What a pleasant surprise

killer joke

The past few days have been all about working through the horror-comedy outline. Lots of figuring stuff out, cutting, adding, tweaking, and so on.

Got through a sequence and was just about to move on to the next one, when I realized “this is too serious. The horror aspect is covered, but what about the comedy?”

I looked it over again, trying to think of what would work. What would be the most unexpected thing here?

Several options were weighed, and then one suddenly popped into my head. Something nobody would ever expect me to write, but I figured “why not?” My initial reaction was “It’s a little silly, but I like it.” Zipped through a quick rewrite of the sequence, followed by a little set-up work in the scenes leading up to it (to make it fit within the context of the story, of course).

I can honestly say reading the end result made me laugh. Out loud. And the more I thought about it, the more I laughed. Even now, it still makes me chuckle.

I think part of the appeal comes from the thought of “I can’t believe that I, of all people, came up with that joke.” I guess sometimes you never know what you’re truly capable of.

All I have to do now is the exact same thing for every scene and sequence throughout the rest of the script, and I’m all set.

No problem!

-mini bulletin board time!

-Author Brian Gallagher’s new book Doing Time in Hollywood: The Chronicles of a Movie Journalist by Day, Screenwriter by Night and His Quest for a Happy Medium in the Age of Outrage is now available. I’ve had some great online discussions with Brian about screenwriting, and he really knows his stuff.

-Author Robert W. Jackson is offering a very limited time offer on some of his YA books, so you have to act quickly. On Sept 15th, you can get his book Karistina and the Enchanted Kaleidoscope for free by clicking on the link. He’s hoping to do the offer again for a few days starting on the 21st, so keep a look out for it. He’s also offering his book The Tale of Hester for free Sept 15th-19th. This is the first of a series, so if you like this one, there are more to choose from.

 

Time for a much-needed distraction or two

I was originally going to write about getting notes from a writer (whose bio & accomplishments remain unknown) who made quite an effort to point out everything that’s wrong with my work.

No doubt what they’re saying is exactly what I need to hear, so if I want to make it in this business, I should heed every priceless word of advice they offer.

You get the idea.

But they’re not worth worrying about, and I don’t feel like dealing with this kind of idiotic nonsense right now.

So here’s some much better idiotic nonsense.

Like this.

This.

This.

This.

And this.

-for those dying to know, my time for the half-marathon this past Sunday was 1:58:21, for a pace of 9:03/mile. Not too bad. Next one is March 22nd. Taking this weekend off, then back at it.

Ask a Guy Who Takes Comedy Very Seriously!

Steve Kaplan

The latest in a series of interviews with script readers and consultants who would be worth your while to work with if you want to get your script in shape. Today focuses on writing comedy, so the spotlight is on Steve Kaplan, who runs the Comedy Intensive course.

1. What would you call a good example of some great comedy writing in recent TV or film?

It’s sometimes difficult to separate great comic writing from great comic performances. That being said, I think the best comedy writing on television occurs, day in and day out, on The Daily Show and the Colbert Report. Both shows are able to combine sharp satire with great comic characters, and in the case of The Daily Show, much of the comedy benefits from the relationship between Jon Stewart’s somewhat befuddled and beleaguered news anchor and his crew of inspiringly loony correspondents.

Much has been written about the death of the sitcom, but Network TV still offers the great work from The Simpsons (25 years, and still going strong) and Modern Family’s writing staff, while cable is a treasure trove of niche delights, from sketch shows like Inside Amy Schumer to episodics like Louie, Veep, Getting On, and Episodes. I’m also looking forward to the Breaking Bad prequel, Better Call Saul.

The comedy feature record is spottier. Big hits like Dumb and Dumber To and Hangover 3 may have made a lot of money, but for me, my favorite comedy of 2014 was The Grand Budapest Hotel—funny, lovely, odd, stylish, a little sad, touching and in the end, really about something. (As of this writing, I still haven’t seen The Interview, but I’m really looking forward to it. The trailer made me laugh out loud, it provoked North Korea into a mammoth cyber-attack on Sony—what’s not to like?)

Film comedies I’ve enjoyed from the past few years include Silver Linings Playbook, American Hustle, Moonrise Kingdom, The Trip and The Trip to Italy, This Is The End, Nebraska, Warm Bodies, The Way Way Back, Ted —exactly the way I like my comedies. Some were silly and looney, but looking over the list, most were funny, lovely, odd, stylish, a little sad, touching and in the end, really about something. What can I say. You might like vanilla; I like chocolate. In the end, it’s subjective.

2. What’s your comedy background?

As a kid, I was awkward and kind of odd—I was drawn to comedy because I noted that in comedy movies, the funny guys were awkward and kind of odd, but sometimes got the girl! That was good enough for me!

