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The Comic Toolbox How to Be Funny Even If You're Not Paperback – July 1, 1994
Purchase options and add-ons
- Print length191 pages
- LanguageEnglish
- PublisherSilman-James Press
- Publication dateJuly 1, 1994
- Dimensions6.18 x 0.54 x 8.87 inches
- ISBN-101879505215
- ISBN-13978-1879505216
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Product details
- Publisher : Silman-James Press; First Edition (July 1, 1994)
- Language : English
- Paperback : 191 pages
- ISBN-10 : 1879505215
- ISBN-13 : 978-1879505216
- Item Weight : 2.31 pounds
- Dimensions : 6.18 x 0.54 x 8.87 inches
- Best Sellers Rank: #292,788 in Books (See Top 100 in Books)
- #838 in Fiction Writing Reference (Books)
- #1,867 in Performing Arts (Books)
- #166,106 in Literature & Fiction (Books)
- Customer Reviews:
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About the author
John Vorhaus is now known to one and all as the man who brought Radar Hoverlander - con artist extraordinaire - to life in the "sunshine noir" mystery novel, THE CALIFORNIA ROLL, and its acclaimed sequel, THE ALBUQUERQUE TURKEY. His other novels include UNDER THE GUN and WORLD SERIES OF MURDER, the latter available exclusively through Kindle.
John is also well known as the author of THE COMIC TOOLBOX: HOW TO BE FUNNY EVEN IF YOU'RE NOT. This seminal book on writing comedy for television and film is now in its fifth printing, and continues to be a definitive source of information and inspiration for writers from Santa Monica to Scandinavia. Its companion volume, CREATIVITY RULES, is similarly a crucial book for writers at any stage of development.
Not content to rest on those laurels, Vorhaus is also the author of ten books on poker, including the KILLER POKER series and, with Annie Duke, the revolutionary DECIDE TO PLAY GREAT POKER. "As a poker player," confesses Vorhaus, "I'm a pretty good writer."
An international consultant in television and film script development, Vorhaus has worked for television networks, film schools, production companies and film funding bodies in 32 countries on five continents. He worked in Moscow, running the writing staff of the Russian version of Married... with Children, and in Tel Aviv, consulting on the Israeli version of The Golden Girls. He has also built sitcoms in Romania and social-action television in Nicaragua.
Vorhaus is a graduate of Carnegie Mellon University and a member of the Writers Guild of America. He has consulted to Walt Disney Feature Animation and taught at such institutions as Northwestern University, the American Film Institute and the Writers Program of the UCLA Extension. He tweets for no apparent reason @TrueFactBarFact and secretly controls the world from johnvorhaus.com
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While I'm learning more about how "jokes" are constructed from Perret's Comedy Writing Workbook, what I'm getting from John--which was entirely unexpected--is a broader look at how comedy fits into my writing overall. The chapter on Comic Characters gave me a fresh perspective on describing the flaws, humanity and unique world-view of the three people whose interaction lies at the heart of my book. What I especially like are the copious examples plus exercises to try along the way.
Unlike a minority of reviewers I did find the book an engaging, funny read. What better example could this author set (given what he says about delivering on the promise of a title) than be amusing himself?
In the past 24 hours since receiving The Comic Toolbox I've been busy highlighting, making notes in the margins, taking part in the exercises and writing up longer notes in my writing journal. Truly, this is a "keeper" and will be a valuable resource for writing in a more fresh and engaging way, generally, while I aim to master the skill of writing humorously.
Wasn't it Victor Borge who said, "Laughter is the shortest distance between two people"? I'd highly recommend this book to anyone who--quite aside from those looking to carve a career in sit-coms or stand-up comedy--seeks to persuade others to pay attention to what they are saying or writing, in business or life generally. You won't be disappointed!
Besides being a successful comic writer for most of his life with credits for a variety of sitcoms, Vorhaus taught at a variety of Film-oriented schools including the American Film Institute. What he does in the book is distill his lifetime of comedy writing into a how-to toolkit on creating humor. He starts by analyzing humor, explaining why some lines are funny and others aren't, with lots of examples. You can't get bored reading this book because the moment it starts to feel like a textbook, it breaks out into a joke (What do you get when you cross a Jehovah's Witness with an agnostic? Someone who rings your doorbell for no apparent reason). Here are some hints that made sense to me in my quest for humor:
mix truth with pain (A man falls off a cliff. As he plummets to his death, he's heard to mutter, 'So far, so good.')
be willing to risk making yourself look stupid
for every ten jokes you tell, nine will be trash
the comic premise is the gap between comic reality and real reality (for example, in the comic strip Peanuts, there's a gap between Snoopy's 'real' reality--he's a dog--and his 'comic' reality--he's a World War I flying ace
humor through exaggeration (Jerry Lewis is the supreme bumbler)--and be bold about it
clash of context--a forced union of incompatibles--i.e., lunar golf course, Madonna sings opera
the wildly inappropriate response--For example, a backyard barbeque with militant vegetarianism, at a baseball game cheering for the vendors
the law of comic opposites
tension and release
Each chapter, he not only explains the comedic tool, he encourages the reader to practice the tool. For example, in the chapter, The Comic Premise, readers must write a mundane task (i.e., going to a store) and what would make that out of the ordinary (shopping for Uzis). Here's one example I liked: a mundane event--the Magna Carta; out of the ordinary rejoinder--written by e.e. cummings.
In a nutshell, Vorhaus breaks comedy down into its bits and pieces. Yes, some people are blessed with the comic gene, a funny bone that turns life into a laugh tape, but the rest of us need help. Since I'm a firm believer that every story goes better with a sense of humor (I get a lot of my funny-isms from my naturally-talented husband), you'll want to spend a couple hours with this book.
I read the title as The Comic's Toolbox (as in performer) instead of what it actually is: The Comic Toolbox (as in author).
I've read about half , so far. It's a very good book and it has some wonderful, informative, and helpful nuggets of knowledge. I especially like the author's style of brainstorming aspects of character to accommodate developing comedic potential.
Any furthering of the understanding of comedy will benefit the aspiring standup comic, and this book defiantly falls within that category. (Who else hears a giant "but" coming?) - - - But, the targeted demographic of this book is not the purveyors of standup comedy.