Writing for Television: Comedy

Class code FMTV-UT 9112

Instructor Tim Ferguson Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails.

Class Details Spring 2018

Writing for Television: Comedy

Tuesday, 2:00pm-6.00pm 30 January to Tuesday, 6 March Weeks 1-6

Thursday, 9:00am-1:00pm 1 February to Thursday, 8 March Weeks 1-6

Auditorium NYU Academic Centre Science House: 157-161 Gloucester Street, The Rocks 2000

Prerequisites Fundamentals of Dramatic and Visual Writing; Introduction to Television Writing or permission from the Head of Writing.

Class The course covers the fundamentals of comedy writing in the United States and Australia Description with special reference to the techniques of writing for sketch shows and web series. References will also include TV sitcoms. The principles and processes of developing comedic material from concept to full draft are examined in theory and practice.

Early in the semester staff from NIDA (National Institute of Dramatic Art) will introduce students to the companion course, Intermediate Television Production (Comedy).

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Desired As a result of successfully completing this course, students will be able to: Outcomes • familiarise students with writing for the world of television, specifically in the areas of sketch-coms and web series in Australia and the United States. • Upon completion of this course students will be able to write a late night television comedy sketch, write a webisode, structure a joke and write a monologue.

Assessment Sketch Comedies (60%) Components Three sketches of approximately 3 pages each with a cast of 2-3 actors. Each sketch will be set in one location, either an office, reception, living room or kitchen, and will make minimal use of props. You will submit the first draft of the best two of the three sketches at the beginning of Session 5 and a second draft at the beginning of Session 9. You will submit your rehearsal script for the sketch you will shoot at the beginning of Session 11.

Your sketches will be assessed according to the following criteria: • Conforms to industry expectations. • Sets up the scenario clearly, establishing the dramatic fundamentals of character, goal, conflict and stakes. • Intensifies the stakes as they relate to the personalities and desires of the scene/sequence’s characters. • Utilizes the sketch principles covered in the course (such as Parody, Extrapolation, Juxtaposition, Metaphor, Reductio ad Absurdum, Fantastic/Mundane) • Ends with a twist that drives the sketch’s point home. • Coherently written, grammatically correct, and free of typographical errors. • Feasibility: The sketch can be cast and produced at NIDA

In-Class Writing Activities/Short Humour Pieces (30%) 1. Write a 2-minute topical news-based monologue in the style of a tonight-show host opening. 2. Write a series of gags based upon a topic (e.g., ‘hillbilly love songs’) 3. Apply ideas-generation techniques taught in class to collaborate with a small team on ideas for an original web series pilot 4. Apply ideas-generation techniques (taught in class) to collaborate with a small team on ideas for juxtaposition sketches & Absurd sketches 5. Write 10-30-second Flawed Logic & Non-Sequitur Humour monologues/songs (in the style of SNL’s Jack Handey, ‘Phoebe’ from ‘Friends’)

Class Participation (10%)

Failure to submit or fulfill any required course component will result in failure of the class.

For this course your total numerical score, calculated from the components listed above, is converted to a letter grade without rounding.

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Extra Credit: Site policy does not allow grading of work outside of the assignments included in the syllabus. The final grade will only be calculated from the assessment components listed here and no other work, whether additional or substituted, is permitted.

Assessment Grade A: Excellent performance showing a thorough knowledge and understanding of the Expectations topics of the course; work is highly accomplished in form, content and technique.

Grade B: Good performance with general knowledge and understanding of the topics; the potential for excellent work is visible and skills and knowledge have been grasped but are not fully realised or developed.

Grade C: Satisfactory performance that demonstrates an understanding of the course on a basic level. Students performance reflects a lack of insight into aspects of the course’s topics.

Grade D: Passable performance showing a superficial and limited understanding of the course’s topics; work lacks satisfactory insight, analysis or skills.

Grade F: Unsatisfactory performance in assessed criteria. The minimum requirements for the course have not been met.

Grade This course uses the following scale of numerical equivalents to letter grades: Conversions A 94 to 100 A- 90 to < 94 B+ 87 to < 90 B 84 to < 87 B- 80 to < 84 C+ 77 to < 80 C 74 to < 77 C- 70 to < 74 D+ 67 to < 70 D 65 to < 67 F 0 to < 65

Submission of Assignments (excluding in-class presentations and exams) must be submitted electronically via Work NYU Classes. It is the student’s responsibility to confirm that the work has been successfully been uploaded. In the unlikely event that a submission to Classes fails, students must immediately submit the work to the Academic Programs Coordinator via email before the original submission deadline accompanied by an explanation of the issue. All in-class

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presentations and exams must be completed during the scheduled class time. An assessment component is considered completed when the student has met all the terms for that assessment component as outlined by the instructor.

