Let me clue you in on this from the very beginning: this is another business metaphor. I’m telling you up front this time so you can begin to think about the connections from the moment you start reading it.
I was strolling through the National Comedy Center in Jamestown the other day, taking in with delight the many funny people who have entertained so many for so many years, when a thought struck me. Why do good comedians tell bad jokes?
When a comic sits down to write gags, it becomes an exercise of no-holds-barred brainstorming. This is by necessity. You don’t know what’s really funny while you’re creating it, so you don’t want to restrict yourself in any way.
James Mendrinos, in his book The Complete Idiot’s Guide to Comedy Writing, writes: “You have to force yourself to stain the pages, even if you think the jokes aren’t your best work. I’m not saying that bad jokes are better than no jokes. I am saying that if Continue Reading “Why You Should Tell Bad Jokes”
The Terrible Reality of Story Arcs
Bob Denver Gilligan’s Island, 1966, CBS Television, Public domain, via Wikimedia Commons
Think back to all the great stories you’ve heard, read while relaxing on a sunny beach, or watched in front of the big screen. What do they all have in common? Your first answer might be, “They kept me on the edge of my seat and their ending nailed it.”
OK, that might be true. But if you dig deeper, you’ll find they all stayed true to the narrative structure of the traditional story arc—Exposition, Rising Action, Climax, Falling Action, and Resolution. In good stories, you don’t see this structure. The transition from one element to the next flows seamlessly.
The 1942 film Casablanca, often cited as one of the greatest movies ever made, offers a good example of this. You don’t even notice as the Exposition rolls through a series of Continue Reading “The Terrible Reality of Story Arcs”