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Writing a Sitcom Pilot

9/11/2013

14 Comments

 
If you're looking to write a sitcom pilot that has the potential to become a real TV series, there is one fundamental element you need to focus on above all the others. 

And it's not characters, or dialogue, or funny jokes (although those things are obviously important).

This fundamental element is so basic you're going to feel silly for not prioritizing it earlier.
Picture
Read to the bottom to find out what script I found this written on at the WGA Library.
But if you take the time to understand it now, every pilot you write from here on out will benefit.

how to build a tV sitcom with staying power

Good sitcoms need to have the obvious potential to last over 100 episodes.

If that potential isn't abundantly clear in your pilot, you're going to get a lot of "I like it, but I'm not sure where I see it going," from reps or producers. 

On a basic level, most writers already fundamentally understand that concept.

"My pilot has to have the potential to become a series? No kidding."

But they misunderstand what exactly it means...

An amazing, hysterical pilot does not necessarily equate to an amazing, hysterical series.

Truly great pilots are driven by a one-of-a-kind STORY ENGINE, that demonstrates the potential for lots of episodes right out of the gate.

What is a Story Engine, exactly? It's a central conflict that is unique to your pilot, that will be used to generate future episodes of the series long into the future. 

Let's look at some examples to get into this a little deeper...

The neighbors, scrubs and Frasier

All three of these are examples of sitcoms with very strong Story Engines.

In The Neighbors, the central conflict is: Normal family copes with life in a community of aliens.

In Scrubs, the central conflict is: Vulnerable young doctor is thrown into the deep end at a run-down hospital.

In Frasier, the central conflict is: Uppity psychiatrist has his home and personal life uprooted by his blue collar Dad.

In each of these shows, that central conflict propels tons of episodes. It's a deep well that the writers can always turn back to in order to furnish ideas for new episodes. 

Obviously there are tons of other factors at hand, but without this central conflict in place, you are going to run into an issue.

how to build a sitcom story engine (character + setting = Series)

Okay. So those shows above are examples of sitcoms with strong story engines. 

But how exactly did they do that?

Of course it all starts with a great idea, but the show's creators did a lot of seemingly invisible work to make those story engines as strong as possible.

None of the shows above are JUST about the characters or JUST about a unique world... They are all a combination of both characters and setting. 

Because if characters and setting are chosen well, that's all you need to fuel good stories.

Take Frasier as an example.

On first glance, it seems like this show is just about one character versus another. But the show also creates a very unique world that provides another huge source of conflict... Frasier and Niles are almost aristocratic in the lives they lead, and the world they inhabit they reflect that. The arrival of Frasier's Dad thus upsets the entire world, in addition to just Frasier as a person. The combination of these two elements creates a legendary story engine that fueled one of the more successful sitcoms of the 90s.

The same is true with Scrubs. "Sitcom set in a hospital" is a fine enough idea, but what really fuels the show is when that world is juxtaposed against the vulnerable J.D. 



The stories generated by adding that 'insecure doctor' character to 'sitcom set in a hospital' are what fuel the show. And the rest of the characters are further optimized with this conflict in mind. Like Frasier and his Dad, J.D. is diametrically opposed to Dr. Cox (a man who has been ridiculously hardened by the difficulties of work in a hospital).

But what about...

There are plenty of sitcoms that don't have really clear story engines that optimally juxtapose characters with the world they inhabit. 

Friends is a pretty good example (and it's a great show, with a strong pilot, and even they do this to a certain extent, with the introduction of Rachel into the group...)

But if you're a new writer trying to get your foot in the door, writing a sitcom without a strong story engine is making an uphill battle even...up-hillier. 

So take the path of least resistance, and figure out your story engine before you start writing. Then, when you write your pilot, make sure you make the most of all that built in conflict. 


In the pilot episode of Frasier, the Dad moves in, throws away Frasier's fancy furniture, makes Frasier's office into a bedroom, and invites a brash nurse to come be the third roommate. But if Frasier had a nice bedroom all made up for his Dad, and the Dad didn't need any medical care, there would be no way to really hammer home the promise of the show's premise. And that's what you need to do.

