HEY!

Anyone got a good template for writing a sitcom plot? I checked out the tips bit on Final Drafts website but I think it was for a US sitcom.

I should know how to do this already, I know, but just giz it!

Thanks.

I think that Final Draft template can be adapted:

"Start with a Teaser that states the premise of the episode (tells us what the story is going to be about) and ends on a big laugh. The seems to work best when it comes at the expense of the hero because it makes him or her sympathetic and also establishes that the problem is going to be significant - as in personal to someone we love."

US sitcoms have a teaser just before an adbreak and the sitcom starts properly but the principle's the same: start the story early.

"Act One then begins with the aftermath of what happened in the Teaser and ends with the first big crisis that stems from it, a big crisis being something that is very upsetting to the hapless, humorous hero.

Act Two begins with the resolution of the previous tension, but a story twist now occurs so that whatever the hero did to save him or herself now backfires and makes the situation worse instead of better. A new plan then resolves everything in the last scene of the act."

Nothing wrong with that, it's just about making life hard for our hero.

"The Tag brings together all the main characters and lets them get a good laugh out of what's happened, This time, the laugh usually comes not at the expense of the hero but from whatever other character got the hero into trouble in the first place. After all, the way we know that the hero has won is that he or she is now getting more respect."

We don't 'tags' usually, and this advice does seem a bit odd as I don't think it needs to be tied up in such a neat little bow but I suppose it will work.

I think a good idea is to watch an episode of our favourite sitcom and just write down what happens and see what the main plot points are.

But to be honest, I think "set-up - complication - resolution" is all we need.

Sorry hun, i know nothing. I just replied to be polite.

I agree with Robin, when I write a sitcom script, I get the basis of the plot out in the first scene or at least one of the plots. In the second scene I will start the other plot if it hasnt been told in the first.

Then the next part should be the first crisis that causes things to go wrong for your character/characters.

Then the next part is the character/characters trying to solve that problem but leading to more crisis.

Then the plan to resolve the problems unfolds and hopefully should all tie up at the end, I don't usually use the example in Robins 'tag' idea though, my characters rarely all laugh the day off and all champion the hero, but I do like to tie the plot up nicely whether it ends with a bad ending for the characters or a good ending.

My internet's playing up so I'll just say a quick thanks for the help.

Isn't it just instictive really? There should'nt be a formula - and don't aim round an ad-break because the BBC - which generally are superior - don't have ads.

I suppose it can be instinctive, but I always think its good to get the plot sorted out in the first two scenes, never have any scene that isnt needed same goes for dialouge, every scene and line should either further the plot or build the character or both, never write around one good gag.

Plot started
Crisis
Crisis 2
Resolved

Thats what I work to get, the resolve part is usually instinctive, the problem doesnt really have to be resolved just tied up nicely.

Thanks to Robin for the little breakdown. Been trying to write a second episode of a sitcom for sometime. Got the whole episode planned but had no idea how to kick it off and reading your breakdown sparked off the old inspirado.

So thanks!

Quote: David Chapman @ March 25, 2007, 8:01 PM

Isn't it just instictive really? There should'nt be a formula - and don't aim round an ad-break because the BBC - which generally are superior - don't have ads.

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I'd disagree that the dramatic form is instinctive. The dramatic form is millennia old and has survived simply for one reason - because it works. The formula exists for a reason. It can be described in various ways / steps but always conflict / crisis occurs that needs resolution. These conflicts should increase in magnitude through the episode until the lead character overcomes (or just as legitimately fails to overcome) the obstacle. The only 'instinctive' part of writing is that the writer can have a natural or instinctive grasp of the essentials of good plot / storytelling.

Even in a episode that is shown continuously (such as the BBC) you should still place a crisis at the midway point. The reason for the mid-point crisis is to maintain veiwer interest.