Mastering Sketch Comedy | Sean Hogan | Skillshare

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Mastering Sketch Comedy

teacher avatar Sean Hogan, Writer/Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (47m)
    • 1. Intro

      2:40
    • 2. Sketch Basics

      14:32
    • 3. Easy Sketch Writng

      5:16
    • 4. Endings

      5:11
    • 5. Effective Rewriting

      6:14
    • 6. Let's Write a Sketch!

      7:40
    • 7. Bonus : My First Sketch

      5:54
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About This Class

"I want to write sketch comedy, but I can't think of anything to write about, and if I did, I don't have any idea what to do with it."

Dozens of potential students tell me that this is at the root of why they aren't writing. I believe that anyone can write great sketch comedy if they are given an easy, step by step approach that doesn't trigger resistance or writers block, and they are given solid comedy skills. It's all about baby steps.

I'm Sean Hogan and I've been teaching sketch comedy writing for over 10 years, both at my home and at the Groundlings Theater School in Los Angeles. I developed my unique method by analyzing great sketches and discovering what they all have in common (there are 4 things). I took great sketches apart, like a watch, and discovered that they have a common framework that can be your guide for building your own sketches.

In over 10 years of writing and performing sketch comedy at the Groundlings, I have lots of practical advice to share about what keeps the creative juices flowing, and I'll show you how to trigger an audience to laugh out loud, all at the same time. I'm happy to share what I learned from all of my live performances at the Groundlings theater.

The class progresses in these 4 steps:

1. Sketch Basics:

  • Breaks a 4 minute sketch into three distinct acts.
  • Defines Premise vs. Character sketches and how to get ideas for each.
  • Relays the 4 things present in great sketches.
  • Details proper sketch formatting and Screenwriting software options.

2. Easy Sketch Writing:

  • Provides an easy to follow, step by step approach to writing both Premise and Character based sketches that keeps you from getting in your own way by bypassing the harshly critical left brain during the creative process.
  • How NOT to write a sketch!

3. Endings:

  • Defines what a good sketch ending must ideally do.
  • Provides three different ways to end a sketch by using formulas discovered in sketches with great endings.

4. Effective rewriting:

  • How NOT to approach rewriting your sketch.
  • A specific method for rewriting that frees you to see ways to improve upon your first draft by changing your perspective from one of the writer, to that of someone in the audience.
  • What to look for when rewriting that most first drafts need to lose.
  • How to make your sketch funnier by raising the stakes.
  • Use Word Choice and Rhythm in dialogue to cue laughter.

5. Let's Write a Sketch!

  • Watch me start with an idea and use my step by step method to take it to editing the first draft.

6. Watch my very first attempt at sketch writing while I was a student at the Groundlings School.

Want to write sketches and get feedback???

I run a 5 week class via zoom if you would like to write sketches and get feedback. Check out my website seanhoganwriter.com for the next session. You can email me at [email protected] with further questions.

Meet Your Teacher

Teacher Profile Image

Sean Hogan

Writer/Teacher

Teacher

Hello, I'm Sean.

I'm a screenwriter and Comedy teacher living in Los Angeles.

I've taught Improvisation at the Groundlings Theater for over 25 years and was a member of the Main Company for 8 years, performing with famous Groundling alums like Will Ferrell, Cheryl Hines, Chris Kattan, Chris Parnell, and Ana Gasteyer.

I've appeared in Theater Productions at the Pacific Conservatory for the Performing Arts. and on Television on 'Lizzy McGuire' and 'According to Jim' and numerous commercials.

