JaneEspenson.com

So, I was discussing the idea of an analytical approach to comedy with a writer on the line the other day and he directed me to this profile of George Meyer from The New Yorker in 2000. It’s a look at a writer for The Simpsons with an approach to comedy that is fascinatingly analytical. Look for the bit where he talks about jokes “skipping a step.” It’s kind of revelatory.

I know I’m going to be thinking about that insight for a long time and trying to apply it to my favorite tv lines.

If anyone has ever made you feel bad about approaching humor analytically, this piece will make you feel better. Heck, I dare say it’ll make you feel funny.

In strike news, the fine writers at Gate 2 at Warner Bros. have come up with an interesting idea, and I’ve been asked to help spread the word. The concept is “Teaching Thursdays,” in which writers of various genres join the line on Thursdays, making themselves available to discuss story, structure and everything in between to aspiring writers if the aspirings would be willing to come out and pick up a sign. I’ll let the organizer explain:

For our inaugural Teaching Thursday we thought the best way to kick it off would be with blood, guts and glory! Yes, it’s MEDICAL DRAMA DAY! We will have writers from hit medical shows at your bidding! Not sure how to structure HOUSE? They’ll have answers! Not sure what story has NOT been done on ER? One of their writers will probably know! Not sure where your patella is? Look it up or ask a GREY’S or PRIVATE PRACTICE writer…

See you there!

Sounds like a great idea to me.

Lunch: left-over Persian food mixed with some leftover sloppy-joe meat. Not bad!

Last night was the “Write Aid” comedy event at UCLA. So funny! Patton Oswalt had the place gasping for air, he was so good. He even had screenwriting-themed material suited for the crowd. Brilliant.

Everyone was very sharp, and Eddie Izzard was great, as usual. Eddie has a certain trick that’s also used by Steve Martin and which is described nicely in Steve’s new book (get the audio version, it’s unabridged and you get to hear him deliver the material). I’m referring to the sudden change of subject which gets a laugh in itself as the audience realizes that the previous joke or joke run is over. Listen to a classic Steve Martin routine or to some Eddie Izzard and you’ll hear it. It’s like a bonus laugh on the transition between two topics. Interestingly, this is analogous to something that can be done in a script by ending a scene a few beats before the audience expects the cut. And it’s just as effective in a script as it is on the stand-up stage.

Sometimes the effect isn’t humorous, as when a character asks another character a question, and instead of the expected answer we cut to a new shot that answers the question. (i.e. “But where do you suppose he dropped the gun?” CUT TO: a gun almost buried in a golf course sand trap.) That might not be funny, but instead dramatic. But often the effect is humorous. In what appears to be the middle of a scene, for example, an affronted Character One might turn to Character Two and say, “Wait– did you just call me fat?” Character Two blanches and opens their mouth, clearly formulating a long stammering excuse. But before they produce it, we cut away to another scene, and the joke is an implicit, “We all know how this is gonna go, so let’s just take it as written.” The Office does this sort of thing a lot. It’s like giving your script a point of view on the events that doesn’t belong to any of the characters, but rather to you, to the storyteller.

If you’ve got a script that has a tone breezy enough that it can take a bit of cheeky imposition of this type, you might want to give it a try. Eddie Izzard and Steve Martin get a lot of mileage out of cutting out of a bit early; see how it works for you.

Lunch: In ‘N’ Out burger, animal style. Fries. Dr. Pepper

Tomorrow is the big day. “Mutant Enemy Day,” the special event being held in celebration of Joss Whedon and his shows Buffy, Angel, and Firefly (and the up-coming Dollhouse), will be held from 10 a.m. to 2 p.m. at Fox studios. I hope you’ll be there.

I spent yesterday evening and this morning at Guild headquarters, making signs for the event. So if you get one that’s exceptionally poorly taped, it might be mine. I invite you to imagine me, beaning myself with the stick, stray tape caught in my hair… I do it all for you.

There is also exciting news about another big impending event with a Buffy connection! I have just received an email from the amazing Marti Noxon about an event she has helped set up for next Friday, the 14th of December at 8 p.m. Marti says, it’s a comedy benefit for the Motion Picture and Television Fund, which is available to provide health and social services to all workers in the entertainment industry affected by the strike. The line-up is EDDIE IZZARD, JACK BLACK AND KYLE GASS (Tenacious D), SARAH SILVERMAN, PATTON OSWALT, and LEWIS BLACK. It’s at Royce Hall, and tickets go on sale over the weekend via UCLA for 75 bucks a pop. […] The money will go to a great cause and it’s an awesome group of performers.

