I have this astounding ability to watch a lot of sitcoms and pitch the jokes mere seconds before the actors say them, almost verbatim. It’s an amazing skill. Houdini never could do that. Audiences are mystified. Talk about magic.
Of course, the truth is that after years of writing comedy I just can identify the most obvious punchlines. And there are shockingly way too many sitcoms that are guilty of this.
You might think this is a byproduct of multi-camera shows where rhythms have become stale and predictable, but single-camera shows are sometimes worse. They often resort to irony so it’s not even jokes. It’s catch-phrases or “Gee, THAT went well.”
If I can predict a joke it’s just lazy writing. Either that or the staff is just not very good. So I choose to believe it’s laziness.
What’s keeping me out of the Magic Castle is that by now you’ve seen so many sitcoms that you too can probably perform this psychic skill.
I blame the showrunners. Someone has to approve these clams. Someone has to say, “Yeah, that’s good enough.” Someone has to say, "Fine. I've got Laker tickets."
On CHEERS we had the rule of 2’s. If the writing staff was working on a joke and any two writers pitched essentially the same punchline we automatically discarded it. Didn’t even matter if it was funny. Our feeling was that if two writers could come up with the same joke so could some audience members. And so it was quickly jettisoned. There was no debate. Ever.
When you’re trying to come up with a joke sometimes your first punchline might be the obvious one. Especially if you came up with it quickly. Learn to dig deeper. Is there a better joke? Is there a fresher joke? Is there something more unexpected? Maybe even something from out in leftfield?
Because sitcom audiences are more sitcom savvy your job is much harder now than it was back when we were writing CHEERS. And yet, I bet if you watch a CHEERS today there will still be jokes that surprise you and make you laugh.
Now I realize that not every show is CHEERS or is even going for the type of humor we went for. But you can strive to be the best in your genre, whatever it is. GOOD LUCK CHARLIE was a Disney Channel show but so clearly superior to other series on that network.
I know it sounds like a real contradiction. Comedy writing is a highly competitive business and yet high-priced comedy writers often get away with being lazy. I suppose it’s a matter of personal pride. Just consider this: The last thing you want is for me to thank you for getting into the Magic Castle
from By Ken Levine
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