If you are interested in being involved with comedy you have to be very serious and very committed.
It is very competitive. No one is sat in an office somewhere waiting to give you a job. If you are not willing to face hard-work, low-pay, cruel rejections and endless frustration then you are better off staying a comedy fan.
Most of the people who are writing jokes for TV, appearing on panel shows or recording best-selling stand-up DVDs got there through talent, hard-work and being in the right place at the right time. There is no career ladder. No one automatically rewards you with your own project because you have done your apprenticeship.
I have been obsessed with comedy from a very young age, endlessly re-watching my favourite comedians and sitcoms, dissecting them to see how they work – and I am still learning, refining, figuring out how it’s done.
Firstly, you have to decide what it is you think you are good at. Being a stand up comic is not necessarily the same as being a gag writer, which is not necessarily the same as being a sitcom writer.
If you are starting out, it is very hard to get your jokes and ideas to people who can use them – and more importantly pay you for them. Years ago there was a Radio 4 satire programme called Weekending that paid aspiring writers for unsolicited jokes but I cannot think of any modern radio or TV shows that take material from writers who aren’t already established in some way.
So how do you become established?
The most direct route into the business is stand-up comedy. Most comedy clubs run open-mic nights, which allow beginners to have a go.
This is how almost every comedian gets started nowadays, but you have to be prepared to travel around, with long gaps between each booking, doing five minutes here and there. If you make a good impression you might get invited back and you might be allowed to do ten minutes the next time.
This way you slowly build up an act and a reputation.
Most would-be comics do this while holding down a day job, because they make no money from stand-up for years. Any comedian’s autobiography will probably have long passages about how they trudged around the country, performing in tiny pubs for years and years, making no money, slowly learning their craft.
When I first moved to London I bought a copy of Time Out, the local entertainment guide and called up every comedy club listed, asking for an open spot.
Most didn’t return my calls but a few did.
Once you have booked a few gigs, panic sets in and as you arrive at the venue with a few badly formulated ideas on a scrap of paper you quickly discover whether you have the determination and bowels for a career in comedy.
Even if you are not a natural performer and have no desire to be one, stand-up is still a good way to start out. It forces you to write material and teaches you whether something is funny or not. There is nothing like a room of silent faces to tell you that a joke is crap. And perhaps the joke is not crap, it just needs refining, or a better set-up, or a clearer punch line.
Many of the unknown people who work behind the scenes writing TV comedy started life dabbling in stand-up. Even though they may not have been great performers themselves, they probably had good ideas and good jokes and befriended other comedians on the circuit. When one of those other comedians got their big break and needed writers, whom do you suppose they turned to?
Why, those friendly faces from the circuit.
Right place, right time.
Stand up is a very tough road and there are other ways in.
Lots of people start out writing sketches for university revues, but that normally demands that you are at university. Some brave idiots just book a room at the Edinburgh comedy festival and turn up for a month and hope inspiration hits them. Very few succeed this way.
Some people win competitions organized by TV channels or magazines. Some people start out in a different media job and make a sideways move – from, say, advertising or local radio.
Some people do just sit at home and write a script and send it to a producer and get lucky – but that’s almost never heard of.
The simple truth is that there is no clear-cut way into the business. If you are passionate and capable enough you will get there through hard work and good-luck, as long as you don’t give up when the going gets tough.
The most important thing is keep on writing.
Sketches. Stand-up routines. One-liners. Plays. Film scripts. Whatever, just put pen to paper. Yes, most of it will be crap — but so what? You don’t have to show it to anyone. It’s only by writing that you will learn the craft and discover what it is that interests you.
If you are good at sketches but bad at one-liners, concentrate on sketches. You’ll probably start off by writing stuff that is derivative, stuff that rips off of your favourite comedy shows or comics. I wrote endless sketches that were inspired by Monty Python and Fry & Laurie. Very few people ever saw them.
Over time, you will discover your own style.
And don’t obsess about making your stuff different. Too many people think being ‘new’ and ‘innovative’ is fresh and exciting. Who cares? Does it make you laugh?
Don’t second-guess the audience, just amuse yourself.
If your ideas are very traditional, so what? If it’s a sitcom, worry about characters and structure and dialogue, not reinventing the wheel.