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The New Comedy Writing Step by Step
Revised and Updated with Words of Instruction, Encouragement, and Inspiration from Legends of the Comedy Profession
Gene Perret
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eBook - ePub
The New Comedy Writing Step by Step
Revised and Updated with Words of Instruction, Encouragement, and Inspiration from Legends of the Comedy Profession
Gene Perret
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About This Book
Three-time Emmy Award-winner Gene Perret's ""Comedy Writing Step by Step"" has been the manual for humor writers for 25 years. In this new book, his first update, Perret offers readers a treasure trove of guidelines and suggestions covering a broad range of comedy writing situations, along with many all-important insights into the selling of one's work. Perret covers all aspects of comedy writing in his uniquely knowledgeable and anecdotal fashion.
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TelevisionPART ONE
DECIDING TO WRITE
āA writer is a person for whom writing is more difficult than it is for other people.ā
- 1-
You Can Write Comedy
Iāve had a ball writing comedy. Iāve written from my kitchen table back in Upper Darby, Pennsylvania, from a cocoon-sized office behind my house in Californiaāeven from a plane seat on the way to England to help write the command performance show celebrating the twenty-fifth anniversary of Queen Elizabethās coronation.
Iāve been on vacations with my family where we crammed in a tiring day of sightseeingāand then while the rest of them slept, I shut myself in the bathroom, curled up in the empty tub with pencil and notepad, and turned out my next dayās quota of jokes (ā¦or gags. Throughout this book Iāll use those terms interchangeably.)
Iāve written some good jokes in some bad places and some bad jokes in some good places, but Iāve been delighted with every minute of it. The one overriding message of this volume is that comedy writing is fun. Itās a capitalized FUNā¦an underlined FUN. Itās fun in italics, and fun in foreign languages: Cāest tres amusant, es muy divertido, es macht mir Freude.
Now my wife is gong to object when she buys a copy of this book and reads those opening paragraphs. She has had to listen to my complaints over the years about recalcitrant associates, egomaniacal performers, moronic producers, asinine executives, and people in audiences who wouldnāt know a good joke if it jumped off the stage and extracted a belly laugh from them surgically. What she doesnāt realize is that my complaining about the business is fun to meāsheās the only one not having a good time.
My Comedy Ego and How It Developed
Iāve exulted in all the stages of my careerāgood and bad. When my career first showed signs of progress, I was so delirious that it wore a bit on my friends and family. I was proud of hobnobbing with celebrities and rarely stopped talking about my accomplishments. Every conversation was sprinkled with my latest witticisms.
In short, I was a bore. Youāll notice as you read through the book that Iāve not been totally cured of this.
While I was in the most critical stage of the disease, I eagerly anticipated taking my checks from Phyllis Diller to the bank each Friday. Iād try to look my humblestāall the while waiting for the teller to notice the celebrity name on the check.
One lady saw the signature, chuckled a bit, and said, āPhyllis Diller, huh?ā I modestly lowered my eyes and replied, āYeah.ā Then she called another teller over and showed her the check. Pride swelled so much in me that it seriously threatened the buttons on my shirt.
āIs she anything like the real Phyllis Diller?ā the teller asked.
āThat is the real Phyllis Diller. Sheās a personal friend of mine.ā (I had talked to her on the phone.)
The lady calmly studied the check and signature with that air of expertise instinctive to bank tellers, began stamping the documents with whatever they stamp documents with and said firmly, āNo, itās not.ā
I never did convince her it really was the real Phyllis Diller. In fact, she almost had me believing I was working for a fraud. This incident was not among the highlights of my career, or even of that particular day, but since then it has been good for laughs.
Another time my wife and I had a few laughs over an experience that is almost the flip side of the Phyllis Diller story. We had been vacationing (please donāt think that all comedy writers do is vacation) at a California resort and were checking out when the cashier informed me that I had received a call from Bob Hope. I was on Hopeās writing staff at the time, and he frequently called in the middle of vacations. In fact, he frequently called in the middle of anything I was doing. The clerk asked, āIs this the real Bob Hope?ā I assured him that it was and he offered me a telephone a few feet down the counter.
While I was on the phone, another couple came to check in. The first thing the clerk said to them was, āHave you ever heard of Bob Hope?ā They were a little confused as to what this had to do with checking into a hotel but said they had. The counter man motioned toward me with his thumb and said with feigned matter-of-factness, āHeās talking to him.ā
Iāve even had some recognition that I didnāt merit. Our writing staff was nominated for an Emmy one year, so the producer invited me to share his rented limousine for the eveningāwe wanted to arrive in style.
The festivities were being held very near my home, so my four youngsters rode there on their bikes and got right up front behind the police barricades. Our limousine pulled up to the front of the building, we stepped out, and my kids and their friends immediately went wild with screams of delight. Being an incurable ham, I turned and waved to the adoring throng. Now everyone in the crowd started screaming. The fact that they didnāt recognize me as a big star didnāt deter them. They figured scream now and ask questions later.
One lady, though, turned to my most vocal daughter and said, āWho is that?ā My daughter told her, āMy daddy.ā
Thereās a flip side to that tale, too. (Are you beginning to notice that all my stories have their own rejoinders?) Once we were at a rehearsal for a Bob Hope show originating from Palm Springs. Former President Gerald Ford was to attend the gala that evening, and some Secret Service men were combing the ballroom with dogs trained to locate bombs. Hope was on stage with a handful of script pages, saw me, and shouted, āHey, Perret. They keep sniffing out your jokes.ā
You may be fearful now that you spent your hard-earned money on a book of Gene Perret anecdotes (I warned you that Iām not completely over my self-aggrandizement phase yet), but Iām just trying to illustrate and emphasize the laughs Iāve had with my comedy-writing career.
