If things weren’t interesting enough in the Late Night world, Chelsea Handler of “Chelsea Lately” has just signed to do a Late Night Show on Netflix.
This immediately made me wonder: What is Netflix thinking?!
I think this can work, and if it does, what does it mean for you?
Netflix is on the cutting edge in original content with the super-successful House of Cards starring Kevin Spacey and Orange Is The New Black starring Taylor Schilling and a full cast of excellent actors.
Now they are taking on the world of Late Night, offering a show to the sassy and very funny, Chelsea Handler.
Kind of an interesting setting: “Late Night” on Demand. Not sure how it will do in this content delivery setting but considering the success DVRs, Amazon, Hulu and other content providers, and their ability to let viewers watch their favorite shows whenever they want really not only opens up almost endless possibilities for viewers but for writers as well!
Maybe that’s something that Conan O’Brien should’ve thought about, especially considering multi-million dollar disappearing act he seems to be doing over at TBS.
I don’t even know what channel TBS is on my DirecTV or even if it’s on their lineup at all. I just don’t pay that much attention any more. With 500+ channels on my DirecTV, nothing really stands out. Am I the only one?
The sad part is that I like Conan.
However, I know I go to Netflix all the time looking for something to watch at night when I’m having a cocktail or three.
But enough about my alcohol problem…
What Does This Mean For You?
There has never been this kind of movement in Late Night programming in television history. This means that there will be staff shake-ups and new staff hirings for shows.
Consider what’s happening in the next few months: Not only is Chelsea Handler starting a new show soon, Craig Ferguson is leaving CBS and David Letterman will be swapped with Steven Colbert. That’s three Late Night shows that are starting and staffing!
Makes you want to say HOLY CRAP! How do YOU spell “OPPORTUNITY?”
As a person who has been around this business for years as an actor, a comedian and a writer, I see this as a golden opportunity. This is the closest thing to pilot season a writer of Late Night can ask for.
Top 3 Things you should be doing right now:
- Creating or Refreshing a Submission Packet for Late Night
- Contacting The New Shows To Find Out Exactly What They are Looking for in a Packet
- Sharpening Your Skills to Write Sketches, Monologues, Desk Pieces, and Drop-Ins
Writing for Late Night is one of the few jobs in this town you can get without an agent or much prior television experience. In fact, The Tonight Show with Jimmy Fallon, the highest rated Late Night Show on TV right now, recently scooped up an IT Professional based on what he was posting on his Twitter feed.
Getting your stuff seen by the right people at Late Night is not that difficult.
The Head Writer is Looking For You
The Head Writer at any of these shows has a specific job. He has to make sure the writing team is producing the best content that fits the show and is right for the Host. At the same time, turnover in the Late Night world is big, so the Head Writer is always looking for talented writers who can produce material for his show.
So who do you think you need to contact to get your writing packet seen?
You guessed it; The Head Writer.
So get out there and get your stuff seen!
How Do You Do This?
There’s a specific set of skills you need to get into Late Night Comedy Writing.
- You can learn those skills by trial and error. Not a bad thing. The more you write the more you learn. You can test your jokes against Late Night Shows to see how they compare to the writers who are on the shows you are targeting.
- You can acquire knowledge & develop your skill by attending workshops: Joe Toplyn teaches an excellent workshop in New York City. I teach an excellent LIVE workshop in Burbank this Tuesday night and I have an online video course. (P.S. I don’t get any commission or kick-backs or anything from pimping Joe’s workshops. I just think he’s a talented guy who has a ton of experience).
- You can acquire the knowledge by reading books on the subject. Again Joe Toplyn has an excellent book, “Comedy Writing For Late Night T.V.,” available on Amazon.
Remember classes are not mandatory, but they will help you acquire knowledge from experienced professionals and help you develop your writing chops a lot faster. Workshops also help you light a fire under that writer’s butt and fill your head with new inspiration, goals and creativity.
So what are you waiting for?
Hit me back if you have any questions or if I can help you in any way to venture into the Late Night Comedy Writing world. I will give you my all to help you reach your goals.
