Punching Up with Sean Conroy

There's a lot of stuff I think about now when I'm starting to figure out how to write a TV pilot script that I would have liked to know when I started out, if somebody was like "hey here are some screenwriting tips for beginners." And writing that script doesn't mean developing a TV series, but it feels like that is something you have to have in the back of your mind when you start, or at least it's something that helps. What is the show gonna be like after the pilot? I was watching trailers for a couple of shows (Mad Men, Reservation Dogs, Deadwood, etc.) and it gave me an idea (honestly, a stroke of genius) for what some people might find a helpful writing exercise. Give it a shot and let me know what you think.

I've been working on my creative process lately, struggling with overcoming perfectionism and writing consistency, and I feel like I'm kind of winning. A little. Discipline is to creatives as ice cream is to lactose intolerants, but these days I've somehow acquired (ulp) (at least temporarily) some creative discipline. WIth the help of my trusty yellow legal pad and my Sanford uni-Ball 207, and my knowledge of cursive writing, I'm getting some done. See if you can relate on this episode of Punching Up with Sean Conroy.

In this episode I talk to Ed Herro, who wrote for (among other things) Jeff and Some Aliens and American Housewife. Most recently he co-created and co- ran The Sticky for Amazon Prime. In this showrunner interview, we get into a lot: the importance of sitcom pilot writing when you're starting and as you continue in writing for television, some great ideas on writers' room etiquette when you're starting out, and when you've been there a while, and lots of other fantastic gleaned-from-experience TV writing tips. Ed even gets into some thoughts on how to pitch a TV show. He recommends a couple of great books on writing, some of the classics like On Writing, and Save the Cat, and Bird by Bird. This one is a gold mine for aspiring writers (and me)z.

One thing I've always struggled with as a writer is "paralysis by analysis"- maybe if I read THIS book or follow THIS method or use THIS structure I'll get it right, and everything will be easy. So in this episode I talk about some of the things I've done that have helped me get better at writing, and also specifically helped me get better at writing sitcoms. For example, you know how every sitcom nowadays makes fun of improv comedy for being dorky? Well, guess what's one of the most useful things I did when I was learning? Check out the episode, rate and review, all that podcasting stuff.

TV writer and comedian Sean Conroy and his guests talk about how to write a great sitcom pilot, how to have a career in comedy, how to develop good habits as a writer, and his struggles with all of those things. He gives the advice he wishes he'd gotten earlier on, and gets advice from guests that he hopes it's not too late for. If you're a fan of comedy, this show is for you.

Have you ever seen a movie trailer and thought, "That’s my idea!"?This week, Sean Conroy shares a devastating morning spent on Twitter discovering a project that mirrored his current screenplay beat-for-beat. He talks about an old project he co-wrote that collided with a Tim Allen movie, the famous Art Buchwald vs. Paramount case and why it matters (and why it doesn't), and some incredibly useful wisdom (at least in this case) from Steve Jobs (the guy from Apple).It’s a masterclass in creative persistence, the myth of stolen ideas, and why execution always wins. Don't forget, your unique "Polar Bear Pappy" perspective is irreplaceable (so don't worry about mailing a copy of your scipt to yourself).

The cold open of your sitcom pilot may be the most important two pages you will ever write in your life, unless you write a long ransom note for yourself or jot down an ancient family recipe to pass on. You have so much work to do in those two pages: you have to introduce us to a world we will want to inhabit, introduce us to characters we're going to want to spend time with, and you have to hook us with hard, funny jokes (it's a sitcom- it needs com). In this episode I talk about two of my favorite-ever cold opens (I have about a hundred), both of which coincidentally (seriously, I chose them first then realized it) use punk rock at the top of the show- AP Bio and Reservation Dogs.

I’ve always written all my TV scripts according to a very methodical screenwriting process. I break the story, do somestory mapping, write an incredibly detailed script outline (including lots of dialogue and jokes), THEN write the script. That has always been my creative philosophy in the writers’ room (where I’m working with lots of other writers), and I’vepretty much stuck to it when I have been on my own.  But I’m trying to write a feature, and I’m finding feature film writing a little different from TV script writing. I have a story, and I really like it, but it’s only part of the movie, and as I have tried to figure everything out I’ve felt—not necessarily writers’ block, but maybe writers’ speedbump. Like, you know those speedbumps that are the same color as the pavement and you don’t see them til you hit them? Like that. So I’m trying to just dive in.  Leap and the net will appear. We’ll see how it goes.

What happens when a high-stakes commercial real estate lawyer decides to trade the courtroom for a writer’s room? This week I talk to Marcus Perkins Bejarano, a graduate of the Nickelodeon Writing Program and writer on the Victorious (with Ariana Grande!) spinoff, Hollywood Arts. Marcus talks about his journey from a Dallas law firm, to an MFA in Musical Theater at NYU, to a writing fellowshipt, to a writers' room. We get into the "interview gauntlet" of Hollywood fellowships, the unique challenge of "group writing" for sitcoms, and why being just a little bit delusional could be your greatest superpower as a writer (obviously it would be X-ray vision for just anybody).

All comics have horror stories. Some involve heckling. Some involve check drops, or check disputes. Some are... quieter.This is mine.In this episode I'm talking about the worst set I ever had, which happened at the legendary Stand-Up New York.I went up after two A-list comics whose sets primed the audience for chaos (because they were dirty or obscene or over the line or whatever) (think Rickles and the Dice Man but funnier and also way more offensive). It's hard to follow filthy with time travel and William Makepeace Thackery. But I tried.

