By Jerry Corley | Founder – The Stand Up Comedy Clinic
I just had a session with one of my private students at my studio. After he ran some of his material, I asked him what happened to some of the other bits he was working on last time we met. He said, “I’m getting bored with it.” Does that sound familiar? It does to me!
I remember writing material, working on it then after doing it on stage once or twice, getting bored with it, despite the fact that it was good and getting laughs. Worse, I would get a showcase for a spot in a club or a television show and I would abandon my trusted material because I thought it would be best if I wrote new material for the showcase.
Problem is when you do that, the material might be fresh, but it’s untested and when it’s untested and you’re in a higher tension situation like an audition, the new material sounds like just that, “new.” Therefore, you sound “new.” It doesn’t sound honed. It doesn’t tight, because you’re still working out the kinks and you don’t quite “own” it.
When you showcase, audition or make an important appearance at a club, you want your act to look effortless. You want it to look like it’s just coming out of your mouth for the first time even though it isn’t and that takes rehearsal, practice and stage time.
Anthony Hopkins reads a script two hundred times before he starts to work on it. That way the material is now a part of who he is. Does his work ever look stale? Does he ever look bored?
My father, Pat Corley, a character actor for almost sixty years said that it takes eight hours of rehearsal to “own” five minutes of material. You can memorize that material in far less time, but owning it, is a completely different story. It has to be a part of you.
Jay Leno said, whenever you’re working on new material, do the “tried and true” up front, slip some new material in the middle and close with the “tried and true.”
Rita Rudner adds a new joke or a new routine every week and in a year she has a whole new act.
Part of being a professional is learning to continue to make the material you’ve been doing sound fresh every night. That’s part of your craft.
I saw Kevin James, (star of “King of Queens, ” a hit show on network T.V. for many seasons), when he did his first showcase in L.A. for network executives. He did material I’d seen him do for years. But the networks guys were seeing for the first time. He killed. It resulted in a sitcom that made him a star.
To build an act, you must have material to build on. That material might be stuff you’ve done enough to get bored with, but the guy in the club drinking a beer, has probably heard it for the first time.
By Jerry Corley | Founder – The Stand Up Comedy Clinic
A young comedian came up to me the other day and asked, “how can be a better comedy writer…I mean, right now?”
My first thought was to give him the standard rhetoric about how it’s a process and it takes time, blah, blah, blah. But, instead, I watched his act and I got a sense of where he was in his comic “trajectory, ” for lack of a better term. It was as I thought, so I just told him, “You want to get better right now? Stop trying so hard. Stop trying to find “funny” things to talk about and start talking about what’s true.
Comedy in it’s most basic structure has a straight line and and punch line. The straight line (aka: setup) is crucial. It’s got to be believable. It must be a situation or a statement that sounds logical is recognizable to an audience. Once the straight line is clear, you can spin it with an unexpected result. But it’s best if it starts with something that is true.
In addition, I know a ton of comics—okay, one guy, but he weighs about two-thousand pounds—(see what I did there?). I know a lot of comics in all levels of their careers who have trouble coming up with material because they are always looking for something funny to write about. Talk about putting the pressure on yourself to write everyday! If you’re just looking for “funny things” to write about, then you’re going to find yourself creating your own writer’s block. Just write the truth then turn it into something funny.
You can start with yourself: What’s true about me?
- I’m Irish and American Indian…
- I come from a large family…
- I’ve been married a total of 19 years…
- I went to a very strict Catholic school…
On the surface these are just statements about my life. I’m not looking for “funny things” about my life, I’m just looking for statements that describe me. Nothing funny there right? But if you understand that comedy has structure and it’s in the surprise where the jokes come from you can apply the ten major comedy formulas to any of these statements and make them “funny.” Let’s do it… write jokes that is…
- I’m Irish and American Indian… so you know pretty much that I have V.I.P. seats waiting for me at any A.A. meeting. I walk into that meeting it’s like, “Hey ‘Running-Bear O’Reilly, ’ we have a chair for you in the front row!”
- I come from a large family… four Moms, Five Dads…
- I’ve been married a total of 19 years… it would be nice if it wasn’t split between three wives.
- I went to a very strict Catholic School… I had A.D.D…. Once!
