Israel Savage - Sketch Comedy Writing: Insider Secrets (Writing for TV, Writers Block, Monologues, Writing Fiction)

Sketch Comedy Writing: Insider Secrets

Written By: Israel Savage

Foreword By: Scotty Watson

INstudios-NYC.com

2017 Improvisation News

Copyright 2017 by Improvisation News and IN Studios - All rights reserved.

This document is geared towards providing exact and reliable information in regards to the topic and issue covered. The publication is sold with the idea that the publisher is not required to render accounting, officially permitted, or otherwise, qualified services. If advice is necessary, legal or professional, a practiced individual in the profession should be ordered.

From a Declaration of Principles which was accepted and approved equally by a Committee of the American Bar Association and a Committee of Publishers and Associations.

In no way is it legal to reproduce, duplicate, or transmit any part of this document in either electronic means or in printed format. Recording of this publication is strictly prohibited and any storage of this document is not allowed unless with written permission from the publisher. All rights reserved.

The information provided herein is stated to be truthful and consistent, in that any liability, in terms of inattention or otherwise, by any usage or abuse of any policies, processes, or directions contained within is the solitary and utter responsibility of the recipient reader. Under no circumstances will any legal responsibility or blame be held against the publisher for any reparation, damages, or monetary loss due to the information herein, either directly or indirectly.

Respective authors own all copyrights not held by the publisher.

The information herein is offered for informational purposes solely, and is universal as so. The presentation of the information is without contract or any type of guarantee assurance.

The trademarks that are used are without any consent, and the publication of the trademark is without permission or backing by the trademark owner. All trademarks and brands within this book are for clarifying purposes only and are the owned by the owners themselves, not affiliated with this document.

ACKNOWLEDGEMENTS:

I love artistic collaboration, especially with fantastic people like these:

Primary Book Contributors:

Liz Parish

Mike Coyne

Frank Logan

David Drake

Joe DiNozzi

Darien DeMaria

Scotty Watson

And thanks to Caren Skibell and Liz Parish for the proofreading!

Over 9000 people have requested information about our improvisation and sketch team. The following people are/were selected from that pool as official team members:

IN Team Members:

Bonita Elery, Caitlin Vail, Carol Lee Sirugo, Catherine Santino, Chris ONeill, Darrel Haynes, David Reyes, Elena Tarsitani, Ellen Ko, Emily Brock, Frank Logan, Irene Carroll, Izzy Wolfson, Johnny Harkins, Katherine Lazurus, Laura High, Liz Parish, Mark Hudson, Mark Levy, Mary Hynes, Michael Coyne, Michael Sause, Sasha Burgos-Conde, Syria Sarkar

I also want to acknowledge all the Finalists for the team that performed on our stage and attended trainings and rehearsals, in addition to the hundreds of students and instructors at IN Studios in NYC. Emotionally-centered improvisation, Sketch Writing and Marketing has never been so rewarding or fun, thanks to all of you!

Of course, Id be remiss if I didnt thank my very first Sketch Writing instructor and improvisation crush, Hilaury Stern!

And finally, a special thank you to Gary Austin, Michael Gellman, Dave Razowsky & Scotty Watson for continuing to inspire artists to dig deeper.

Table of Contents

-

-

-

-

- Creativity is Messy

-

-

-

-

-

-

-

-

-

-

-

-

-

-

- Narrative or Story Sketches

- Blackouts

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

-

- Find Your Tribe & Your Audience

-

- Blackouts

- The Extended Blackout

-

-

-

-

-

FOREWORD

Sketch comedy bridges the perceived gap between improv and legitimate theater. I put both of those terms in quotation marks because I dont believe that the gap actually exists, but perception is powerful.

Even though I am known more for teaching and directing improv, sketch has always been my first love. Sketch stresses discipline and craft. The discipline of writing every day. The craft of the second draft. The third draft. The fourth draft.

For the actors there is the discipline of the working theater actor. Learning lines not just kind of knowing lines but really understanding the words and living inside the characters. Then there is stagecraft. Using your emotions, your body and your voice to reproduce moments.

For both, there is the discipline and craft of the rehearsal hall. It is vitally important for good sketch to have ample rehearsal time carved out for exploration, but also for the kind of repetition that pushes passed rote, until the moments within the sketch fit like an old, well-worked-in glove. For the actor to breathe in and inhabit the character organically, a good rule of thumb is 1 hour of rehearsal for every 1 minute on the stage. This is often whats missing in the process.

If one of the things that we are trying to do with the work is to create writers and actors that are ready to work in the profession, then I encourage improvisers to aspire to become sketch writers and sketch actors. The more sketches you have in your writing portfolio, and the more titles of sketch shows you have on your acting resume, the more attention you will get from the industry. This is the time to fill your writing portfolio. This is the time to fill your acting resume.

Dont waste anymore time. Get to work!

Scotty Watson ,

IN Studios Advisor

INTRODUCTION

I want to thank you and congratulate you for downloading the book, Sketch Comedy Writing: Insider Secrets. This book will teach you how to transform your writing and create unforgettable material from scratch. Whether you are a beginner or a veteran youll learn everything you need to know to take it up a notch or ten.

At IN Studios we teach Sketch 5.0 and its a game-changer. With this technique, youll get from where you are to where you want to be FAST. Youll create work so unique, so compelling, that no one else could duplicate it. Before I tell you about the powerful, emotionally-centered technique behind Sketch 5.0, its important you know we arent the first to use it.

Director and teacher, Michael Gellman, often tells the story of one of Americas most famous TV couples to illustrate the power of emotionally-centered work.

Have you ever heard of Lucille Ball and Desi Arnaz? Of course you have. Theres so much to be said about this powerhouse duo.

In 1951, Arnaz and Ball create the sitcom I Love Lucy , a series that becomes one of the most beloved programs in television history. But it might surprise you to know every network initially reject the show.

Television executives had been pursuing Ball to adapt her popular radio series My Favorite Husband for TV. Ball insists on Arnaz playing her spouse on the show, so they can spend more time together. Initially, the idea of having Ball and the unmistakably Latino Arnaz portray a married couple is considered objectionable. American viewers arent ready for an interracial couple on TV.

The couple knows better it seems. They tour together during the summer of 1950, in a live vaudeville act they develop with the help of Spanish clown Pepito Prez. They create a unique script and craft their own unique voices as actors and writers during this time. Performing their show live in front of captivated audiences, fan interest grew quickly. The Networks finally are listening, but, this time, Desi and Lucy are laying the ground guidelines.