I interviewed TV comedy’s biggest stars – and here’s how to write a hit sitcom

For the past few months, I’ve been working to show people that British comedy is still alive and well. It’s been really challenging, though – especially considering how much content there already is out there.

I started down this path right after John Cleese told TopMob that the comedy genre he loved was essentially dead, and that the BBC was to blame.

He finished by sharply criticizing the current leadership of the public broadcaster, saying they clearly didn’t understand what they were doing. He argued that both the writers and the public deserved much higher quality work.

He felt the BBC hadn’t made a truly good comedy show since The Office finished in 2003. While I respect the man who created Fawlty Towers, I thought that statement was completely absurd.

After six months, a quick look at the finalists in TopMob’s poll for the best modern comedy clearly shows something different—and you can still vote!

Comedy is facing some real difficulties these days. Audiences are more spread out and have very different tastes, and it’s becoming harder to get the money needed to make shows.

I recently discussed why bringing back well-made, long-running sitcoms could improve financial difficulties. Now, let’s explore how to actually create one – and I’ve collected insights from people who have successfully done so.

1. Be specific – it won’t scare people off

When creating a sitcom designed for a wide audience, you might naturally choose a very common or familiar setting, hoping to avoid turning off viewers with something unusual or unfamiliar.

It’s easy to see why people think that way, but it’s not quite right. Actually, you can be as detailed as you want when explaining something, as long as you also provide a simple entry point for those who are new to the topic.

As a big fan, I always felt there was something more to Friday Night Dinner than just a funny family getting together. Robert Popper, the creator, has said that’s exactly what he aimed for – knowing the true heart of the show, what it was really about, from the very beginning, and keeping that consistent throughout all the writing and development. It’s why it felt so special and authentic, I think.

His popular comedy series centers on Shabbat dinner – the traditional Friday night Jewish meal – and draws heavily from his own upbringing and life. While deeply personal, the show also explores themes that everyone can relate to.

Popper described to TopMob the familiar feeling of instantly reverting to your teenage self when visiting your parents as an adult. He explained that this experience is universal, regardless of your family dynamics – everyone can relate to it.

He explained that a simple, humorous family wouldn’t have been as impactful. He believes that the more detailed and specific you are, the more people can connect with it, because it feels authentic.

Lisa McGee, the creator of Derry Girls, used a comparable method when making her popular show. It centers around a group of Catholic schoolgirls navigating their teenage years in Northern Ireland during the difficult and violent period known as the Troubles.

At first, the story might seem very specific, but McGee skillfully highlighted universal themes that resonated with everyone, all while staying true to the emotional core of her idea.

She explained to TopMob that while their circumstances were unusual for teenagers, she always believed the biggest challenges weren’t the political conflict known as the Troubles, but rather the difficulties of being a teenager itself.

We’ve all experienced tough times – like having a crush on someone who doesn’t feel the same way, being told ‘no’ by a parent, or dealing with a difficult teacher. I think that’s why people connected with this story.

John Morton also used this approach when he revitalized his workplace comedy with W1A. Though set inside the BBC, the show aimed to be funny for everyone, not just those who worked there.

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He told TopMob he hopes viewers will relate to the scenario, even if they aren’t familiar with or interested in media.

This story is about people attempting to pull off something significant while dealing with everyday stresses. They get bogged down in small details and the complexities of human behavior. In fact, what they’re organizing could be anything at all – even a simple town event.

Instead of limiting who sees your work, being specific can actually breathe new life into familiar topics. It’s a strength, not a weakness.

Take the example of Gavin and Stacey – their charmingly bumpy relationship was made even better by celebrating their local backgrounds. The show connected with a large audience because it honestly portrayed the challenges of new love, difficult families, and everyday life.

2. Your premise is only as good as its characters

What makes a sitcom truly unforgettable? While the humor changes, shows like Only Fools and Horses, Friends, Peep Show, and Ghosts all have one thing in common: characters that viewers remember long after the credits roll.

