The document outlines a proposed fanzine project called "Informational fanzine on how to summon demons correctly, told in a comedic way." The creator enjoys writing and comedy and wants to combine those interests with their passion for the supernatural. They see this as a fun project that allows them to develop their writing and comedy skills while exploring supernatural creatures. The proposed tone is a dark comedy intended to be enjoyed rather than taken too seriously. Influences include TV shows, books, and comedians that blend the supernatural and comedy. The goal is for audiences to have fun rather than take the work too seriously.
every screenplay begins with an idea, known in the business as "the concept." It is well-known that the script that "sells" best is one that can be pitched in two sentences or less, i.e., summed up in simple, visceral terms that appeal to people with short attention spans.
How Writing Concept First Will Help Your Script & Pitch By Marilyn Horowitz
Gertrude Stein was an American novelist, poet, playwright, and art collector.
Born in the Allegheny West neighborhood of Pittsburgh and raised in Oakland,
California, Stein moved to Paris in 1903, and made France her home for the
remainder of her life.
Her books include Q.E.D. (1903), about a lesbian romantic affair involving several of Stein's friends
Fernhurst, a fictional story about a love triangle, Three Lives (1905–06)
The Making of Americans (1902–1911).
In Tender Buttons (1914), Stein commented on lesbian sexuality.
Step 2. Complete the “What Happened Was…” exercise
step 3. Identify the concept
Marilyn Horowitz is an award-winning New York University professor, author, producer, and Manhattan-based writing consultant, who works with successful novelists, produced screenwriters, and award-winning filmmakers.
COMEDY FOR NEUROTICS A Practical Guide to Writing Funnier.docxcargillfilberto
COMEDY FOR NEUROTICS:
A Practical Guide to Writing Funnier Screenplays
and Stage Plays and Sketches
By Scott Winfield Sublett
Note to the reader: When I decided to take on teaching this
class, I assumed there would exist a good textbook for it. I was
wrong, so I have had to write one myself, and this is it.
In its current form, this text is intended as a course reader for
“TA 13: The Great Comedies.” Its aim is to familiarize you
with the nature and techniques of comedy writing so you can
better analyze comedies and understand why they’re funny.
My ultimate goal is to continue to develop this text until it
becomes a viable “how to” book for those who intend to write
comedies for stage and screen. (It will be a companion volume
for my screenwriting text, Screenwriting for Neurotics,
published in 2014 by University of Iowa Press.)
This material is copyrighted and you may not share with it
others legally. Please help me protect the value and copyright
of my original material by not sharing with anyone outside the
class.
Thank you. Let’s start laughing.
TABLE OF CONTENTS
Introduction
Are You Funny?/ Comedy vs. “A Comedy”/A Little About Me/Prepare to Be
Funny/Definitions of Comedy/Better Living Through Comedy/A Warning
Chapter One: Principles of Comedy
The Comic Moment: That’s Wrong!/Deviation From Norms and Standards:Criticism and
Forgiveness/Deviation#1:Cultural Norms/The Stereotype and Deviation From the
Norm/Airplane! Playing With Norms and Racial Stereotypes/Is Comedy Inherently
Unkind or Politically Incorrect?/Deviation #2:From Human Norms/Deviation#3: From
Norms of Physical Possibility/Physical Impossibility and the Acton Hero/A Digression
About Comic Tension and Comic Relief/Back to Action and the Comedy of Physical
Impossibility/Deviation#4: From Artistic Norms/The Forth Wall/Asides and Direct
Address of the Camera/Examples of Characters Acknowledging They’re in
Fictions/Genres That Depend on Deviation from Artistic Norms/DEVIATION #5:FROM
LINGUISTIC NORMS/Non-sequiturs, Mangles Word Choice and “Goldwynisms”/Non-
sequiturs and Nonsense/Misunderstanding/Mispronunciation/Puns and Wordplay/The
Voices of Performers/Impersonating a Voice and Mimicry/The Linguistic Deviation
Expresses Character/Changing Norms and Crossing Borders: A
Digression”/Topicality/WHY DOES THE COMIC CHARACTERS DEVIATE FROM
NORMS?/Henri Bergson and Automatic Behavior/INAPPROPRIATE Behavior:
Comedy, Context and the Fish Out of Water/Selecting a Setting for the Fish Out of
Water: Places of Solemnity, Propriety and Theatricality/Proper, Fancy, Rule-
bound/Environment/Human Types/
Chapter Two: Comic Characters and Their Behaviors
Identifying, Understanding and Creating Comic Characters/Characterization and
Comedy: Shharp and Defines/The Single-Mindedness of the Comic Character/ Surprise!
