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A Humor Writing Secret – Let People Make the Connection

People say humor writing is hard. It’s not that hard. Not if you know the formula.

Yes, there are actually steps you can follow to write humor.

(Now, writing humor well is another topic entirely. For that, you’ll need years of practice spent studying humor and language.)

Humor is based on a number of different things that all have to happen at the same time, chief among them is letting people make the connection in their own brains (there’s also Recognition and Surprise, but we’ll discuss those later). If the reader can make that connection on there own, something is funny. If they don’t make it, because they’re unfamiliar with the topic, the joke dies, and you lose the laugh.

This is why you should never explain jokes or repeat them. The connection, and the surprise that comes with it, are gone, and so is the opportunity to laugh.

Here’s an example:

If you watch Family Guy, you’ll get this, and it should have made you at least chuckle. If you don’t, you don’t know who this is, and you’ll never get the joke.

So for you Family Guy viewers, why was it funny? Because a few things all happened at the same time:

  1. You recognized the character Bruce from Family Guy. You know what his catchphrase, and you know how he sounds. (Recognition)
  2. You read the text, and seeing “Oh no” triggered his voice in your head. (Connection)
  3. As you read the rest of the text, you realized you did exactly what it says. (Surprise)

If those three things happened — all at once, mind you — the joke scores and you laughed. But if you didn’t recognize Bruce, or you don’t know what he sounds like, or you’ve already seen this before, there’s no laugh.

To make a joke score, whether you’re telling it or writing it, you need to let people make a connection in their own minds.

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Copywriters, Use the Words Other People Use, Not the Ones You Use

Do you know what audio theater is? Does it make you think of something to do with speakers at a movie theater? Or maybe it’s a subset of home theater equipment. Or maybe you’re supposed to go to a play and shut your eyes.

It’s none of those. It’s what we used to call radio theater. (Or radio theatre, if you’re Canadian or British. Or a snooty purist.)

Cast of Decoder Ring Theatre, an audio theatre company in Toronto.

You know what radio theater is, right? Remember when Ralph and Randy sat in front of the big giant radio and listened to Little Orphan Annie? We all know what that is, even the people who only hear about it from their grandparents.

But the people who actually do radio theater want to call it “audio theater” instead. Why? Because people don’t listen to the plays on the radio anymore, they listen to them on CD players, iPods, computers, car stereos, etc.

So in order to be more accurate, they changed the name of the art form to more accurately reflect what it is that they produce.

And lost out on a large portion of their potential audience.

There are still plenty of people who used to listen to radio theater with money to spend, but they don’t spend it on the entertainment form from their childhoods because they don’t know it’s called “audio theater” now. Companies like Decoder Ring Theatre have worked hard to overcome this hurdle by being one of the most progressive and dedicated audio theatre troupes I’ve ever seen, embracing social media and Internet marketing, as well as podcasting. (Full disclosure: Decoder Ring Theatre produced and aired six of my Slick Bracer radio plays this summer.) But a lot of other companies have only seen a fraction of this success, and I believe it’s primarily because of this language disconnect between what is “correct” and what is “best.”

How many times have companies harmed their marketing efforts by insisting people call a term by what they want to call it, not what the customers want to call it? How many times have government agencies lost the respect and credibility they worked for, because someone who knows nothing about public communication insisted the agency use the accurate term, not the best term? How many news programs get laughed at because they try to change the commonly accepted term to something that better suits their political biases?

  • An agricultural equipment company I know calls its products by the term they want to use, rather than the more common term their customer uses. This is evidenced by the 1,200 Google searches for their term, and the 20,000+ searches for the common term. While they may rank well for their chosen term, they don’t rank at all for the term their potential customers are using nearly 8 times more often.
  • When the H1N1 epidemic flu first started, the public was calling it “swine flu,” but the media managed — with a lot of work — to get people to start calling it H1N1, because it was harming the pork industry. But the government agencies wanted to call it the human flu, and flu pandemic. Regardless of what they wanted to call it, the media ignored them
  • Fox News’ insistence on calling suicide bombers “homicide bombers,” as per the Bush White House, made them a laughing stalk among journalists and news watchers.