Whoa. I’ll say. My god. What a line-up! I cannot imagine missing this.

Marti points out that there isn’t a lot of time to promote this event. It got a nice write-up in today’s LA Times, but most of the promotion is going to be simple word-of-mouth. That means, of course, that you can buy lots of tickets and get great seats for this one-of-a-kind show! I don’t have a phone number for ticket orders. I called the Royce Hall box office just now, and they either aren’t going to be selling the tickets, or they just haven’t been informed about it yet. I’ll post a phone number or web site order info when I get it, but you should feel free to investigate this yourselves over the weekend if I don’t find out anything.

THEN, Monday at Paramount, there is a special picket for Trek writers and fans. I will be there, as will many other writers who were involved in Trek either intimately or tangentially (like me). Notice that this refers to all Trek incarnations including the original. Personally, my fingers are crossed for a chance to talk to D.C. Fontana. (I’m told that she and I were at the same party recently… that I even sat quite near her, but I didn’t know who she was, and missed out on a chance to talk to her.) Think of the possibilities!

Lunch: See today’s earlier post.

CORRECTION: The 10 a.m. Friday rally mentioned in this post will actually be at Fox Plaza 2121 Avenue of the Stars, Century City

I got a chance to talk today to a writer who recently moved from a very dramatic one-hour drama to one that is much more comedic, and is staffed with lots of writers from the half-hour world. This writer is discovering that their pitches — even ones that have to do with the logical structure of the story — are getting shot down if they aren’t pitched in such a way to emphasize the comedy of the situation. This is a common feature of comedy rooms.

In fact, I’ve often seen stories that make no sense defended simply with, “it got a laugh at the table.” End of argument. You can’t argue with a laugh.

So if you find yourself in a comedy room, adjust your pitching style accordingly. Watch, listen, observe what is being valued in the pitches made by the other writers. Pay attention to what “sells” — i.e. gets in the script. If the currency in your room is made out of funny, make sure the bet you slide forward is made out of funny.

Strike: many hearty thanks to Friend of the Blog Kate, who came out to march with me today! Also, to Gentle Readers Lila and Megan, who also showed up to march. Megan even brought delicious turkey sandwiches to share. Yay, Megan! Kal-el and Chris also walked with us again. I’m so proud of my crew and I hope to meet more of you on the line! Do not drop by Universal tomorrow, however, as I will instead be at Fox studios – 10201 Pico – for the huge Guild-wide picket and rally starting at 10 AM. It’s going to be big and wild and everyone is invited! There will be famous actors and (probably) snacks and (certainly) every writer you’ve ever wanted to meet! SEE YOU THERE!

Lunch: delicious Megan-made turkey sandwiches

Hi all! So, how many of you have been singing “Werewolf Barmitzvah” to yourself since you saw it on 30 Rock? I certainly have. It is, as I’m sure you’ve noticed, available in a full version here. I’m not just mentioning it as a good example of solid comedy, which it is, but because it also provides an excellent example of a comedy writers’ room term. Listen to some of the chatter running through the song and you’ll hear an exchange that goes something like this: “I don’t know if the idea of this song can sustain itself for this long. It seems a little sweaty now.” “This whole premise is sweaty!”

“Sweaty”! I’ve actually been looking for a chance to discuss this term, but I hadn’t come up with the perfect way to explain it. Well, here it is. A scene, a joke, or especially a comedic premise is called “sweaty” when the writer has to labor to keep it going, when they have to over-extend a metaphor or make characters say unlikely things to propel a comedic situation. Not every comedy room uses the term, but some do, and it’s a favorite of mine. Add it to the little writer-to-English dictionary you carry with you to your first week on a show!

Strike: A hearty thank you to Friends-of-the-Blog Kal-el and Chris, who brought cheese and cold-cuts and crackers and fruit to the picket line today. It was much appreciated by the hungry hungry writers!

Lunch: cheese and cold-cuts and crackers and fruit

« Older Entries

Newer Entries »