I'm a comedian and a writer, and in this episode of my podcast I'm talking about when to follow the 180-degree rule in filmmaking and when to break it for the sake of a laugh. And obviously I'm doing this to make a larger point. Using a hilarious short film video moving picture project I made called "Sex Beards" as a case study, I'm talking creative instincts, the reality of the writer’s room, and why you shouldn't panic when a joke doesn't land during the third table read. Learn to trust your comedic voice. Or at least mine.

What does it actually take to break into a Hollywood writer’s room? In this "A M Anything" episode, AKA "Ask Me A.," producer Dean Sharp and I get into the business of television. We talk about the reality of landing an agent, the complex hierarchy of WGA rooms, and how residuals really work. Wanna get better at jokes? Wanna know why I love Seinfeld's Marine Biologist episode so much, and why you should go watch it like ten times in a row? Wanna know if I would ever buy a shirt for $100 then not wear it for a decade or so?Listen, and you will know.

Why do some sitcom pilots feel like a sprint while others feel like a slow crawl?In this episode I manage to apply Newton’s Laws of Motion to the reading of a pilot script, and explain why I stay in motion (that is, continue reading), and what forces act against that motion (boredom, confusion, lack of stakes, small print, andmuch much more).I’m taking a look at two successful major pilots: the highly anticipated The Office spinoff, The Paper (created by Greg Daniels and Michael Koman), and the medical sitcom St. Denis Medical (from Superstore creator Justin Spitzer).What You’ll Learn in This Episode:If you’re a writer (or aspiring writer) looking for comedy writing advice to sharpen your own spec sitcom pilot writing, I share a little of the stuff I’ve learned over the time I’ve been doing it (you’re welcome to agree, disagree, ignore, or a little of all three).Watch the pilots of St. Denis Medical and The Paper (preferably before but even after you listen to the episode), then email me with your thoughts at [email protected]. And don’t forget to like and subscribe.

In this episode of Punching Up, I’m talking to my old friend the hilarious Owen Burke. Starting with his early days as a production assistant , to his time as a development executive at Will Ferrell and Adam McKay’s Gary Sanchez Productions, to working on his own screenplays every day, Owen shares his unique trajectory through the entertainment industry.We talk about the importance of paying attention to epiphanies, long-form improv at UCB, why you have to write through stuff the way Picasso painted through his Blue Period (wasn’t just out of all the other colors),  and being a service-oriented producer. Owen offers invaluable advice for writers (and artists, and anybody who makes or does stuff) on finding their joy, managing development hell, and recognizing that everyone on a set is talent (not just the prima donna actors) (although some of them really are so talented).Episode Highlights:The Pivot Points: Why Owen transitioned from struggling stand-up to collaborative improv.The Gary Sanchez Years: Insights into what makes a script commercially viable versus artistically fulfilling.The Creative Process: Why Owen writes in a zero-gravity chair and his "mostly dead" theory of scripts.Professional Longevity: Dealing with the "entrepreneurial fear" of the industry and staying useful.

A big part of the television pilot development process (and any scriptwriting process) is getting notes from other people. In this episode I talk about handling creative criticism and your relationships with TV producers (and networks). And why you also have to get notes from people you trust (who aren't your Mom) (assuming you trust your Mom). Screenwriting notes are sometimes hard to give, and often even harder to take. Learn how to separate your ego from your art to make your work stronger, more marketable, and maybe even actually ready for the screen. (fingers crossed).

I’ve been lucky enough to work in the competitive world of television and sitcom writing for over twenty years (on stuff like Mr. Pickles and Key and Peele).. In this episode I talk about a weakness that can hold even the most talented writers back (and is certainly one that I have) (am I putting myself in the category of "most talented"?): the fear of putting yourself out there.I get into why "doing good work" is only half the battle. I use the rejection stories of legends like Stephen King and Frank Herbert as inspiration, I talk about my personal resolution for the new year (I bet you can’t wait to hear that), and I challenge you to figure out how to strengthen your own TV comedy career. If you want to master sitcom pilot writing and navigate the industry with more confidence, this episode will help you have a better 2026.

In this episode of Punching Up with Sean Conroy, host Sean Conroy sits down with the incredibly talented Carl Tart, a powerhouse in the world of comedy. Known for his sharp wit as a current Saturday Night Live (SNL) writer, Carl shares insights from his prolific career, including his work on hit series like Brooklyn Nine-Nine and Mad TV. Fans of NBC’s Grand Crew will recognize him as a breakout star, and long-time comedy nerds will love hearing about his roots at the Upright Citizens Brigade (UCB) Theater. Whether you're interested in the TV industry, sketch comedy, or the art of long-form improv, this conversation offers a deep dive into the journey of one of today’s funniest performers and writers.

Sitcoms still matter (trust me, bro). No really- the world is changing, AIA is coming for us, corporate mergers are beiging everything, billionaires are exploiting thte proletariat, but we still need comfort food for our brains. I talk about how syndication used to be everything, and the shift to serialized storytelling (the binge watch is all about what happens next, not back to the drawing board). We love when somebody has a problem and can solve it in less than 30 minutes! Even if there's another problem at the end. Enjoy!

What does it take to become a TV writer in Hollywood? I talk about the importance of figuring out the writing process, and how much I still struggle with mine (even as you're reading this I am probably having the internal debate about pencil vs. pen, not to mention computer vs. legal pad, not to mention Scrivener vs. Final Draft, not. to mention Mac vs. PC... okay, all mentioned. Enjoy!

Welcome to Punching Up, a podcast dedicated to the craft of comedy writing and the reality of life in Hollywood. Hosted by Executive Producer and comedian Sean Conroy, each episode dives deep into the writing process, TV pilots, and the mechanics of being funny. Whether you are an aspiring  writer or just a fan of great television, join us as we navigate the writers' room, dissect sketches, and talk to industry pros about keeping it together in show business.