“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 â€“ 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.