Book review: Teach Yourself Stand-up comedy by Logan Murray

Yesterday I read Teach Yourself Stand-up comedy by Logan Murray. I took lots of notes which I have written-up as a book review in the style of Trent from The Simple Dollar. What follows is a brief summary of each chapter including my interpretation of the main points. In a nutshell: Teach yourself stand-up comedy is a guide to going from complete beginner to writing and performing stand-up comedy. Stand-up is a very naked medium: its just you and the audience Logan Murray

1. Where do jokes come from

Murray begins by suggesting a series of games designed to boost your creativity. This is a theme throughout the book, solo and group exercises are suggested to reinforce the content of most chapters. The game Timeless classics involves rewriting the first paragraph of a classic book and giving the main character an obsession with something minor. A basic joke structure is described: something is implied during the setup, then a surprise is revealed in the punchline. Murray states that Any idiot can tell a joke but it is the tellers attitude towards the subject that makes it funny. An interesting worldview or emotion reaction leads to more potent humor. He cites Jack Dees misanthropic stage persona as an example of an effective attitude.

2. Building a joke
Murray lists some of the common themes that under-pin jokes. These included: extreme or inappropriate reactions, misunderstandings, delving into the bizarre logic of every-day situations. Most modern jokes are structured as a statement followed by an afterthought. The afterthought is a punchline that alters the context of the statement. The delivery of an afterthought should give the impression that the comedian is improvising, that the thought occurred after making a serious statement.

3. Comedy Ground Rules

In this chapter we are presented with several rules to follow when writing and performing. Here are my favorite two: Be specific. Its hard to write a joke when staring at a blank sheet of A4. Drilling down into the subjects you want to write about, making them more specific, will make it easier to write jokes.

Be concise. If a word doesnt add, it detracts.

4. What sort of comic are you

In this chapter we are introduced to the different kinds of persona comedians use. The Loser, who we laugh at not with. The perpetually bewildered Buffoon. The Smart Arse know it all. The Confrontationalist who attacks anything they think is stupid. The Genial nice person the most popular persona. The non-smiling Deadpan. The Messiah, who sets themselves up as judge and jury of everything that is wrong in the world. The Outsider, looking in at western society. Most comics fall into one or a combination of these classifications.

5. Unlocking your creativity

Our best ideas appear when we are relaxed and playful. This chapter includes thirteen more games to play individually or in a group that will help you reach a creative state.

6. A word about emotional exaggeration

Most peoples emotions have been normalised by the nine-till-five daily grind, so most people find it difficult to exaggerate their responses. But exaggeration enhances the attitude of the comedian, and get bigger laughs.

7. Creating Material
Murray suggests several exercises for creating writing jokes. The first step is writing long lists of responses to specific questions, such as what are you thankful for, or what do you hate (amongst many more). The next step is to add a negative afterthought to each response. This will result in a collection of almost-formed-jokes, which must be expanded, pruned and edited. A list of basic joke forms is included: Rule of three 1. Introduce 2. Reinforce 3. Subvert. Reversal Change the direction of the story with a surprising reveal. Big, big, small Comparing two big or profound things with a small or mundane thing. Rant A sustained emotional tirade. Logical illogical conclusion Extend the logic of an argument to an absurd conclusion e.g. an advertising slogan. Misunderstanding of a question or instruction.

8. Stagecraft
This chapter contains some good public speaking advice about how to conduct yourself on stage and how to deal with stage fright. It is made very clear that you shouldnt rush through your set, instead speak slowly and clearly leaving plenty of time for the audience to laugh.

9. Microphone technique
Murray discusses how to use a microphone effectively. The optimal position for the microphone is 5-6 inches away from your face, slightly below your mouth. Being too close or too far away from it will mean your voice isnt picked up clearly. If you take it out of the stand you should return it at the end of your set.

10. Hecklers and crowd control

Heckling is rare. Most audience members would prefer not to draw attention to themselves. You can prepare yourself for heckles. Arriving on time and watching the other acts will give you a feel for the audience and let you know where the problem areas are. Having a few stock responses can be helpful. However, some of the best advice about dealing with hecklers appeared in the next chapter.

