Comedy Script WritingKomedy Screenwriting
That comedy script of yours isn't fun. Here is the reason.
Giving someone a script and letting them know it's a comedy is simple. To make them smile while they are reading it is a completely different way of travel. There are many different ways of interpreting the term "funny", but in the film industry the term "funny" means only one thing: to make an audiences smile.
When your character's wit doesn't make a script readers smile, your wit isn't comical. When your Piefight/Carchase sequences with the John Belushi robots do not sting a script scanner on every line, your Piefight/Carchase sequences with the John Belushi robots are not fun. It'?s not fun if your script doesn't make the public smile.
So if you want your script to be a comedy script, take a moment, Chachi, and use some of my fast philosophies/cantrips below to make sure your comedy actually, you know, makes folks smile. Here you have a joke: Fun? Happy now? That is, every good gag has its roots in surprises.
The punch line is totally surprising in this case, because you bring back the first wit. It is a gag that you have already listened to millions of often, so even though the "AIDS" is not terrible computer or kind, it has turned it upside down and made your primates' brains smile, for grounds that only evolutions scientists and fundamentalistic Christians can comprehend.
Search and kill any quips in your script that come to your mind, overworked, reluctant, or have no item of surprise for them. Unfortunately, the "horse with AIDS" wit worked because the public brought the initial equestrian wit, but a good comedy is not based on the fact that this is 100% the case.
Spectators, screenplayers, cinema-goers - it's not up to them to "get" what you're speaking of, or to "get" the credentials on which your comedy is based. Comedy is the best comedy, and the best comic and comedy authors know that a punch line is only as powerful as its structure, one that puts everyone on it.
The only comedy that makes non-timbeciles smile, in other words, is the one that doesn't depend on them to "understand the comedy. "It is your responsability to make the public smile, no matter how often, if ever, the public has seen Monty Python and the Holy Grail or all those radical Francis movies on YouTube.
Scanning through your script and find a jest or comedy moment that depends too much on the public to know something special; something you may not have provided. Optimize the set-ups of these quips, regardless of whether the set-up is included in the quip itself or in the script before, to make the credential "available" by anyone who reads your script.
For example, a spittoon is a pipe, oral back-pedaling is a pipe, the irritating smile ( "Chrissy's Snort" in the TV show Three's Company) is a pipe. Comedy, which is based on stereotypes and/or trophies, usually gets much less laughter than comedy, which makes the effort to turn these stereotypes upside down or adapt them in some way to make them surprise or new.
But if you can't make them more original or comedic, you should at least make them less uninventive. The script that aims for the term "comedy" owe the public at least one thing: a smile. Calculate how often you are laughing per page and note the number at the end of each page.
Now, sum up the laughs in the script. Ironically weird though, if you're not at one smile per page, the least your script probably isn't fun. In order for a smile to be considered a smile, it must actually make you smile. In a comedy, the amount of laughing makes the big deal between a film like Airplane! and a film like Employee of the Month.
There' s nothing wrongful about one or two pages going by without a smile. A few folks are fun, and honestly, some folks just buy from Vons. When you' re really interested in writing comedy, you have to rip your shirts open and let folks do it. When you don't know if you're fun, ask your pals and your relatives, ask the pros and ask them to be truthful.