Nicole Berger - 6/16/07
June 16, 2007
“How to Make Any Story Funny”
Nicole Berger Speaks on
helping people make their scripts better and funnier
by Sylvia Cary *
16 June 2007
“Is there anyone here who has ever written a funny line?” Nicole began. “You know the feeling – you write a line and then you laugh out loud. The reason that happened is because you made a distinct choice when you wrote that line. It might have felt like an accident, but it was actually a choice – and the good news is that you can actually learn how to make these seemingly accidental (and funny) creative choices on purpose.
In other words, you can increase your chances of bringing out the hilarity in your script by choosing your lead character; your supporting characters; your script’s genre; your script’s plot line; and your script’s comedic perspective, or style, from a list of basics which have been shown to have the greatest potential for comedy. Let’s start with the lead character.
Choosing Your Comedy’s Lead Character
After studying lots of comedy films, Nicole says she has come up with three basic lead character types that have the greatest potential for comedy already built in. They are:
1) The Clueless Clown: A character that audiences laugh at, not with. The Clueless Clown has no clue how the world views them. They are quirky and “different” and the world around them is really uptight. Examples: Will Ferrell; Jim Carrey; Judy Holliday in Born Yesterday; Jenny McCarthy; Sandra Bullock in Miss Congeniality.
2) The Mystified Nebbish: The archetypal nebbish, of course, is Woody Allen. In contrast to the Clueless Clown, the Mystified Nebbish is the level-headed, somewhat sane person who is stuck in a world of crazies. Some of the best moments in a film with a Mystified Nebbish are those when he or she tries to behave like regular people and fail miserably. Example: Ben Stiller in Along Came Polly when he tries to salsa dance; Paul Giamatti; Mathew Broderick; Anna Faris in Scary Movie.
3) The Joker: What separates the Joker from a Clueless Clown is that the Joker is not clueless. He or she knows that they are ridiculous and they mock the uptight or clueless world around them. They aren't vulnerable or concerned about the opinions of others, unlike the Mystified Nebbish. Examples: Marty Feldman in Young Frankenstein; Groucho Marx; Molly Ringwald in Sixteen Candles.
4) Duos: Duos are very often made up of two Clueless Clowns. Example: Bill and Ted in Dumb and Dumber. Or they can be made up of a Clueless Clown paired with Mystified Nebbish. Examples: Steve Martin and John Candy in Planes, Trains and Automobiles; Billy Crystal and Danny DeVito in Throw Momma From the Train.
“It’s not a good idea to put two Clueless Clowns together,” says Berger. “That wouldn't open up enough room for conflict, which is the blood and veins of a film. However, in romantic comedies sometimes both romantic leads are mystified nebbishes. Example: Tom Hanks and Meg Ryan in Sleepless in Seattle.”
“Once you get the main traits of these characters nailed,” she goes on, “you can then elaborate and add details to make each one fresh and unique. As a former dancer, I see many similarities between the rules of dancing and the rules of screenwriting. In dancing, you first learn the basic steps and then you can choreograph the extras. Well, it’s the same with screenwriting.”
Choosing Your Comedy’s Supporting Characters:
Here are the three most basic supporting character types in a comedy:
1) Bad Guy or Antagonist -- forces the protagonist to do something he or she doesn’t want to do, or prevents the lead character from getting something they want. The bad guy or antagonist can range from truly evil to just really annoying. However, in a comedy we want to keep comedic distance so this character shouldn't be too evil so we can still laugh at them. Keep in mind that in many forms of comedy the antagonist is rooted in the human shortcomings of the lead characters; an internal antagonist. In addition, quite often bad guys in comedies will have a weakness. Examples: Reese Witherspoon in Election; Jim Carrey in How the Grinch Stole Christmas, Bo Derek in l0.
2) The Love Interest -- This character doesn't usually “get'' the lead, which is where the
conflict arises - the protagonist needs to prove themselves to her or him. Often the love
interest character doesn't get the lead character because they are a Dumb Bunny or a Bitch or maybe a Wall. A “Wall” is someone who doesn't want the protagonist in the least. The protagonist is not meant to have this person; they are above their station or the Wall is rotten in some way even though they may look great. Examples: Kelly LeBrock in The Woman in Red plays a Wall; Cameron Diaz in Something about Mary plays a Dumb Bunny.