An assessment component completed after the deadline without an agreed extension receives a penalty of 2 points on the 100-point scale (for the assignment) for each day the work is late. Work completed beyond five weekdays after the due date without an agreed extension receives a mark of zero, and the student is not entitled to feedback for that piece of work. Because failure to submit or fulfil any required assessment component will result in failure of the course, it is crucial for students to complete every assignment even when it will receive a mark of zero.

Plagiarism The academic standards of apply to all coursework at NYU Sydney. NYU Policy Sydney policies are in accordance with New York University’s plagiarism policy. The presentation of another person’s words, ideas, judgment, images or data as though they were your own, whether intentionally or unintentionally, constitutes an act of plagiarism.

It is a serious academic offense to use the work of others (written, printed or in any other form) without acknowledgement. Cases of plagiarism are not dealt with by your instructor. They are referred to the Director, who will determine the appropriate penalty (up to and including failure in the course as a whole) taking into account the codes of conduct and academic standards for NYU’s various schools and colleges.

Attendance Study abroad at Global Academic Centres is an academically intensive and immersive Policy experience, in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centres is mandatory, and unexcused absences will affect students' semester grades. The class roster will be marked at the beginning of class and anyone who arrives after this time will be considered absent. Students are responsible for making up any work missed due to absence.

For courses that meet once a week, one unexcused absence will be penalised by a two percent deduction from the student’s final course grade. For courses that meet two or more times a week, the same penalty will apply to two unexcused absences. Repeated absences in a course may result in failure.

Faculty cannot excuse an absence. Requests for absences to be excused must be directed to the Academic Programs Coordinator. Students must provide appropriate documentation for their absence. In the case of illness, students must contact the Academic Programs Coordinator on the day of absence. They must provide medical documentation to Academic

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Programs Coordinator within three days of the absence in order to be medically excused. The note must include a medical judgement indicating that the student was unfit to attend class/work on the specific day or dates of the absence. Faculty will be informed of excused absences by the Academic Programs staff.

Classroom This is a seminar subject and requires the active participation of all students. It also requires Expectations engaged discussion, including listening to and respecting other points of view. Your behaviour in class should respect your classmates’ desire to learn. It is important for you to focus your full attention on the class, for the entire class period. • Arrive to class on time. • Once you are in class, you are expected to stay until class ends. Leaving to make or take phone calls, to meet with classmates, or to go to an interview, is not acceptable behaviour. • Phones, digital music players, and any other communications or sound devices are not to be used during class. That means no phone calls, no texting, no social media, no email, and no internet browsing at any time during class. • Laptop computers and tablets are not to be used during class except in rare instances for specific class-related activity expressly approved by your instructor. • The only material you should be reading in class is material assigned for that class. Reading anything else, such as newspapers or magazines, or doing work from another class, is not acceptable. • Class may not be recorded in any fashion – audio, video, or otherwise – without permission in writing from the instructor.

Diversity, NYU is committed to building a culture that respects and embraces diversity, inclusion, and Inclusion and equity, believing that these values – in all their facets – are, as President Andrew Hamilton Equity has said, “…not only important to cherish for their own sake, but because they are also vital for advancing knowledge, sparking innovation, and creating sustainable communities.” At NYU Sydney we are committed to creating a learning environment that: • fosters intellectual inquiry, research, and artistic practices that respectfully and rigorously take account of a wide range of opinions, perspectives, and experiences; and • promotes an inclusive community in which diversity is valued and every member feels they have a rightful place, is welcome and respected, and is supported in their endeavours.

Religious Students observing a religious holiday during regularly scheduled class time are entitled to Observance miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday. Students must notify their professor and the Academic Programs Coordinator in writing via email one week in advance before being absent for this purpose.

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Provisions to Students with disabilities who believe that they may need accommodations in a class are students with encouraged to contact the Moses Centre for Students with Disabilities at (212) 998-4980 as Disabilities soon as possible to better ensure that such accommodations are implemented in a timely fashion. For more information, see Study Away and Disability.

Required Texts

It is a course expectation that you have done the required reading and have prepared sufficiently to discuss them in class.

