If you're a writer, chances are that you've been encouraged to take an improv class at some point. Chelsea and I have certainly received that advice quite a bit since coming to LA.
We finally took a class a couple of months ago.
Not because we wanted to improve our writing, though. Just because we like comedy, and we thought it would be fun to get out of our comfort zone a little. (okay, a lot.)
Despite that, UCB Improv taught us a number of valuable writing lessons.
Keep reading to find out what they were.
Not because we wanted to improve our writing, though. Just because we like comedy, and we thought it would be fun to get out of our comfort zone a little. (okay, a lot.)
Despite that, UCB Improv taught us a number of valuable writing lessons.
Keep reading to find out what they were.
first, a little about Improv 101
UCB was founded by Amy Poehler, Matt Besser, Ian Roberts and Matt Walsh over 20 years ago. The school offers classes in a bunch of stuff, including sketch writing and improv, and there are shows at the theater 7 nights a week.
Improv 101 is the entry level improv course. It's accessible to anyone who's interested (with or without previous experience), and it's a lot of fun.
The class focused on the basic principles of improv, and didn't go very far beyond that. But even in those very fundamental lessons, there were a bunch of great writing lessons (for comedy and drama alike).
Improv 101 is the entry level improv course. It's accessible to anyone who's interested (with or without previous experience), and it's a lot of fun.
The class focused on the basic principles of improv, and didn't go very far beyond that. But even in those very fundamental lessons, there were a bunch of great writing lessons (for comedy and drama alike).
yes, And...
This is probably the most well-known improv principle out there. "Yes, And" refers to the basic idea that, in improv, you are supposed to always support your scene partner's vision for improvisation, by agreeing with the basic idea of that scene, and then adding a new element to continue to build the world.
Here's an example of "Yes, Anding..."
KID: Come on, Mom! It's Christmas eve, do we have to spend it in the library?
MOM: This is our Christmas tradition, Tim. Some families drink hot cocoa by the fire, we read non-fiction reference books in the town library.
In that example, the "Kid" presents a few basic facts of the reality he's creating. The "Mom" continues to build on those facts, confirming their validity, while adding new information of her own.
Here's an example of NOT "Yes, Anding..."
KID: Come on, Mom! It's Christmas eve, do we have to spend it in the library?
MOM: We're not in the library. What are you talking about?
There's a pretty obvious difference between these two examples. One acknowledges an unusual reality, supports it, and is immediately funny. The second denies that reality, confuses the "Kid," and totally destroys the momentum of the scene.
Here's an example of "Yes, Anding..."
KID: Come on, Mom! It's Christmas eve, do we have to spend it in the library?
MOM: This is our Christmas tradition, Tim. Some families drink hot cocoa by the fire, we read non-fiction reference books in the town library.
In that example, the "Kid" presents a few basic facts of the reality he's creating. The "Mom" continues to build on those facts, confirming their validity, while adding new information of her own.
Here's an example of NOT "Yes, Anding..."
KID: Come on, Mom! It's Christmas eve, do we have to spend it in the library?
MOM: We're not in the library. What are you talking about?
There's a pretty obvious difference between these two examples. One acknowledges an unusual reality, supports it, and is immediately funny. The second denies that reality, confuses the "Kid," and totally destroys the momentum of the scene.
how does this apply to writing?
"Yes, Anding" is incredibly helpful when you're brainstorming ideas, with other people or even when you're by yourself.
When you (or someone else) has an idea, respect that idea by taking a minute to explore it before you shoot it down. You never know what nuggets of story or character could be hidden in an idea, unless you initiate the process by "Yes, Anding."
This is particularly useful if you're in a writer's room situation. No one wants to work with someone who says "No" to ideas. That's intimidating and weird and pretty bad etiquette.
But if you're always the person building on ideas and yes anding your way to new ones, you'll make everyone look smart, and you'll end up with some great ideas (and plenty of not so great ones) in the end.
When you (or someone else) has an idea, respect that idea by taking a minute to explore it before you shoot it down. You never know what nuggets of story or character could be hidden in an idea, unless you initiate the process by "Yes, Anding."
This is particularly useful if you're in a writer's room situation. No one wants to work with someone who says "No" to ideas. That's intimidating and weird and pretty bad etiquette.
But if you're always the person building on ideas and yes anding your way to new ones, you'll make everyone look smart, and you'll end up with some great ideas (and plenty of not so great ones) in the end.
Top of your intelligence
In improv, performers are taught to always respond to new information at the "top of their intelligence."
These means that they are expected to always provide a reason for their behavior, and to never rely on plain old wackiness as an excuse for what's happening on stage.
Every behavior and every piece of information demands an explanation that's somehow rooted in logic (even if it's bizarre logic, if that logic is rooted in a character, it works, as long as it's there).
So if you blurt out that you eat pickles for every meal, you need to then explain on stage that you grew up in a family of picklers, and you're trying to raise awareness for the pickle industry.
