Writing Jokes Outside & Inside the Show – Greg Dean

[Music] [Applause] All right if somebody has a question
now’s the time. Amir. [O.S] So earlier you talked about how the best jokes are written during the show. Like, I think I know what you mean, but
can you like, explain a little bit more? Okay yeah, it’s true my belief is and I
think a lot of comics would agree with you, is that the best show, the best jokes
that I’ve written is what I call inside the show. Okay? And there’s several ways of, so let’s the first of all let’s make the distinction between what’s writing outside the show and what’s writing inside the show. Okay? Writing outside the show is sit around taking notes, you know, getting in a writing group and
everybody’s writing on the show and working on your, thinking about it, taking
notes, sitting down at your computer, literally writing jokes. That’s writing
jokes, what I call, outside the show. Okay? The other way to do that is what I call
inside the show. Now you can do this at home as well.
Okay? You could get up and go through the show and what I call to you regulate it
and see if you ad-lib a few things and make sure you record it, some things
might come up to you, but while you’re living the experience of pretending to
perform, you might come up, and I used to, come up with the little jokes along the way there. Now you’re writing inside your show because you’re getting
up and pretending to perform. Now, the next step you can also then take it to a writing group or here in class. right? And get up and perform inside the show,
see if you ad-lib and bring up some other things, etc, etc. Then you sit down
over here and you get feedback with our normal show. So now what we’re writing outside the show. For me the ultimate one is writing inside the show during the
performance. I mean, the real perform, in front of the audience because we all get into that extraordinary state, you know? You get …there’s no word for it in English, you can call it the zone, well whatever it is, you get this
heightened state, you’re focused, you know, etc, etc, and you’re full of energy, talking to these people, and etc. And if, if you deregulate, in other words, don’t memorize the words, and you’re working in picture, sounds, and feelings, like I want
you to … if you’re seeing the sensory world of what you’re talking about, and you’re
living it as if it’s real, you could very well come up with, not just tags and and
sometimes even bits and extra-extra areas to open up for the routine. I have
even written an entire bit. And I’ve had my students in my classes, when I pushed on
them inside the show, write now, I mean, just write a bit. Write a two or three-minute bit right there. All you have to do is transcribe it, play around with it. So and I find that when you write inside the show, in that state, in front
of an audience, for some reason, and they seem to be concise, they seem to be to the point, they seem to be funnier because your sense of humors coming up, they seem to be more honest and real. And so, that’s what I mean. So that, that’s, so the two things, you know, we’re looking at. One, is writing outside the show the many ways you can do that, and the ways you can write inside the show, but again, I find it’s always, you know, more dynamic and better material,
and usually stays in your show, for as long as you perform that bit, if you write it inside the show, in front of an audience. [Applause]

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