See full profile

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Transcripts

1. Intro: Hey there, I'm Shawn Hogan. I'm standing on the Hollywood Walk of Fame. We're all the celebrities like to hang out. In fact, if you look carefully, Brad Pitt is in a red suit. Really cool. So I've been teaching my own private sketch writing class for about 10 years, but always in person. So this is new for me, and I never used I movie before, but, uh, I think I did a pretty good job. I perform sketch comedy and improvisation of the Groundlings for over 10 years with such famous focus. Will Ferrell, Jennifer Coolidge, Mike MacDonald, Phylum Are and Cheryl Hines. I I don't drink. You drink it. So what does it include? Well, I will make you aware of the two basic kinds of sketches and how to get ideas for each kind . On the one hand, you've got premise and that in their hands you got character. I'll make you aware of the four elements that are always present in great sketch writing. I'll give you three formulas for how to come up with effective endings, which, for some writers is the hardest part of sketch writing. I developed a simple step by step way of approaching writing a sketch that keeps the creativity flowing and helps you avoid writer's block. You'll learn to make word choices and place those words so that you Q. An audience Exactly when the laugh, when you want them to often stove. How Bochy and much, much more. So, whether you're an expert sketch writer or a total beginner, I'm sure you'll find lots of great information in this video. Siri's So what are we waiting for? Let's get started. 2. Sketch Basics: Let's start by defining what sketch comedy actually is. Generally speaking, a sketch is about four pages long, which equals four minutes of comedy. It actually has a three act structure. The first act is just this set up. What's the situation? Is it to people on the first date? It's just the who, what, where should take only about 30 seconds to set that up. So that would be about halfway down the first page. The second act is the beginning of the funny stuff happening either a character misbehaving with a flaw or in a situation. In a premise sketch, something really bizarre starts toe happen. In both cases. As the second act unfolds, the beats get Mawr and Mawr ridiculous. It's like you're climbing up a staircase of absurdity. The third act is the shortest part. It's just the ending. It might just be one word or one sentence. It has to be both funny and provide a sense that the sketch had a definitive ending. Not that it just stopped. If your sketches something you're gonna put online, I would say, actually, you'd even wanna go shorter than four minutes. I think modern attention spans are shorter. Also, if someone is watching comedy on a device where they can easily access something else, I think you've got a challenge and some competition for their attention. - Let me see if I can make the difference between premise, comedy and character based sketch comedy clearer. Let's start with the premise. What a premise really is is a bizarre what, if so, in a normal situation. What if this really weird things started to happen? So if we take the situation, you're going to see a dentist for the very first time you're being examined? That Janice asked you what you do for a living, and you say You're stand up comedian, the dentist tells you. Oh, I do a little stand up comedy And do you mind if I try my act out on you? You say, OK, so the dentist is scraping your teeth with a little hookey thing doing their act. And of course, you're finding it very difficult to laugh because you're so afraid you're gonna get hurt. And that only enrages the dentist. And then they do start hurting you when you don't laugh at their jokes. Now that could never happen. But that's what makes it funny to an audience to imagine. And I think that does tap into though the rial situation of feeling very tense and nervous when you're seeing a dentist and they're working on your teeth. So you are releasing some sort of pent up stress with that totally bizarre situation. Stressful situations can be great starting points for premise Sketches like a first date. First time having sex job interview, meeting your in laws are getting mugged, getting pulled over by a cop. What is normal in those situations? What is the opposite of that? What is the opposite of normal? Choosing one strange thing and making sure that actually happens in that situation can give you and hilarious premise sketch. I'd like to recommend that you check out to premise sketches, and they're both from a group called Mr Show. You can find him on YouTube. The 1st 1 is called The Audition. An actor auditioning for a sitcom chooses an audition piece from a play called The Audition , and when he does his audition, the audition er's can't tell when he's talking to them or when he's auditioning. The other one is called Us Customs two buddies are trying to sneak pot in their carry on luggage through U. S Customs. They were just coming from Amsterdam on one of them has shoved it into shampoo bottles about a whole bunch of extra shampoo. It's in his carry on luggage. And when the customs officer calls him forward and starts asking questions, what's the one word? He should not say a lot to draw attention to the fact that he has way more shampoo than is normal. It's the word shampoo, and so that's exactly what he keeps needlessly saying, because he's nervous. All of these characters appeared on Saturday Night Live, and they're all based in one