Comedy writers should realize there are a lot of people who don’t know how to read comedy scripts. They just don’t have the ability to visualize how something will play based on reading the text. Likewise there are people who can’t read blueprints and people who can’t read music. Personally, I have trouble with mimes. Someone is on stage pantomiming an activity and I have no clue what he’s doing.
Even some other writers have trouble deciphering comedy scripts. I have a friend who’s a wonderful dramatic playwright. When she saw a reading of one of my plays she said, “I had no idea it was so funny. On the page I couldn't tell.”
(NOTE: This is yet another reason why I suggest you gather some actors or friends and have a reading. At least YOU’LL know if it works.)
But take heart. This is not a skill most folks require. It’s not like you’re trying to drive and you have no depth perception.
The problem is this: Many of these people who can’t read comedy scripts are in positions to judge your work. They judge festivals and contests, they do coverage on your screenplay, they are network, agency, and studio gatekeepers. I once had an agent who admitted to me he had no idea reading a script whether it was funny. No problem for me since I was established; big problem for a young writer hoping to get representation by sending this man a writing sample.
Especially if your comedy comes out of character and attitude is this problematic. You may write a hilarious scene but there are no “jokes” per se. A big audience laugh might be “Ohhh-kay” but on paper it just looks like a word. Some readers look specifically for “jokes.” “The last time I was this pissed was when…” And those scripts tend to feel jokey and artificial when they get on their feet.
So if your script or play is rejected, know that among the possible reasons is that the reader just wasn’t capable of “getting it.” And hey, that IS a great excuse, isn’t it?
Note for new readers: Whenever I can't think of an appropriate visual I post a photo of Natalie Wood. Enjoy.
from By Ken Levine
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