If you’re not sure whether people are using your terms or theirs, go to Google’s Keyword Tool and put in your term and any industry terms you can think of. See which terms have the most global (worldwide) searches and the most local (US) searches. The ones that win are the ones most people are using, and the ones you should be focusing on.

Update: Deleted “Audio” from “Decoder Ring Audio Theatre” above, because despite being a loyal listener for 5 years, and now a contributor, I still can’t get their name right.

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My Keynote Talk at Blog Indiana

Last month, I got to do something I’ve wanted to do for the last four years: give a keynote speech at Blog Indiana. While it wasn’t my first keynote, it was going to be a special one because I had been attending Blog Indiana since it started. In fact, I think I have given more talks than anyone at the history of Blog Indiana, mostly because one year I not only gave two talks, I gave them twice.

But this was going to be the big one, the one I had hoped for when I first started bugging the organizers about it two years earlier.

I also knew I needed something new to talk about. Something that went beyond my typical 10 Secrets for Promoting Your Blog or 10 Ways to Build Your Personal Brand.

The t-shirt, courtesy of ooShirts, says "Eschew Convoluted Phraseology." It means "avoid big words."

So I decided to focus on writing as my topic, but because I can never get away from 10 Secret Anythings, the topic was 10 Secrets I’ve Learned in 24 Years of Writing.

I’ve spent the last 24 years writing just about anything you can think of: books, newspaper columns, web copy, brochure copy, technical manuals (I hate these with a burning passion, by the way). I’ve written stage plays and radio plays. I’ve even written speeches for a US Congressional campaign.

And in those 24 years, I have learned that it’s the language that’s most important, and how you use it. It hasn’t been the experience, the knowledge of the industry, or whether I have experience with a certain type of writing. It’s whether I have a good grasp of how to use language effectively.

So I talked about important aspects of writing that have defined my own writing career — focusing on one aspect of writing you want to improve, and then doing it everywhere; know when you can, or even should, break the grammar rules; and, not to let your love of your words get in the way of good editing and improvement.

I even dropped the F-bomb in my talk to illustrate how words that represent the worst of what we do — like killing and torture — too casually, as in “my feet are killing me” and “traffic was torture today,” but the word that describes how the best thing we do — make other humans — is an awful word that is horrible to say.

I even had a special t-shirt made for the occasion, thanks to the generosity of ooShirts, who gave me a couple shirts as part of their promotion. So I got a writing related shirt that said “Eschew convoluted phraseology,” which is the ironic — some might say snotty — way of saying “avoid big words.” I also got a second one to give away, which Brooke Randolph won by being chosen by random after sending out a special tweet.

I had a great time speaking, and have finally achieved my goal of giving the keynote at my favorite conference. Thank you to everyone who was there, and for the kind words during and after the talk. And special thanks to Shawn Plew and Noah Coffey for allowing me to speak.

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What William Faulkner Would Say About Content Curation

I’m reading an interview with William Faulkner in a 1956 issue of the Paris Review. He said this about critics:

The artist doesn’t have time to listen to the critics. The ones who want to be writers read the reviews, the ones who want to write don’t have the time to read reviews. The critic too is trying to say “Kilroy was here.” His function is not directed toward the artist himself. The artist is a cut above the critic, for the artist is writing something which will move the critic. The critic is writing something which will move everybody but the artist.

I’ve been saying this about content curation for the last few months. A content curator is that person who assembles content in a meaningful and important way, to get other people to read (or not read) that content.

For Faulkner, the critic is trying to move “everybody,” but the artist is trying to move the critic. For today’s bloggers and writers, we’re trying to move “everybody,” but since there are so many of us, we know we’re not going to reach everybody. So we hope some popular content curators (critics) will help us move everyone as well.

We call these curators and critics “influencers,” and we think that if we can get them to tell their networks about us, we’ll be more widely read, and more easily able to move “everybody.”

Of course, that means if you want to move people, you need to 1) write good shit, and 2) have people who like it.

