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KNOW YOUR TARGET Satire needs a target. It's an assault. It can be subtle, witty or sly but your purpose is to attack someone or something. Preferably, someone who deserves it. A topical gag or sketch isn't the place for an elegant disquisition on the nature of hypocrisy, it's a place to nail a PERSON who is hypocritical. You want to mock the mighty, puncture the pompous, and expose the corrupt. You need to have the stomach to go on the attack, and to make it PERSONAL. That doesn't mean making ad hominem attacks on someone's appearance or private life. But it does mean attacking what you think is wrong about what they, personally, are doing. Ask: WHO IS MY TARGET? KNOW WHERE TO AIM Resist the urge to kill two birds with one stone. You won't hit either. Get the target in your sights, and don't get distracted. In comedy you sometimes write a gag and then see another, subsidiary gag. But don't use it - unless it 'tops' the first gag. It's the same with topical sketches. Let's say you want to write a sketch about a couple of politicians who are behaving childishly. You think of setting it in a playground, with them being kids. Fair enough. But then you think "Now we're in the playground, maybe I could make a point about education funding." Don't. That's another sketch. ONE TARGET AT A TIME. KNOW HOW TO OFFEND There's a lot of confusion about causing offence or making jokes in bad taste. Can you write comedy about atrocity or tragedy? Absolutely. It's about knowing your target. For example, the reaction of the press, or the sanctimonious posturing of a politician seeking to exploit a tragedy to political advantage. A classic case is the Chris Morris 'Paedophile Special' on his Brass Eye series. He wasn't making fun of the victims of paedophilia, or of paedophiles. He attacked the hypocrisy of certain sections of the media, and the cynicism with which they created and manipulated hysteria. Legitimate targets for satire. So, be prepared to defend your choices, and GO ON THE OFFENSIVE. |
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The EUROSCRIPT COMEDY SCHOOL is designed to help writers discover and explore the dynamics of comedy. Can we teach you how to be funny? We don't know. But we can definitely teach you how to be a better comedy writer. We offer a series of workshops, courses and other resources to help you locate and exercise your comedy writing muscles, and learn how to use them. Comedy writing is a process with very specific dynamics, especially when it comes to sitcom. Come and learn the rules and secrets of this highly distinctive genre at the EUROSCRIPT SITCOM WEEKEND on 8-9 November with PAUL BASSETT DAVIES. |
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Paul Bassett Davies is an exceptionally experienced writer, performer and director for stage, radio, TV and film. He co-founded the multimedia performance company Crystal Theatre, whose groundbreaking work was acclaimed in Britain and Europe. He then moved into radio and TV, where he worked with some of the best-known names in British comedy and drama. He has written several radio plays that have been performed by some of Britain's finest actors. His latest radio sitcom, 'Reception' was broadcast in September 2013 on BBC Radio 4. Paul was the creative director of the London Comedy Writer's Festival and has written a best-selling novel called 'Utter Folly'. His next novel, 'Dead Writers in Rehab' will be available soon.  Follow Paul Bassett Davies aka @thewritertype on TwitterYou can read his blog HERE |
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VENUE Derbyshire House St Chad's Street London WC1H 8AG map DATE |
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