Dan O'Day's Radio & Voice Over Seminars
WRITING TV SITCOMS
by Ken Levine

1-Hour, 45-Minute Audio Seminar; Instant Download!

A personal message from Dan O'Day:

Dan O'Day You can learn about sitcom writing from some
professor or author who makes a living teaching or
writing about it...Or from an Emmy award winning
writer/producer/director who continues to be in
demand after 30 years in the biz. Ken Levine
knows TV comedy...and tells it to you straight.


Emmy Award Winning Writer/Producer/Director
Ken Levine (Cheers, M*A*S*H, etc.) Gives
Straight, Honest "Insider's" Answers To These
Questions:

  • What's the best way to work on your comedic voice in small doses
    that will also improve your sitcom writing? Stand-up? Prose
    humor? Blogging? Improv? Penthouse Forum letters?

  • Do scriptwriting classes help, or are they a waste of time and
    money?

  • What's your best advice on rewriting? For instance, when you
    have a script that's decent but not great, how do you find the
    problem areas and fix them?

  • In today's limited sitcom world, is there really ANY hope for a
    newbie/freelancer of a) getting work on an existing show or b)
    pitching a show to a network? It seems sort of futile....

  • What's the best way to get started in a successful TV sitcom
    writing career? What are the steps to actually landing a position as
    a staff writer?

  • How old is too old to start writing sitcoms if you haven't worked in
    television before?

  • Story vs. Dialogue: How much is worked on in the writer's room
    collectively vs. individually? Which do you think is more valued in
    terms of career opportunities? Or are they looked upon equally?

  • How much improvisation/changing/rewriting happens during the
    actual recording of a sitcom? Or is it strictly line by line as written
    in the script?

  • How is a particular episode's first draft written and then improved
    upon? Does one writer create a first draft alone and then have the
    large group revise it together?

  • Why would a writer choose to submit to the limiting, frustrating
    writing process of a TV sitcom?

  • What lessons did you learn about sitcom writing that you could
    only learn from being part of the room and wasn't taught through
    classes, reading books, or writing specs?

  • I've heard more and more agents/executives want to read pilot
    specs. What do you think is the best piece of advice on writing a
    pilot spec?

  • When is the best time to send out spec scripts? Are agents always
    reading? When is the prime spot to be considered during "staffing
    season"?

  • In my spec script, is it better to follow the voice of the show or to
    showcase some of my own — even if it differs somewhat from the
    show?

  • What's the most important part of writing a pilot as opposed to an
    episode for an existing series?

  • How are the 22 minutes of a sitcom story structured?

  • How do you spice up with humor a scene which is there only
    because of its expositional value?

  • How do you create characters that resonate with you and
    audiences?

  • What do you do when you realize a character you've created is too
    ...ordinary?
 Download your mp3 copy now for just $29.
(1-Hour, 45-Minute Audio Seminar, Instant Download) 

Ken Levine is an Emmy winning writer/director/
producer whose television credits include
(among many) M*A*S*H, Cheers, Frasier, The
Simpsons, Wings, Everybody Loves Raymond,
Becker, Dharma & Greg
. He and his writing
partner created the series Almost Perfect,
starring Nancy Travis, and wrote the feature
film VOLUNTEERS (co-starring Tom Hanks
and John Candy).


 Download your mp3 copy now for just $29.
(1-Hour, 45-Minute Audio Seminar, Instant Download)