Writing comedy...the creative process.

[Chris]

I'm sure this is nothing new, but some of the best gags come when I watch or experience very serious stuff.

[Brian Wilson]

I find that the best material comes to us during shows, adlibbed bits, spontaneous utterings spurred on by our audiences, Sometimes even heckles from the crowd. When i'm writing bits for our show, it helps to get into the same mental space as I'd be in if I was actually performing. Usually this includes drinking coffee after 8pm. Videoing the show also helps a great deal. After watching video you'll find yourself noticing little things you do during the act that you weren't aware of. Some are good, some are bad.

[Todd]

I sometimes like to give myself challenges. Right now I'm working on a mask piece that Im letting get inspired by Thelonious Monk's "Monks Dream".
With Street show stuff I like to write bits where the audience gets to play too. Not active participation, but where they write the punchline, or the bit. I find it makes them feel included. Part of what your doing, so they feel closer, or as if they own part of the show. All you do is set things up to let them have the lightbulb go off.
I also love twisting the truth. We have all heard the stupid explinations that people give for tricks. Things as simple as fire eating or Blockhead, people have these absurd explinations for. Anyone, if they took the time could reason these things out (oh, the fire triangle) but they dont, so I like to use that. Give them enough real info to seem plausable then twist/tilt it so they either buy the false explination (you get a laugh) or they realize you are putting them on and they feel like they are playing, because they figured out you are playing with them, thus they are part of the show.

[Todd]

Brian is right. I get get ad-lib idea in the middle of a show. Some of my favorite lines have come out that way. I think it goes back to my "sucky idea" theory. That and listening to the audience. Your Sub mind gets tired of not getting the laugh, or the reaction it wants, so suddenly it puts two and two together gets seven and you toss it out to great laughs.

[Brian Wilson]

Todd, you can probably relate to this. When working with a partner I find that there are a few dynamics to keep in mind, especially when working with the crowd.

The duo obviously has moments (sometimes entire shows) when they are strictly playing to themselves and interacting with only each other. This is really an emphasis on their relationship with each other. Martin and Lewis, Abbot and Costello, are both classic examples of this. There is an obvious fourth wall, and they're playing to and off of each other.

The other dynamic is the performers with the audience, either independantly or as a team.
and with the audience as independant audience members and as a whole. I find in our show that I end up interacting with hecklers, distractions etc, while Jon does most of the cheerleading bits (working with the crowd as a whole, getting the energy pumping.)

Two different vibes, and relationships to consider... Comments, questions answers?

And Todd. I think it was really funny when we were visiting Maryland a few years back, and i borrowed your clubs. While chewing a piece of gum pretty visibly i threw a bunch of tricks. I think you were most impressed with my multitasking (chewing and juggling at the same time). Your comment "Hey you should tour!" has stuck with me.

[Todd]

Brian of all the gum chewing jugglers I know, you are the best.

Personally I enjoy being in a duo, rather than playing alone. For all the reasons Brian brought up (the best being havin access to the classic Number1/number2 clown bits. Every good team is a number1 or 2)but also, you can really go out there an explore weirder elements of character. As the number 2 in the show, I can really go wierd places in the character, because I've got my partner anchoring the show and the audience. I dont think I would have the guts to "go out there" theatrically as a solo. I've got the anchor of a partner that will allow me to take big character risks (like dealing with distractions, following people to the bathroom and interveiwing them on my wireless, telling kids I'm using fumes in the fire eating, you know fumes the wavy lines you see when your parents are pumping gas or when you are sniffing gas). I can take the risk and find out if these new "character choices" work without jepordising the show too much. If they work cool, if they dont,well then its just getting back on track in the show and not having to win over the audience again.
Its fun to see the "everyman" performer, the guy we all can relate to or want to party with, but I think that with commitment, we on the street and at festivals can make any character choice work as long as the "commitment" is there. Los Payasos is a great example of outragous "larger than life" characters who work for an audience. Flaming Idoits. Gazzo is a great example of someone whos so risky and makes it work most of the time but he is a solo with big balls. If you are big balls impared but want to risk,in a duo or team, you can take leaps into that 'odd character commitment' world with confidence that the show will still function even if you fall flat, because one of you will be there to get things back on track.
But remember to listen to the audience, they can teach you so much about being on the right track.

[Brian Wilson]

Alright. I've just spent the entire weekend riffing (adlibbing, goofing off) with a friend from Montreal. Writing jokes alone is tricky, and tough. Writing jokes/material in a group setting is fairly easy because you can always rely on CLOWNISTRY (chemistry between clowns.) So my advice to anyone who wants to write new jokes is submerse yourself in funny people, go to amateur night, hang, meet other comics and observe. Then try and figure out where you fit into the whole picture...