11. What other comics think

In this chapter is a series of interviews with other British comedians. Here are some of my favorite quotes: If they [Hecklers] are funny, acknowledge it Milton Jones Theres no map. You have to find your own way. Theres very little control. Sarah Kendal Do what you think is funny and ignore any advice anyone gives you. Marek Larwood Try not to burst into tears it may show weakness Robin Ince

12. Business
Here we are given a walk through of the kind of shows that are available to a stand-up comic including open spots all the way through to taking your show to the Edinburgh Comedy Festival. This was an interesting look at how to deal with promoters and club owners. The main piece of advice was be polite.

13. Your first gig

This chapter explains how to prepare and what to expect when delivering your fist ever set. The advice very common sense: rehearse, turn up in good time etc. This would provide a helpful structure to a nervous first time comic.

Is Teach Yourself Stand-up comedy worth reading?

If you are interested in performing stand-up comedy, or just adding more humor to your speeches I would recommend this book. Logan Murray is a voice of experience who can help you avoid rookie errors and give structure to the difficult process of writing jokes.

Write a list of things associated and write a negative opinion on each.. Think backwards after punchline

Be specific- more vivid imagery Exaggerate Make emotional reactions more extreme Taglines use the same setup so its just an extra punch..

Jokes subvert assumptions. Consider this joke from Jimmy Carr: My girlfriend said she wanted me to tease her. I said alright, fatty. Carr creates an assumption (that his girlfriend wants to be teased playfully) then subverts it (by teasing her maliciously). Its a classic setup/punch joke; the first sentence (setup) leads us in one direction, the next sentence (punch) reframes the setup revealing an unexpected twist. A joke writer must identify assumptions or create them by witholding details or building patterns, then re-interpret the information in a surprising way. Heres a classic Lee and Herring sketch where they dissect a joke that witholds a key piece of information. (Watch this 2:22 video on Youtube, also check out this 2:57 video where the phrase and then I got off the bus gets similar treatment)

Although Lee and Herring ridicule this joke type it is actually very common, even in their acts. Writing in The Guardian Stewart Lee suggests that half of what we find amusing involves using little linguistic tricks to conceal the subject of our sentences until the last possible moment, so that it appears we are talking about something else. Other joke types subvert assumptions by building patterns and then breaking them. Heres a line from The Nutty Professor: Anything I can get for you? Juice? Coffee? Rack of lamb? In this line the writer has created a pattern by listing two drinks. We assume the next item will be another drink and were then surprised when its something completely different. Observational comedy works by pointing out the ridiculousness of every day life. It uses preconceived assumptions about how we think things should be, then points out the reality. You never know where to look when eating a banana. Peter Kay Some jokes subvert preconceived expectations about joke structure. Take this ancient Christmas cracker joke: Why did the chicken cross the road? To get to the other side. We assume that there will be a funny punchline. Instead we get a serious one, surprising us, and somehow making it funny (to a four year old). Jokes dont have to follow the setup punch formula ridgedly. A setup isnt always required. A joke can subvert a pre-existing assumption. For example swearing or sexually themed content are common in stand up comedy. Because they are taboo subjects there is an assumption that they should not be mentioned. If a comedian breaks that assumption we (may) find it funny. A punchline isnt always required. Sometimes its funnier to deliver a setup and let the recipient work out the punchline for themselves. Stewart Lee has a great joke about watching the Popes funeral and Prince Charless wedding to Camilla ParkerBowles on split screen: On one side we witness the veneration of a wrinkled old corpse. A joke doesnt have to be verbal. The setup and/or punch could be delivered using body language, props, a pause or a sound. This video of Zach Galifianakis is a good example: (Watch this 2:04 video on YouTube)

Subverting an assumption is necessary but not sufficient for creating a funny joke. A comedian may say something that has the rhythm and the structure of a joke, but wont get a laugh. Jokes are mysterious. If the punchline is too obvious or too oblique it wont get a laugh. Some people may think its funny, some might not. Writing in The Guardian Richard Herring says: How will you know if your joke is funny? The terrifying thing is that you cant really be certain until you try it in front of other people. Even professionals are never sure until they hear the reassuring sound of laughter. Or dont.