behavioral flaw. Sexual harassing, desperation, one upping relentless negativity over enthusiasm and low self esteem. Now, this one in particular illustrates the power of irony because Chris Farley is a motivational speaker, and the last thing that should be his flaw is low self esteem. And yet it is. And that creates the humor because the characters appearance is so important. It's a good idea to describe them in a little more detail in a character based sketch than you would in a premise sketch. You put characters in wigs and unusual wardrobe to set them out to the audience. As this is the character that I want you to notice, everyone else is normal, and the character is probably going to victimize them with their flaw. The choice for wig and wardrobe should always reflect the inner life or point of view of the character. So it's a way to convey who this person is. Visually, this character, it did it. The Groundlings claims to be an expert on what women want in bed, but his information is idiotic, and I wanted to make him look out of touch and pompous. My name is Mark Powell, and I am awesome in bed. Yeah, now you might try thinking of sketch comedy this way, something normal trying to happen. Something bizarre is trying to stop it now. That's true of both premise and character based sketches. Now, if your word that you won't be able to think of something to write about, don't before my first class starts, I always have everyone bring in a list of 50 things that bug them, annoy them or drive them flat out insane things that are annoying moments of discomfort, unpleasantness, thes air. Great starting points for sketch comedy because the audience is probably experienced these situations to and when enjoy seeing them made fun off. - Therefore , things present in all great sketches, and you should look for them in your ideas and your execution of those ideas first is is your idea. Simple complexity tends not to work. A character with two flaws instead of one is too complex. You don't want to be a sexual harasser and a kleptomaniac and think, Oh, my character is twice as funny now, No. Pick one and sketch. You wanna go really big or broad or absurd with your idea. That's what defines sketch comedy and separates it from other kinds of comedy that need to stay a bit more rooted in reality. Three. Did you execute your sketch clearly, or is it cluttered with joke is there are a lot of stuff in your sketch that doesn't set anything up or pay anything off first. Drafts are always kind of fat, and you gotta lean him out, put him on a diet. 86 unnecessary beats and words, and four Probably the most important is your idea. Relatable to most people, people want to see something that relates to their own life. If it's a character you're presenting, they want to see that person and think, I know someone like that or I'm kind of like that. For premise sketches, you need the audience to relate to the normal situation and know what is normal in that situation. Then, when the bizarre thing happens, it sticks out to them, and it hopefully triggers an emotion that is tied in some way to some sort of angst or discomfort that they felt in a similar situation. Like a bad date, I suggest you use basic screenplay formatting for your sketches. Now, one thing that's a little different from a screenplay, a lot of blank space on the page, because in screenplay you describe a lot of visuals, but in sketch just describe whatever is pertinent, either setting up the humor or paying it off. So in the opening action, you wouldn't put that their flowers on the table or describe the tablecloth. Why it has nothing to do with what the sketches about. Be sure not to put anything in action that is not visual. For instance, in the opening action of this sketch don't Put the couple is celebrating their 20th wedding anniversary. How would we know that? Visually, someone would have to say it with dialogue, So be sure to keep information like that out of the action. So if you're new to screenwriting software, let me give you a quick introduction. It always begins with a scene heading. It's either I nt for interior or E X T for exterior, a simple description of the location and then either day or night, more detailed descriptions of time or usually irrelevant. Then what does the audience see? Put that in the opening action, including their names in all caps and their age in decade? Only don't say he's 32 she's 30. Course the names and dialogue Little tip on names. Don't use the same letter to begin names. Don't say John and Joan. Your screenwriting software is trying to help you save time by anticipating what you mean to write and finally parenthetical. Use them sparingly, and only when it's absolutely necessary, because the dialogues meaning doesn't convey the way it should be played. Just because some screenwriting software is expensive doesn't necessarily mean it's worth the extra cost the most expensive is final draft. It's sort of the Cadillac of screenwriting software. It's about 200 bucks. Sometimes you can get it for less. Sometimes it's even Mawr, and sometimes they offer student discounts. Check it out. Fade in for 79 95 plus free updates is a pretty darn good deal. I think it's just a xgo. Oda's final draft and final draft does charge you for periodic updates, so it gets pretty expensive. Writer duet is completely free, however. It's not a stand alone downloadable program. It's something you access online. I think it's great, and it has great collaboration functionality. That's why use it with my own