The Comic Character’s Mind is Elsewhere/The Moment the Audience Realizes, “So
That’s What He’s Thinking!”/Setting Up Com.
COMEDY FOR NEUROTICS A Practical Guide to Writing Funnier.docxdrandy1
COMEDY FOR NEUROTICS:
A Practical Guide to Writing Funnier Screenplays
and Stage Plays and Sketches
By Scott Winfield Sublett
Note to the reader: When I decided to take on teaching this
class, I assumed there would exist a good textbook for it. I was
wrong, so I have had to write one myself, and this is it.
In its current form, this text is intended as a course reader for
“TA 13: The Great Comedies.” Its aim is to familiarize you
with the nature and techniques of comedy writing so you can
better analyze comedies and understand why they’re funny.
My ultimate goal is to continue to develop this text until it
becomes a viable “how to” book for those who intend to write
comedies for stage and screen. (It will be a companion volume
for my screenwriting text, Screenwriting for Neurotics,
published in 2014 by University of Iowa Press.)
This material is copyrighted and you may not share with it
others legally. Please help me protect the value and copyright
of my original material by not sharing with anyone outside the
class.
Thank you. Let’s start laughing.
TABLE OF CONTENTS
Introduction
Are You Funny?/ Comedy vs. “A Comedy”/A Little About Me/Prepare to Be
Funny/Definitions of Comedy/Better Living Through Comedy/A Warning
Chapter One: Principles of Comedy
The Comic Moment: That’s Wrong!/Deviation From Norms and Standards:Criticism and
Forgiveness/Deviation#1:Cultural Norms/The Stereotype and Deviation From the
Norm/Airplane! Playing With Norms and Racial Stereotypes/Is Comedy Inherently
Unkind or Politically Incorrect?/Deviation #2:From Human Norms/Deviation#3: From
Norms of Physical Possibility/Physical Impossibility and the Acton Hero/A Digression
About Comic Tension and Comic Relief/Back to Action and the Comedy of Physical
Impossibility/Deviation#4: From Artistic Norms/The Forth Wall/Asides and Direct
Address of the Camera/Examples of Characters Acknowledging They’re in
Fictions/Genres That Depend on Deviation from Artistic Norms/DEVIATION #5:FROM
LINGUISTIC NORMS/Non-sequiturs, Mangles Word Choice and “Goldwynisms”/Non-
sequiturs and Nonsense/Misunderstanding/Mispronunciation/Puns and Wordplay/The
Voices of Performers/Impersonating a Voice and Mimicry/The Linguistic Deviation
Expresses Character/Changing Norms and Crossing Borders: A
Digression”/Topicality/WHY DOES THE COMIC CHARACTERS DEVIATE FROM
NORMS?/Henri Bergson and Automatic Behavior/INAPPROPRIATE Behavior:
Comedy, Context and the Fish Out of Water/Selecting a Setting for the Fish Out of
Water: Places of Solemnity, Propriety and Theatricality/Proper, Fancy, Rule-
bound/Environment/Human Types/
Chapter Two: Comic Characters and Their Behaviors
Identifying, Understanding and Creating Comic Characters/Characterization and
Comedy: Shharp and Defines/The Single-Mindedness of the Comic Character/ Surprise!
The Comic Character’s Mind is Elsewhere/The Moment the Audience Realizes, “So
That’s What He’s Thinking!”/Setting Up Com.
every screenplay begins with an idea, known in the business as "the concept." It is well-known that the script that "sells" best is one that can be pitched in two sentences or less, i.e., summed up in simple, visceral terms that appeal to people with short attention spans.
How Writing Concept First Will Help Your Script & Pitch By Marilyn Horowitz
Gertrude Stein was an American novelist, poet, playwright, and art collector.
Born in the Allegheny West neighborhood of Pittsburgh and raised in Oakland,
California, Stein moved to Paris in 1903, and made France her home for the
remainder of her life.
