I tend to follow that advice out of necessity, not design. Getting the end of a scene to work can often be far more challenging than nailing the beginning and the middle.
Are there ways to limber up for 'being funny'? Page 2
Quote: Tim Walker @ November 18 2009, 10:31 AM GMTI tend to follow that advice out of necessity, not design. Getting the end of a scene to work can often be far more challenging than nailing the beginning and the middle.
The scene ends when something changes. Asking yourself the question - what is this scene about? - sounds an obvious one, but people don't always do that. Once you have established what it is about in the narrative you move on to the next one.
Quote: Marc P @ November 18 2009, 10:33 AM GMTThe scene ends when something changes. Asking yourself the question - what is this scene about? - sounds an obvious one, but people don't always do that. Once you have established what it is about in the narrative you move on to the next one.
Agreed, but I was talking more specifically about sitcom, i.e. getting out of a scene with some dramatic credibility, but also with a decent laugh attached. 
Quote: Marc P @ November 18 2009, 10:28 AM GMTThe best thing to do is to break off writing half way through a scene. That way when you come to it fresh the next day you have already started and are up and running.
That's excellent advice, and advice I follow myself.
Not strictly a case of 'limbering up' but a trick I utilise is to always have several projects on the go at a time - that way when one project becomes too troublesome, one's procrastinanting manifests itself in working on the other.
Well in a sitcom the joke can come from the reversal, or reveal, as it does in dramatic storytelling. Drama works through the build up and release of nervous energy as does comedy, the release of nervous energy that has been built up in sitcom comes out as a laugh, it you build it correctly there is only one proper outcome to the scene - because you know what the scene is about - and the big pay off dramatically will also be the big comic pay off too.
Quote: Marc P @ November 18 2009, 10:51 AM GMTWell in a sitcom the joke can come from the reversal, or reveal, as it does in dramatic storytelling. Drama works through the build up and release of nervous energy as does comedy, the release of nervous energy that has been built up in sitcom comes out as a laugh, it you build it correctly there is only one proper outcome to the scene - because you know what the scene is about - and the big pay off dramatically will also be the big comic pay off too.
How often do you see this done in the sitcoms you watch? That's not me being facetious, but a genuine question.
Quote: chipolata @ November 18 2009, 10:53 AM GMTHow often do you see this done in the sitcoms you watch? That's not me being facetious, but a genuine question.
God knows and probably not very often. The good ones do it. David Renwick springs to mind.
Quote: Marc P @ November 18 2009, 10:51 AM GMTWell in a sitcom the joke can come from the reversal, or reveal, as it does in dramatic storytelling. Drama works through the build up and release of nervous energy as does comedy, the release of nervous energy that has been built up in sitcom comes out as a laugh, it you build it correctly there is only one proper outcome to the scene - because you know what the scene is about - and the big pay off dramatically will also be the big comic pay off too.
That's good advice, but that kind of pay off tends to work better in a more "heightened reality" type of sitcom. Writing a more "realistic" piece, I often find that I have to make sure that the gag/laugh to get out of the scene doesn't feel tagged-on. Not so difficult in a light scene, but sometimes more of a challenge in a darker scene. It might sound a bit poncy for comedy, but getting out on a strong, credible laugh (consistent with the scene/character(s)) is one of the harder aspects of writing comedy, I think.
Often I see scripts/sitcoms where the "get out scene, do not avoid getting a laugh" rule ends up with a character either doing a physical bit of comedy inconsistent with the set-up, or coming out with a (usually rhetorical) piece of dialogue to summarise what has happened or what is going to happen next.
Quote: Tim Walker @ November 18 2009, 10:57 AM GMTOften I see scripts/sitcoms where the "get out scene, do not avoid getting a laugh" rule ends up with a character either doing a physical bit of comedy inconsistent with the set-up, or coming out with a (usually rhetorical) piece of dialogue to summarise what has happened or what is going to happen next.
Yes that is what I was advocating against. It should be organic. And if the scene has established what it needs to establish it should be cut there and should be with a big laugh.
How about just ending every scene with the main character turning to camera, pulling a "comedy" face and giving the viewer a big wink? No? 
Like Miranda. 
I like it when she pulls the faces as long as she doesn't do it too often.
Actually follwing my mantra - which I am pretty sure I don't myself - well I do in drama and scenes in novels - gives the narrative a lot of pace. Check this Friday's episode of DOCTORS for example. 
Subtle plug there, Marc. I will be watching.
Quote: Marc P @ November 18 2009, 11:13 AM GMTLike Miranda.
I love the American version of The Office but I do feel that Jim looks knowingly at the camera far too many times. Although that's supposed to be a mock-documentary, so I guess the rules are different.
Quote: chipolata @ November 18 2009, 11:16 AM GMTI love the American version of The Office but I do feel that Jim looks knowingly at the camera far too many times. so I guess the rules are different.
Like their extradition treaty rules.
Practically all 'international' rules are different for Americans aren't they?
Comedy actors often have their own routines for getting into character or just being funny. Peter Sellers used to watch Laurel&Hardy films before playing inspector Cleusau, and that seemed to work.