I got an email from a person interested in doing stand up comedy and he saw my How To Write Comedy video online. In the video I take a headline right from Yahoo News and I write 15 jokes in about 30 minutes using what I call the listing technique.
The gentleman understood the concept but was having a hard time when it came time to write the material on his own from scratch. Sound familiar? So he emailed me a few questions including the line he was working with. The line was:
“Hand Sanitizer: The new vodka for teens”
Now that’s a headline!
One definition of a joke is “The convergence of two or more clearly identifiable ideas coming together.” It’s incongruity; comedy 101. You may already know this, but the incongruity comedy structure is probably the most common structure used in commercially accepted comedy today. It basically means you are imposing the characteristics of one thing onto another thing which normally does not possess those characteristics.
That headline does present us with two clearly identifiable ideas that are converging: Hand Sanitizer and drinking teenagers. But the problem with that headline is that it is a headline. It may work as a written piece of material but it doesn’t work for stand up because there is no conversation happening. In other words you would never talk this way so how would you present this to an audience?
When working with headlines. You must go beyond the headline to find the statement of fact that clearly defines to the reader or audience what we are talking about. The line must contain all the information we need to convey what is going on to the reader or listener. These are the facts. That’s why it’s called the straight line.
The line must be conversational. Many times people are trying to write jokes from the news or the headlines we forget to be conversational. The key to making someone laugh is surprise. If you sound like you are just telling someone a story and they are not expecting a twist that turns into a joke, then the joke is more effective.
Johnny Carson stood on that star on the Tonight Show for 30 years and we knew he was there to do his monologue. But he would start each joke in a conversational tone which made it sound like he was just sharing something he read or heard today. “Oh! I heard this today…” So if we used that concept for this joke premise it might sound like: “Oh I heard this today…apparently, in an effort to get drunk, some teens are now drinking hand sanitizer.”
Do you see how that changed the tone of the headline and made it a bit more conversational? Remember it’s still stand up comedy so the structure of having the important word as close to the end of the sentence is still crucial.
So now you have a clear set up with all the information necessary to converge the ideas and get to the comedy and one way to get to the comedy here is to list all the ideas we can think about regarding hand sanitizer, alcohol and teens. This leads me to…
Most comedians do not take the time to do the lists so that they can find the jokes.
Because I’ve been doing this so long, I do a lot of the lists in my head, but when I get stuck I will make a thorough list to find the incongruities of the contrasting elements: hand sanitizer and drinking. These jokes came out of the top of my head… Please keep in mind that these are all first draft jokes. They still could use some refining:
“Oh I heard this today…apparently, in an effort to get drunk, some teens are now drinking hand sanitizer.”
1. The good news is it has spurned new high school party games like “spin the Purell…” Sure you might still have to kiss the ugly chick, but you can be assured that she’ll be germ-free…
2. Kids are no longer doing shots they’re doing squirts. (or pumps)
3. Experts knew they were on to something when store shelves were stocked with hand sanitizers with names like Absolut, Grey Goose and Smirnoff.
or a version of the ‘spin the Purell joke:
4. Now kids are able to get filthy drunk, yet be completely germ free.
These 3 or 4 jokes rolled out of my head in seconds, just listing in my head. If I actually sat down and listed, I could probably turn out another 10-20 jokes or more.
Using the listing technique take that headline and let me know if you come up with any! Leave a comment below!
If you’ve been keeping up, then you know how much I love to study comedy structure. I’ve broken comedy down into 12 major comedy structures that all the greats use. In fact, great or not, when an audience laughs, odds are they laugh because one or more of the 12 major structures are in play.
Let’s take a look at Marc Maron. He’s always made me laugh. He’s to the point, he’s truthful. If he didn’t step away from comedy for so long, I think he would be one of those comedians who could stand alongside Louis C.K.
After you watch this short clip, let’s look at the structures in play.
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Marin has kind of a throw-away, I-don’t-really-give-a-shit-if-you-laugh delivery. Notice that he still allows time for the audience to enjoy the humor. Each time the audience laughs, comedy structure is in play:
“…she texted me like fifty f**king times…”
Slight chuckle here. Isn’t this recognition? Haven’t we had someone like that in our lives or don’t we know someone like that?