Her books include Q.E.D. (1903), about a lesbian romantic affair involving several of Stein's friends
Fernhurst, a fictional story about a love triangle, Three Lives (1905–06)
The Making of Americans (1902–1911).
In Tender Buttons (1914), Stein commented on lesbian sexuality.
Step 2. Complete the “What Happened Was…” exercise
step 3. Identify the concept
Marilyn Horowitz is an award-winning New York University professor, author, producer, and Manhattan-based writing consultant, who works with successful novelists, produced screenwriters, and award-winning filmmakers.
COMEDY FOR NEUROTICS A Practical Guide to Writing Funnier.docxcargillfilberto
COMEDY FOR NEUROTICS:
A Practical Guide to Writing Funnier Screenplays
and Stage Plays and Sketches
By Scott Winfield Sublett
Note to the reader: When I decided to take on teaching this
class, I assumed there would exist a good textbook for it. I was
wrong, so I have had to write one myself, and this is it.
In its current form, this text is intended as a course reader for
“TA 13: The Great Comedies.” Its aim is to familiarize you
with the nature and techniques of comedy writing so you can
better analyze comedies and understand why they’re funny.
My ultimate goal is to continue to develop this text until it
becomes a viable “how to” book for those who intend to write
comedies for stage and screen. (It will be a companion volume
for my screenwriting text, Screenwriting for Neurotics,
published in 2014 by University of Iowa Press.)
This material is copyrighted and you may not share with it
others legally. Please help me protect the value and copyright
of my original material by not sharing with anyone outside the
class.
Thank you. Let’s start laughing.
TABLE OF CONTENTS
Introduction
Are You Funny?/ Comedy vs. “A Comedy”/A Little About Me/Prepare to Be
Funny/Definitions of Comedy/Better Living Through Comedy/A Warning
Chapter One: Principles of Comedy
The Comic Moment: That’s Wrong!/Deviation From Norms and Standards:Criticism and
Forgiveness/Deviation#1:Cultural Norms/The Stereotype and Deviation From the
Norm/Airplane! Playing With Norms and Racial Stereotypes/Is Comedy Inherently
Unkind or Politically Incorrect?/Deviation #2:From Human Norms/Deviation#3: From
Norms of Physical Possibility/Physical Impossibility and the Acton Hero/A Digression
About Comic Tension and Comic Relief/Back to Action and the Comedy of Physical
Impossibility/Deviation#4: From Artistic Norms/The Forth Wall/Asides and Direct
Address of the Camera/Examples of Characters Acknowledging They’re in
Fictions/Genres That Depend on Deviation from Artistic Norms/DEVIATION #5:FROM
LINGUISTIC NORMS/Non-sequiturs, Mangles Word Choice and “Goldwynisms”/Non-
sequiturs and Nonsense/Misunderstanding/Mispronunciation/Puns and Wordplay/The
Voices of Performers/Impersonating a Voice and Mimicry/The Linguistic Deviation
Expresses Character/Changing Norms and Crossing Borders: A
Digression”/Topicality/WHY DOES THE COMIC CHARACTERS DEVIATE FROM
NORMS?/Henri Bergson and Automatic Behavior/INAPPROPRIATE Behavior:
Comedy, Context and the Fish Out of Water/Selecting a Setting for the Fish Out of
Water: Places of Solemnity, Propriety and Theatricality/Proper, Fancy, Rule-
bound/Environment/Human Types/
Chapter Two: Comic Characters and Their Behaviors
Identifying, Understanding and Creating Comic Characters/Characterization and
Comedy: Shharp and Defines/The Single-Mindedness of the Comic Character/ Surprise!
The Comic Character’s Mind is Elsewhere/The Moment the Audience Realizes, “So
That’s What He’s Thinking!”/Setting Up Com.
COMEDY FOR NEUROTICS A Practical Guide to Writing Funnier.docxdrandy1
COMEDY FOR NEUROTICS:
A Practical Guide to Writing Funnier Screenplays
and Stage Plays and Sketches
By Scott Winfield Sublett
Note to the reader: When I decided to take on teaching this
class, I assumed there would exist a good textbook for it. I was
wrong, so I have had to write one myself, and this is it.
In its current form, this text is intended as a course reader for
“TA 13: The Great Comedies.” Its aim is to familiarize you
with the nature and techniques of comedy writing so you can
better analyze comedies and understand why they’re funny.