screenwriting partner. Studio Binder is free now. I haven't used it, but hey, it's free. So I definitely think it's worth checking out. And then there Celtics. I would check the current pricing years ago. It was free. Then you could get it for life for 20 bucks. But now I believe there's a monthly subscription. Any of these will work. It's really not that important that you have all kinds of features and functions. They're tutorials on all of these available on YouTube. So if you get stuck or confused, consult those 3. Easy Sketch Writng: So you've zeroed in on an idea for a sketch array. What do you do next? Well, you just open up that laptop, open up your screenwriting program and stared a blinking cursor. I don't think that's a great way to right. I think there's a better way. Lists are not intimidating things to make. If I said give me a list of tropical fruits, you think, Oh, I can do that. And off you go. I don't know how many you come up with, and it really doesn't matter. It wasn't difficult. So they're heading for the list you're gonna make Is either gonna be the flaw of a character and behaviors that show off that flaw or whatever your premises, these beats or moments in the sketch prove that it's true. So if your premise is that you're pulled over by a drunk cop, items on your list might be he's holding an open can of beer, he says. You were swerving that he was the one. It was swerving, he says. Your license photo is too blurry. Smells alcohol, but it's his own breath. He can't touch the tip of his own nose where he starts crying because he says his wife wants a divorce for a character sketch. It's really the same thing. But the heading for your list is their behavioral flaw. What behaviors would they exhibit in your situation that would prove that they have that flaw again? A list of 25 at least in a brainstorming session, shouldn't be difficult to come up with, especially if you use a 10 minute timer to put a little fake pressure on yourself. You might even come back to the list later and find that you've got about 10 more ideas that just wouldn't come on your first attempt. Try ranking them in order of funniness. Have the least funniest one happened. First, the next funniest one happened next, and so on all the way up. So that beats six is the funniest, most ridiculous, absurd beat. Now, something else you will have to consider when you rank those and create the order for your list of six is chronology. So this is a sketch at a restaurant. You don't wanna have a beat that involves the waiter bringing the menu happen after the food is served. Obviously, that's not how things happen now, a second act doesn't always have exactly six beats. That's sort of a good median to stick Teoh. If the beats take a long time to unfold, you'll probably want less beats a really quick you're probably gonna want more. So once you've done that, you've basically done all the heavy lifting of your sketch. Created the bulk of your sketch because those six beats are going to occur in the second act, which, as you know, is most of the sketch. Just use your six beats. Write them down in the order in which they occur, I suggest use a pad and pen. Usually you get a little less precious when you know it's just paper. I can toss it. If it's not any good, we start typing on a spring writing program. Sometimes you can get caught up with editing and judging what you're writing, and this really isn't the time to do that. So you have a rough draft of your second act. Now do something really, really easy. Read a rough draft of your first act. It's short and it doesn't have to be funny. It really shouldn't be just include information that sets up the situation So you have a rough draft of your sketch. But there's something missing. It doesn't have an ending. Most writers. This is the hardest part of writing a sketch. How do you come up with an ending? That feels like the sketch actually ended and didn't just stop, but is also funny. Well, I'm gonna cover that in the next lesson. 4. Endings: coming up with good endings for sketches can be the most challenging part of sketch writing . We call them blackouts at the Groundlings because we would shut the theater lights completely out. You knew your sketch did not have a good ending. If you could hear that audible click of the circuits of the stage flights going off and the audience would have this sense of, Oh, I really enjoyed that sketch and then at the end, it just kind of, uh and unfortunately, endings have such a disproportional impact on whether or not somebody thought they like to sketch or whether it was good, it could been laughing really hard all the way through. And then if the ending was sort of May, their opinion of the sketch was me. It was pretty good. And then a sketch that was just OK all the way through but had a rockem sockem ending that we like. Oh, that was hilarious. So endings are extremely important. I came up with these three ways of ending sketches by watching lots of sketches that I felt had very effective endings, and I discovered that there seemed to be three basic types of blackouts the first formula. You might try to injure sketches when I call new information, and it usually means a character will enter We haven't seen before just to provide the blackout. Great example of that is a sketch from SNL called Royal Family Doctor. So a Royal Protocol minister is telling the doctor who's going to deliver Kate Middleton's baby. What he may and may not do because the baby is, after all, a royal one of the rules is