You often hear animation writers complain that there was no time to make a story funny. Well, that happens sometimes, no doubt about it. I sympathize. The question needs to be asked though, "Why were the stories so unfunny when you did have time?" I imagine that this is an unanswerable question. Animation writers believe there's never enough time. On the other hand, maybe they're right. The kind of shows they come up with defy funny writing. How do you come up with a laugh-out-loud funny story for a typical writers' series premise like: "Six grade school friends (the skateboarder dude, the minority computer whiz, the perky intelligent girl, the over-eater, the inventer and the beautiful Bratz-type girl) solve problems in the school by making their fellow students aware of the importance of being themselves"? Is it even possible to write a funny story for a premise like that?
I do have advice for writers (hopefully artist/writers) who are lucky enough to work on short cartoon projects where humor is at least possible. If you need to write quickly then:
BUILD YOUR STORY AROUND A FUNNY SITUATION.
One character accidentally sits on another's hat and crushes it. He tries to apologize but the situation strikes him as so funny that he laughs instead. Believing the first guy is unrepentant the owner of the hat grabs a pair of scissors and cuts the other's tie in half, The two retaliate against each other in ever escalating steps till they're demolishing each other's houses. That's a funny situation, stolen from Laurel and Hardy. "King Size Canary" was about a funny situation. Funny situations are easier to write than plots, and they can easily be extended into stories. All you have to do is figure out how to get your characters into the situation and that's easy.
What some writers don't realize is that comedy isn't there just to get a laugh...
COMEDY IS AN ORGANIZING TOOL.
If you commit to writing a funny cartoon it's amazing how many story structure problems just vanish. In the example above the set-up is obvious: two friends meet in a kitchen and declare their undying affection for each other, an affection that would surely stand up to any test, no matter what. They then proceed to wreck each other over an accidentally crushed hat. If you have a good situation (sketch) idea the set-up practically writes itself.
In other words...
YOU CAN WRITE FASTER BY COMMITTING TO COMEDY.
A funny series premise is easier and faster to write for than an unfunny one. Complicated, writerly series premises are inefficient. They cost more to make and they're harder to write for.
BTW, I don't mean to imply that all stories should be written exactly the way I described here. There are lots of ways to go.
22 comments:
great stuff Eddie! There certainly are a lot of ways to go, but I think you hit the nail on the head in the case of short format comedies; specifically cartoons.
ultimately the goal of films/cartoons is to stimulate/entertain.
story is just a tool for entertainment, and the most effective when you get into longer format work, 30 minutes plus, so that the audience doesn't get bored.
But sometimes it boils down to establishing premise/conflict quickly and running with the gags. (Elmer is hunting for wabbits, pan to a rabbit hole, begin conflict/chase) The audience won’t get bored with a series of gags in a short amount of time.
you make a great point about setting up a comedic premise as an effective method of writing the funny stuff, but what about funny endings and twists? Some old Looney Tunes have funny character twists, but some just end. I like character specific gag twists (Bugs Bunny solves the problem in a funny way, a way that only a guy like Bugs would think to do). Any thoughts and insight on great punch out endings?
Whoa. This is very helpful, Eddie. I think I'll try that and see what I can do. Thanks for the post. I'll definately remember this.
Although, as the late Irving Berlin said, "You can't base a joke on a joke". Sometimes a mundane or even serious situation makes for better comedy. Example: Caddyshack was first written as a drama. All the writers firmly established the main character's goals and set up many obstacles so that he has to struggle. Then they added the comic relief characters. But, the reason why that movie seems so wacky is that the comic relief pretty much dominated the movie. Looking back we don't even care what that red-headed kid was trying to accomplish or whatever (he wasn't that good an actor anyway). All we remember is Chevy Chase playing excellent golf, Bill Murray chasing squirrels and hitting flowers, and Rodney Dangerfield amking wise cracks while driving Ted Knight crazy.
But, I do agree that comedy is a much higher form of story telling/movie making than any other style. In some ways a comedic film can make a much bolder and more poignant statement and make it stick in people's minds better than anything else (see the Mel Brooks masterpiece Blazing Saddles).
Hey, Eddie. Kent just let me borrow some storyboards that you drew for Tiny Toons. They are great! You are the KING of cartoon comedy. Just looking at your storyboards is just as entertaining as watching the finished cartoon (in fact, it's BETTER than watching most cartoons out today). Lots of visuals to get the jokes across and funny cartoon expressions (not too wordy)...THAT'S the best way to write funny! Eddie "owns" funny writing!
It's amazing how Blazing Saddles can be so meaningful and so relevant, yet it could NEVER be made today. What an amazing show!
If the studio system never changed and animation was still done in house, would you want to rise to the rank of animator or stay in the layout or story department?
It's a good theory Eddie, but how does it help "writers" who just aren't funny?
Can funny be learned? I think it's possible to a degree, in the correct environment do you think writers can observe and learn to be better comedians?
When I was in film school I was one of the only people doing comedy stuff. And I don't think of myself as hilariously funny. But when I'm writing, the main inspiration to give me a creative push is - "what would be funny right now?"
-Jordan
Misery, loves comedy as much as company.
This is an astute essay. When I began developing writing and comics for an audience, my dad suggested I try to write something funny, and the value of humor in attracting readers is huge. I laugh out loud when I pull out something old that I wrote that is funny. I savor it. More serious work has been inconsistent in retrospect, especially if it is humorless.
Of course, there are times when someone reading your draft will not share your sense of humor, and it will make you feel like a failure. There seem to be quite a few types of humor. My favorite is absurdist humor. I'd enjoy hearing your thoughts on this.
I don't understand why it would take more or less time to write something funny or dramatic. To me it's like saying quality costs more money. Or when Stan Lee would complain about how boring Gwen Stacy was as a character when he's the guy who created her!
And I completely agree with what you wrote about about how cartoon premises often defy funny. The example you gave was particularly apt. That's more a formula for REMOVING comedy.
You'd really have to knock yourself out or be super-talented to make that premise funny. I think you could probably do it, and maybe a choice few others. But given the results we see on Disney or Cartoon Network... wow... good luck to anyone who dares give it a try!
Actually, I'd love to take a crack at it myself.
Scartoonist: Some people don't like absurd humor but you can still win them over if you have compensating skills. Dali could get away with painting the subjects he did because he was such a good technician.
John: True, you need a funny writer to write a funny script.
Max: Good question but my opinion about that seems to change hourly.
Shawn: LOL! Thanks for the compliment! I got a letter from Spielberg which said nice things about one of those boards. He even called me about it a couple of days in a row but the calls came early in the morning before I got to work. By the time I wised up and got in early the calls stopped. Oh, well!
Katz: Granted, you need more plot in a feature. Boy, this is a big subject. I have some theories about feature writing which I admit are untested. I'll put them up some time soon.
What did Spielberg's letter say? Do you have any stories involving Spielberg?
Max: Maybe I'll put up excerpts from the storyboard Spielberg's letter referred to. If I do i'll throw in the letter as a footnote.
goodness i hope you put more story theories up soon , i'm working on my comic series and i'm having lots of trouble with the begining
your insights might help
>>Maybe I'll put up excerpts from the storyboard Spielberg's letter referred to. If I do i'll throw in the letter as a footnote. <<
That would be great! Please do!
You should read the book Truth in Comedy by Del Close, Charna Halpern, and Kim 'Howard' Johnson. The principle of 'yes and' shows how the a simple but easy premise can snow ball into a huge and hilarious story.
Tommy: Thanks for the tip! I'll read it1
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