In college, I studied acting and directing. After college, I was given an opportunity to start an Off-Off Broadway theatre. I convinced my two partners that we should start a theatre that was completely devoted to comedy. Manhattan Punch Line helped launch the careers of actors like Nathan Lane and Oliver Platt, and writers like Michael Patrick King, Peter Tolan and David Crane. While at the Punch Line, I taught classes and worked with and directed sketch groups. I began to wonder why something that was incredibly funny on Thursday night would get no laughs on Sunday. Why sometimes the funniest performance of a play was at its very first table read? What was going on here? That’s when I started seriously exploring the art and the science—some would even call it the physics—of comedy.

At the time, I was teaching an improv class. Without telling the actors, I started experimenting with them—devising improv games to get at the core of comedy: how it works, why it works, what’s going on when it stops working, and what the hell can you do about it?

These experiments led to the discovery of a series of techniques, which in turn led to a forty week Master Class in comedy. When I moved to LA, I it was suggested to me that I gear my course to writers. “You could be the Robert McKee of comedy!” was how Derek Christopher (who produces the annual Story Expo in LA) put it. That led to teaching comedy around the globe, and working with companies like DreamWorks Animation, Disney Animation, Screen Australia and Film Victoria, working as a consultant with writers and producers, publishing my book, The Hidden Tools of Comedy, and ultimately, being interviewed by you.

3. Who are some of your comedic inspirations/role models? What is it about them in particular that appeals to you?

That’s a hard question to answer. I’m a fan of great comedy, and the list of great comedy writers performers and creators could go on and on. There are parts of careers that inspired me—early to mid Woody Allen, late George Carlin, some Mel Brooks, Bob Hope in the “Road” movies, Steve Martin in Roxanne and L.A. Story and Bowfinger, Monty Python, Fawlty Towers, The Mary Tyler Moore Show, Seinfeld, Lily Tomlin, The Bob Newhart Show, All In The Family, Richard Pryor, Chris Rock, Louie C.K., Lenny Bruce, Sarah Silverman, Tom Lehrer (okay, and Allan Sherman), George Burns, Bill Irwin, Judd Apatow, Broadcast News and As Good As It Gets. I’m sure I’m leaving out twenty that after this is posted, I’ll hit myself on the forehead, shouting, “How could I forget _________?!!?”

What they all have in common, in some fashion, is an immediacy, honesty (in some cases, a ferocious honesty), an ability to see a slightly off-centered view of the world, and then share it so we see it as well. They all made me laugh, and most had the ability to touch the heart, to make you care and still be funny!

4. Do you think someone can be taught to be funny, or is it something that just comes naturally?

Groucho Marx once said “you can’t teach funny.” But the Marx Brothers were a terrible, just terrible, act when their Mother Minnie first pushed them out on stage. But working eight a day in vaudeville, picking up hints and tips from the other performers, they honed their act into one of the greatest comedy teams of all time. But it wasn’t ‘natural,’ it was through apprenticeship, observation and yes, being taught by other performers.

While you can’t teach someone to be more talented, you can teach someone to act and write to the best of their ability.  And just like you can teach drama, you can certainly teach comedy. Yes, comedy can be taught.

5. What would you recommend for a writer who wants to develop or sharpen their comedy-writing skills?

What can writers do to sharpen their skills? Hang around with other funny people.

There are two great ways to do that. One would be to join an improv group or take improv classes. Since much of comedy is character-based, the best way to get inside a character’s head is to be one. Even if you’re not interested in being a performer or stand-up, the comic skills you’ll pick up are invaluable when writing material, whether it’s long form or short form, or just a set-up and punch line.

The second piece of advice would be to form or join a writers’ group. Once you’ve written your material, it’s imperative to hear the material read out loud in front of even a small group of friends and colleagues. It’s basic to comedy: the interaction between script/performer and audience. You’ve got to hear how those golden pearls play when read by humans to humans. You’re not looking for hours of rehearsal and polished performances, but just an intelligent read can tell you what’s alive and kicking in your script, and what’s dead as a doornail, only you don’t know it yet. So, in a nutshell: Funny people get funnier when in the company of other funny people.

6. Are there any comedy cliches you consider overused? Which ones are you just tired of seeing?

I’ve really tried to think of some that I hope never to see again, but I kept coming up with exceptions to the rule. Spit-takes are overdone, yet I still laugh when Desi or Danny does one. Getting kicked in the balls is another, yet there’s a beat in Monsters, Inc. when Billy Crystal’s one-eyed character lands hard on his privates, and I’m sorry, it’s only a cartoon, but it’s funny. At least I thought so. I guess the difference is a meme or bit done by rote, and one enhanced by a great character or performance.

