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Category Archives: Late-Night Writing

Seth Meyers Did Not Steal My Joke

Posted on June 5, 2014 by Joe Toplyn

Ideas get stolen in show business all the time but less often than you might think.

 

I teach a class in comedy writing for late-night TV. A couple of nights ago I was giving my students some practice in turning newspaper articles into monologue jokes. Toward the end of the session I mentioned an article with the headline “Ladykillers: Hurricanes with female names may be deadlier.” I suggested that a joke based on that story might go something like this:

 

“Researchers at the University of Illinois say that hurricanes with female names may be deadlier. The researchers are particularly worried about the next hurricane, Solange.”

Solange elevator

The next day I Googled “late night jokes” to see a sampling from the previous night’s monologues. Here’s a joke that Seth Meyers told on “Late Night” the same night I taught my class:

 

“A new study shows hurricanes with female names are more fatal because people subconsciously assume that they are less dangerous. Though I’d bet people would evacuate pretty quickly for Hurricane Solange.”

 

If I were a freelance writer who had emailed my hurricane joke to “Late Night” and then watched that night’s monologue, I might have been outraged. The show stole my joke! But the fact is, professional monologue writers on different shows inadvertently write similar jokes all the time. But given all the thousands of possible topical jokes that can be written each day, how can that happen?

hurricane

It can happen because all the writers on staff at all these shows use the same formulas to write their jokes. In the case of the hurricane joke, that news story had all the characteristics that a professional writer wants to see in a joke topic. For example, the story was likely to capture most people’s interest and nobody died.

 

And the punch line involving Solange was created using a proven pro writing technique: linking an association of the topic—“dangerous females”—with a high-profile event in pop culture—Beyonce’s sister assaulting Jay Z in an elevator.

 

So just because two late-night hosts deliver similar jokes doesn’t mean that some writer is a thief. It means that both shows’ writers are working from the same playbook.

 

For more about that playbook read my new book Comedy Writing for Late-Night TV.3d2

 

Postscript added October 4, 2014

Here’s more evidence that professional comedy writers use the same playbook. Yesterday afternoon, October 3, 2014, I posted this joke on Facebook and Twitter:

“Teresa and Joe Giudice of Real Housewives of New Jersey are going to prison. So now Mr. Giudice will also have a chance to be a housewife.”

Later that evening, Jimmy Fallon told a few monologue jokes on Tonight that culminated with this one:

“And Teresa’s husband, Joe, was actually sentenced to forty-one months in prison. But on the bright side, now he’ll get to be someone’s housewife.”

Those virtually identical jokes were written using my book’s Punch Line Maker #1: Link two associations of the topic.

 

Post-Postscript added January 20, 2015

Here’s even more evidence that professional comedy writers all use the same techniques for writing jokes. Yesterday I posted this joke on Twitter and Facebook :

“The NE Patriots are accused of using deflated footballs in a game. But the Patriots insist that their only deflated balls came from steroids.”

A few hours later, Jimmy Fallon delivered a joke on Tonight about the same topic that ended with basically the same punch line:

“The first time there’s been a sports controversy about deflated balls that doesn’t involve steroids.”

Both of those punch lines sprang from my book’s Punch Line Maker #4: Find a play on words in the topic.

Deflated-NFL-FootballBut notice that my version of the punch line takes a shot at the Patriots. The Tonight version not only doesn’t refer to the Patriots, it doesn’t even refer to professional football, despite past scandals involving steroid use by NFL players.

Why did Tonight take that more conservative approach to the joke? Possibly because the writer and producers heeded my book’s Comedy Quality Test #2, which states: “Imagine the host delivering the joke.” A Patriots version of the punch line may have seemed too mean, and therefore out of character, for Jimmy Fallon.

And any NFL punch line may have made it tougher to book NFL players on Tonight. Comedy/talk shows need comedy, but they also need high-profile guests for the “talk” part.

 

Post-Postscript added March 8, 2018

And this article describes a particularly extreme example of the phenomenon I’m talking about. On March 7, 2018, five late-night hosts told essentially the same joke about President Trump and porn star Stormy Daniels.

Article about five hosts telling the same joke

Posted in Late-Night Writing | Tags: comedy writing, deflated balls, Giudice, Jimmy Fallon, jokes, monologue, New England Patriots, Seth Meyers, Solange, steroids, Stormy Daniels | 1 Comment |

5 Reasons To Do Field Pieces

Posted on April 10, 2014 by Joe Toplyn

Why aren’t Jimmy Fallon and Seth Meyers doing more field pieces on their shows?

Field pieces, or “remotes,” are comedy pieces that are shot outside the studio. They’re great for comedy/talk shows. Here are 5 reasons why.

1) It’s fun to see the host out in the real world for a change. Watching the same guy behind the same desk on the same set night after night can be boring. Getting the camera out of the studio breaks that visual monotony.

Joe Toplyn, Jay Leno, and Charlie Sheen's trainer, Kim, make their way down the hill to the Hollywood Sign.

I help Charlie Sheen’s “athletic trainer,” Kim, down the hill to the Hollywood Sign.

