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actualbird · 4 years

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nobody (okay, well, 2 people DID ask, but it’s too late to change the title of this essay series now) asked but here are three main humor techniques i apply a lot in my fanfiction | a 2k word long post where i talk humor theory at you for entirely too long

I love humor. A good 75% of my personality is based primarily on whether or not it would be funny and thus, the study and application of comedy is something of a very big huge large interest of mine. I love watching standup comedy, I love telling jokes, but most of all, I love literature that makes me laugh.

I write humor, and I put a lot of thought into it, and here, I will do the least funny thing ever: I will over-explain my jokes.

Before we do that, we must set some ground rules first. What is humor? Well, in Humor: Its Origin and Development, Paul McGhee contends that no single theory could encapsulate the entirety of humor. Additionally, according to McGhee, humor does not physically exist. It is, instead, a perception brought about by certain scenarios with certain characteristics. What we can take away from here is that first, humor is vast, and there are many ways to both explain it and achieve it, and second, that humor is something caused by certain other things.

I do not claim to be an expert in humor, just an enthusiast, so what I will not be giving a cheat code to humorous writing. I will, instead, share three techniques that I frequently use and explain how they work.

The three techniques are the following:

INCONGRUENCY: Things that don’t fit.

SLAPSTICK: I hope that doesn’t happen to me.

CHEKOV’S GAG: If the gun is there, it better be funny.

My examples for each of these techniques will come from various sources of media. My examples of my own writing will all be coming from the most recent fanfic I have written, my Polygon Cyberpunk Red high school au “teenagers scare the living shit out of me.” Examples will sometimes have overlap in the technique they utilize, but I’ll try my best to keep everything clear on what exactly I’m trying to explain.

Without further ado, let’s jump right into it!

INCONGRUENCY: Things that don’t fit.

Göran Nerhardt, in McGhee’s book, states that “Humor is seen as a consequence of the discrepancy between two mental representations, one of which is an expectation and the other is some idea or percept.” Nerhardt’s definition of humor is one that relies on incongruity: wherein there is an element that is not in accordance with the other elements. An incongruous element is one that is not the expectation, and in this subversion of expectation, humor is achieved.

In simpler terms, a congruent situation would be “A man walks into a bar and orders a beer.” An incongruent situation would “A man walks into a bar. ‘Ow!’ He says.”

In the first example, everything is as expected, and in the second, the word “bar” has the characteristic of being a homophone, a word with different definitions. The second example takes advantage of the other definition of the word “bar”, that is to say a metal tube object, and thus the reaction of the man.

Incongruency plays on the unexpected, the out of place, and the odd. This technique in particular I learned from writers like Douglas Adams and Terry Pratchett. They use incongruence, they use it A LOT but what I want to talk about is, first, its use as a descriptor.

“The ships hung in the sky in much the same way that bricks don't.” -Douglas Adams, The Hitchhiker’s Guide to the Galaxy

“In a distant forest a wolf howled, felt embarrassed when no one joined in, and stopped.” -Terry Pratchett, The Light Fantastic

Description is a fertile ground for humor. You have a thing, there are expectations to how that thing will appear or act, and then you describe it in a way that’s unexpected. I pull this trick off in so many fics, but here is an example from chapter 4 of the high school au.

Mr. Hypo sits at the desk in front of the classroom, staring all three of them down. Vang0, Dasha, and Burger are seated in the stupid circle again, looking at Robbie as it powers up like a man with gout.

Incongruency here is Robbie, the animatronic. Expectation is that it will be described in a robot like manner. Reality is that I describe it having the same condition that occasionally ails my nearly 50 year old father.

Aside from description, incongruence is also something I play around with in the events of situations themselves. The most clear example I can give is this scene, from chapter 6, is this:

Burger picks up the closest thing.

That thing happens to be Peter.

“Peter!” Burger looks at Peter in the eye as Edmundton picks up a chair and starts menacingly walking towards Burger. He says, very quickly “Do you consent to be used as a self defense projectile!?”

Peter, pigeonly, nods.

“Thank youuuuuuuu!” Burger yells as he throws Peter at Edmundton’s face.

The context of this scene is that Burger has just entered active combat. Combat is serious. Combat is deadly. Combat is hitting and getting hurt. So what’s something unexpected you can do in this situation to make it funny? Have Burger ask a pigeon if it’s alright with being thrown at an enemy, and then make Burger actually throw the pigeon at the enemy.

Incongruence is something that is present in a lot of humor situations and it’s very, very fun to play around with. Messing around with incongruence makes you think about what is expected in writing and forces you to think outside of the box in a manner that will elicit laughter.

Let’s move on to our next topic now!

SLAPSTICK: I hope that doesn’t happen to me.

Kevin Casper in his article I’m so glad you’re fake! describes slapstick comedy as a physical type of humor wherein actions are done in an excessive, ridiculous, and sometimes violent manner. Slapstick is Mr. Bean exploding a can of paint to paint his apartment. Slapstick is Courage the Cowardly Dog’s eyes popping out of his sockets when he sees something scary. Slapstick is the ending of Polygon’s video on Slapstick and Doom Eternal (a very good video about slapstick and horror violence) where Pat Gill gets hit in the face with a tube of paper.

