But it’s easy to think about this the wrong way. I just did at the end of that last paragraph. I set up story and character as enemies of jokes, as if characters just say funny things regardless of situation or context. No, the context and the characters give you the jokes. Static characters that don’t move or have quests are merely spouting jokes. This can sustain for a while but only if the jokes are really funny.
|Insert Name Here is a properly funny panel game|
They normally record panel games for two and a half hours, and only very best is selected and broadcast. The show is assembled in the edit.
You can’t do this in a sitcom. You can’t afford to shoot even 50 minutes and put it together in the edit for a number of reasons. Firstly, you don’t have the luxury of paying dozens of people thousands of pounds to produce television that’s going to be cut. There just isn’t that much money in the system, especially when you have a timeslot to fill.
Sure, you can shoot a movie thinking it’s going to be two hours. In the edit, you may discover it’s better at ninety minutes (most movies are). No-one really cares about the final running time because that money has been spent, and the cinema chains aren’t bothered if the movie runs at 87 minutes or 140 minutes. (The movie that is 87 minutes will probably be better, especially if it’s a comedy. Yes, I know, The Godfather blah blah blah.).
In TV, you have a slot to fill and you have to deliver the show to the right length, not just once but six, ten or 24 times over. And you can't afford to over shoot by ten minutes 24 times. That's four hours of television that's going in the bin without seeing the light of day.
Mistake 4: You’re writing a panel game, not a sitcom.
It’s not just about time and money (although there’s never enough of either, especially in a studio sitcom which I write about here, here and here). The other issue is storytelling. If you're writing and shooting long, your episode won’t make sense at 28 minutes. If the show is plotted properly the show should almost be uneditable as stories relate to each other, running jokes are established and the final third pays of the first two acts of set-up. You’re only recording 32 minutes if you’re filming in front of an audience. Maybe 34 if you’re shooting single camera. It has to be tight. Ask Jerry Seinfeld.
Remember, you’re trying to write a sitcom, not a panel game. You need to tell a story with a beginning and a middle and end. Get on with it. Be clear about who the story is about and what their goals are. The jokes then come as a result of that.
The mistake that is often made is that the first ten pages of a script are filled with jokes – essentially banter – and no story or character. This won’t do. Jokes without a context don’t really sustain or build momentum. You only need one joke that misfires and the atmosphere dips and the audience (and cast if you get that far) start to panic. Essentially, we’ve all looked down and seen we’ve run out of bridge and we’re all standing on thin air. We will fall to the ground like Wile E Coyote.
Make sure your characters have quests and attitudes, and trust that the comedy will come from that, rather than a string of one-liners and zingers, that often feel like they’re borrowed from other sitcoms anyway. (Side note, if you see any of the lines from your script on this list, delete and replace at once).
Next time, Mistake 5.