Very simple straight lines can become very effective jokes. Of course it’s much easier once you understand the ten major comedy formulas and how to apply them. But the key is they didn’t come from trying to write about “funny things.” They came from just writing about what’s true.
Here’s an age-old argument that never ends; Can you learn to be funny? You’ll get answers on both ends of the spectrum. What’s interesting is the people who DON’T believe you can learn to be funny are really negative. They’ll actually call me and leave a nasty voicemail about how you can’t teach anyone to be funny. Makes me laugh, because the truth is “funny” is learnable.
As infants, we learn what funny is. If you look at a baby and you say “ooooooooooh—BOO!” The baby, laughs! It’s uncanny “ooooooooh—BOO!” You’ve probably seen it a hundred times. It’s because the person doing the “performance” is creating an expectation with “ooooooooh.” In the babies little mind “ooooooooh” is going to go on an on. Then you shatter that expectation with a quick “BOO!” It’s the surprise that gets the laugh. Pretty simple concept and it doesn’t change when we get older either. Surprise is still the number element that triggers human laughter. So, I’m sorry naysayers, you can learn to be funny.
It’s as simple as sharpening your awareness of the opportunity to shatter the expectation and create the surprise. If you take any statement of piece of dialogue and you suddenly change the perception of what is being said or, say, change the perception of the meaning of a word, you’ll have surprise which will result in funny. “I’ve been losing my hair lately. It bugs me a little bit. Like in the mornings when my wife is running her fingers through my hair, but I already left for work.” That line gets a laugh every time because the audience has a perception of “running her fingers through my hair, ” once I let them get that picture in their heads, I throw in that the hair she’s running her fingers through is the hair left behind on the pillow after I went to work. Because their image was shattered, they laugh. Learn to identify the opportunity to spin what you say at the last minute and you will learn to be funny.
In comedy, that’s called a reverse. It’s classic, and if used properly, that formula will get a solid, triggered laugh from an audience every time. Well, unless the audience doesn’t speak the language you’re speaking, or they’re dead. And if you’re running your jokes by a dead audience, then you should see a shrink, or better yet, stop playing the Hollywood Improv.
The reverse is just one of the humor formulas you can learn in your journey to learning to be funny. It’s one that I teach in my comedy classes and seminars. It’s powerful, but it’s one of those formulas you want to avoid using in back-to-back jokes when doing a routine. Once you give up the formula your audience begins to anticipate the surprise. Then it’s no longer a surprise, is it?
Here’s a real-life scenario in which I used a formula to lighten the mood. My wife and I were expecting a baby. I came home from work late one night and she was laying on the couch. She said, “I’m having gas pains.” I said, “Babe, everyone is, it’s like $4.25 a gallon!” She laughed. The we discovered that those “gas pains” were coming 3 minutes apart.
That is called the double-entendre formula. Take the perceived meaning of the word and turn it into something that the listener didn’t expect. I’ll talk more about that in a future blog…you know, the blog that I write where you can’t teach someone the skills to learn to be funny…
Jerry Corley is the founder of the Stand Up Comedy Clinic. He teaches the science behind the art of comedy from his studio in Burbank, CA.
By Jerry Corley – Founder of The Stand Up Comedy Clinic
When something big happens in the news, my first instinct is to write jokes. Whether it’s a stressful situation or a happy situation, I want to try to find the funny in it. Many times I’ll Tweet the jokes or put them on Facebook. It’s a challenge to myself to see, not only how many jokes I can write in a short period of time, but see how many I can write that are less than 140 characters.
Comedians or humorists should alway try to take a humorous approach to almost every situation. It doesn’t make us less human, it makes us more able to see things in a different light. Sometimes it can alleviate stress. Sometimes it can ease pain, but ultimately the writing makes us better.
So if you want to become comedian, or you want to become better at writing comedy, or you just want to be funny in your life, write jokes. It feels good.
Here are some of the jokes I put together the moment they announced that U.S. forces found and killed Public Enemy number one, Osama Bin Ladin. Most of these jokes were already Tweeted or posted to Facebook. They helped me take the edge off. I hope they help you too! Enjoy! And if you feel like it, post your own jokes and see how good it feels.