• Tim Ferguson, The Cheeky Monkey: Writing Narrative Comedy (Sydney: Currency Press, 2010)

Supplemental Texts

• , Born Standing Up: A Comic’s Life (Scribner, 2007) • Robet Masello, A Friend In The Business: Honest Advice for Anyone Trying to Break Into Television Writing (Berkely Publishing Group, 2000) • Ellen Sandler, The TV Writers Workbook: A Creative Approach to Television Scripts (Delta Trade, 2007) • John Vorhaus, The Comic Toolbox: How to Be Funny Even If You’re Not (Silman-James Press, 1994) • D.B. Gilles, You’re Funny (Michael Wiese, 2011)

Recommended Viewing: • Funny or Die • DAAS Kapital • Inside Amy Schumer • Roy and H.G. • Dave Chapelle • The Katering Show • • Bondi Hipsters • Portlandia • Wilfred • Key and Peele • Summer Heights High • Mr. Show • Please Like Me • Monty Python • Wham Bam Thank You Ma’am • Big Train • Black Comedy • Fleabag • Acropolis Now • Norman Gunston

Session 1 Overview Tuesday 30 January

Discussion:

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• Overview of the course and an exploration of the world of sketch, sitcom and webisode writing in Australia and the U.S. • Students will start thinking about the three x 3-minute sketches they want to write and must have chosen their 2 best sketches by Session 3. • Function Of Laughter • Joke Principles (Stand-Alone Jokes) • Sketch Principles • Character and Conflict (Using a Conflict Grid) • Building Comic Characters • Building Comic Character Ensembles

Assignment: Develop concepts for 3 x 3-minute sketches. Deliver Session 3

Session 2 Outline and Storylines Thursday 1 February

In-Class Task: • Write a parody of a TV commercial or PSA (Public Service Announcement)

Recommended Reading: • The Cheeky Monkey Ch. 6 “Humour & Story [ Narrative Gags]”

Discussion: • Principles of Sketch Writing • Mundane/Fantastic, Juxtaposition, Context, Perspective, Deconstruction, Reinterpretation • Reductio ad Absurdum • Ancient Comic Archetypes • 3 Act Story Structure • 2 Act Story Structure • Joke Principles (Narrative) • Matching Characters • Attributing Character Gag-Types

Assignment: Continue to develop concepts for 3 x 3-minute sketches. Deliver Session 3

Session 3 Finding Strong Premises Tuesday 6 February

DELIVER: Concepts for 3 x 3-minute sketches

In-Class Tasks: • Writers 1-6 pitch concepts for the 3x sketches you want to write. Feedback from class + select 2 sketches each.

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• Write an SNL type sketch in which one person wants something from someone else. • Devise premises for the subject for your web series

Recommended Reading: • The TV Writer’s Workbook, Ch. 8 “The Plot Thickens”

Discussion: • The 3 Comedy Sub-Genres • Loglines and Presentation • Inner-/Outer-Conflict • Principles of Parody • Politics and the Broad Audience • Absurd Comedy

Assignment: Write your 2x chosen sketches. Deliver first draft Session 5

Session 4 Characterisation and Compelling Plots Thursday 8 February

In-Class Task: • Write a 2-page sketch satirizing something topical. • Writers 7-12: Pitch concepts for the 3 sketches you want to write. Feedback from class + select 2 sketches each.

Recommended Viewing : • ‘Who’s On First?’ [Abbott & Costello] Script: http://www.psu.edu/dept/inart10_110/inart10/whos.html • ‘Who’s On First?’ [Abbott & Costello] • Performance: https://www.youtube.com/watch?v=kTcRRaXV-fg

Discussion: • Knowledge Differentials (“Who’s On First?’) • The importance of strong characterization along compelling sketch premises. • Comic Situation Creation

Assignment: Write your 2x chosen sketches. Deliver first drafts Session 5

Session 5 Late Night Talk Show Comedy Writing Tuesday 13 February

DELIVER: 2x first draft sketches

In-Class Tasks:

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• Writers 1-6 reading of first drafts of 2x chosen sketches. Feedback from class • Come up with 3 ideas for bits for the late night talk show of your choice. • Write an SNL type sketch in which you create an original character who would ideally become a recurring character.

Recommended Reading/Viewing: • The Cheeky Monkey Ch. 1 “Gag Principles” Ch. 2 “Gag Categories” • 2015 Golden Globes & Amy Poehler Monologue: https://www.youtube.com/watch?v=dZRTIX4Dxo4

Discussion: • Monologue uses of Re-Interpretation, Distortion, Distillation, Confirmation, Repetition

Assignment: Rewrite 2x comedy sketches, Deadline Session 9

Session 6 Monologues and Formats Thursday 13 February

In-Class Tasks: • Writers 7-12 read through of first drafts of 2x chosen comedy sketches. Feedback from class • Write an opening monologue for The Daily Show • Create an idea for a web series based around one character.

