Stand-up comedy writing is not all that different. With sketch you are creating a live act out of the comedy idea. With Stand-Up you are telling the story and jokes. The performance is very different but the initial brainstorm is the same. More interested in Improv? Great, good to know about writing. As an Improv player you are writer, director and actor.
SUMMARY: Things you will be considering when conceiving, writing, directing (blocking) and performing sketches. There is no one way to create a sketch show. Here are a number of elements at various stages of writing, rehearsing and performing for you to consider. Over time you will develop your own system.
1) SOURCE MATERIAL – Where do find ideas for sketches? EVERYWHERE. Life happens everywhere. At the mall, work, school, on the bus, TV, Movies, News (Politics, Pop Star scandals) etc. Family, friends and strangers all make great source of comedy sketches. If you are journaling as I ask all my students to do, anything in that journal could be source for a sketch. Most sketches involve an exaggeration of something we are already very familiar.
2) TYPE OF SKETCH – There are endless ways to write a sketch here are a few classic forms. MOCK COMMERCIAL, MOCK GAME SHOW, MOCK NEWS PROGRAM, Family Event, Date (First, Anniversary, Proposal), Restaurant Scene, School Scene, Musical Parody, Parody of Actor, Singer or Politician.
3) STYLE – Is the sketch a farce, wordy, physical, cerebral, deep, silly, musical, fast or slow paced etc. When writing a full show it is important to mix up the styles. Three fast paced sketches in a row can be as bad as three slow ones. All cerebral and you will put folks to sleep. All silly bits and you might come off sophomoric. Mix it up. No one style is all good or all bad.
4) MEDIUM/VENUE – Where is the sketch to be performed? Radio, TV, or live stage. How much space is available? TV and stage both have their pros and cons. TV allows you to control where the audience looks at all times. Stage allows you to show all characters at all times.
5) TALENT – Who are you writing for? Certain players will lend themselves to certain character TYPES (This is called typing). Sometimes playing the total opposite of type is great for comedy. (IE Having a big man play Paris Hilton). In writing a sketch show you may need to write a featured part for each performer. Also talent may have special skills and/or limitation. You cannot have someone with a bad leg doing gymnastics. Perhaps the talent can juggle, dance, play and musical instrument etc. I often write the end first (The climax and resolution) and figure out how to get there.
6) WHO – WHERE – WHAT: As in Improv – and all storytelling – characters, relationships, locations and actions of the sketches are very important. Determine which of the three is the main focus. Is the sketch about a character, relationship, location, or action?
7) THE ARC – Every sketch needs a beginning, middle or end. Like a joke the best sketches usually have a strong finish, AKA Punch Line. A joke usually finishes with the punch line. A sketch probably has a preferable quick resolution.
8) ASSIGN A DIRECTOR – elect one individual to have final say on blocking. Preferably one that is not in the sketch. A director will help turn the writing into life, develop bits not on the paper and clarify stage business and movement.
9) READ THRU – Read through the sketch. As with stand-up comedy, what sounds good in your head may or may not work exactly the same way when spoken. Use the read through to fine tune the script.
10) BLOCKING – Get the material on its feet. Again this will vary depending on the venue and material. Entrances, bits and especially anything physically demanding (Stunts, fights etc) must be worked out for safety and clarity.
11) Rhythm and Timing – Every sketch is like a musical work. It has its unique sense of rhythm. Pay attention to pace and tempo. Timing in a comedy bit can make or break the best writing and sometimes save bad writing.
12) SETS, PROPS, COSTUMES – A sketch is a mini comedy play and really should have consideration for these details. Assign someone to be responsible for each element. If possible add lighting and sound design to these. All of these items should serve the scene. Sometimes SETS are predetermined, especially if you are presenting one sketch in a variety show. There may be pieces you have to work around. Find out these details as soon as possible to avoid major surprises.
13) WHEN IN DOUBT – IMPROVISE!!! Pure writers HATE this idea, but seriously, the ultimate goal is to entertain the audience. BE prepared for anything and deal with it in real time!!! (I am so glad this is the 13th tip – No superstitions here LMAO)
Examples of Sketch from EIGHT IS NEVER ENOUGH – note these sketches were primarily written specifically for YOU TUBE audience.
BRITNEY SPEARS new Song ”Would you hold it against me?”
The Watcher (MOCK INFOMERCIAL)
Harry Potter “It Get’s Better” MOCK PSA
OPERA LIFE COACH – Mock Expose
MOCK LAWYER COMMERCIAL - Willow Smith’s “Whip my hair back and forth”
LADIES NIGHT OUT Mini Sketch from a classic joke
Additional reading
SKETCH WRITING
http://www.guardian.co.uk/books/2008/sep/22/comedy2
http://www.writersblock.ca/fall1999/feature2.htm
http://www.sitcom.co.uk/writers/writing_sketches.shtml
http://www.helium.com/items/118510-how-to-write-a-comedy-sketch
STAND UP WRITING
http://www.guardian.co.uk/books/2008/sep/22/comedy3?intcmp=239