CNN announced that Osama bin Ladin was found and killed. How were they able to track him? Turns out he was using an iPhone.
When I heard the news last night the first thing I thought was: this is the best thing politically to happen to Obama since John McCain chose Sarah Palin as his running mate.
Obama is dead: Neighbors are shooting fireworks, NYPD is riding lights and sirens. Rush Limbaugh is shitting a live mongoose.
You can tell Bin Ladin is dead because The “War on Terror” is now just a new name for Charlie Sheen’s road show.
Former President Bush was notified that Osama Bin Ladin was found and killed. Bush responded by saying, “I’m sorry…who?”
President Obama is planning to announce success in finding and killing Osama Bin Ladin. Republicans have already said, “our plan is better.”
The Arab world learned a lesson by President Obama giving the order to kill Bin Ladin: Don’t piss off a brotha!
I know the election’s far away, but the campaign goes something like this: Obama: “I got Bin Ladin, what do you got?”
One of the mob cheering Bin Ladin’s death in NYC said, I’m just happy the U.S. finally got Justic—shit, somebody just stole my wallet!
President Obama is going to announce that Bin Ladin is dead. Donald Trump is already stating that he believes the death certificate is a fake.
I know the presidential election is still far off, but I think the campaign will go like this: OBAMA: I got Bin Ladin. What do you got?
The mission to kill Osama Bin Ladin was pulled off and not a single American Life was lost. Sadly that claim can never be made by Kaiser.
Reports coming in say that Bin Ladin being buried at sea is “unusual.” But what’s really weird is the Eulogy was performed by Captain Jack Sparrow.
U.S. military says they have several pieces of evidence to confirm Bin Ladin’s identity. They have facial recognition, DNA samples and evidently they stowed his heart in the “Dead Man’s Chest.”
The military operation to get Osama Bin Ladin was done with precision. Helicopters landed in his compound, they got into a firefight, killed Bin Ladin, took his body. The only thing that would’ve made it better is if there was a soundtrack playing The Black Eyed Peas’, “Boom-Boom-Pow.”
by Jerry Corley – Founder of the Stand Up Comedy Clinic
I was recently asked “what’s the key to a good joke?” The answer is quite simple actually. Some people think it’s subjective. I asked a couple of pretty popular “comedy teachers” and they said, “laughter, ” another instructor said, “a good punch line.”
Well, “laughter” might be the response when your joke actually contains the key, or “a good punchline” might be a good comedy catch phrase, but it fails to give the student of comedy any real answers. Nor does it give a comedy or humor student any idea on how to design a good punch line. Want the answer? The key to a good joke is the same thing that is key to a good sleight of hand trick. The key is surprise. That’s right, surprise.
Surprise, according to experts is also the number one element that triggers human laughter. If you surprise the audience as to what you are going to say, then they will usually laugh. If expectation was a balloon, you, as the humorist would inflate that expectation and then…pop it.
“I’m losing my hair. It really bothers me. Like in the mornings, when my wife is running her fingers through my hair—but I already left for work.”
“I woke up in the hotel this morning and the housekeeper was banging on the door…just banging—finally I had to get up and let her out.”
“My daughter’s five and I’m trying to teach her to tie her shoes. She’s like, ‘I can’t, Dad. I can’t.’ I said, ‘How many times have I told you not to use that word? I am not your Dad.’”
In each of these jokes, you can see that the expectation was inflated, then “popped, ” at the last possible second.
But surprise isn’t the only element that is the key to good humor. Today, the best comedians out there are using four major formulas to get laughs. That’s right: Four!
In fact, there are 10 comedy formulas that are used in conventional comedy. But only four are used by the best comics out there. Whether it’s Jerry Seinfeld, Dave Chappelle, Robins Williams, Kat Williams or any other comedian that makes you laugh, you’ll find that they pretty much use only four.
I teach all 10 formulas in my comedy courses. But you really only have to master four to be a successful comic, and yes, because they are formulas and contain structure you can teach them to anyone.
To learn more, sign up for my newsletter (located in the right sidebar). You’ll find it is very useful when it comes to writing or performing comedy, or humorous speeches.
In other words, it could give you the answers to the question: “What is the key to a good joke.”