My ultimate goal is to continue to develop this text until it
becomes a viable “how to” book for those who intend to write
comedies for stage and screen. (It will be a companion volume
for my screenwriting text, Screenwriting for Neurotics,
published in 2014 by University of Iowa Press.)
This material is copyrighted and you may not share with it
others legally. Please help me protect the value and copyright
of my original material by not sharing with anyone outside the
class.
Thank you. Let’s start laughing.
TABLE OF CONTENTS
Introduction
Are You Funny?/ Comedy vs. “A Comedy”/A Little About Me/Prepare to Be
Funny/Definitions of Comedy/Better Living Through Comedy/A Warning
Chapter One: Principles of Comedy
The Comic Moment: That’s Wrong!/Deviation From Norms and Standards:Criticism and
Forgiveness/Deviation#1:Cultural Norms/The Stereotype and Deviation From the
Norm/Airplane! Playing With Norms and Racial Stereotypes/Is Comedy Inherently
Unkind or Politically Incorrect?/Deviation #2:From Human Norms/Deviation#3: From
Norms of Physical Possibility/Physical Impossibility and the Acton Hero/A Digression
About Comic Tension and Comic Relief/Back to Action and the Comedy of Physical
Impossibility/Deviation#4: From Artistic Norms/The Forth Wall/Asides and Direct
Address of the Camera/Examples of Characters Acknowledging They’re in
Fictions/Genres That Depend on Deviation from Artistic Norms/DEVIATION #5:FROM
LINGUISTIC NORMS/Non-sequiturs, Mangles Word Choice and “Goldwynisms”/Non-
sequiturs and Nonsense/Misunderstanding/Mispronunciation/Puns and Wordplay/The
Voices of Performers/Impersonating a Voice and Mimicry/The Linguistic Deviation
Expresses Character/Changing Norms and Crossing Borders: A
Digression”/Topicality/WHY DOES THE COMIC CHARACTERS DEVIATE FROM
NORMS?/Henri Bergson and Automatic Behavior/INAPPROPRIATE Behavior:
Comedy, Context and the Fish Out of Water/Selecting a Setting for the Fish Out of
Water: Places of Solemnity, Propriety and Theatricality/Proper, Fancy, Rule-
bound/Environment/Human Types/
Chapter Two: Comic Characters and Their Behaviors
Identifying, Understanding and Creating Comic Characters/Characterization and
Comedy: Shharp and Defines/The Single-Mindedness of the Comic Character/ Surprise!
The Comic Character’s Mind is Elsewhere/The Moment the Audience Realizes, “So
That’s What He’s Thinking!”/Setting Up Com.
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“To be integrated is to feel secure, to feel connected.” The views and experi...AJHSSR Journal
ABSTRACT: Although a significant amount of literature exists on Morocco's migration policies and their
successes and failures since their implementation in 2014, there is limited research on the integration of subSaharan African children into schools. This paperis part of a Ph.D. research project that aims to fill this gap. It
reports the main findings of a study conducted with migrant children enrolled in two public schools in Rabat,
Morocco, exploring how integration is defined by the children themselves and identifying the obstacles that they
have encountered thus far. The following paper uses an inductive approach and primarily focuses on the
relationships of children with their teachers and peers as a key aspect of integration for students with a migration
background. The study has led to several crucial findings. It emphasizes the significance of speaking Colloquial
Moroccan Arabic (Darija) and being part of a community for effective integration. Moreover, it reveals that the
use of Modern Standard Arabic as the language of instruction in schools is a source of frustration for students,
indicating the need for language policy reform. The study underlines the importanceof considering the
children‟s agency when being integrated into mainstream public schools.
.
KEYWORDS: migration, education, integration, sub-Saharan African children, public school
Improving Workplace Safety Performance in Malaysian SMEs: The Role of Safety ...AJHSSR Journal
ABSTRACT: In the Malaysian context, small and medium enterprises (SMEs) experience a significant
burden of workplace accidents. A consensus among scholars attributes a substantial portion of these incidents to
human factors, particularly unsafe behaviors. This study, conducted in Malaysia's northern region, specifically
targeted Safety and Health/Human Resource professionals within the manufacturing sector of SMEs. We
gathered a robust dataset comprising 107 responses through a meticulously designed self-administered
questionnaire. Employing advanced partial least squares-structural equation modeling (PLS-SEM) techniques
with SmartPLS 3.2.9, we rigorously analyzed the data to scrutinize the intricate relationship between safety
behavior and safety performance. The research findings unequivocally underscore the palpable and
consequential impact of safety behavior variables, namely safety compliance and safety participation, on
improving safety performance indicators such as accidents, injuries, and property damages. These results
strongly validate research hypotheses. Consequently, this study highlights the pivotal significance of cultivating
safety behavior among employees, particularly in resource-constrained SME settings, as an essential step toward
enhancing workplace safety performance.
