Melva Gifford

A presentation offered by Judy Carter. Any misinformation is the fault of the note taker.

– How to make any subject funny (even the most boring
– Comedy is super logical. If people don’t laugh, it might not be funny.
Exercise: When you first create, say whatever you say then she goes to edit it.
– Comedy is saying things are inappropriate.
– A pen is just like sex because: it has logic they both have dry spells for when you are desperate you would take one from a stranger when you have a good one you don’t want to share it.
Exercise 2 a list of 3:
– When you tell a joke, it has to come to someplace.
– If you do a speech on relationships. You might say, Relationships are hard. There are three subject includes a relationship is over.
– 1.Does not return my calls
– 2. not going out to dinner.
– 3. brings their new partner home.
– You want to set up a setup.
– Audience input:
– Give some clues three clues a relationship is over. Not responding to messages, he works late every night, does not sit by me anymore. Doesn’t hold hands. prefers friends to you, forgets your birthday. The third reason is the punch line. Canceled credit cards, too tired for sex,
– She’s wearing another ring other than the one I bought her
– You block each other’s numbers
– The kids call the girlfriend as Mom.
Exercise: 3 subtle clues our speech in TM is not going well. People looking at watches, no eyes contact. The third option is the back row leaves.
– Have the strongest reason at the end.
– Someone pulls the fire alarm to get out. Forget your topic. Everyone rise their arm, they’re free. Banned from the club.
– The audience not seeing something coming is good for your humor.
– Audience subs:
– Three clues your speech isn’t going well: you trip over the mike cord, you fall off the stage and no one helps you up.
– people were very polite at laughing………. The applause was really subdued. The local grocer set up a Toastmasters special for Tomatoes
– They take a collection to refund your membership fee
– As soon as you pause, they start to clap
– People looking at their feet, their phones, and then falling off their chairs because they’ve died of boredom.
Exercise 4:
– If giving a speech on negotiations what would be a list of 3: 3 subject clues you’re not good at negotiations. the setup never has I’m, Me or My. The best opening line, ask a question and have an interest in the audience. Clues: you find yourself stuttering, you lose, you start clicking your pen. The husband got a house, dog, and kids. I got the knife.
– Audience subs:
– You pay twice as much as the sticker price
– You give away the farm
– He left with the pants I had on
– No one works alone. Comdeyatdudycarter.com
– Formula: a family member is a source of humor. Select a family with who has a strange trait. What is the quality that makes them weird? Angry, foul mouth, My grandmother has aptamers … Now have them do something that shows their condition.
– A family member may be self-centered. You are telling about your own challenge and mother relies on we need to talk about it. Then act them out
– Mother not very honest, She is very harsh. He acted it out by him asking her who is father is. She says mind your own business. Can you imagine my mother as a suicide counselor?
– The only difference between a pro comedian and not is the pro will write down the sketch and then see which are better.
– Make sure you work with someone where you don’t have to sensor yourself with language in the creation process. Get some authentic energy had attitude, then you can edit. The idea needs or the reasons need to make sense. Have a list of three and have a surprise ending. Whoever you act like that person, you must become them. It’s always fun to have the character of a dog with an accent.
– Finding a comedy buddy. Find someone who really makes you feel funny who laughs at your jokes.
– Facebook group: https://www.facebook.com/groups/ComedyBible Put in what you can give and not just what you want.
Exercise 5: comparison jokes.
– It’s weird how getting older changes what you anta relationships before, when young I used to want such and such and now I want such and such.
– Audience suggests:
– I used to want a corner office, a beautiful wife, and a membership at the golf club. Now I have a basement desk, ex-wife, and standing reservations at mom’s basement bed and breakfast
– In my 20 a night filled with sex and at 60 want to sleep.
– I used to want to dance all night… now I want to.. to left alone!
– It’s weird how getting older changes what you want in a relationship. Before, I used to want someone who was attracted to me. Now I just want someone with a dog. A seeing-eye dog.
– Comedy writing exercises to create new material.

These are notes from a presentation offered by Drash. Any misinformation is the fault of the note taker.