The things I am tired of seeing are scripts overloaded with weak, puerile jokes; scripts in which every character is a wise-cracker or failed stand-up comedian.

7. What’s the funniest joke you’ve ever read or heard from a non-professional ?

Hmmm. . . my six-year old niece once asked me, “Did you hear about the peanut walking alone in the park at night? It was a salted.” I thought that was pretty funny.

8. How can people contact you to find out more about your services?

My website is www.KaplanComedy.com, and my email address is Steve@KaplanComedy.com. In addition, you can follow me on Twitter at @skcomedy or on Facebook at Facebook.com/KaplanComedy. In addition to presenting one and two day workshops in the US and abroad, I’m also available for script consultations, whether on full-feature scripts, pilots, webisodes or treatments.

9. Readers of this blog are more than familiar with my love/appreciation of pie. What’s your favorite kind?

Man, that’s a tough question. I love Boston Cream Pie and apple pie a la mode, but if I’m on a desert island, and can only have one slice, I’ll go with pumpkin pie—ice cream on the side!

Why we do this

You mean they'd pay me to do this? Where do I sign up?
You mean they’d actually pay me to write? Where do I sign up?

I had lunch the other day with my friend the working writer. Among the many things he’s always reliable for is honest feedback.

After updating each other on our latest project developments, I off-handedly quipped “I hope I’m a real writer someday.”

“You are a real writer,” he responded. He’s read some of my stuff, and doesn’t hesitate to give praise or suggest changes where applicable.

“Okay,” I said. “I hope I’m a paid writer someday.”

Which is really what it all boils down to – making a living at this.

This is not to say I see this as easy money (which it definitely isn’t), or won’t be happy until I make a million-dollar sale (although I wouldn’t complain if that actually did happen).

I’ll assume you’re in a similar situation and just really enjoy writing, hoping somebody will like your stuff enough that they want to buy it, or be interested in having you write (or rewrite) something for them, and being able to do it on a steady ongoing basis.

But it’s not enough to sit around and dream about it. Like our protagonists, we have to be the ones who make things happen.

Are you being active in your pursuit of a writing career? Are you constantly striving to make your script better? Are you a positive and supportive member of the writing community?

This is a massive undertaking, not to be taken lightly. It’s hard work, pure and simple.

My aforementioned friend, the working writer, spent twenty years getting to this point. And now every time we reconnect, he tells me about his latest assignment or some potential new ones. He put together a short he’s considering entering in some festivals, and to top it all off, he’ll be on set for a feature he wrote that begins production in a few months.

He’s not going after the big paycheck stuff – just solid, steady work.

Not everybody can write the box office blockbuster or mega-hit TV show, which is fine. There’s a ton of other stuff out there that requires solid writing skills and a dedicated work ethic.

As much I like the idea of the former, I’d be perfectly happy being the guy who gets to keep working on the latter.

-This is my 500th post. To paraphrase the genius of Monty Python, if you’ve enjoyed this blog half as much as I’ve enjoyed writing it, then I’ve enjoyed twice as much.

So there.

How much is too much?

A scene could be wafer-thin but still be potentially harmful
This slightly expository scene is practically wafer-thin. What harm could it do?

The rewrite continues, with some of the suggested changes being implemented.

Some, not all.

I take each suggestion into heavy consideration.  First and foremost – will it make the story better?

There’s no argument about some of them. They work, and that’s it.

There are the ones that are “maybe”. Purely optional.

Fortunately, there aren’t any that are straight-out “no”.

It’s the ones that suggest going into more detail (tell us more about this world you’ve created, explain why a character acts like they do, etc.) that are giving me pause.

I understand the reasoning behind this, but my concern is putting in too much information that it bogs down the whole thing. I’m as much for explaining things as much as the next writer, but I don’t want to overdo it.

I’d much rather leave a little to the audience’s imagination, rather than bombarding them with why things are happening.

Think of it this way: the flux capacitor makes time travel possible. Do you need to know how it works?

I suspect my subconscious creativeness let it’s two cents be known by coming up with a wonderfully bad joke to explain something. My initial response is to take it out, but it may actually be just what the scene needs.

-Movie of the Moment – The trailer for the next Percy Jackson movie came out earlier this week (hitting theatres in August), so now V is splitting her time between reading the book it’s based on and watching PERCY JACKSON AND THE LIGHTNING THIEF (2010) again.

I don’t have anything against the movie. It’s adequate popcorn fare with excessive CG (which this kind of story couldn’t be told without), and V likes it.  The more I think about it, the whole franchise just feels like a semi-successful attempt to be the next Harry Potter.

We also checked out the trailer for PACIFIC RIM, which has growing potential to be a family outing to our local theatre this summer.