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15 Social Media Tactics to Promote Your Upcoming Theatrical Show

We just finished the 10-day festival of independent theatre and weirdness known as the Indianapolis Fringe Theatre Festival, and I had a chance to see a few shows, including a couple of old favorites.

I also had a chance to talk social media — because I’m an annoying geek that way — with a couple performers, and decided to write a blog post based on what I told a couple of them.

Didi Panache and Wayburn Sassy of the Screw You Revue

This post is written for any musician or performer, especially the independent theatrical types who depend on ticket sales to make their living. For some of these performers, they bounce from festival to festival and make a good portion of their income from their take. Some even use one festival to pay for the next one.

This is a strategy they can use to improve their take next year.

What You’ll Need

  • A laptop computer
  • A digital camera with video capabilities. If not, your laptop’s camera will do.
  • A Twitter account.
  • A blog (WordPress.com or Blogger.com are great free platforms, as is Posterous.com and Tumblr.com)
  • A YouTube account.
  • A Facebook page. (This is different from a personal profile. You want an Artist’s page.)

What You’ll Do

These are in a general chronological order, but not in a do-one-then-the-next lockstep order. I’m using the Indianapolis Fringe (#IndyFringe) as an example, but this will work for any concert, performance, show, or festival.

 

  • First, make sure your Twitter bio includes a line about the name of your show, or your most famous character’s name. If you only performed in one festival, put the name of that in the bio too. “You may have seen me at the #IndyFringe Festival!” You can always change your bio, especially as you move from festival to festival, or follow specific groups of people.
  • Start following people on Twitter. People will follow you back, especially once they see that you’re a performer at the festival they went to, and even moreso if they were at your show. To find people who were at the festival, do these steps:

 

  • Go to FollowBlast.com and do a search for #indyfringe, and follow anyone using that term. Keep in mind that these hashtags only work for about 30 minutes, so it’s actually a good idea to access this site while you’ve got some downtime at next year’s show.
  • Build a hashtag archive at TwapperKeeper.com. I’m still trying this out, but I’m hoping it will collect old hashtags, unlike FollowBlast.com. However, it only goes back 7 – 10 days, and back for 1,500 tweets. It will then go forward and continue to save tweets. You should set this up before your next festival starts. Work in conjunction with the festival organizers, because they may want to use your archive as well. Also, before you start, search to see if anyone else set up an archive before you so you don’t duplicate efforts.
  • Go to search.twitter.com as another way to search for #hashtags. Put in #indyfringe and see what you can find. Search results are somewhat limited, but you may be able to find older tweets that FollowBlast and Twapper Keeper couldn’t, especially if you’re seeing this now, and are scrambling to recover those old tweets.
  • If all else fails, try Topsy. It’s not 100% accurate, but it gives you more than you might get if you’re looking for a festival that ended three weeks ago.

 

  • Check out the festival organizer’s Twitter page and follow everyone they follow (not everyone who follows them). If they have been good Twitter stewards, they have vetted the people they’re following. Those people will include other performers, supporters, festival-goers, and other people in the industry or festival business. (This last group could be a good connection to getting into other festivals!) Do this with any festivals you plan on going to next year as well.
  • Use Twellow.com and Twellowhood.com as a way to find other people who are in the cities where you’ll be next year.

  • Why You’ll Do It

    Okay so far? You’ve built your Twitter list for a very important reason: Promoting stuff! You’re going to promote next year’s show through videos, your blog, and even email newsletters. Here’s how.

    Zan Aufderheide of Welcome to Zanland
    • Now you need your camera. Start shooting some short videos. Update us on what you’re doing, where you’ll be, thoughts on stuff you did this year. Treat it like a diary. If you’re an actor playing a part, do it in character, especially if that character is going to be back at the festivals next year. Shoot the videos in character, or tell some jokes, or give people a preview of what you’ve been working on. Shoot some rehearsals, some special messages to individuals, or perform a new song.
    • Post those on YouTube.com (make them public), and make sure you fill out all the details, like Title, Description, etc. (all this stuff is indexed by Google, which makes your videos found more easily by people searching for you or the festival).
    • Share these videos on Twitter and your Facebook page, and post them to your blog (do the same with any photos you take). This will accomplish a lot of pre-show promo before you ever set foot in the city. And if you can get people buzzing about the show before you start, you’ll be selling out more shows.