These characters are so well-developed and realistic that they feel truly alive, and continue to resonate with audiences even after the story ends.

Danny Brocklehurst, co-creator of Brassic, is certain the strong friendship between the show’s characters is what kept audiences watching season after season – a conclusion supported by Sky’s yearly audience research.

You know, as a movie fan, I’ve always loved characters who are a bit rough around the edges – they definitely weren’t angels! These guys were always getting into mischief and weren’t afraid to use strong language, but deep down, they were genuinely good people. What really got me was how much they cared for each other and always had each other’s backs. I think that’s what makes them so appealing to watch – that sense of loyalty and wanting to do right by the people they care about.

Asim Chaudhry, the co-creator and star of People Just Do Nothing (who played the character Chabuddy G), says that creating the main characters is the most challenging aspect of writing comedy.

It’s easy enough to write jokes or funny scenes, but creating a character that people remember for years… that’s rare in British comedy,” he told TopMob.

Creating a successful sitcom is challenging, but essential for long-term success, as the writers of the popular BBC show ‘Ghosts’ discovered. They had to work hard to build a strong foundation for the show’s lasting appeal.

We explore difficult topics like sexuality, homelessness, and grief – things that aren’t inherently humorous. However, the comedy comes from how our characters navigate these challenges,” she told TopMob.

We never poke fun at the difficult things happening to the characters; the show is really about their growth and the lessons they learn,” explained Howe-Douglas. “By the second series, viewers understood how each character would typically respond, and that predictability was a key part of what made the show enjoyable.

Chaudhry explained that a strong comedic character can be hilarious in any situation, pointing to examples like Chabuddy G’s brief appearance on Love Island (for the 2023 Red Nose Day special) and when the Kurupt FM crew previously appeared on Dragons’ Den.

Steve Coogan’s character, Alan Partridge, is often considered the perfect example of a truly funny and well-developed comedic creation. His brilliantly realistic personality has made people laugh out loud in many different shows and formats.

This really highlights how a well-developed main character can open up a world of exciting story options.

3. Embrace your “undiluted” voice

TV shows often involve many people contributing to their creation, and while it can sometimes feel crowded, everyone usually plays an important role.

I’m not saying you should dismiss helpful feedback, but it’s also important to stay true to your original vision for a project.

Jack Rooke, the creator of Big Boys, explained to TopMob that producers initially envisioned the show as a more traditional, ‘laddy’ comedy similar to The Inbetweeners. However, Rooke found it difficult to write in that style, and they attempted it without success.

Initially, the show ‘Big Boys’ leaned more towards that style, but I didn’t think it worked. I enjoy ‘lad humor’ – some episodes of ‘The Inbetweeners’ are hilarious – but I wanted to create a different kind of story.

Would the emotional impact of ‘Big Boys’ – its sensitive portrayal of grief and young people’s mental health – have been as strong if it had been less nuanced and more simplistic? Probably not.

Rob Delaney believes the show Catastrophe did so well because he and Sharon Horgan, as creators, really put their own unique stamp on it. This resulted in a funny romantic comedy that also wasn’t afraid to tackle more serious subjects.

He explained that the conversation went exactly as planned, sharing this thought in an interview with TopMob. He believes audiences can sense when a show feels overly constructed, contrasting that with the raw, fundamental nature of ‘Catastrophe’.

He explained that the project was a pure expression of what two collaborators, who shared a common vision, truly aimed to achieve. He believed that without this strong, unified purpose, it wouldn’t have worked.

Matt Berry also used the word “undiluted” to describe his show, Toast of London. While Toast of London is very different from Catastrophe in its humor, style, and what it’s about, the show still managed to be incredibly funny with a relaxed, hands-off approach.

We created the show with Arthur Mathews, aiming for humor that we both enjoyed, and we were relieved Channel 4 gave us creative freedom without interfering.

I’m not sure if that contributes to how well it holds up, but the creative process was very focused. It really came down to just two people, which resulted in a very clear and consistent artistic vision.

