Writing Comedy Collaboratively: How To Squeeze The Pips

Writing comedy collaboratively: how to squeeze the pips

By Gail Aldwin

As one of three women who write collaboratively as 3-She, I’ve learnt so much about comedy from my co-writers. We met at a workshop several years ago run by Juno Theatre based in Salisbury, an organisation dedicated to promoting women’s proactive involvement in theatre.

Since then, we’ve written several comedy sketch shows which have been staged at theatres in our home county of Dorset. We also write independently as novelists and my second contemporary novel This Much Huxley Knows will be released in July 2021.

Process of writing collaboratively

There are many examples of successful comedy writing partnerships with notable UK examples including Dawn French and Jennifer Saunders. My co-writers and I share common experiences. We are mothers, we’ve worked for the same local authority, we moved to Dorset from elsewhere and we’re all ambitious to have our writing reach an audience.

It’s great having co-writers to spark ideas and generate new work. We generally meet online (even in the pre-Covid days) using WhatsApp to talk through plans and Writer Duet (online scriptwriting software) to draft ideas. Our comedy brand gives voice to the inanimate. For example, the comedy sketch Big Heads considers what the monolithic figures on Easter Island would say if they could talk. Often, it’s by clashing two ideas that generates comedy. In Killer Ladybugs we applied Trump’s America First policies to a loveliness of ladybirds, and included an invasion of Harlequin ladybirds, the killers of the title.  

In writing for the stage, we always consider the tension between light and dark, movement and stillness and sound/speech and silence. As our sketches are staged with minimal lighting, props and sound effects, our focus is on getting the balance right between stillness and movement in the physical comedy of our pieces.

When setting out to write a sketch, we may improvise words and movement, try out facial expressions and gesture. In this way, we discover whether the lines and actions interact to create humour. Frequently, some slapstick moments are included. Our process is to work up ideas, get the first draft down and then hone it to make sure specific comedy moments have a suitable set up and anticipation (and punch line, where appropriate). Much of our comedy is in the delivery, so we work with our actors in rehearsal to draw upon their experience and provide a truly collaborative show. 

Writing independently

I’ve been able to apply what I’ve learnt about writing comedy collaboratively to my latest novel This Much Huxley Knows. In this contemporary novel, my seven-year-old narrator shines a light on adult experiences. Elements of writing comedy for the stage such as use of exaggeration and comparison are also effective on the page.

A child’s view of the world creates unlikely and touching comparisons. Sara Gethin, who gave an endorsement for This Much Huxley Knows says ‘Huxley’s description of his hand as a daisy, its petals hoping to catch the eye of his teacher, brought a smile to my lips, and then a lump to my throat as the teacher ignores him and his flower dies.’

In This Much Huxley Knows it’s the adults who exaggerate and this causes confusion in the mind of the child. However, the main form of humour in the novel relates to Huxley’s word use. As a loner, he tries to make friends by being funny. His jokes are the result of corrupting words. For example, in winter Huxley has to dress warmly to avoid catching new-moan-ear. At school, Huxley is taught to read by breaking words down into silly-balls. And so it goes on – causing laughter or annoyance depending on the situation. 

Writing across genres

While some creative people argue that writers should focus on one genre of writing, I disagree. I’ve learnt so much from writing collaboratively and I use that knowledge to fuel my independent work. I’m also convinced that writing in different genres exercises different creative muscles that provides stamina to complete a range of different writing projects. 

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About Gail Aldwin

Novelist, poet and scriptwriter, Gail’s debut coming-of-age novel The String Games was a finalist in The People’s Book Prize and the DLF Writing Prize 2020. Following a stint as a university lecturer, Gail’s children’s picture book Pandemonium was published. Gail loves to appear at national and international literary and fringe festivals. Prior to Covid-19, she volunteered at Bidibidi in Uganda, the second largest refugee settlement in the world. When she’s not gallivanting around the world, Gail writes at her home in Dorset. 

About This Much Huxley Knows

I’m seven years old and I’ve never had a best mate. Trouble is, no one gets my jokes. And Breaks-it isn’t helping. Ha! You get it, don’t you? Brexit means everyone’s falling out and breaking up.

Huxley is growing up in the suburbs of London at a time of community tensions. To make matters worse, a gang of youths is targeting isolated residents. When Leonard, an elderly newcomer chats with Huxley, his parents are suspicious. But Huxley is lonely and thinks Leonard is too. Can they become friends?

Funny and compassionate, This Much Huxley Knows explores issues of belonging, friendship and what it means to trust.

“Read this story and feel young again” – Joe Siple, author of THE FIVE WISHES OF MR. MURRAY McBRIDE 

“…a moving and ultimately upbeat story” – Christopher Wakling, author of WHAT I DID

“A joy of a novel, with a wonderfully exuberant character in Huxley” – Sara Gethin, author NOT THOMAS—

This Much Huxley Knows is available for pre-order from Black Rose Writing and will be released in July 2021. If you would like to receive a pdf ARC of the novel in exchange for an honest review, please contact Gail by email gail@gailaldwin.com, by Twitter DM @gailaldwin or through the contact page on her blog https://gailaldwin. 

 

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Category: How To and Tips