The excessiveness of slapstick creates a non-reality for viewers to enjoy in safety. It is a type of humor that revels in the suspension of reality, but more than that, it is a type of humor that you particularly gain enjoyment from because of the fact that it’s not happening to YOU.

Now, I use slapstick comedy sometimes, but I deviate from excessiveness and instead lean more into that last thing I said. I write situations that are funny and that you also don’t want to ever happen to you as a person. One example of “fuck, that’s hilarious, but I hope it never happens to me” is the following scene from Spiderman: Into The Spider Verse, where Miles Morales, invisible, has to find information on Doctor Octavia’s computer. When he accesses the computer, he is met with this.

You don’t want this to happen to you. But damn is it hilarious that it’s happening to somebody else.

When I am creating scenes that I want to be funny, I think about whether or not it would be funnier if I made it excruciating for the characters involved. So excruciating that you really, really, wouldn’t want to be in that situation. An example of this technique in play is from chapter 4 of the high school au, where the gang are in a room they shouldn’t be in, somebody is about to come in and stop them, and they are all at the mercy of a program slowly, slowly uploading.

“Hey!” The somebody outside says, jangling the doorknob more violently. “Club time is over, nobody should be in this room!”

“Vang0, how long until the program is done?” Dasha hisses.

“43% Uploaded,” Vang0 says, panicked.

“Hurry.”

“I can’t make technology be faster.”

“Who’s in there!” The person outside yells.

“Should I answer?” Burger asks.

“Do not answer.” Dasha says.

Burger nods. “I’m gonna answer.”

“BURGER—”

“WE’RE JUST A COUPLE OF NOT FRIENDS. JUST LOOKING AROUND.”

“Who are you!” The person outside yells.

“Do not answer, Burger,” Dasha says, sounding like this conversation is actively shaving years off of her lifespan.

“But he’s asking,” Burger looks at Dasha then at the door then at Dasha again, looking very nervous.

“Just lie then,” Dasha tells Burger.

“Gotcha,” Burger nods, determined, and turns to the door to yell. “I’M NOT BURGER CHAINZ.”

“Oh my god,” Dasha thunks her head onto Vang0’s shoulder. “Is it done loading, yet?”

“98% Uploaded,” Vang0 says, feeling his blood pressure in a way he’s never felt before.

I make this situation worse for the characters by making Burger completely fail at being stealthy. As one reader told me about this chapter “I love Burger, but if I were in that room, I would strangle him.” Exactly! It’s not a situation you’d ever want to be in!

But the characters are in it and you get to enjoy their suffering from a safe vantage point as a reader.

Slapstick comedy is all about making situations outrageous and ridiculous and something readers wouldn’t want to legitimately experience. It’s about tapping into your audience’s mind and wondering what they want to see but not want to go through.

And last but not least!

CHEKOV’S GAG: If the gun is there, it better be funny

The principle of Chekov’s Gun is a principle that emphasizes that objects in a story should have a use. According to Bill in Chekhov: The Silent Voice of Freedom, Chekov says “If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it's not going to be fired, it shouldn't be hanging there.”

Chekov’s Gag is that same rule, but instead of the gun going off, the gun better be fucking hilarious at some point.

The first example I can think of is from Monty Python and the Holy Grail. In the beginning of the movie, King Arthur stops by a castle and asks the guards to tell their master that he is here. This exchange happens:

Now, this, on its own, is already hilarious. It plays on incongruence (guards being very enthusiastic about bird’s holding coconuts and the logistics of that), slapstick (if you were Arthur and you wanted to have a simple conversation, people suddenly talking about birds and ignoring you is not a situation you want to be in), but what about Chekov’s Gag?

To become Chekov’s Gag, this situation must be brought up again in a funny manner later in the movie.

And so it does.

An hour later in the movie, The Knights of Camelot are at the Bridge of Death. There, they have to answer 3 questions correctly. If they do not have an answer, they are shot into a deadly cavern of doom.

King Arthur steps up to answer his 3 questions. Here is what happens:

The African swallow or the European swallow has achieved Chekov’s Gag-age.

Chekov’s Gag is something I’ve only started doing recently, in fanfiction. An example of this in the high school au is that, in the first chapter, I introduce two things. 1) Peter, an overfed pigeon, and 2) Robbie the RoboDog, an animatronic of the school.

Throughout the fic, I don’t forget about Peter or Robbie. I bring them up again and again and I make sure to make their presence not just integral to the winning of the final boss battle in chapter 6, but I make their presence funny.

Chekov’s Gag is a new trick I’ve started doing, and it definitely requires foresight and planning. It makes you think long term but at the same time forces you to think about the things you already have present in your story and make you re-evaluate just how else they could be used. If done correctly, the effect is hilarity, but also deep, deep satisfaction.

So there we have it! Three humor techniques that I use in my fanfiction. Shit that doesn’t make sense, shit you don’t want happening to you, and shit that you saw a while ago which you’ll see again later and when you do, it’ll be awesome.

Thanks for reading!

#nobody asked but #long post

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