Then you've justified your odd behavior in a way that's logical to the character you're playing.
Not undercutting the reality of your scene (in comedy or not) is essential to creating a script with emotional resonance.
These means that they are expected to always provide a reason for their behavior, and to never rely on plain old wackiness as an excuse for what's happening on stage.
Every behavior and every piece of information demands an explanation that's somehow rooted in logic (even if it's bizarre logic, if that logic is rooted in a character, it works, as long as it's there).
So if you blurt out that you eat pickles for every meal, you need to then explain on stage that you grew up in a family of picklers, and you're trying to raise awareness for the pickle industry.
Then you've justified your odd behavior in a way that's logical to the character you're playing.
Not undercutting the reality of your scene (in comedy or not) is essential to creating a script with emotional resonance.
How does this apply to writing?
Reacting at the top of your intelligence, at its core, is about keeping every scene grounded in a believable reality. It's about creating a world that feels real, and answering the audience's questions before they start to call BS on the information that you're presenting them.
As a screenwriter, writing at the top of your intelligence is completely necessary if you want to create a story that will resonate with the audience. To create a world that people can truly get lost in, you have to answer the questions posed by your story and concept before they have a chance to even ask them.
Treat the audience as an intellectual equal, and you'll have a way better shot at keeping them along for the ride.
As a screenwriter, writing at the top of your intelligence is completely necessary if you want to create a story that will resonate with the audience. To create a world that people can truly get lost in, you have to answer the questions posed by your story and concept before they have a chance to even ask them.
Treat the audience as an intellectual equal, and you'll have a way better shot at keeping them along for the ride.
picking the right characters
In improv 101, there was one lesson that stressed the importance of picking the right characters in order to optimize the comedy in the scene.
If a GUY walks onto the stage as a DRILL SEARGANT, for instance, a good scene partner might be a FOUL MOUTHED RECRUIT.
That pair sees the world differently, and in almost any situation, you can probably imagine how their interactions could be interesting.
But if you took the same SARGEANT and paired him with a PRETENTIOUS ENGLISH PROFESSOR, there's a bit less to work with. Sure, that could be a funny scene, but it won't generate quite as much as the more classic pairing suggested above.
If a GUY walks onto the stage as a DRILL SEARGANT, for instance, a good scene partner might be a FOUL MOUTHED RECRUIT.
That pair sees the world differently, and in almost any situation, you can probably imagine how their interactions could be interesting.
But if you took the same SARGEANT and paired him with a PRETENTIOUS ENGLISH PROFESSOR, there's a bit less to work with. Sure, that could be a funny scene, but it won't generate quite as much as the more classic pairing suggested above.
how does that apply to screenwriting?
Just like in improv, in screenwriting you need to optimize the details of your world in order to deliver as strongly as possible on the story you're presenting.
This principle can be applied beginning with your concept. If you're starting with a concept, add characters that will propel the most interesting story. Make the characters work well both within the context of that story and within the context of the other characters you plan on creating.
It's also a handy idea to keep in mind if you're writing a pilot for TV. You always need to create characters that will fuel as much story as possible, and those characters need to immediately suggest tons of new stories to anybody you're pitching to.
Optimize those characters, and the stories will be much easier to see.
This principle can be applied beginning with your concept. If you're starting with a concept, add characters that will propel the most interesting story. Make the characters work well both within the context of that story and within the context of the other characters you plan on creating.
It's also a handy idea to keep in mind if you're writing a pilot for TV. You always need to create characters that will fuel as much story as possible, and those characters need to immediately suggest tons of new stories to anybody you're pitching to.
Optimize those characters, and the stories will be much easier to see.
A valuable vocabulary
It's very likely that you were already aware of a lot of these ideas. Chelsea and I were already applying most of them to our work before we took the class.
But we didn't have the vocabulary to talk about what we were doing, because we really didn't know why we were doing it (other than that it felt right).
And that's the biggest benefit that's come from taking improv.
Now we speak a new language, that lots of other people in the entertainment industry also speak. It helps as we discuss our writing with one another, and it also comes in handy in discussions with producers, actors, and other industry types.
So now it's my turn to bug you... Take an improv class already! It's fun and worst case scenario, you'll gradaute with an understanding of one of the most widely spoken languages in LA.
But we didn't have the vocabulary to talk about what we were doing, because we really didn't know why we were doing it (other than that it felt right).
And that's the biggest benefit that's come from taking improv.
Now we speak a new language, that lots of other people in the entertainment industry also speak. It helps as we discuss our writing with one another, and it also comes in handy in discussions with producers, actors, and other industry types.
So now it's my turn to bug you... Take an improv class already! It's fun and worst case scenario, you'll gradaute with an understanding of one of the most widely spoken languages in LA.
What else?
Have you taken an improv class? What did it teach you about writing?
Or why have you avoided taking it?
Comment below.
Or why have you avoided taking it?
Comment below.