when the baby starts to come out, you can't reach out to it. You have to wait till it extends its hand to you. All the rules that he's proposing are absolutely ridiculous in that situation, and it's a very funny sketch. But when the protocol minister is done explaining the rules, that's not really a satisfying ending to that sketch. So in new Character enters, it's Fred Armisen in drag as Elizabeth, and she's there for her yearly gynecological exam provides a very, very satisfying ending to what was a very good sketch. Lots of sketches feature a conflict that starts and then builds and builds and builds often Near the end of those sketches, the conflict gets resolved a great way to end those sketches is toe have the same conflict start up again. A great example is from SNL. Melissa McCarthy is a character named Arlene. One of her co workers is Jason, said Acas, and throughout the sketch, she sexually harassing him so we can't get any work done. But near the end, she starts to feel embarrassed. She's completely sorry for her behavior, and she stops. It's all starts up again, though, when she starts having sex with a different coworker. Where on Jason Sudeikis his desk. So once again, he can't get any work done. So what is a callback? But callback is when something very memorable from earlier in the sketch comes back again. Audiences almost always laughed at callbacks, and I don't know anyone who can explain why Stand up comedians use them sitcom writers and , of course, sketch comedy writers. A great example is Chris Farley's motivational speaker sketches. They're kind of hard to end, but he has this catchphrase. I'm tired of living in a van down by the river. They ended sketches by having him say that one more time with a lot of punch. Now, if you'll excuse me. I'm gonna go down the rouse and get myself some more bananas. One of the most effective endings to a sketch I've ever seen is the end of the Mr Show sketch U. S. Customs. I think it uses all three methods combined. So Google it Take a look at that sketch and see if you don't agree that all three formulas air present in that blackout and one final word on blackouts probably want to save coming up with it till the end. Until you've written the rest of the sketch, it's going to be hard to figure out exactly which way is the best way to end your sketch and pay off what it was about. 5. Effective Rewriting: So you have a first draft of your sketch. It's time to rewrite. Effective rewriting is actually very easy. I'm not so great. Way to do it is to just stare at it on your computer screen because you're reading it with the same brain that created it. So there is an attachment to create a separation and attachments. We become more like an audience member who didn't write the sketch. Make an audio recording of you reading your sketch. Then listen to that recording with your eyes closed, trying to identify exactly where the audience would laugh during your sketch so you would print out your sketch and draw smiley face anywhere. You think the audience would laugh. Now look at the sentence that would provoke or que that laugh. Can you make that sentence shorter? Because shorter sentences que audiences toe laugh more often than long ones, they're also tends to be a comedic rhythm. Two short sentences that long sentences just don't have. Now, identify the funniest sounding word in that short sentence and make sure you place it at the end. Look at that word and see if there's a word that means the same thing but has a funny or sad. But it has a K sound, or at least a nice, short, clipped, constant or long vowel sounds. Just use your ear, you know in eight Lee when a word is funny. So here comes a list of words that could replace one another. I think the one on the left is not as funny as the one on the right, but just say these out loud to yourself and see if you agree. There's something about long vowel sounds, sharp clip e constants or a liberation that accuse you to know this is a funny word. Ideally, sketch comedy dialogue is more like tennis back and forth between characters with one or two lines, and that's it. Comedy needs pace. Big chunks of dialogue make it difficult for audiences to figure out when it's safe. Toe laugh. Audiences have to know that the actors are not going to speak anymore, that there's going to be a pause that they can fill with their laughter. It's nearly impossible to tell where those pauses are. If someone is monologue ing now, some sketches need a monologue, and it can work. But then you really have to be careful to set up specific laugh moments within that dialogue by using funny sounding Q words. Every time you re right, take a look and see if you have chunks of dialogue, even three or four lines, and just see if you can shorten it down. One of the steps of rewriting, I suggest, is to take your sketch and release what I call the word eating creatures, like ants that strip a carcass of everything. Release these creatures that identify words that are unnecessary that could actually be cut without us losing either a set up to a joke or a joke. Your sketch will Onley get funnier if it's less wordy when we writing, always consider if there's a way to raise the stakes. You can do this often by just changing the locations to somewhere where there are higher stakes If things go wrong. If it's a scene where a lawyer is coaching his murder suspect client on how to seem innocent when being cross examined on the stand and the suspect, he was blurting out answers than incriminate him. If the