2) Shooting only in the studio building limits your comedy options. Sure, you can produce a lot of fun comedy pieces indoors. I was once responsible for Dave Letterman and Paul Shaffer racing down a hallway inside 30 Rockefeller Plaza on dogsleds. But I also persuaded Dave to drive a rental convertible through a carwash with the top down. The world is your playground. Why stay cooped up in the clubhouse?

3) Field pieces don’t have to be expensive. To produce most field pieces all you need is a camera operator, maybe an audio technician, maybe a director, and your on-camera talent. And you’re already paying those people.

4) Field pieces don’t have to be time consuming. Jay Leno and his staffers could shoot a semi-scripted remote involving civilians, like “Jaywalking,” in an hour-and-a-half. Even a more elaborate remote is often producible in a couple of hours.

Joe Toplyn, Jay Leno, and Charlie Sheen discuss a stunt at the foot of the Hollywood Sign.

I discuss the proposed stunt with Jay and Charlie “Major League” Sheen.

For example, one time I took Jay and Charlie Sheen up to the Hollywood Sign, where Charlie threw a baseball through the D; the Olympics were underway and we made that Charlie’s event. We shot the piece in the morning, edited it that afternoon, and rolled it into the show that evening during Charlie’s interview.

5) Field pieces can be edited. If, say, the piece involves the host using unpredictable civilians for comedy, all the weak material can be cut out before the piece airs. That’s why finished field pieces tend to have a high laugh density.

Jay Leno did field pieces often. Dave Letterman, Conan O’Brien, and Jimmy Kimmel (or one of their correspondents) do field pieces. The streets of Manhattan are certainly a convenient and target-rich environment for comedy.

So here’s hoping that Jimmy Fallon and Seth Meyers take advantage of the pleasant weather and get out more often.

Jay Leno watches Charlie Sheen hurl a baseball through the D in the Hollywood Sign.

Jay watches Charlie hurl a baseball through the D. Success!

With their improv skills I think they’d be terrific at field pieces. Feeding the late-night beast every day is harder than it has to be if you’re only ordering off one side of the comedy menu.

Learn more about how to create successful field pieces in my book Comedy Writing for Late-Night TV.

Posted in Late-Night Writing | Tags: charlie sheen, Comedy Writing for Late-Night TV, field piece, Hollywood sign, jay leno, late-night, remote | 3 Comments |

Comedy Writing Is Not Rocket Science

Posted on March 4, 2014 by Joe Toplyn

If you know the techniques, tricks, and rules, comedy writing isn’t as hard as it looks. When I was co-head writer of The Tonight Show with Jay Leno I directed a sketch featuring Jay and astronaut Story Musgrave. The sketch was a comedy tour of Space Center Houston, the official visitor center of the Lyndon B. Johnson Space Center. (In the photo, that’s Story in the NASA jumpsuit and me with the microphone boom on my face.)Joe Toplyn with Jay Leno and astronaut Story Musgrave at Space Center Houston, February 19, 1995. We finished taping around lunchtime and I found myself in the cafeteria with Story. As a kid I wanted to be an astronaut so I was thrilled when he invited me to bring my plastic tray over and join him. What a gracious, smart, impressive guy. We chatted about the taping and then he observed, “It must be really hard to come up with comedy every night, week after week.”

This STS-61 crew portrait includes astronauts (top row, l to r) Richard O. Covey, Jeffrey A. Hoffman, and Thomas D. Akers and (bottom row, l to r) Kenneth D. Bowersox, Kathryn C. Thornton, F. Story Musgrave, and Claude Nicollier.

Story Musgrave and part of the team that repaired the Hubble Space Telescope

I was almost struck speechless. Here was an astronaut, a crew member on one of the most complex missions in the history of the Space Shuttle, a veteran spacewalker who had helped repair the incredibly intricate Hubble Space Telescope so scientists could use it to unravel the secrets of the universe. Here was this guy telling me that my job seemed hard. I replied to Story that my job had to be much easier than his. I pointed out that, as with any job, you get better at comedy writing the more you do it, and I had been doing it for years. And I explained that a show like Tonight has a large staff of writers so even if a few of them are off their game on any given day there are plenty of others around who can pick up the slack. But years later I realized that part of the reason comedy writing seems so difficult to Story, and to so many other people, is that the process is so mysterious. To me, repairing the Hubble Space Telescope seems mind-bendingly difficult because I have absolutely no idea how I would go about doing it. To Story, the same task is relatively easy because he knows all the steps involved and has practiced them over and over.

Joe Toplyn and other writers of "The Tonight Show with Jay Leno" in Las Vegas, November 1995.

Joe Toplyn and part of the team that wrote “The Tonight Show with Jay Leno”

The process of writing comedy was a little mysterious to me, too, until recently. I had created thousands of jokes and bits for the four late-night comedy/talk shows I’ve worked on but at the time I didn’t completely understand how I was doing it. The idea of understanding how, and of setting down the techniques, tricks, and rules for creating short-form comedy, began to appeal to me. I thought writers could use a book that would help them unravel the secrets of the comedy universe. So I wrote Comedy Writing for Late-Night TV. Story, if you ever read the book you’ll understand better than ever why I said comedy writing is way easier than your job.

Posted in Late-Night Writing | Tags: astronaut, Comedy Writing for Late-Night TV, jay leno, NASA, Story Musgrave, Tonight Show | 4 Comments |
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