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From AMAZON.com |
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Step by step advice on being funny, August 17, 2004 |
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Wow, it's amazing how different people can read the same thing and
get different results. I'm a NYC writer (Theatre) and I picked up
this book because I wanted to put more comedy into my writing. I learned and then some!!! The book layers information in the first part. Basically it is a deconstruction of humor -- what's funny and finding your own individual sense of humor. It's the roll up your sleeves part of comedy writing -- getting useable ideas, and separating the rich concepts from the common ideas. Part 2 is an overview on comedy construction -- not genre specific, but the universal components that every writer who uses humor must master in order to write something that's funny. The "UJF" -- Universal Joke Formula is simple and easy to follow, and amazingly complete. As for the assertion from an earlier reviewer that the writer didn't cover "Twists," there's an entire chapter dedicated to twists. Anybody can understand the concepts and examples the writer used in the twist chapter, and it is simplified as much as possible -- after all, this is an idiot's guide! Part 3 focuses on the artistic elements of comedy, from basic language to emotional exploration of a joke. This is the one section I wish was longer. I understand that an idiot's guide has to be basic knowledge in an easy reference form, but I do believe that the writer's opinions on art were wonderful and direct. I would have liked to have gone deeper in the artform with him. The craft of comedy is the next section. The author does a wonderful job pushing the basics of comedy construction. This is basically polishing, editing, and revision before presentation to the buyer. It contains one of the best chapters on comedy editing I've ever read. As for the A to Z list being too simple -- again, it's an idiot's guide. The writer has to pack it with the simple rules. What the reviewer fails to point out is that the author also has complex information in the book as well. (Like the reason why most double entendres fail is that both possible meanings have to end in a punch line. If the "naughty" ending is funny, and the other ending isn't, the joke fails because the naughty joke becomes too direct.) Part 5 goes for application. Here's how to do it for theatre, here's how to do it for stand-up, etc. Again, I wish it was longer, but as an overview it was perfect. Just to be clear - the pages on playwriting are very good. I can't judge the others because I don't work the mediums, but playwriting is on point. Finally, don't overlook Appendix B -- "Something to do Every Day." Quite possibly the best tool I've ever seen to jump start the writing process. Overall I loved the book. The subject matter was interesting, and the writer's style was effortless. I'd read more of his writing, and I believe I will be a better writer when I follow his advice. And that's the reason why I purchased the book.
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