fan of that joke on page four. So it's dead. Never to see the light of day. Transversely: If the network president gets a chuckle from men in drag then Work It makes it to the your prime time line up.
If you want to write solo, write dramas or movies. Comedy is a communal effort. Yes, you do get to write alone sometimes, but that just feels like a little break where you get to sleep in and type in your underwear. The majority of your time is being surrounded by very funny people eating snacks.
Stephen Colbert is a genius. Plain and simple. I think most people in my industry with agree.
If you are in a partnership you get paid as if you were one writer. You split the salaries, the script fees, the residuals. I am a co-executive producer (the second most senior position on staff). There have been occasions when I take home less than the story editors (the second lowest position). That is a huge chunk of change people. Why do I do it? I have a built in joke beater. A therapist (I was horrible today - no you were great). A friend on those awkward first days. Pitching is easier/more fun with a partner to share the floor. Showrunning with someone you 100% trust is a freaking blessing. But above all I think she's an amazingly talented writer and I think she feels the same about me. As good as our writing is individually, together we're even better. As for your first question - I've never been on a show with more than one other writing team. There aren't a lot of us. (they don't last long. See: splitting paychecks above). I know some showrunners love having them. My partner and I can each run our own rooms so they really are getting two for the price of one. But I know others don't like having a pair that are more loyal to each other than the show. So I guess I wouldn't team up just to make myself more marketable. Only team up if you truly feel like the other person makes your writing exponentially better (once again see: splitting paychecks above)
When you are a lower level writer it can be a lot about the creative. Your main job is to pitch jokes, maybe some stories and just basically be an asset in the room. You're also not trying to sell scripts, you're trying to sell yourself so you get to write what you want to show who you are as a writer. Once you start moving up the ranks you bet your butt it's about the business. During development it's not what you think is a great idea. It's what you think they think (network and studio execs) is a good idea. The way you keep you soul alive during this process and the countless notes is by telling yourself once I'm allowed to actually write I can make it more "me". It's weird that the more you do this job the less you actually get to write.
In high school, I was talking to a friend who mentioned she wanted to be a doctor more than anything in the world. I assumed she meant anything in the world except a TV writer. Nope. She actually wanted to be a doctor. Up until that moment, I just assumed everyone would write TV if they could, just like everyone would rather be rich or thin. But since this was the real world and I was middle-class and chunky, I would settle for veterinarian. As soon as I realized this passion of mine was unique (ish), I never looked back (though I'm still chunky). There were a lot of shows I loved growing up: The Simpsons, Mystery Science Theater 3000, Strangers with Candy, Mr. Show ... but I think what really helped my sense of humor was watching stand-up comedians with my dad when I was really young. I'd use his stomach as a pillow and I knew something was funny when my head would shake from his laughter.
I can't think of any comedy scripts where this happened. I think CSI is an example of it on the drama side. But, and I cannot over emphasize this... It is EXTREMELY hard to do.
I have my dream job and I still hate it about half the time. The hours suck. Plus it's very hard when you really love a joke or an idea and your boss says “no.”
Sometimes I like to be the bigger person and think why do I get to decide what sitcom is funny/original/worth the ratings? I mean if millions -MILLIONS- of people love Two and a Half Men they can't all be wrong. Then I watch Two and a Half Men - and I'm as stumped as you are. My best guess is that it's easy. You get home from a hard day at the office and sometimes it's nice to not have to think. The characters are basic. You know what they're going to do. The plot lines are easy to follow. You know what's going to happen. And it's chock full of extremely dirty jokes that we're not allowed to do on other shows so it send those "They went there" shivers down your spine. Also there are fart jokes.
I always knew this is what I wanted to do. I assumed it's what everyone wanted to do. And since everyone can't be a sitcom writer they "settle" for being a doctor, lawyer, indian chief whatever. Imagine my surprise when I discovered people actually want to be things like doctors and save lives instead of writing dick jokes. Crazy. How would I reply to being told it was hard to make it as a writer? I guess I'd say I can't imagine doing anything else. This is my dream job. It's worth putting in the effort. Someone has to be the lucky one who gets to do it. Why not me? But I'd also say that I'm not under any illusions of this being a cake walk. I came to Los Angeles knowing that if I didn't find meaningful writing work in five years I'd go back to the East Coast and re-think my career choices. I wanted to be a writer. I didn't want a career as a want-to-be writer.
Short answer -If not most at least a good chunk. If you're starting from scratch it is the easiest (not easy) way to get on a staff. Most of the shows I've been on the most senior writers' assistant gets to write a script. If it's good you might even get moved up to staff writer. At the least you learn the ins and outs of a writers' room. You meet all the writers and if you have any talent we are all dying to help you out. (that is 100% sarcasm free - we know how hard the assistants work and we want them to succeed) I would say the second most common way to get your foot in the door is through one of the fellowships or writing programs some of the networks and studios offer.
This is tough. I think Strangers with Candy, an old Amy Sedaris show on Comedy Central should have gotten the audience of a 2 and 1/2 Men. I think Spaced a British show starring Simon Pegg is close to perfect. Actual American Network Sitcoms? Right now not enough people watch Community (perhaps too insider?). And not enough people watch Cougar Town (perhaps they still think it's a show about an old woman humping young boys?) in my humble opinion.
OMG yes. Hours are long. Deadlines are fast approaching. You're tired. You're stressed. What's the best way to take it out? Argue with someone over which dick joke is funnier. It happens all. the. time.
There is the occasional stand-up on a writing staff, but it's far from the majority. I would say there are a lot more people with improv backgrounds.
It depends on the show and the clout/fame of the actor. Speaking for the shows I've worked on - we want the actors to do the lines as written. If you want to pitch a joke/change a word you can do it for a take - if it's funny we'll use it. But do the lines as written at least once. 99% of actors are not as good at improv as Steve Carrell but a big percent of actors think they are. As for plotlines - if the star of the show is a big name they usually will come in and talk to the writers about where they see their characters going. Everyone else usually finds out what's happening when the scripts come out.
No. You know what's funny? When I started working in sitcoms (about 10 years ago) I was told I just missed the sitcom Boom. The era of Friends and Seinfeld etc. where sitcoms were king, sitcom writers got huge deals and you had your pick of jobs. It's not like that anymore. It hasn't been for a long, long time. But recently I've seen sitcoms getting a little more heat. Modern Family - CBS's whole line up - The New Girl. Sitcoms are getting ratings again. So I would say it's kind of the reverse of the question. I have faith sitcoms are making a resurgence.
Have faith! Of course there can be!
I don't want to name names. But one that comes to mind was a fine actor, great with the dramatics. But was not as funny as the rest of the cast. Unfortunately they saw themselves as the the comedic lead and since they were the big name attached what they saw mattered. I can't tell you how many times scenes would come back with the note "funny up ACTOR NAME".
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