"This did not test well." - James L. Brooks

The photo at the beginning of this article is from the inside page of the Mary Tyler Moore Show pilot that I read at the WGA Library last week. 

I thought it was interesting for a few reasons...

1) This show was the first to feature a working, single woman in her thirties. Very controversial at the time, and that's likely what Brooks could have been referring to.

2) Even if the pilot didn't test well, it lasted for a million seasons because it's got such a strong story engine. At that time in America, there was a ton of conflict to come from a single woman in the workplace, especially someone like Mary, who was stubborn, opinionated, and progressive. 

This pilot had the added momentum of being extremely relevant socially at the time it was written - - always another good angle to consider when you're coming up with ideas to write.

what are your favorite sitcoms?

Comment below! Let us know what your favorite sitcom is. Does that show have a strong story engine, or not? Where does the conflict come from, and how does that conflict fuel subsequent episodes after the pilot?

14 Comments
Pile
9/12/2013 03:01:14 am

For me, nothing beats Hank Moody. Except maybe Charlie Harper and Sheldon Cooper as far as American sitcoms are concerned.
On the other hand, British "Only fools and horses" and original "The Office" are, in my opinion, two of the best comedy shows ever.
"Monty Python" is, yet, something completely different all together, but nonetheless, an unrepeatable master-piece.

Great job, guys at Script Quack, as always. Thank you.

Reply
Script Quack link
9/16/2013 07:46:13 am

Love the original office, and of course "Monty Python." Haven't watched a ton of Californication, but it's on our list.

Thanks for stopping by.

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robert garcia
9/12/2013 04:01:22 am

Faulty Towers.

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Script Quack link
9/16/2013 07:47:18 am

Great show. Those characters, plus that hotel, combine for some really great stories.

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Kenneth Kemp
9/12/2013 04:09:39 am

Seems like a strong story engine would apply to dramas as well.

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Script Quack link
9/16/2013 07:48:26 am

Almost more important in dramas than sitcoms. You've gotta have a story engine for hour long shows. That's why there are so many CSI spin offs.

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Glenn
9/12/2013 06:06:33 am

Good article! Being in my late 30's, I have to mention two of my favorite television shows from my childhood...Family Ties and Cheers... Both excellent story engines.

Being a veteran, amateur screenwriter I want to specifically commend one portion of your post... In fact it's one single phrase... Promise of the premise. If I could go back in time 20 years and learn that phrase as I was reading every single book on the craft of screenwriting, I probably would have saved a year's worth of work, and time.

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Script Quack link
9/16/2013 07:49:46 am

Thanks for your comment, Glenn. Both the shows are great, you're right.

As for the promise of the premise, you're right, it's an incredibly helpful idea. However, we can't take credit for that one - - it's a term that's been floating around the screenwriting community for a while now (and for good reason!).

Reply
Glenn
9/16/2013 12:38:00 pm

Oh I know, I've been familiar with that phrase for many years myself, I just don't read enough about the importance of the concept. I think it's as essential to basic screenwriting as KISS is.

BTW, after winning the horror category of the final Scriptathon, I can tell you I really missed the contest this summer... Any plans on bringing it back?

Glenn

Veronica link
9/12/2013 09:17:21 am

An interesting TV pilot will definitely have you coming back. I watch a lot of comedies, but my favs. will always be: Frazier, Everybody Loves Raymond, King Of Queens, I Love Lucy and Golden Girls.

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Script Quack link
9/16/2013 07:50:28 am

All great shows

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Kenton
10/24/2014 02:37:38 am

That 70's Show really hit the spot in my books. The combination of family and friends, the juxtaposition of parents and children, and the period it was set in all worked really well together. It is a little cheesy at points, which some newer shows nicely avoid, but still so fun.

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Natalie
3/3/2015 09:34:36 am

Mine for sure are: Ally McBeal and Scrubs, both have a way of portraying the character's thoughts in a comedic and entertaining way. Also Californication, Happy Endings, Cheers and of course All In The Family ;)

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Denise
8/10/2017 07:08:16 pm

My favorites are Friends, Seinfeld and Everybody loves Raymond.
These shows I watch over and over and still laugh.

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