The Friend or Mentor -- can sometimes be a Joker or a Clueless Clown. They have advice for the protagonist but they are never a Mystified Nebbish. Examples: Max in Annie Hall; the sister in Knocked Up.
Choosing Your Comedy’s Genre & Plot Line
Much like your character choices, you will be greatly served by making strong genre, plot line and perspective or stylistic choices. It's useful to identify with one main genre/plot line and one style. Then you can layer in other genres and perspectives with precision, as well as the unique traits of your story. Here are the most common Genres/Plot Lines:
1) Romantic Comedy – The lead character is trying to get the Love Interest to fall for them. Examples: Say Anything; The 40 Year Old Virgin; Sleepless in Seattle. Or, two people try to find love/meaning elsewhere and realize they still love each other: 10; Knocked Up.
2) Road Movie -- Often buddy or ensemble films with a prize or an answer at the end of the Journey. Examples: Little Miss Sunshine; Flirting With Disaster.
3) Fish out of Water - Strongest form of Hero's Journey. The hero goes to a new scary
world and must conquer it. Examples: Big; Splash.
4) Interrelated Multi-Plot/Ensemble Comedy -- Theme is strong, and each sub-story reflects that theme. The goal is to possess a prize or an answer. Examples: It's a Mad Mad Mad Mad World (greed); Caddyshack (class); The Big Chill (meaning of life).
5) Teen/Coming of Age Comedy - Contempt for authority, embarrassment. Includes the
need for social acceptance and/or to win the affection of a seemingly unattainable love
interest. Examples: Napoleon Dynamite; Sixteen Candles.
6) Mockumentary - Often ensemble cast. Goals vary. Examples: Zelig; Waiting for Guffman; Best in Show.
“Just about any story can be funny,” Nicole states. “In many films, pulling a switch is what makes it funny. For example, a man wakes up as a woman and now everything he’s done to women will be done to him.” Other movies are funny because they are so timely (but they may not be funny twenty years from now). Others are funny because of their timelessness and universality – they’ll keep on resonating. Having a comedic through line is funny, such as Joey in Friends who is always stupid and makes stupid mistakes in every episode – and it’s funny.” She adds, “Don’t repeat what’s been done but take it a step further. Don’t mimic other writers or go for what’s hip or trendy or base a script on what people think. Be true to yourself as a writer.”
Choosing Your Comedic Perspective/Style:
1) Dark Comedy - The world is seen from a cynical perspective. The main characters’ goals may very well be negative ones, but we still might root for them. Examples: Election; Happiness.
2) Dramady - Drama with comedic elements - Hannah and Her Sisters.
3) Farce - Over the top, balls to the wails. There might be slapstick bits. Characters are
exaggerated. Satire generally falls into this category. Examples: Something About Mary; Scary Movie.
4) Children's Comedy - Lessons to be learned. Strong bad guy. Kid as the lead character.
5) Straight Forward or Light Comedy - Rarely gets too dark, a lesson is learned. Example: Heaven Can Wait.
6) Romantic/Sex Comedies - Pillow Talk. Everyone's good at the end of the day.
7) Satire - Designed along the lines of films the audience is familiar with, but making fun of it by exaggerating the characters and situations: Examples: Airplane; Young Frankenstein; Scary Movie.
8) Musical Comedy - What needs to be said can't be expressed in mere words, so it must come out in song. Light, everyone's good at the end of the day: Examples: The Producers; Grease; and the upcoming Hairspray.
The trick here is to make clean, definite choices in all these areas. Choose the elements of your screenplay carefully – the lead character; the supporting characters; the genre; the plot line; and the comedic perspective and style – and then elaborate, add details, let your intuition guide your dialogue -- and before you know it, you’ll be finding yourself laughing out loud.
Nicole Berger is a script consultant and writer. Her hit comedy "Yiddish She-Devils" was chosen by reviewplays.com as a favorite of 2005 and received rave reviews from Backstage West and the L.A. Weekly. She currently works freelance for Brand Entertainment as a set liaison and product integration writer, as well as contributes articles to Movie Bytes website. Contact at: scriptslut@yahoo.com or go to www.scriptslut.net.
Sylvia Cary, MFT, is a licensed psychotherapist, screenwriter and the author of 4 published books, 5 produced educational videos and numerous articles in national magazines. She has a “book-doctor” business called Therapists Who Write focused on helping psychotherapists and others in the healing professions get published. Contact at: Sylvia@SylviaCary.com or go to www.TherapistsWhoWrite.com.