Dan O’Day’s Radio and Voiceover Tools

This Product Is a 1-hour, 45-Minute mp3 Audio Seminar,
which you can download immediately upon purchasing.

A personal message from 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 35 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, Frasier, 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?
  

  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).

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