Here's how to structure your TV comedy script
- Chris Head
- Dec 7, 2023
- 4 min read
Updated: Apr 15
Storylines
Firstly, think about ABC storylines for the episode of your show that you're working on. Specifically:
• The A Story: What is the main, most significant storyline of the episode?
• The B Story: What is a secondary, but still important, storyline?
• The C Story: Is there a smaller, perhaps more lighthearted or throwaway, third storyline?
• Possible D Story: If you want to include it, what could be an even smaller fourth storyline?
Planning your ABC (or AB, ABCD, etc.) storyline ideas for an episode is an important step in the writing process.
Story Beats
These are the key moments that move the story forward. Every time something changes in your narrative that's a story beat. Here we're looking at the big 5. While different sources may label them slightly differently, here is how I look at them with the writers that I work with.
A Story beats:
• Set-up: Establishing the who-when-where-what.
• Turning point: The event that kicks off the main conflict of the A story. This sets everything in motion.
• Midpoint: The challenges the main character faces as they try to achieve their goal in the A story reach a first peak at the midpoint half way through. This builds tension and comedic action.
• Crunch point: The peak of the A story, where the main conflict comes to a head.
• Twist: The script ends on a surprise
The B and C stories weave around these A story beats. The B story may well have a turning point/ midpoint/ crunch but the C story can be a simpler story. Note - you don't need to introduce all 3 stories in act 1. You might for example get the A and C stories going in act 1, then not untroudce the B story until act 2. Here's how the acts unfold:
Act Structure
There are many ways of structuring your narrative, but as comedy thrives on simplicity it's good to work with the straightforward 3-act structure:
• Act 1 (Setup-hook):
◦ Introduce the characters and the setting.
◦ Establish the "normal" world before the conflict begins.
◦ The turning point occurs, setting the A story in motion.
◦ (The B and C stories can be introduced, or one or both are left to act 2.)
• Act 2 (Escalation)
◦ The characters pursue their goals and encounter obstacles.
◦ The A, B, and C stories develop and intertwine.
◦ The tension and comedy build to, initially, the midpoint half-way through and then the crunch point at the end of the act.
• Act 3 (Pay-off):
◦ The climax of the A story occurs.
◦ The A story conflict is resolved and/or there are still open questions to be picked up in the following episodes.
◦ The B and C stories are likely to be resolved, unless you have are pursuing a more serial approach.
◦ The episode concludes, often with a final twist.
Notes
• Interweaving: The A, B, and C stories should ideally interweave and connect in some way, even if it's just thematically. This makes the episode feel more unified.
• Pacing: The pacing of each act is important. Act 2 is often the longest and most eventful, while Act 3 brings things to a close relatively quickly.
More resources
I've written and spoken a lot lately on structuring your TV sitcom/ comedy drama script so you have a choice of ways of getting this info from me! I'm looking at three act structure, the beats of your story and working with multiple storylines. This kind of thinking also applies to other kinds of comedic writing like comedy plays or films.
Here is another blog on structure on this site – with info on my Write Your TV Comedy Script course:
Here I am talking about it on the Comedy Masterclass podcast if you fancy a conversational exploration of it all.
Also latterly I work with the host Danielle Krage on structuring a sitcom episode that we make up on the fly! If you want to hear about how these structural beats (and indeed character dynamics) play out as you develop a show, have a listen from 35 mins.
And here is an hour long webinar of me talking about all this plus clips and scripts from shows - Alma's Not Normal, Brooklyn Nine-Nine and Catastrophe. I this will be behind the BCG paywall however.
If you are a member of British Comedy Guide Pro here is the blog post I wrote for BCG on this topic with examples from a range of shows:
And check out part 3 of my second book.
Plus... coming summer 2025 my new book The Complete Comedy Script Toolkit.
If you go through all of this you'll (a) possibly be sick of me but (b) will certainly know how to structure your TV comedy script! And if you want to work on the shape of your script with me you can do so! See the info here - scroll down past the stand-up bit...
And I run a course where you can work with me and an inspring group on getting your script into shape.
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