Jokes Are Crafted & Built
How I Engineer Laughs (Comedy Mindhacks #62)
Most people think funny people like comedians just see what’s funny. That’s kinda like saying architects just see buildings. Of course, they do see buildings but there’s way more to it. They see the skill and craft that went into the building. Same with many comedians and seeing funny things like jokes.
As a hardcore and ardent student of joke writing, as someone who comes at comedy academically, scientifically, and loves performing it, I’ve learned that most jokes are engineered, not discovered. There’s a default joke structure and, within that, numerous other structures that, when used well, have a high chance of working. Some hate when guys like me talk about such things because they don’t want us to ruin the mystique. It’s not ruining the mystique, however; it’s helping others admire the art and science at another level.
As a student and educator, shining light on what makes our world, including our language, so remarkable and mysterious is a passion of mine. It’s why I’ve formally studied twelve languages. When I first started stand-up, I started by treating comedy like I treated my doctoral research. I dissected jokes. I mapped patterns. I found the formulas. And I still study such things pretty much every day. That’s not an exaggeration. It doesn’t get old for me.
And explaining the jokes or how they work, contrary to popular opinion, doesn’t ruin them for me; rather, it makes me appreciate them even more. I want that to be the case for others, too, whether they’re comedians or not. There are many ways, then, to think about jokes. Here’s one I’ve developed on my own, “The Halcomb Theory,” if you will. It works in 5 movements.
Movement 1: Find a GAP to exploit? This will usually be between the reality of the thing and the problem that you notice. For instance, I consistently try to find the space between things like a) What people SAY vs. what they DO; b) What’s EXPECTED vs. what’s REAL; and/or, c) What’s SACRED vs. what’s ABSURD. Finding binaries and opposites like this is helpful.
Movement 2: Bring an INSIDER’S CRITIQUE: I always seek to use my first-hand knowledge to justify my perspective. If it’s about parenting, I need to have credibility as a parent to say it. If it’s about religion, I need to have the requisite experience or credentials to speak on it. If this is missing, the joke typically won’t do as well. This makes it personal.
Movement 3: Create FALSE EXPECTATION. What I mean here is, you have to have two stories. One leads listeners one way, then the second goes another direction. I set the audience up using the setup. In my mind I’m asking, “What does the audience THINK I’m going to say?” Then I ask, “How can I lead them down that path?” And, after that, “What turn will I make?”
Movement 4: Have a SPECIFIC ABSURDITY: Never be vague. I always aim to have a concrete, unexpected detail. I might mention very specific things like LinkedIn or Narcan or Jazz Hands or The Vatican, etc.
Movement 5: Focus on EMOTIONAL HONESTY: I make sure, regardless of the historicity or factuality of an event, the feeling or emotional truth of the joke is always true. This is the case even if the details are heightened or exaggerated. A follow-up question here that’s really helpful: Does all of this REFRAME the entire setup? If it does, that’s a great indicator of being on my way to making a joke work.
One reason many people struggle with writing jokes is they skip straight to the punch. They have a funny thought but no architectural mechanism to successfully deliver it. It’s like having a great roof but no walls or foundation. The audience needs to be led somewhere before you can surprise them. You have to build the expectation before you can break it.
This is why I say jokes are built, they’re crafted. Building the delivery system that makes other people find a joke funny is at the heart of the craft. It’s a form of engineering. I spent a decade-and-a-half in higher education learning how to study language, use language, write, and construct arguments. Turns out those same skills are helpful for building jokes.
The fact is, structures and formulas work for anyone willing to practice. I’ve taught middle school, high school, college students, and working comedians how to write jokes. The structure doesn’t require natural talent. It requires understanding how surprise works and being willing to revise until the timing is right. Joke writing is a skill and, contrary to what some might say, it’s definitely a skill that can be learned. And I’ll continue developing my approach and craft as long as I can.