– Learning to unpeel and know a story and how it works. Make friends with it.
– When you are working with a story you need to know everything you need to tell but you don’t have to tell everything. You need to know it to convey the language.
– Midrash is much about language. Need to use fewer words to say more.
– How does your relationship with your story grow? You ask questions about yourself. Why tell the story? Why is it important? Maybe it’s to fulfill an assignment or the tory calls to you.
– The story is not there to serve you it’s there to work with you.

– How do you get to know your story? You need to go on a journey. You need to remember it. Means also to put back together or reassembly. When we remember those story it becomes very vivid and the feel all the senses. You see pictures and you remember what you tell.
– The question to ask to any story is why? Read a story in a book you need to ask why certain things you don’t understand happen.
– What is the object what is it used for?
– Where does the story take place?
– What is happening?
– When is a story happening? When you work with tall tales and wonder stories, the setting is very important.
– Who, who are the characters in the story.
– Who is listening to the story, your audience?
– All these are common sense to understand a story.

– Once learn a story and its words you retell it with gestures. Easier when you are remembering and seeing that story.
– Never feel that telling a story is a favor. Each time of telling needs to be vibrant.
Exercise:
– In your mind’s eyes choose a room or place, you are familiar with your gong to describe that room you must resist the urge to tell a story in that room.
– When you were listening to your partner’s description how much of it was visual? When you remember something, you use all five senses. Sight, smell, touch, taste, and sound.
– As you think of describing your room add more sensory details. Chose a spot and go there at first light, go back at the full day and go back at full dark and you will get different sounds. It looks and feels different.
On the next breakout asks questions.
– Touch and smell are to best items that bring the story to the present.
– Sensory details make you can make your listener with you in real-time by engaging their sense and thus you engage them on an emotional level.
– Found your in a story the vocabulary and style of the deliverer and how they combined get locked about about age 22.
Assignments: find a new world a month and use it as much as you can to get it to become a part of your vocabulary.
– Language and patterns as well as intonation.
– Take your listeners on your journey: 90^ of the time, you are working in a world that your will audience understands. It’s easy to take people not a world. But when you move into the world of folk or wonder, legend tales that is where you are little are creating paths in the air. This is obtained by the art of description.
– We all you sense allow all the listener to see, feel, and underhand the story.
– To write things such as SF, myth, or legend you need to covert ordinary to the extraordinary.
– When you describe an object, the listener will revert to their own memories to create an image of an object.
– Sometimes language can work with you or against you. Need to expound on descriptions. Don’t clutter it. make all descriptions count.
– Light can change the context of a story. He walked down a lonely dark road. he walked down a road at midnight. the sun was shining while walking down a road.
– Sometimes the more descriptions you use the more it can disinterest the reader.
– Storytelling and plot are two different things.
– Working with the story Theseus and the Minotaur. Why does Theseus betray her father?
– Know everything you tell but don’t tell everything you know.
– You don’t want people to analyze your story while they’re hearing it. think of your audience as listeners.
Give the listeners a point of reference to lead them from the ordinary to the extraordinary.
– What Storytelling does that no other art does is it will create questions and discussions.
– You can practice describing an object.
– You can’t ‘tell’ people how to feel. You can’t tell people to be afraid. you have to horn your craft so that in their guts they are really afraid.
– Chose a very simple emotion. Now, describe a room. Identify what emotions your ut has.
– The door is old and rusty. open it to creeks on hinges. Walk down three steps damp and slippery. see an old door is a stall of a toilet or cleaned for a long time. Grouting between the tiles is covered with grey sludge mold.
– This caused the story of disgust.

Kenning:
– We are working in real-time. we are trying to use every work that helps.
– A shortcut called Kennings. a Kenny is not simply a metaphor. you describe something that sees it with new eyes. A Kenning makes you think, ah yes.
– Challenge yourself to see how many kennings you can find. if you were an ago Saxon there is a kenning for the sea.
– Cat eyes on an English road that catches the light of a car.
– Google kennings:
– https://examples.yourdictionary.com/examples-of-kenning.html
– Kennings can give you descriptions. For example, dust buster, boom box