Best if you leave a comment below and start a conversation. Maybe we can get Mr. Toplyn in to join us too!
Hey Comedy Writers! Join the Conversation!
Let’s get right to it!
I’ve been posting and blogging about comedy writing tools for several years now, giving you the best tools that I use to write comedy. I’m loving every minute of it!
In this post I’m sharing with you my 5 favorite writing tools online. It’s a combination of tools I’ve already posted, but you may have forgotten they were there or missed them because you didn’t see the post.
Look at them now because soon I am going to be locking them in the vault and only using them for online courses.
These tools work whether you are a one-and-two-liner comedian or whether you are a story-teller.
These tools work for coming up with jokes for Clubs , Corporate, Late Night, Sketches, Screenwriting, or novel writing.
The structure of comedy is as important to the laugh as hitting the right notes in the right key is important to the music.
In other words, without the structures, there is little or no laughter.
Every comedian who’s made you laugh from Jerry Seinfeld to Kevin Hart; from Jim Jefferies to Bill Burr; from Louis CK to Amy Schumer, they all utilize the structures I teach in my courses and in my eBook writing system. They all use them, even if they don’t know it!
George Carlin said to me, “I know 98-percent of the time that a joke is funny before I get it on stage.” I asked him how he knew and he said, “because I know they contain all the elements necessary for a joke to be funny.”
So here we go!
This was the second one I shared with the public when I first started writing my blog. It’s a simple method I use when I am staring at a blank page or computer screen saying, “I got nothin!” I just run this scenario through my head and I always wind up with something; usually about 5 minutes of new material! The good thing is I can use it starting from complete scratch!
2.How To Write Jokes [Video Tutorial]
This video tutorial was the first of its kind ever put on the internet. May still be the only one of its kind. Where I start with a simple headline from the news and I walk you through the procedure as you look at my computer screen. It’s like you’re looking over my shoulder while I write jokes and show you one of my processes for generating material. This technique has helped me to write thousands of jokes over the years.
Another first of its kind as far as the viewer being able to watch joke writing in a certain niche in a real-time environment. In this video I will take the corporate subject matter of “Title Insurance” and walk through my process as I basically write 10 minutes of Title Insurance jokes. Inspired from a phone call I received from National Title asking me how much I charge to perform at one of their events doing at least five minutes of Title Insurance humor. After I quoted them my fee I knew I better be able to write some title insurance jokes. So I start from scratch and write 10 minutes in less than an hour. Take a look at the process if you want to learn how to write comedy for corporate engagements. Definitely worth a look!
Most people I run into who are trying to write comedy, think that comedy writing is a mystery. They think it’s got to be really clever and difficult. Some of the best comedy is the simplest comedy. Much of it comes in the form of opposites. One of the easiest ways to get to the punch is NOT to think of something FUNNY but to think in opposites. This exercise gets you there fast. It may seem simple, but it’s powerful. I’ve used this in sketch writing, screenwriting and in stand-up. Always effective!
I love Bill Burr! He’s a terrific and expressive comedian, who loves to take the alternate point of view on popular social opinions. His technique is masterful, but when someone told me that Bill doesn’t use any comedy structure, I just had to show them not only that he does, but how he does and exactly where he uses it. Take a look at this Bill Burr video and then watch as line-by-line, you get to see where he places the key elements that trigger the laughs!
So there you have it
Five of my best tools for writing jokes. But here’s the thing: This barely scratches the surface of the tools I use on a regular basis to write jokes. In my classes and with my online courses, I teach 23 different approaches to writing comedy. Remember, there’s no single way to approaching comedy writing.
But these tools will give you a process to make it easier. I still use the old-school method of getting an inspiration and talking it out on stage until it develops into a solid routine, but I prefer to use the George Carlin method: write it funny so you know it’s funny before you take the stage!
I hope you enjoy this list of tools. Remember they won’t stay online long, so use them, share them with others and please feel free to leave a comment below and let me know how you’re doing!
“How do I know when my jokes are working?”