Thatās really the main reason for this book. Iāve had so much fun writing humor that I wanted to help other people share some of that. And you can.
A Universal Form
You may not believe it, but there is a fear of comedy writing. People feel that itās almost a sacred profession; the Deity must reach down and anoint their heads before witticisms will germinate.
Nonsense. Comedy is a universally practiced art form. Anyone who has ever performed stand-up comedy knows that the guy at the table in the front whoās had one too many cocktails and is trying to impress his date thinks he can shout out funnier things than youāve been writing and rehearsing.
Wisecracks are universal. Every time your family gets together Iām sure friendly insult jokes pepper the room. Any time old friends gather, good humor is an invited guest, too. Everybody does jokes.
In my rookie year as a television staff writer, the producers asked our team to come up with a new line for a guest performer. We were doing a tribute to Las Vegas and needed a joke between verses of a song. Ten of us, newcomers and veterans, gathered in a room to write one joke. We threw ideas from 10 A.M. until 1 P.M. without one gag satisfying our collective judgment. When we broke for lunch, most of us stopped in the CBS restroom.
There was a nicely dressed youngster of about 10 in there washing his hands. His hair was neatly combed, but one cowlick stood up in the back. I touched the recalcitrant locks and spoke to his image in the mirror.
āWhatās this?ā
āOh, that,ā he replied. āThatās my personality.ā
And he walked out with the swagger of a performer who had just delivered a gem.
We professionals had just spent thirty man-hours with no results, and this kid came up with a great ad lib in a split second. Thereās a touch of comedian in everyone.
I was once the guest of honor at a dinner in my hometown. In attendance was a remarkable former teacher of mine. Remarkable because she was a strong-willed woman of 93 who had never been married. She taught me in the fifth grade and I must admit she looked 93 back then, too. (To her credit, she was the kind of person you could say that to.) A rumor was floating around the banquet hall that this lady had specified in her will she was to have no male pallbearers.
As the guest of honor, I dared to ask her if it were true. She admitted it was. I asked why. āThe bastards never took me out while I was alive,ā she declared, āIāll be damned if theyāll do it when Iām dead.ā
You donāt get many lines funnier than that.
Of course, comedy isnāt restricted to the cuteness of the very young or the very old. I once spoke to a group about comedy writing and during question and answers someone asked how many writers were typically on the Bob Hope staff. I started to count on my fingers and replied, āLet me see. He has the one good one.ā
I thought that was a pretty clever response until someone in the audience hollered out, āAnd then there was you.ā
Everybody tries to be funnier than the performerāand this guy succeeded. (But I got even. I stole that joke from him and use it in my banquet speeches to this day.)
A Matter of Discipline
Being witty upon occasion, though, or even every day, isnāt the same as turning out enough humor to submit to a magazine or to a comic. The difference is not so much in the skill as in the discipline. The discipline can be learned and acquired. As a result of that training, your basic comedy skills can be refined.
When I first began writing for Phyllis Diller, Iād send her two routines a week, which amounted to about sixty jokes. The first time I met Phyllis after working with her over the phone and through correspondence, she said, āYou donāt write enough.ā I immediately set a quota of ninety jokes per week. It was difficult, and quite a strain for many weeks. Today, in contrast, I can come home from a full day of TV writing and production and, after a relaxed dinner, turn out 120 gags to be delivered to a freelance client the next morning.
Beginnerās Fear
In dealing with beginning writers, the phrase I hear most often is, āWould you just read over my stuff and tell me whether itās any good or not?ā Now when these same people watch TV or go to a nightclub or read a book, no one has to tell them when to laugh. They know a good joke as well as anyone else. They know which material theyāre proud of and which theyāre not sure about. The statementāāTell me if itās any good or notāāexpresses fear of mixing with the professionals.
People sometimes label themselves as amateurs and the selling writers as professionals. Thatās technically correct, but amateurs donāt have to remain amateurs. Good amateurs become good pros. Many of todayās boxing champions are former Olympic medalistsāgood amateurs. Now theyāre knocking the blocks off of the professionals. We in the humor business know that there are amateur writers out there who will one day will knock our comedy blocks off.
One of the beginnerās fears is caused by comparing his or her writing to the best. But nightclub routines and television shows are the products of many minds. Theyāve been rewritten and polished many times over. Thereās no way that you can sit at your kitchen table and duplicate that kind of communal expertise, but the important thing is that you donāt have to.
Young comics have come to me and other writers many times and asked for just one piece of material that will get them a spot on Letterman or Leno, catapult them to national prominence, and allow them to set up residence on Easy Street for the rest of their professional lives. They promise to send the writer a few bucks after theyāve made it.
If I could write the piece of comedy that would accomplish that, Iād deliver it myself and build my own abode on Easy Street. But I canāt do that. My friends canāt do that. Neil Simon canāt do that. Nobody can sit in front of the keyboard and create that piece of material. Why should a beginner expect to?
On the down side, TV is not accessible to new writers, the door is closed and new writers are neither needed nor wanted. Thatās what some say. Yet, on the up side, every year dozens of new writers break through. There is no set formula. One of the best ways is to get an agent who cares about new writers. There arenāt too many. Another way is to get your material to an ...