    You can get a Flip camera for as low as $170 now, and if you think that’s still high, use the money you were going to spend on fancy-schmancy postcards and spend it on the camera instead. The postcards are immediately dated once the festival ends, and you can’t reuse them. The video camera will pay for itself with all the videos you shoot and the postcards you don’t buy.

    Finally, there are a few things you want to do next year, to get ready for the next off-season.

      • Build a mailing list of all your attendees. Send around a clipboard before your show begins, or have them sign up before they leave. Ask people for their HOME email, not their work email — especially if your show is laden with profanities and cross-dressers. Guard this with your life. Promise to never, ever spam them. Use it only for newsletters and occasional social media communication.
      • Load that list into a Gmail account (here’s why you should use Gmail), and then either use the Rapportive.com Gmail plugin, or upload the email list to Gist.com, to start finding where your list members can be found on the different social media networks. Follow them on Twitter, and connect with them on Facebook.
      • Send out an occasional newsletter — no more than once a month — and email it to them. Let them know what you’re working on for next year so they get excited about your upcoming visit. Give them an opportunity to unsubscribe, but try to give them useful information so they won’t want to.
      • Use your video camera to shoot post-show testimonials and get them up on your blog as soon as a show ends. Tweet the new blog posts to your Twitter network during the show, so you can continue to remind people you’re there and you’ve got an awesome show. Ask your Twitter network to retweet your show information, so they can help you spread the word.

    There is so much more you can do with social media. Believe it or not, this is just scratching the surface of what can be done. But while it seems overwhelming, keep in mind two things:

        1. This will get easier as you do it more often.
        2. It beats the hell out of busking and handing out postcards in 90 degree heat.

    Photo credit: Erik Deckers

 

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Crisis Communications Needs Social Media to Be First, Be Right, Be Credible

Crisis communications has one overriding mantra, one foundational principle that drives every emergency they respond to: “Be first. Be right. Be credible.”

If you’re not first, you’ll spend your time playing catch up for hours, days, or even weeks.
If you’re not right, your mistake will be repeated, or worse, cited as the truth.
And if you’re not first or right, you will never, ever be credible.

Crisis communication — also called CERC, or Crisis Emergency and Risk Communication — is what emergency first responders use to communicate with the media and the general public. It’s how the health department communicates warnings and updates during a public health emergency. It’s how Homeland Security communicates with the public during a terrorist attack.

CERC, compared to corporate crisis communications, is all about getting the right information out as soon as possible, and being seen as the source for news and information about an incident.

But it’s not happening anymore.

Five years ago, it was enough to just email a press release — which had been approved by a committee — to the mainstream media. Then you answered media calls and arranged interviews. You didn’t communicate with the public, you communicated with TV and newspapers.

But the definition of “the media” has changed. Today, anyone with a smartphone and YouTube is a TV journalist. Anyone with a smartphone and Facebook is a photojournalist. Anyone with a laptop and a blog is a newspaper reporter. The citizen journalist is the person with news to share and a way to share it. Quickly.

This makes the mainstream media crazy.

Not only are the citizen journalists breaking news before the media, they are becoming the first, right, credible sources of information, not CERC.

These days, news is coming from the people who are on the ground. They’re repeating everything they hear and see, and everyone else is passing it on.

CERC communicators need up-to-date technology if they’re going to stay up to speed. They need access to the various social networks if they want to reach the public. Using 4-year-old Blackberries and laptops is not enough anymore. And letting IT block all access to social media networks only makes the problem worse.

(I’ll save the discussion about why IT should not be involved in communication issues for another time.)

If CERC communicators want to stay on top of a situation, rather than being third in the race, they need to remember their roots. They need to use the technology that will make them first. They need to learn how to be right without committee approval.

Because until that happens, they’re not going to be credible.