How to Start a Brand New Comedy Script
- Chris Head
- 24 minutes ago
- 4 min read
The Christmas and new year holidays are a great time to watch comedy. But how about using the time to start writing a brand new comedy script? Here I gives you some starting points for your new idea and below is information on a Zoom course I am running over the holidays to support you in starting your new idea.
If you’re like a lot of the writers I coach, you’ve probably been working on a comedy script idea for a long time. Working away at it, rewriting, editing, honing. This commitment and focus is to your credit. But it’s important to have more than one idea on the go.
It makes sense from an industry point of view. One day when you meet with a TV producer, after you’ve discussed this passion project, they’ll ask “what else have you got?” If you don’t have anything else, the meeting will end early.
Also, when you hit difficulty with writing the passion project, turning to one of the other ideas can give you new energy and insights when you return to the original idea.
The Christmas and new year holidays are a great time to get started on a new idea. Here are some thoughts on getting started with a the new script and details below on a course I’m running over the holidays to support you and a great group of fellow writers.
Developing your Location, Characters and Stories
Where to set your new idea? It will really help if you genuinely care about and are interested in the location you choose for your show. Don't simply pick a setting because "no one's done it before". If you are fascinated by the world or indeed infuriated by it —ideally with personal experience of it, or at least with the drive to research and study the location—it will be a strong setting for you.
Then, as you people your world, your characters must be grounded in reality and emotional truth. If you skip the grounding work and jump straight to the crazy ideas, the audience won't buy the world or care about the characters.
Certainly comedy drama requires emotional truth. It’s a clear necessity from the start, focusing on rich, well-observed, and truthful relationships. However, even with very broad/ silly comedy (like The Mighty Boosh) there is a groundedness to it. Even in the most outlandish settings (like a surreal zoo), the audience recognises the emotional dynamic and human frustrations: being stuck in a job, dealing with a difficult boss, disliking co-workers, and feeling trapped. The surreal elements work because they are anchored by this relatable reality.
From this basis, consider each of your characters and ask What Do They Want? This may sound simple, but it is often overlooked in the rush to be funny. A common issue in scripts is a passive central character to whom stuff simply happens. All your characters must be goal-driven and want something on all levels:
Super Objective: Their overall driving goal in life.
Story Goal: What they want in the specific narrative you are telling.
Scene Goal: What they want in the immediate scene.
Comedy starts to arise when they can't get what they want. Now, if they stoically accepted this, there’s no comedy. Or if they have the abilities to actually go on and get what they want, there’s no comedy. Comedy comes from:
The clear goal (ideally one the audience can relate to)
The lack of any skills or abilities to achieve their goal.
But still they try.
And fail.
And keep trying.
….Without learning.
A hero gets the goal in the end. Comedy characters are, as comedy guru Steve Kaplan, puts it "non-heros". What stops them achieving their goals? There will be times when your characters are victims of circumstances but it’s so much better for comedy if your characters are their own worst enemies.
Think about your characters as the author of their own misfortunes by actively trying to get what they want, but going about it incorrectly or without the necessary skills or misjudging the situation. This goal-driven activity is what moves the narrative and the ineptitude creates the comedy. In summary:
They have a heartfelt goal (a quest).
They lack the skills to meet the challenges.
Nevertheless, they try. And keep trying (without learning).
A next question of each character is how aware are they of their failings?
Aware: This leads to the comedy of neuroticism, awkwardness, embarrassment, and shame (they know they're failing).
Unaware: This creates unearned confidence. They believe they should succeed and don't understand why things aren't working, not realising they are shooting themselves in the foot.
Have a mix of both kinds of characters. Finally, as you develop your new idea if your intended main character isn't "grabbing you" or "popping," but another character is, be willing to switch. Let the character who is working become your new protagonist. The original character can become peripheral or be dropped entirely. Go with the juice: Focus on the character you are enjoying writing, because that is what the audience will enjoy watching.
Here are the steps:
Choosing the Location: Pick a setting you are genuinely interested in (or that infuriates you!).
Ground Characters: Base your characters in reality and emotional truth.
Define Goals: Establish what each character wants.
Create 'Non-Heroes': Design characters who try, fail, and keep trying (without learning) to achieve their goals despite lacking the skills.
Authors of their Own Misfortunes: Make your characters their own worst enemies, actively causing their own problems.
Mix Awareness: Include a mix of characters who are Aware and Unaware of their failings.
Follow the "Juice": Focus on the character you enjoy writing the most, and make them your protagonist.
A special Xmas/New Year four part workshop for comedy writers.
7pm-9pm UK time (GMT),
2nd, 9th & 16th December 2025 and 6th January 202
£95 (On Zoom)
And the perfect Xmas present (for yourself as much as anyone else!) is my Complete Comedy Script Toolkit book.