Recommended Reading: • The Cheeky Monkey Ch. 1 “Gag Principles” Ch. 2 “Gag Categories”

Assignment: Revise 2x comedy sketches: Deadline Session 9. Write first draft of web series pilot. Deadline Session 8

Session 7 Developing Characters Tuesday 20 February

Guest Speaker: Robert Klenner Robert Klenner from NIDA will provide feasibility feedback on first drafts of sketches.

In-Class Tasks: • Writers 1-12 reading of revised sketches. Feedback from class.

Recommended Reading: • The Cheeky Monkey Ch. 1 “Simplicity and Surprise”

Discussion: • Streamlining Characters

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Assignment: Continue to rewrite 2x sketches and first draft of web series pilot.

Session 8 Collaboration Thursday 22 February

DELIVER: Web series pilots

In-Class Task: • Writers 1-12 reading of web series pilots. Feedback from class. • Bring the scripts for your sketches and web pilots to present to NIDA for feasibility assessment. (1.5 hours) • The class will decide on a guest host for SNL and each student will write a sketch featuring the star.

Recommended Reading: • The Cheeky Monkey Ch. 3 pp. 91 ‘The Power Of Three’

Discussion: • Form a trio to devise further applications (if any) for each trio member’s series

Assignment: Continue to rewrite chosen sketches and mini-pilots for web-series. Deliver Session 9

Session 9 Rewriting the Script Tuesday 27 February

Deliver: Second draft of 2x comedy sketches and first draft web series pilot.

In-Class Tasks: • Write 2 Letterman Top Ten lists: one on something in the news and one on any subject you like. • Writers 1-6: Reading of polished sketches and web pilots. Feedback from class

Discussion: • Pitching Your Comedy (incl. short documents, presentation)

Assignment: Write rehearsal scripts of chosen material, Deliver Session 11

Session 10 Topical/Political Sketch Thursday 1 March

In-Class Tasks: • Writers 7-12 readings of polished sketches and web series pilots. Feedback from class. • Write an ensemble sketch (3 characters) on anything you like.

Recommended Reading/Viewing: • John Clarke & Bryan Dawe: https://www.youtube.com/watch?v=n4QheXIVHtI

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• John Clarke & Bryan Dawe: https://www.youtube.com/watch?v=JBH1ruAT1ZY • Will Ferrell (George Bush on Global Warming): https://www.youtube.com/watch?v=jOjfxEejS2Y

Discussion: • Creating a Sitcom or web series

Assignment: Write rehearsal scripts. Deliver Session 11

Session 11 Comedy and You Tuesday 6 March

Deliver: Rehearsal scripts

In Class Task: • Write a Bill Maher “New Rules.” • Workshop: Writers 1-12 read rehearsal scripts. Feedback from class.

Recommended Reading/Viewing: • Interview with Stephen Merchant co- creator of The Office & Extras: http://www.bbc.co.uk/iplayer/episode/b00tmtfp/Chain_Reaction_Series_6_Harry_Shearer_intervie ws_Stephen_Merchant/ Discussion: • Comedy Writing Career Options • Developing Feature Comedy Scripts

Assignment: Rehearsal scripts delivered.

Session 12 Final Session and Review Thursday 8 March

Discussion: • Directing Comedy • Course Recap • Production Imperatives for your Sketches and Teaser

SPRING BREAK: 12 – 16 March

Your Instructor

Tim Ferguson is a comedian, screenwriter and director. He has created, written and starred in many TV series in Australia & the UK. Recent credits include: co-writing (with Edwina Exton) & co-directing (with Marc Gracie) the romcom feature film Spin Out [Sony Pictures, in cinemas Sept 2016]. He is Series Script Editor for the ABC1 sitcom Ricketts Lane [2015].

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Tim is a member of the international comedy success the Doug Anthony AllStars [DAAS] comedy trio (with Paul McDermott and ) since 1984. DAAS reformed in 2013 with Paul ‘Flacco’ Livingston) and have enjoyed several sold-out major theatre tours.

Tim’s latest books: • Carry A Big Stick – A memoir about his international comedy career and battle with MS. • The Cheeky Monkey: Writing Narrative Comedy – A comedy screenwriting manual

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