how to: write a sitcom
My first weeks of quarantine were spent writing season one of my show, BAD. Now that I’ve finished, it is clear that I know everything there is to know about the masterful art of writing for television. In the spirit of Spring, growth, and the recent resurrection of Jesus Christ our Lord and Savior, I’ve decided to share this knowledge.
That was a joke and obviously I know nothing. Though, I have gotten a little bit better at hearing and trusting the voice inside my head. I’ve also been working on articulating why I like things - what is it about that show, this movie? It’s been necessary as I’ve had to learn how to explain to various people why and how my pilot is unique and will hold its ground amongst the others. As an exercise regarding this muscle of critique and evaluation, I was prompted to write a response to “a piece of art that moves me”. Here’s the messy, stream of consciousness thing that occurred.
You’re the Worst is a technically perfect study of situational comedy. It does an exemplary job of accomplishing several key things.
WALKING THE LINE BETWEEN COMEDY AND DRAMA
If you are anyone who knows anything you have probably heard the expression that “drama is comedic and comedy is dramatic”. A good sitcom cannot go for the laugh 100% of the time. This is not funny. This kind of exhaustive attempt at humor is draining. You’re the Worst often, if not always, covers topics that are hugely important in adulthood. The content is serious. Work, love, failure, success, family, mental illness: this is serious business! It is the character’s way of dealing with the situation that provides the comedy.
When a sitcom knows how to use form and content with distinction, it more acutely depicts life. This brings me to my next point.
2. ADHERENCE TO REALITY
Even at its most absurd, the show encapsulates something undeniably real about the given situation. This is accomplished in a couple different ways. Take for instance the episode “The Seventh Layer” in which Vernon and Paul take a brother-in-law bonding road trip. The car breaks down (of course it does) and the two venture into the deep woods of greater Los Angeles County to find water (of course they do). Ultimately, they get lost. It is simultaneously the most believable and also the most predictable possible outcome. My question is: is it predictable because it’s reality? Or is it only reality because it’s so predictable? That may or may not make sense. I can’t tell. The point is we are aware that abandoning your vehicle for water is a real thing that people do - at least people on television.
We later learn that Vernon purposefully stalled the car by putting diesel in the tank. This is not so realistic. Hard to believe a grown-ass man would do such a thing. However, the fact is that the core of humanity sometimes needs to be exaggerated to be understood. Vernon is about to have a baby and is genuinely terrified of fatherhood and wants nothing more than to bail. That’s reality, son
3. A GOOD SHOW DOES NOT TRY TO BE ANYTHING IT IS NOT OR PRETEND IT IS NOT WHAT IT IS
More eloquently put by Lindsay (Beyoncé) herself...
You’re the Worst is a show about how bad people, together, can be good.
Something “bad” - the worst - can be justified by an equal. You’re the worst - no! You are the worst. No, you are. That is essentially the heartbeat, the rhythm of the show. The writers never lose sight of it. This - a key thing - extends to every single one of the secondary characters. Consistency of world.
So, yeah. While the storylines can get uber-serious and Gretchen is couch-ridden and Lindsay getting secret abortions and Jimmy shitting on his dead father (remember, drama is funny!)… the audience comes to expect this absurd behavior and terrible decision-making. It’s brilliant because since the situation technically warrants the response (depression, a broken marriage, childhood neglect, respectively), we do not question how the characters behave. This is who they are. The worst. If suddenly Jimmy shut his mouth and tried being polite and Gretchen became a productive member of society, we’d be lost. We’d stop watching the show. Audiences should never be confused in that way. Ah. Finally, my point has been arrived at:
The viewer must always be in the know - not of plot, but of behavior, of habit. Consistency of character.
Of course, that can really only be accomplished by good writing. Which I can’t tell you how to do until I’m asked for it. Paid for it. Whatever. Maybe this whole thing just my opinion about good writing. Oh shit, I tricked myself.
The follow-up question is: what is an example of a “bad” sitcom? What has been “poorly” done, or is “weak” in reference to the aforementioned topics?
That was that. I understand the flow, but you might not, so I will now attempt to succinctly list the three points I arrived at.
A GOOD SITCOM
doesn’t try too hard
recognizes that reality is already funny / humor is always present
is consistent and self-aware (the two go hand in hand, ideally)
This was meant to be an opinion piece but if I’m being real - and I always am - it just feels like fact. Granted, most experienced television writers are likely already aware of these points, but hey, your girl is learning to articulate her shit. Quarantine, baby.