KEYWORDS :Safety compliance, safety participation, safety performance, SME
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1. Tell me in no more than20 words, what is your
FMP idea?
Informationalfanzine onhow to summondemons
correctly, told in a comedic way.
Why have youdecided to makeit? I enjoy writing, andI also havea passionfor
comedy, somixing the two with anotherone of m
interests (The supernatural) seemedlike a fun
project I would care about
What aboutyourproject makesit importantto
you?
Writing has been a passionof mine ever since I
was youngsoI knew I wanted to implementit
somehow. I havealso lovedcomedy moviesand
comediansfor s longas I can remember and I
want to get better at trying tobe comedic with
my work. I find supernaturalcreatures and
cryptidscompelling andinteresting and I wanted
to expandmore on thatas well, so combining
them seemed like a fun task.
Outline someof the initial influences onyour
idea/work and somepotential research targets
(remember, research isn’t justa paperbased
activity)
Welcome To NightVale
Buffy The Vampire Slayer
Supernatural
Gravity Falls
The Good Place
Goosebumps(Specifically, books)
Jim Carrey
Agatha Christie
Doctor Who
UnusAnnus
What effect do youwant to haveon your
audience when they see yourproject?
I want people to enjoy my product. Themain goal
is fun, notfor my work to be taken too seriously.
Describe the tone/mood/styleofyourproject
[which productiontechniques/characteristicsare
youemploying?]
It’ssupposedtobe a Dark comedy, with mostof
the humourrelating to the more current age.
Mostly dry humour, references to other products
andcommoninterests sharedaround. There will
be a singular narratorexplaining the concept to
the audience, like a Parody of a Tutorial or a How
To guide.
Why have youdecided to makeyour project in
this style?
I knowa lot aboutmodern culture andI think I
can make somethingotherpeople my age can
relate to andunderstand.
![Tell me in no more than20 words, what is your
FMP idea?
Informationalfanzine onhow to summondemons
correctly, told in a comedic way.
Why have youdecided to makeit? I enjoy writing, andI also havea passionfor
comedy, somixing the two with anotherone of m
interests (The supernatural) seemedlike a fun
project I would care about
What aboutyourproject makesit importantto
you?
Writing has been a passionof mine ever since I
was youngsoI knew I wanted to implementit
somehow. I havealso lovedcomedy moviesand
comediansfor s longas I can remember and I
want to get better at trying tobe comedic with
my work. I find supernaturalcreatures and
cryptidscompelling andinteresting and I wanted
to expandmore on thatas well, so combining
them seemed like a fun task.
Outline someof the initial influences onyour
idea/work and somepotential research targets
(remember, research isn’t justa paperbased
activity)
Welcome To NightVale
Buffy The Vampire Slayer
Supernatural
Gravity Falls
The Good Place
Goosebumps(Specifically, books)
Jim Carrey
Agatha Christie
Doctor Who
UnusAnnus
What effect do youwant to haveon your
audience when they see yourproject?
I want people to enjoy my product. Themain goal
is fun, notfor my work to be taken too seriously.
Describe the tone/mood/styleofyourproject
[which productiontechniques/characteristicsare
youemploying?]
It’ssupposedtobe a Dark comedy, with mostof
the humourrelating to the more current age.
Mostly dry humour, references to other products
andcommoninterests sharedaround. There will
be a singular narratorexplaining the concept to
the audience, like a Parody of a Tutorial or a How
To guide.
Why have youdecided to makeyour project in
this style?
I knowa lot aboutmodern culture andI think I
can make somethingotherpeople my age can
relate to andunderstand.](https://image.slidesharecdn.com/fmppre-proposal1-200313113527/85/Fmp-pre-proposal-1-1-320.jpg)
