The Anatomy of Funny: How Comedians Craft Jokes and What Screenwriters Can Learn

Screenwriters often focus on structure, character arcs, and dialogue, but a deep understanding of why things are funny—the mechanics of a joke—can elevate their function. Comedian and comedy coach Robert Mack, in a discussion with David Perell on the “How I Write” podcast, dissected the principles behind successful jokes, drawing inspiration from comedic masters like Jerry Seinfeld, Mitch Hedberg, and Steven Wright. The core idea? The principles underpinning a compelling scene and a hilarious punchline share more common ground than many realize.

Skewed Perspective: The First Rule of Comedy

Mack’s foundational principle is that comedy arises from surprise, and surprise typically stems from a unique perspective, not simply from presenting information. He uses a classic Mitch Hedberg joke – “I used to do drugs. I still do, but I used to, too” – as an example. The joke’s humor isn’t built on backstory or setup; it’s entirely self-contained and relies on a sudden, unexpected shift in perspective. If comedy scenes require extensive setup before landing a laugh, the underlying angle may not be sufficiently skewed.

Incongruity: When Worlds Collide

Incongruity occurs when elements that don’t logically belong together are juxtaposed, creating a humorous dissonance. Steven Wright’s career was built on this principle. For screenwriters, incongruity manifests as a character trait: the funniest characters are often out of place, possessing instincts or perspectives that clash with their surroundings. The key is to create expectations and then subvert them with a character’s unexpected behavior.

Bait and Switch: The Art of the Turn

The “bait and switch” technique involves leading the audience down a familiar path before abruptly changing direction. This was a hallmark of Craig Ferguson’s late-night style. The setup primes the audience for a specific outcome, creating tension, only to be surprised by an unexpected twist. Screenwriters can employ this by planting clues that suggest one thing, then revealing something entirely different, building tension and exploiting expectations. Even if the audience anticipates the twist, their engagement remains high.

Truth as a Foundation

Legendary comedian Sid Caesar emphasized that “Comedy has to be based on truth. You seize the truth, and you put a little curlicue at the end.” Comedy isn’t about fabricating absurdity; it’s about exaggerating recognizable truths. This underscores the importance of well-developed characters with clear motivations. If the audience understands a character’s desires, even in a ridiculous situation, they’re more likely to locate the humor relatable.

Winning Isn’t Funny: The Power of Conflict

Charles Schulz, the creator of Peanuts, observed that “Winning is great, but it isn’t funny.” Characters who have everything figured out lack the inherent conflict that drives both comedy and drama. Comedy, like compelling drama, thrives in the space between wanting and achieving. Conflict is essential. Carol Burnett famously stated, “Comedy is tragedy, plus time,” highlighting the often-sad or pathetic core of many comedic situations. Films like The 40-Year-Traditional Virgin and Bridget Jones’ Diary demonstrate this, finding humor in relatable struggles.

Word Choice and Timing

Precise word choice is crucial for comedic timing. While timing manifests in editing and performance on screen, it begins on the page. A subtle pause or a carefully selected word can dramatically alter a joke’s impact. Consider a wedding speech example where the groom says, “We’re expecting… everyone to have a great time,” playing on the double meaning of “expecting.” Actors can enhance comedy, but they rely on the foundation laid by the screenwriter.

The Seinfeld Technique: Naming the Universal Annoyance

Often referred to as “The Seinfeld Technique,” this involves identifying a small, universal annoyance, giving it a name, and then exaggerating it. Larry David’s work, particularly in Curb Your Enthusiasm, exemplifies this. The humor resonates given that the annoyances are relatable, even if the reactions are amplified. This technique is also a powerful character-building tool, as specific quirks often prove to be universally understood.

The Rule of Three

The rule of three is a common writing principle, and it applies to comedy as well. The first instance establishes a pattern, the second creates a pause for recognition, and the third delivers the punchline by breaking the established pattern. This structure can be applied to callbacks, escalating jokes, and overall scene structure.