“…I was showing people…she’s f**king crazy…look how f**king crazy she is…”
Another laugh at the act out. Again recognition is in play. Haven’t we all shown someone a stupid, whacky or crazy texts? But this is all a set up for the larger 3-way build-up (triple) play, because what’s next?
…then on the fifty-first text was a picture of her pussy…and I said, “Well, maybe…you know…I could…you know…”
It shattered our assumption because he laid out two early opinions building up to how crazy this chick was and there’s NO WAY I could get involved with this…
He totally misdirected us then POW! Shattered our prediction of where he was going.
Also he has recognition still in play because guys will let a lot of stuff go when sex is involved, right?
In addition, Marc’s delivery is so damn conversational and real, that we recognize that nuance in people.
But that’s not all, let’s listen to the next joke where he uses recognition again then incongruity:
“…but like two texts after that, the guy who was building a bookshelf for me, texted me a picture of the bookshelf and I was actually more excited about that…”
Recognition and surprise are in play here. When he says, the guy texted me a picture of the bookcase…(we wonder what he’s going to say, then)…I was actually more excited about that (surprise) and we recognize that place where sometimes there are more important things than sex. Hmmm…is that also ambivalence?
And here comes the incongruity:
“…there was a part of me that was thinking…you know, “I don’t have to be afraid to put things in there…” (things in a bookcase juxtapose with things in a p*ssy. One won’t give you a disease both they both relate) Clear incongruity.
“…and I know that will last…” Incongruity again juxtaposing relationships with the bookcase.
So there you have it. Marc Marin uses structure in his comedy too. When a laugh is present. Structure is present.
Feedback? Leave me some notes. Love to hear your interpretation!
So you sit down to write and nothing happens. Now what? What causes your creative process to shut down?
There’s almost nothing more frustrating than not being able to write… I was going to say there is nothing more frustrating, but off the top of my head I came up with three: two had to do with passive aggressive ex’s, and one had to do with a phone call to Bank of America…who said there’s nothing to write about?!
One of the keys to learning how to be a comedian, is learning how to write solid comedy consistently. But…
One of the biggest dilemmas we have when we write comedy is that we’re always trying to think of “funny” or “weird” things to write about. That’s not necessarily the best approach. In fact, it’s probably the main cause of your block. Your brain goes into overload trying to think of funny things. So what do you do about it?
Write the truth. Comedy derives from truth. It starts with a simple story about your life.
One of the ways I like to write is by just writing about an event or an idea. Just putting down the facts on paper (or in my case, the computer). My only goal is to tell the story. It’s usually best if the event pissed me off or otherwise triggered an emotion. That emotion is my motivation for writing the story, but it’s not always necessary. I can also write it simply from the point of observation. Ultimately the quirky, odd, weird, stupid things appear, because aren’t they out there in everyday life anyway? The only way to get to them often is to write.
Once I have the idea on the page, I can go back over the material, in a second pass, and start to identify 3 things:
These are only 3 techniques, in the dozen or so available to a comedy writer, but they are extremely effective and can help you take a regular story and turn it into a comedy bit.
Let’s quickly look at each of these:
Analogy is the process of comparing one thing to another in an imaginary or metaphorical way. If one definition of a joke is “the convergence of two or more clearly identifiable ideas,” then analogy helps you to impose a secondary idea into your story and introduce comedy. It’s “automatic incongruity” and incongruity creates SURPRISE. Once you become familiar with incongruity you’ll realize that it is one of the best ways to learn how to write comedy
Having sex with my ex was a lot like working on the bench press at the gym; I always had to wipe it down and three guys were just there before me.
You would normally not think of putting bench pressing and sex with your ex together, but that’s exactly what triggers the humor. They don’t normally fit and therefore they create incongruity and in this particular case, clear, visual imagery.
Word play is one of the easiest ways to create “plays” or “turns” in your stories. Almost all words in the English language have multiple meanings. You simply take the implied meaning and turn it into a more exaggerated meaning. Because you shatter the expected meaning, you create surprise and have a laugh point within your story.
I was checking out at the grocery story and the clerk said, “Did you find everything you were looking for?”
I said, “Well, I found the wine and the candles, but I couldn’t find a soul mate. You had Mahi-Mahi, but I’m not into twins.”
The simple play on the word “everything” changes the entire nature of the story. Without spinning the intended meaning of the word “everything,” the story would simply fall flat. Right?