coaching session is taking place in a cell that's too low stakes move into a courtroom, and the scene is much funnier. If you look at Kristen wigs, Penelope sketches from SNL. You'll notice that the locations always highlight her Flaum or by raising the stakes. Her narcissism is more out of place at a friend's wedding reception or at a soup kitchen to feed the homeless. You won't see a Penelope sketch where it's her own birthday, because she should be the center of attention and narcissistic one. Upping won't stand out as much in that situation. Take a step back and ask yourself, Can I make my sketch more physical? Because physical humor, which is taken in through the eyes of the audience, is really powerful. It is harder to accurately describe it, though in text. So most new writers overemphasized dialogue. Check out Melissa McCarthy's Arlene character that she did on SNL for an example of great physical humor. The Laurel and Hardy Silent Short called Big Business, is another great example, as is Peter Sellers performance as Inspector clues Oh, in a shot in the dark. If the stakes don't feel high enough in your sketch, maybe you need to add a witness, a normal person, an innocent bystander who can be affected and bothered by the abnormal behavior. SNL SKETCH The kissing family is a great example of the use of an innocent bystander. There's always a boyfriend or a girlfriend, an outsider who's brought into the family situation to witness all the inappropriate kissing. If you take the boyfriend or girlfriend out of the sketch and just watch the family do that behavior, it's fine. They're not bothering anyone because everyone in the family is totally okay with it, so the stakes are way too low. 6. Let's Write a Sketch!: So that's a lot of information about sketch comedy, and I think it be helpful for you to watch me go through the process from start to finish. So it starts with an idea. So digging through the moments of your life where there was some discomfort or angst is a great place for look, bad dates. People can relate to those for universally. So I remembered one in which I was set up with someone who had just gotten out of a six year relationship in which they were engaged to be married, and they've been broken up with the week before I was set up with him, so I took her to a restaurant, and in the 1st 5 minutes she must have mentioned her ex boyfriend about 10 times. So I realized I don't think this woman is ready to date yet, so there wasn't enough really weird, bizarre stuff to use in the sketch. I can't just take exactly what happened on that date and write it up is a sketch. I'm gonna have to take it much further and make it more broad to make it more like sketch comedy, so I'm gonna have to brainstorm. So I need a list of 25 things, and my heading for the list is what behaviors could she exhibit in a restaurant that would tip the person she's dating off that she's not over her ex. So I just grabbed my patent pen and my 10 minute timer and just brainstorm letting everything flow out bad and good ideas doesn't matter. Just get everything out on page. So these are the 25 beats that spelled out of me. A lot of them are so absurd they could never happen. And I think that's important for sketch comedy. Audiences want to see you make some sort of relatable point, but then they want you to really stimulate their emotions by going way beyond what could possibly happen and invokes laughter. And it's a really healthy way of fixing the banks that you experienced when you really went through the situation yourself, and it helps you take your own life's thanks a little less seriously. I pulled out my favorite seven and placed them in order so that the sketch gets more absurd as it goes on. So she calls him by her ex's name, sprays him with this Cologne keeps checking her. Instagram asks if his new girlfriend is prettier than May asks, Why do you think he dumped me? Gives you a passionate kiss, but just wants to really posted on Instagram to make her ex boyfriend jealous. She starts crying because the song playing in the restaurant was playing when they first made love, and she takes out a rubber mask that's an exact replica for boyfriend's face and asks you to wear it. So I took my seven beats. I wrote out a rough draft on paper. Then on paper, I wrote out a first act. Then I came up with a blackout using my formulas, and I took my rough draft and I typed it up. Put this on pause and read it at your own pace. So let's take a look at how we can edit this, make it a little better, get rid of some extra words and add specificity, etcetera. All right, this looks fine. Good, huh? It's my all time favorite restaurant. That's not important. So I think we can definitely lose that. We need the Vo picado for the blackout. All right, Good. Let's see what else we got here. We can take out Why, thank you. You made me blush. I don't think Why thank you. Adds anything. So let's lose that. Let's see what else? Long term relationship here. I added specificity in the draft that you read. She didn't mention that it had been six years. And I like the punchy nous of how long? Six years? Wow, It's nice and clipped and short. Kind of bouncy. I think that's gonna provoke a laugh. Good. Let's see what else we got. Uh, okay, it's my exes. Cologne. Alright, some specificity would be great. Here, let me pick one that's got the K sound in it. Funny sounding cologne. How about your car, Nawar? It's got that great alliteration in the case sound too. That would be my first choice for now. Um, I wish