Session #18
18.5 How to Write Comedy Like Adam Sandler
Course Objectives
Instructor:
Jerry Corley
Lesson information
🎭 18.5 How to Write Comedy Like Adam Sandler
Adam Sandler has built one of comedy’s most successful careers by creating a world where almost anything can happen—and somehow making it feel completely natural.
In this 3-hour deep dive, we’ll break down Sandler’s absurdist approach to comedy using examples from his stand-up, musical comedy, storytelling, and his Netflix special Love You. You’ll see how he starts with recognizable situations, creates clear expectations, then introduces bizarre twists while continuing to tell the story as though everything happening is perfectly normal.
We’ll explore Sandler’s use of absurdism, surprise, compare and contrast, escalation, incongruity, embarrassment, musical misdirection, and one of the most valuable questions a comedy writer can learn to ask:
“If this is true, what else is true?”
Then you’ll put those techniques to work by taking ordinary, relatable situations and transforming them into your own escalating absurdist stories.
Start a Conversation
This lesson doesn’t have to end when the video does. Use the comment section below to put what you’ve learned into practice and keep the conversation going.
Post your:
Questions — If something isn’t clear, ask. Chances are other students are wondering the same thing.
Homework & Exercises — When the lesson includes an exercise or bonus assignment, post your work below.
Jokes & Premises — Try out what you’ve written using the techniques from this lesson.
Observations & Discoveries — Spot this technique being used by another comedian? Share what you noticed.
Feedback — Feel free to respond to other students’ work. Be constructive and help each other get better.
Don’t just watch the lesson—use it. Comedy writing is a skill, and skills improve through repetition, experimentation, feedback, and practice.
So jump in. Write something. Try something. Ask something!
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Maria Bamford is a master of character voices, dialects, act-outs, polyvocality, and diegetic interruptions—often shifting dynamics without ever leaving the microphone.
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