The number one trigger for human laughter is SURPRISE. One of the quickest, most effective ways to get there is using a structure called a “REVERSE.” You simply change the reader’s or listener’s perception of where the story was going, by quickly pulling the rug out from under them.
I was holding my 9-month old daughter on my lap and she was grabbing at my chest hair. So I wrote down: “My 9-month old daughter loves to grab my chest hair.”
In that sentence we have a very definitive statement. In order to create surprise, we must change the definitive to an assumptive. One of the definitives in the statement is: it’s “my” chest hair. So I ask myself, what can I do to change that to an assumptive? So the statement becomes:
I have a 9-month old daughter. You know what she loves to play with? Chest hair…
So now it is assumed that it’s my chest hair. So let’s play it like that, then shatter the assumption so we have a joke:
I have a 9-month old daughter. You know what she loves to play with? Chest hair…she’ll really pull on it too. I finally had to say to my wife, (pointing at her chest) ‘You might want to get that stuff lasered.’ (You can also use “waxed,” but I found that there were better laughs with the word “lasered.”
So now that you have these techniques, you can apply them to turn your stories into comedy. Tomorrow I will show you a story that was submitted to me by a student and I will show you the process of how I turn it into something funny.
***Please feel free to leave comments. I would love to hear from you!!!***
You ever watch other comedians come to the club or the open-mic time and time again with new material? Are you envious? You ever watch other comedians just seemingly come up with material on the spot that makes you say to yourself “Genius! I wish I thought of that!” You ever wonder how they did it? How they seem to be able to do it time and time again?” You ask yourself how do they learn how to write comedy so well?
Well there are reasons that some comedians are good at this and some are not. In one instance you might say that a particular comedian is a “natural,” or he was “born with a gift.” But odds are he or she wasn’t “born with it” at all. Very few babies pop out of their mother’s womb saying stuff like “You call that a birth canal? It’s more like trying to push an egg through a stir stick!” or “Hey, Mom! Shave that! Haven’t you heard of a ‘Brazillian?’”
In most instances people who seem to be “born with it” actually had early exposure to comedy either through video or audio when they were younger. If you, as a child are exposed on a regular basis to the rhythms of comedy you begin to identify with comedy more readily and apply it in your life.
Your personality definitely has something to do with it. But the comedian then takes the next step and makes a conscious decision to actually apply it in their life. A light switch goes off and they say, “Hey, I can get laughs with this!” They then begin to recognize what they are doing that gets them laughter and they begin to replicate it. Whether they know it or not, they are learning how to write comedy.
A really good comedian will also study other comedians then apply some of the nuances to their material, recognizing patterns that seem to be consistently effective and use those in their approach to comedy. They see a comedian make an observational joke, then they observe something with a similar nuance and apply it to their repertoire. As they get better at this, they may start writing this stuff down and then actually take the leap, build an act and start pursuing comedy. The more they do comedy the more they readily identify with the patterns and apply them more.
For example, since I was seven years old, I listened to George Carlin, Richard Pryor and Bill Cosby, constantly. They all do a lot of observational material. When I was twelve, I went to the Post Office with my father. There was a sign on the door that said, “NO DOGS ALLOWED, EXCEPT ‘SEEING-EYE DOGS’.” I said, “Dad, what’s a ‘seeing-eye’ dog,” (imagining a dog with one really big ‘seeing’ eye…).
He said, “It’s a dog that helps blind people get around…”
I looked at the sign, looked at him and said, “Then who’s this sign for?”
He thought that was really funny. A few years later, I heard comedian Gary Shandling do that same thing as a joke and get really big laughs. I thought to myself, “Wow, if I just collected a whole bunch of those ideas, I could get laughs too!”
It’s almost like a guitar player. You ask any famous guitar player, they’ll tell you how they learned a riff from another guitar player then developed a variation or multiple variations on that riff, until they had their own brand. The more riffs they learn, the more they developed their own version, soon they are the guitar player everyone is emulating.
What’s my point? The point is that a comedian learns to identify with patterns that get laughs. When those “patterns”—whether they are rhythmical patterns or recognition patterns—are part of what some of us in comedy refer to as “comedy structure” or “comedy formula.”
Some comedians, like Dave Chappelle, for example (one of my absolute favorites) develop an understanding of these rhythms by trial and error and experience. Chappelle has been doing stand up comedy since he was thirteen. He has learned what seems to work by developing and tuning his instinct. Jerry Seinfeld (another favorite of mine) also works almost totally on instinct. And when I say instinct, they apply formulas and patterns—not consciously knowing the formula—but because it ‘feels’ right.