If you’ve been following my blog, by now you know that writing one and two liners is key to really making your story-telling pop.
If you aren’t aware of this, I’ll remind you.
Stories are great. I do stories, but with the clubs and television expecting a laugh every 18-20 seconds, you must be sure you include laugh-points all along the arc of that story. The best way to do this is to get really good at your one and two-liners, giving your story an opportunity to create a laugh after almost every one to three sentences.
If you don’t have laugh points in your stories, then you’re not doing comedy.
Keep in mind, there are some exceptions to this rule, but overall, if we’re in a comedy club, we want to laugh.
So How Do You Get Good at This?
You have to start to recognize opportunities for comedy ‘plays’ along your story’s journey. There are a vast array of techniques and structures to help you hit your laugh points, and if you’ve read and worked through my eBook, “Breaking Comedy’s DNA,” you’d know almost every one of those.
It’s amazing when you have the knowledge to trigger laugh in your story almost at will. That’s right “at will!”
Every logical grouping of words can be turned into something funny.
That being said, one of the best way to develop and laser sharpen your ability to do this is by working your one and two-liners.
And the best way of doing that is through current event, trivia and factoid humor.
Why? Because the first part of the joke is already written for you!
That’s right. Think about it; when you read a headline, a factoid or a piece of trivia, the headline is already written. All you have to do is come up with an ending!
Then you re-tool, tinker and tighten, add some misdirection, surprise or incongruity and ‘BAM!’ you have a joke.
- They are reopening the Washington Monument. The thing has been shut down for the last two years – just like Congress.
- Some NFL players criticized Michael Sam for kissing his boyfriend after getting drafted. He has to learn that NFL players are not supposed to be in gay relationships until after they’re in prison!
Both of these jokes utilize the ‘listing technique;’ the most powerful technique used in comedy today. One definition of a joke is ‘the convergence of two dissimilar ideas.’
In the Washington monument joke, all I did is take the first part of the joke: “They are reopening the Washington monument, which has been shut down for the last two years…” and I listed everything about Washington in one column, then everything about the Washington monument in another column. When I found similarities between the two (even in my imagination, because comedy is heightened reality), I finessed a joke from that idea.
I did the same thing with the Michael Sam joke. Here we have more than two dissimilar ideas converging.
Can you tell what those ideas are? NFL, PRISON, GAY RELATIONSHIPS, RELATIONSHIPS, ETC. *(See a more thorough example of this comedy writing tool here)*
In this case I would list everything I could think of utilizing all four ideas. Notice how I also used ‘relationships,’ not just ‘gay relationships?’
When we open up the idea of ‘gay relationships’ to relationships, I now have a possible idea for a slam on the NFL and all the cases of sexual assault. So that joke could be something like:
- Some NFL players criticized Michael Sam for kissing his boyfriend after getting drafted. See, Michael Sam doesn’t get it, in order to be accepted in the NFL you can’t do something gross like kiss another man, you gotta rape a chick.
Now you have an edgy joke. This joke might not be my voice. It certainly won’t fit on Late Night, but it could be suitable for ‘The Daily Show’ or Bill Maher. If not, I’m sure I could sell it to Chris Rock.
In essence, before I finish this blog post, I’ve already made 50 bucks!
How do you know it’s funny?
If you set a goal to write at least 10 of these jokes a day, then all you have to do is compare it against the Late Night shows jokes and see whose his funnier.
Sometimes it will be theirs. Sometimes Yours.
The more you do it, the better you get. Then you’ll more readily recognize the opportunities for these ‘plays’ in your stories and your stories will be funnier, more compelling and more worthy of the definition of comedy.
There is a movie out there called “A Knight’s Tale.” It stars the late Heath Ledger as William Thatcher, a peasant squire, who, after his master dies, changes “his stars” by changing his identity and becoming a knight.
It’s a fairy tale. Or is it?
About a month ago, a regular guy from Peoria, Illinois, who tweeted regular jokes as a way of venting from work and the grind of daily life, got picked up by the executives over at Late Night with Seth Meyers, to be a staff writer on the show after they took notice of his funny tweets.
