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David Raether has been a television writer/producer since 1990, working at every major American broadcast network. His most notable credit a five-season stint on “Roseanne.” During his years there, the show won a Golden Globe, numerous Emmys and a George Foster Peabody award. Raether also has done extensive uncredited rewrites on numerous film scripts, including work on “Savior”, a highly-acclaimed film by Predrag Antonijevic about the Bosnian civil war.

What is a typical day?

David Raether: Well, in the days when I was on staff, the typical day started around 10 a.m. with a handful of Tylenol, a bagel and several cups of coffee. Most writing staffs when I was active had about 10-12 writers. We’d gather, discuss the script we were working on, and keep a wary eye on the stage for trouble. Usually, around 2 p.m., we’d go down to the stage to see a rehearsal and then receive “notes” from studio and network executives and then commence a rewrite. Depending on the nature of the “notes”, the level of trouble the script was in and the happiness of the head writer’s marriage (if he or she were in an unhappy marriage, they usually didn’t want to go home), we would then work until a new draft was completed… sometime between 6 p.m. or 4 a.m. Depending.

What is the typical process for an episode?

David Raether: This is how it would work for a four-camera show… Writers report in early June for a season, and spend the first month pitching out story ideas and figuring out what the first episodes will be like. Typically, this means everyone sits in the room and the head writer guides the pitching process. Ideas that get a laugh are written on a board in the room. Once a sufficent number are up there, then the group starts going through the ideas to see which could be developed into full episodes. Many get thrown out at this point. Others become only secondary (or “B” stories) in an episode. Only the strongest story ideas survive.

Then the group pitches out a scene-by-scene outline for the episode. This is written down on the board and typed up by an assistant. And then worked on over and over until the episode makes sense. The head writer then assigns a writer to write the script. They typically are given a week to go off by themselves and write the script. The writer gives his first draft to the head writer, who gives notes for a rewrite. Once the writer finishes a draft, the entire staff reads it. And then it goes to “the room” for rewriting. Writers sit around the conference table and the script is gone through, line by line, page by page, scene by scene. Sometimes significant rewriting occurs in the room. The result of this is the draft that comes to “the table.” Most American TV is done on a five-day production cycle.

On a Monday morning, the cast and writers/producers, network and studio executives gather on the sound stage. The cast sits at a long folding table on the stage and reads the script out loud. Afterwards, the network execs and studio execs give the writers notes and the director and the actors begin putting the show on its feet. This Monday rewrite usually is the most arduous because everyone has notes on what didn’t work and what needs to be rewritten. The rewrite process goes on in the room again, often lasting until the wee small hours of the morning.

On Tuesday, this new draft is sent to the stage and the director and the actors rework what has been rewritten. In the mid-afternoon, a run-through occurs and writers come down to see the show on its feet for the first time. More rewriting occurs.

On Wednesday, the final network run-through occurs and the final substantive notes are given. The camera moves are set up by the director (especially important in a four-camera shoot.)

Thursday, the writers focus on the next script while the director rehearses the camera moves (usually with stand-ins).

On Friday, a full version of the episode is shot during the day (often in front of an audience, but not necessarily.) In the evening, an audience is brought in and a second version of the episode is shot. These two versions (along with various pick-up shots) give the director sufficient coverage to edit a final version. Shooting usually finishes around 11 p.m.

On Monday, you start all over again…

What is the best part of the job?

David Raether: Sitting in a room with ten other incredibly funny, equally neurotic writers for hours on end.

The worst part of the job?

David Raether: Dealing with network executives.

The best experiences?

David Raether: I would say that watching the taping of an episode in front of a live studio audience and hearing an audience genuinely explode in laughter over a line you wrote that was perfectly delivered by a skilled comic actor… that’s worth more than anything they pay you. And they pay you very well.

The worst experiences?

David Raether: Coming home at 4 in the morning and knowing that the script still sucks.

Why did you decide to become a comedy writer?

David Raether: I have a very clear recollection of walking into the kitchen when I was five years old and telling my mother I wanted to write jokes for a living. She slapped her forehead in dismay. This was not what she had in mind. She pictured me more along the lines of respected minister, crusading legislator or justice-seeking lawyer. Mr. Wisenheimer with the jokes? Absolutely not. After college where I had a double major in English and philosophy, I pursued a career in journalism. In my mid-20s I launched a magazine with a friend. We didn’t have any money, so I took a job bartending to pay the rent. The bar was a comedy club in Minneapolis and I got to know many comedians, including Tom Arnold. Tom and I became friends and I wrote material for him. In 1990, I co-wrote an HBO special for Tom and was then hired as a writer on “Roseanne.”

What is your favorite type of script to write?

David Raether: Half hour sitcom! Tony Kushner, the writer of “Angels in America” once said that “Roseanne” was “American Chekov.” You are so constrained by time and the demands of the form that you really have to work hard to tell a story that is true and funny.

What would you tell someone who wants to be a TV writer?

David Raether: Start writing. Pick a show you like, write a spec script, show it to your friends and have them critique it. And don’t be thin-skinned. You cannot be thin-skinned and be a TV writer. Then try to find an agent. And, most importantly, when thinking about what is funny, think of the worst, most depressing and embarrassing thing that happened to you. That’s where you’ll find comedy.

“thin-skinned”?

David Raether: Unable to take criticism — fair or unfair — without becoming resentful or mean-spirited. Best example of a thin-skinned person: Sarah Palin. Because you are constantly pitching, most of what you pitch is going to be rejected and if you can’t deal with that, don’t go into TV or film writing.

Lol, that’s a good one.

Last question, how many scripts should someone write until trying to get an agent?

David Raether: One really good one. That sometimes takes a while, and you may end up writing several before you write the one really good one.

Interview by Blandine