How a US Sitcom is Made

1) Los Angeles

The writers have to move to Los Angeles. That's where 90% of the shows are shot, that is where the executives are. If you're in Los Angeles you're available for meetings on short notice.

2) Spec Script and Agent

New writers don't write pilots as nobody wants to see it unless you're already established in the sitcom world. Executives want to read shows they already know, and they want to see if you know them. So new writers write a spec script for a show that's already on the air -- so they can see if you can capture other writers' characters and tone. Also to see if you're funny. They don't sell their spec. It's just a writing sample and all it's going to do is get them meetings, which might lead to an assignment. You don't send your script to the show for which it's been written. The people at "Friends" know their characters inside and out so they're going to be twice as hard on a "Friends" spec as they will be on the"Dharma and Greg" spec and they won't even read the spec in the first place because of the legal ramifications involved. Better yet, writers send it to an agent. Agents are needed to get your script read. 97 percent of all spec scripts reach producers through agents dealing in television. And there are only about fifteen agencies worth going to.

3) Getting Hired

When the shows go into hiatus for the summer, this is when they take on new writers. I think, due to Writers Guild of America rules, at least one of these writers has to be someone who hasn't had a professional credit before. There are an average of 8 writers per show.

4) Writing An Episode (based on "Friends")

a) Brainstorming. The writers sit around, throwing out ideas, seeing what strikes a chord. This takes four or five days, during which time they'll generate a dozen or so things that feel like stories.

b) Story-breaking. They take each story and break it down into individual scenes. This generally takes a day or two per story, depending on its scale.

c) Mix-'n'-match. This is often the toughest phase of the process - choosing from the bunch of stories they have, and seeing what goes with what. (The basic rule, usually, is three stories per episode.) They also have to make sure each of the main characters is serviced in each show, and that the stories jibe in terms of time sequence. This phase may also include some additional brainstorming and story-breaking as they try to fill in the gaps in each episode. For a typical episode, this would take another couple of days.

d) Outline. They divide up the episodes and each writer goes off and does an outline. The producers give them notes on the outline.

e) Write a first draft. Generally the writer has about a week to do this. The producers gives them notes, and then they write a second draft, which they then begin...

f) "Tabling". This is all the writers in a room, going through the script line by line, scene by scene, making it better. Punching up jokes, making sure the story is telling itself properly, etc. This takes about four (often very long) days, at the end of which they have a finished script they are all pretty happy with.

5) Production

a) "Table read." This happens on a Wednesday around noon. The actors sit around a table with the writers and read through the script. This gives the writers some idea of what's working and what isn't. It's also a chance for the network, the studio and the director to give the writers whatever thoughts they have. Based on this, the writing staff spends the rest of the day and night doing a group rewrite.

b) Thursday run-through. After the actors have spent much of the morning and early afternoon working with the material, they run through the whole show for the writers and producers. This is the first chance to see the show "on its feet". Early notes are given to the actors on performances, and the writers see if the changes they made Wednesday night are working, and then they spend Thursday evening rewriting the script.

c) Friday (network and studio) run-though. Again, they get a feel for what's working and what isn't. The network and studio contribute their thoughts. The director and cast may offer additional ideas. Rewriting.

d) Monday camera blocking. The director runs through the show with the cast, figuring out what his or her shots are going to be, finalising the actors' blocking, etc. There may be some marginal changes at this point if a particular joke just isn't getting there, but at this point the script is pretty much sewn up.

e) Tuesday night - they shoot the script.

f) Post-production. Cutting, re-cutting and mixing the show can take anywhere from a week to three weeks, depending on how close to the air date they are.