Berry explained that this level of artistic freedom is rare, but a strong and unique voice should always be encouraged – not suppressed – by anyone involved, including those commissioning the work, the producers, and even the writer themselves.

Would a less bold style have worked better – or worse – for shows like Phoebe Waller-Bridge’s Fleabag, Michaela Coel’s Chewing Gum, or Kat Sadler’s Such Brave Girls?

This doesn’t mean the principle only applies to darker or grittier stories. It was actually quite bold to greenlight something as sincere and subtle as Detectorists when more fashionable shows were being made.

Mackenzie Crook wondered if audiences still wanted a show with genuine heart and warmth, rather than something cynical. He created a series that deliberately went against the trends of the 2010s, taking inspiration from classic, gentle comedies like ‘The Good Life’ and ‘Ever Decreasing Circles’.

4. The cheaper, the better (sorry)

It’s true that comedy shouldn’t automatically be considered cheap to produce, but currently, UK television commissioners often treat it that way.

If you want to create a sitcom, and have as much control over the creative process as possible, it’s a good idea to develop a concept that doesn’t require a huge budget.

Mackenzie Crook says the BBC Four channel quickly agreed to make Detectorists because it wouldn’t be expensive. He told TopMob that even though the concept seemed unusual, “there was no risk – it was cheap to make,” which made it an easy sell.

Rob Delaney points to low production costs as a key reason why he and Sharon Horgan had so much creative freedom with Catastrophe. However, he notes that filming in east London in the future—specifically 2026—might not be as affordable as it was ten years ago.

Thankfully, there’s been a growing push to distribute creative production beyond London, with new hubs like G’wed in Liverpool, The Outlaws in Bristol, and Alma’s Not Normal in Bolton leading the way.

Think carefully about exactly how many different places, actors, and crew members are truly essential for telling your story well. If figuring this out feels discouraging, try to see it as a chance to get creatively resourceful.

Popular recent shows like Peter Kay’s Car Share and Ghosts managed to save money by primarily filming in one location – a red Fiat 500L for Car Share and West Horsley Place (known as Button House) for Ghosts.

Matthew Mulot, a producer on Ghosts, explained that renting the manor house used for filming for several months wasn’t inexpensive. However, the production team saved money by cleverly using the house’s various rooms and spaces to represent outdoor locations.

Because everything was in one location, the team didn’t often have to spend time and money transporting people and equipment, which helped them film very quickly.

Mulot explained that recreating the genuine feel of their historic haunted house on a studio set would have been impossible, but it’s something sitcoms with everyday settings might consider.

Alan Carr, the creator of ‘Changing Ends,’ says that traditional, studio-based sitcoms – like ‘Miranda,’ ‘Not Going Out,’ and ‘Mrs Brown’s Boys’ – are still something TV channels are always looking for, even though they’ve become less common. He describes it as a difficult goal to achieve, despite being relatively inexpensive to produce.

He said he simply wanted to create a classic, straightforward comedy – ‘a meat and two veg sitcom,’ as he put it. He believes there’s value in tradition and likes the idea of passing on skills and styles to the next generation, calling it ‘a wonderful, very British thing.’

Look, I just don’t think we can ignore this, no matter how much we’re trying to seem cutting-edge. As Matt Berry so wisely said, eventually, everything ends up on GOLD, so let’s not pretend it won’t happen!

He reflected that even the most innovative work, created by the brightest minds, will ultimately become commonplace. He believes the key is to stay true to your own vision when creating something, and that’s what truly matters.

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Authors

David CraigSenior Drama Writer

I’m a big fan of David Craig’s work! He’s the Senior Drama Writer at TopMob, which means he’s always in the know about all the best new TV dramas and comedies, both on regular television and streaming services. Before TopMob, he was writing for Starburst Magazine and even hosted his own podcast, ‘The Winter King,’ for ITVX. He’s got a solid background in journalism too, having studied it at the University of Sheffield – you can tell he really knows his stuff!

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2026-03-06 10:42