I could get the word transition out of it. You know, in the help with the transition. I like that better. If she ends her sentences with the word transition over and over again, it might create sort of, ah, repeated callback response in the audience. All right, let me see what else we got here should be dating yet. That's a big chunk. Any time I see more than two lines, I think something's gotta go here. All right. So you know what? What do you think it was? Why did he dump me? That's almost the same question. Let's get rid of the more vague one and keep dump. Okay, That's great. Um, Bus boy fills their glasses. The violinist. Um well, wait a minute before that, he gets jealous. So jealous. Um, yeah. I just don't think we need the second. Jealous. Just didn't add anything. But here. Yeah, I was just thinking this song. You've got to say what song it is. And it's got to be Carol that suggests it. So what? I pick a song. I think most people would know. Um, how about Hotel California? Okay, let's do that. Um, I think that has a much better chance of getting a laugh than just her saying Yes, And he plays a song and she cries, okay. And looks pretty good the rest of the way. Um, I don't think I would change anything else right now, but, um, you know, you can edit something forever, and after a while, I think you've just gotta let it go and say, All right For now, it's It's good enough. So hopefully that helped you understand the process a little bit better and encourages you toe. Give it a shot yourself. Making a piece of art can be scary because somebody could look at it and say it's not any good, and it's safer not to make anything. Just know that when you're watching sketch comedy, especially if it's on television, it's the cream of the cream. And lots of really bad sketches were written just to get those few really good ones. So don't expect yourself to have an overly high batting average mind couldn't have been any better than one in five, and it probably wasn't even this good is that when I was at the Groundlings? So my final words are, Be very kind with yourself and allow yourself to just make stuff. Don't worry, it's not perfect. Just keep writing and enjoy yourself, and hopefully you'll find a way to express your own personal point of view. 7. Bonus : My First Sketch: Mary I After all, Beverly dropped out at the last minute. I needed another woman to keep it balanced. You know how I am about my dear party boy. I know. You know, actually, I'm just dying to try out my new attitude. You know, I was thinking about what you said and you're right. I am too picky when it comes to men. This is a nice guy. That's all that really matters. Of course. Smoke. So nobody likes a smoker. Good for you. It's a whole new world oil. Just relax and enjoy yourself. Have much. Don't get me wrong. Sex is great. Sometimes I just like to come. I don't really care what a woman looks like. Women are just so magical. I love that they talk about their feelings. I just adore women. The most powerful man on the East Coast. Surely you must have a woman in every port. No, I'm just so ridiculously monogamous. In fact, I've never had sex. Although the doctors tell me I'd be incredibly good at it. Well, I made a promise to my dead mother, whom I love dearly, but I wouldn't take a wife until light set up 10 multi $1,000,000 charitable foundations. Yesterday, after 10 long years of hard work, I kept that promise. I just want to get married. I just want to have this big wedding that I've been planning since I was five. I just want to meet a nice girl. But I've been so busy setting up charitable foundations. I have a time. It's that guy. Isn't it great? He's a multi millionaire. I don't mean to be forward or anything, but have you ever seen someone from across a crowded room? And I suddenly realized that there's no one in the world you'd rather be looking at right now? Yes. Give my silence. But I can think about Is dancing in the moonlight with you? Would you like to get some punch lead on soon? This make Excuse me that I would just meet you. Doing what you walking like that? Oh, my stride. You're talking about my stride But my stride have a very small stride. You have You have the most beautiful blue. Thank you. You know, I never hear that four eyes, you know, because, you know, I just I'm not used to people, you know. Okay, take bigger steps that you wanted. Teoh, I suppose. But I don't think it feel very natural. My small stride doesn't bother you. Oh, I don't know. OK, Is I just all I can think about is you. What? You did some stretching exercise. I do 20 minutes of yoga every day. Look, what if you know, you were late for a flight or something, or, you know, you had to, you know, trying up You have a burning building. What did your wife threatened to divorce you if you didn't take bigger steps? Oh, no. That doesn't sound like the kind of woman I'd marry in the first place. And what if I asked my wife to always take big, goofy clowns? Strides, people walk the wedding. Let me see you. Right. Hey, stop it. This isn't gonna work out, and I just I don't think I'm being too picky, you know? You sure you have all the qualities I look for him? You're sensitive. Romantic. You're kind of secure. I just can't spend the rest of my life waiting for you to catch up. I need a man with a bigger stride. I think I'm looking for someone a little less superficial. I guess this is goodbye. Well happened. Look what you were doing so well for you. No, no, it's just No, You hear what we're trying. Teoh. He smokes.