I’ve been telling my students for several years now that they need to be tweeting their jokes regularly to get their writing out there, seen by others. Now it seems that crazy idea is paying off.
In the blink of a tweet, Bryan Donaldson a family man, went from a clock puncher for an insurance company to a staff writer on network television.
Is this sheer luck? No! He worked hard everyday tweeting jokes and gaining followers on Twitter. He’s a classic example of opportunity meeting preparedness.
Through his diligent and funny tweeting, Donaldson got an opportunity of a lifetime.
Can you do the same? Maybe so.
The point I’m trying to make is opportunity is out there every single day. But most of us are not doing what we need to do to take advantage of it.
You should be writing every day, generating material. Either to tweet or for practice. Every time you write, you get better. And that’s the goal; to be prepared when opportunity arises.
Then, like Heath Ledger’s character in “A Knight’s Tale,” you too might be able to “change your stars.”
Comedy is a Veiled Attack
You’re attacking someone or something. Even yourself. The basic rule about attacking is: Always attack up. What this means is that in our society an audience roots for the underdog. If you are a white male and you are making jokes about a minority, it is technically attacking “down.” Because the white male still dominates in our society. If you are a male and you are attacking a female (for no understandable reason), you are also attacking “down,” because we still see women as the fairer sex. If you are anyone and you are attacking Special Olympics kids, you are technically attacking “down,” because Special Olympics kids are seen as people that can’t take care of themselves and they need our help. This is a general rule and can be broken from time to time, but I think you get the idea.
However, this is not to be misunderstood. If you can set the person up (who is “beneath” you) as an antagonist that needs retaliation, then the audience will root for you to get back at them and make fun of them. Don’t be afraid to attack “down,” just make sure there is just cause.
I missed out on a Letterman audition because the talent coordinator told me that I was attacking my ex-wife for no reason. For time sake, I had cut the set-up to the joke which was how she cheated on me. If the audience had that information, the joke would’ve been more effective.
Don’t Worry About Pleasing Everyone
If someone gets offended because you use the word pee or if you curse, GOOD! Maybe they are NOT your audience. You cannot be all things to everyone. Be YOU! Unless you are doing corporates or kids’ shows or doing warm-up for studio audiences, don’t worry about being all things to everyone. In comedy people love to hear a unique perspective. George Carlin said “there’s nothing wrong with fluff. Sometimes the audience needs it, but do comedy that says something.” If you’re doing comedy that “walks” some of the room that could be a good thing. Out of those people who stayed, there could be a percentage that wind up being die-hard fans; You know, people who will follow you anywhere!
It may seem simple to understand. But what is funny? I run into people all the time (sometimes in my classes) that say, “I just want to express myself. I don’t want to write it down.” “When I write it down it doesn’t come out funny.” I understand this dilemma. It makes total sense. Sometimes when you try to hard to stick to a script, it can feel awkward or unnatural. In doing stand-up comedy, there is a fine line between doing the material as written and “free-styling.”
Here’s the key to understanding comedy: Every time the audience laughs, there is a stimulus present in the material or the action. In other words, SOMETHING triggered the audience’s laughter. Part of the science of comedy is learning what those triggers are and then how to exploit them whenever you want so that you can repeat them, almost at will.
Those laughter triggers are hidden within the structure of comedy. So whether it’s Jerry Seinfeld using recognition triggers and incongruity or it’s Bill Burr using compare and contrast, incongruity and incongruity act-outs, driven by a strong emotional point of view, their structures are very strong and very present in their material. In other words they are NOT just riffing at will. If you have read my book “Breaking Comedy’s D.N.A.,” you will learn those structures and you will begin to be able to identify them in all comedians. When you do that you can then start to plug them in to your material and you will find that the laughs start increasing exponentially.
Without the structure in your material, it simply becomes a story or an opinion that you’re sharing with the audience. All the while the audience is thinking: That’s nice, but I’m here to laugh.”
In other words, be natural. Sound conversational, but your structure is going to get the laughs.