In my twenty-five years as a comedian, comedy writer and diligent student of comedy, I have identified 11 major comedy formulas used in comedy today. I’ve learned to memorize them and put them into practice on a regular basis. Now when I write comedy they almost automatically come out and get applied to my stories. They also are a part of my conversation and thought process. Learning these formulas has helped me become a solid comedy writer, being able to write 60-120 jokes a day or more, because studying the formulas helped me really learn how to write comedy. I use these formulas on a daily basis to write comedy and in one of my other blog posts I demonstrate how I do this to write 15 jokes on one topic in thirty minutes.
Once you learn that comedy does have rhythms and patterns (formulas and structure) that do get consistent laughs and in fact are the reason all comedians trigger laughter from an audience, you will be a better comedian and comedy writer yourself. Learning the formulas early helps you to cut through the learning curve and instead of being a comedian that relies purely on their instinct, you can be the comedian who knows why a joke is funny and how to put it into your comedy whenever you want. Then you’ll be the comedian who knows not only how to be funny, but also, how to write comedy.
Years ago, when I was first starting in comedy, I worked with a headliner comedian who said he hadn’t written a new joke in 11 years. Why do so many comedians and comedy writers have such a difficult time writing material? Are you one of those comedians? Do you write everyday? Do you have a difficult time coming up with stuff that’s funny? That might be your dilemma.
Yeah, that right there! That might be your dilemma; you are trying to come up with something “Funny.”
A comedian or comedy writer doesn’t just come up with something funny, he’s able to take just about anything and turn it into something funny. See the difference? When you sit down to write; you look at the news, read the N.Y. Times, look at the headlines on the internet. Do you ask yourself, “What’s so funny?” What’s funny? Nothing is funny, because most news reports the facts. (I said most because, well, there’s FOX). But what do you do with something that’s not supposed to be funny? The answer is: you do your job. It’s your job to turn it into something that is funny and you do that in comedy by applying comedic formulas.
Two guys walk into a bar…
I come from a large family…
My father was a bastard…
I’m Irish and American Indian…
I have five kids…
Millions of fish washed up in the harbor around Redondo Beach…
On the face of it are any of these lines funny? If you said yes, you’re either really damn funny or your need your head examined! Either way, both are great qualities for being a comedian…
At first glance, those lines are not funny. They don’t read funny. So, what’s so funny?
What’s funny is that you can take these lines and easily turn them into something that is funny. First, you have to understand the basics of what makes people laugh [link]. Once you understand that, you can start to apply the basic comedy formulas. They are basic, but they are so powerful that, when used correctly, they can trigger the laughter from an audience and that’s what you’re looking for as a comic.
I’ll take these lines and use two comedic formulas (Incongruity or The Reverse) to make the lines funny by doing a take-off (commenting on the sentence).
First, if we know that surprise is the number one element that triggers human laughter, then we know we have to try to get into the head of the listener. Let’s look at the first line:
Two guys walk into a bar. In the listener’s head, what are they thinking? What kind of bar? A bar that serves liquor would probably be the best assumption right? So let’s change the meaning of the word “bar.” What if we changed the meaning of the word bar to like a post or a steel bar that’s hanging so low that we would bump our heads on it if we didn’t duck. Now how does the line read?
Two guys walk into a bar…which is kind of stupid, cuz’ if the first one hits it, the next one’s gonna see it, right?
See what we did there? We shattered the audience’s assumption of the meaning of the word ‘bar.’ And came up with something funny. So if we look at the other lines we might have:
I come from a large family…four moms, five dads.
My father was a bastard…he wasn’t a bad guy, he just didn’t know his father.
I’m Irish and American Indian… you know what that means; I pretty much have V.I.P. seats waiting for me at any A.A. meeting.
I have five kids… so I’m half-Mormon…
Millions of fish washed up in the Harbor around Redondo Beach… There’s good news and bad news; The bad news is it’s going to take weeks to clean that up that mess. The good news is: Now the common man knows what it smells like when Kirsti Alley sunbathes nude.
So instead of looking for something funny to write, just find something and turn it into something funny.
Then when someone asks, “What’s so funny?” You’ll be able to say, “Me!”