What do you think?
Rate this book
Comedy Rules: From the Cambridge Footlights to Yes Prime Minister
This title features 150 essential rules from the award-winning co-writer of "Yes Minster" and "Yes Prime Minister", Hollywood movie director, producer, novelist and actor. A host of hugely enjoyable examples drawn from Lynn's varied and successful career bring these rules to life, covering everything from inspiration, collaboration and the Seven Deadly Sins to the perils of unmotivated comic business, pitching screenplays in LA, sexist jokes and lunch with the Inland Revenue. Along the way, we meet a cast of luminaries including Leonard Rossiter, John Landis, Nigel Hawthorne, Paul Eddington, Jack Rosenthal and Jonathan's long-time co-writer, Antony Jay. As we travel with him from his first digs in Coventry to the sushi bars of Hollywood, "Comedy Rules" offers an enlightening journey into the world of comedy and an indispensible companion to the elusive art of its creation.
176 pages, Hardcover
First published September 1, 2011
15 people are currently reading
95 people want to read
About the author
Jonathan Lynn
58 books56 followersJonathan Lynn has directed 10 feature films including the cult classic Clue (he also wrote the screenplay), Nuns on the Run (also written by Mr Lynn), My Cousin Vinny, The Distinguished Gentleman, Sgt. Bilko, Greedy, Trial And Error, The Whole Nine Yards, The Fighting Temptations and most recently, Wild Target. His first produced screenplay was The Internecine Project (1974).
For television, Jonathan’s writing credits include dozens of episodes of various comedy series but he is best known for the phenomenally successful, multi-award-winning BBC series Yes Minister and Yes, Prime Minister, co-written and created with Antony Jay.
Jonathan authored the bestselling books The Complete Yes, Minister and The Complete Yes, Prime Minister, which cumulatively sold more than a million copies in hardback and have been translated into numerous languages and are still in print nearly 30 years later; Mayday (1993, revised 2001) and his latest book Comedy Rules (Faber and Faber), which also received rave reviews.
Jonathan made his first professional appearance on Broadway in the revue Cambridge Circus, and his television debut on The Ed Sullivan Show, live with 70 million viewers, both at the age of 21. Jonathan’s West End theater debut, aged 23, was as an actor in the role of Motel the Tailor in the original London cast of Fiddler on the Roof. His subsequent London directing credits include: The Glass Menagerie; Songbook (Best Musical, Olivier Award and Evening Standard Award); Anna Christie (RSC, Stratford and the Donmar); Joe Orton's Loot; Pass The Butler by Eric Idle, Shaw’s Arms And The Man and The Gingerbread Man (Old Vic). At the National Theatre, he directed A Little Hotel on the Side by Georges Feydeau and Three Men on A Horse (Olivier Award, Best Comedy). As Artistic Director of the Cambridge Theatre Company, he directed 20 productions, producing 20 others, 9 of which transferred to the West End.
His numerous awards include the BAFTA Writers Award, Writers Guild (twice), Broadcasting Press Guild (twice), NAACP Image Award, Environmental Media Award, Ace Award –Best Comedy Series on US cable, and a Special award from the Campaign For Freedom of Information.
Lynn received an MA in Law from Cambridge University and now lives in New York, describing himself as a recovering lawyer.
For television, Jonathan’s writing credits include dozens of episodes of various comedy series but he is best known for the phenomenally successful, multi-award-winning BBC series Yes Minister and Yes, Prime Minister, co-written and created with Antony Jay.
Jonathan authored the bestselling books The Complete Yes, Minister and The Complete Yes, Prime Minister, which cumulatively sold more than a million copies in hardback and have been translated into numerous languages and are still in print nearly 30 years later; Mayday (1993, revised 2001) and his latest book Comedy Rules (Faber and Faber), which also received rave reviews.
Jonathan made his first professional appearance on Broadway in the revue Cambridge Circus, and his television debut on The Ed Sullivan Show, live with 70 million viewers, both at the age of 21. Jonathan’s West End theater debut, aged 23, was as an actor in the role of Motel the Tailor in the original London cast of Fiddler on the Roof. His subsequent London directing credits include: The Glass Menagerie; Songbook (Best Musical, Olivier Award and Evening Standard Award); Anna Christie (RSC, Stratford and the Donmar); Joe Orton's Loot; Pass The Butler by Eric Idle, Shaw’s Arms And The Man and The Gingerbread Man (Old Vic). At the National Theatre, he directed A Little Hotel on the Side by Georges Feydeau and Three Men on A Horse (Olivier Award, Best Comedy). As Artistic Director of the Cambridge Theatre Company, he directed 20 productions, producing 20 others, 9 of which transferred to the West End.
His numerous awards include the BAFTA Writers Award, Writers Guild (twice), Broadcasting Press Guild (twice), NAACP Image Award, Environmental Media Award, Ace Award –Best Comedy Series on US cable, and a Special award from the Campaign For Freedom of Information.
Lynn received an MA in Law from Cambridge University and now lives in New York, describing himself as a recovering lawyer.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 13 of 13 reviews
March 24, 2013
Part-autobiography, part-tutorial, part-ramble, Jonathan Lynn’s look back at his career in acting and directing and in particular in comedy writing is full of excellent advice for those aiming to succeed him. The rules of the title pepper the book — there are 150 in all, over 200 pages — and range from the relatively obvious to the insightful.
For example, rule 35: It is hazardous to your career to make sexist jokes about women. Not a surprise, though somehow it still needs repeating. And then by contrast a few pages later, rule 39: If a band — or film crew — laugh loudly at a joke, you should probably cut it. Because, he says, “the band will only laugh at any new line which is a variation of the original.” And then there’s rule 98: Beware a phone call from the Inland Revenue, even if it’s an invitation to lunch.
Despite the title, these aren’t so much rules as lightly educational anecdotes: lessons he’s learned over the years through sometimes bitter experience. We skip between the decades, from his student days to more recent times as a film director and screenwriter, and back. Every story is funny, enlightening and well told, and occasionally guest-starring comedy gods such as John Cleese or Steve Martin.
Quite possibly my favourite story follows rule 117: Try to resist if the Prime Minister wants to join your writing team. If you remember the cringeworthy “sketch” Margaret Thatcher wrote while PM featuring the two main characters from Yes, Prime Minister, you’ll know what this anecdote is about.
There’s poignancy too. Lynn describes working on the play Loot with Leonard Rossiter, a masterful comic actor but a perfectionist who could be difficult to deal with. The play was a huge success and they became friends, and then Rossiter died suddenly: in his dressing room, from an aneurism, during a performance. Lynn includes the eulogy he gave at the funeral.
Lynn’s one of the greats behind the camera of post-war British comedy, up there with Galton and Simpson, John Sullivan, Eric Sykes, Muir and Norden, and so on, and Comedy Rules is a fantastic memoir. Recommended.
For example, rule 35: It is hazardous to your career to make sexist jokes about women. Not a surprise, though somehow it still needs repeating. And then by contrast a few pages later, rule 39: If a band — or film crew — laugh loudly at a joke, you should probably cut it. Because, he says, “the band will only laugh at any new line which is a variation of the original.” And then there’s rule 98: Beware a phone call from the Inland Revenue, even if it’s an invitation to lunch.
Despite the title, these aren’t so much rules as lightly educational anecdotes: lessons he’s learned over the years through sometimes bitter experience. We skip between the decades, from his student days to more recent times as a film director and screenwriter, and back. Every story is funny, enlightening and well told, and occasionally guest-starring comedy gods such as John Cleese or Steve Martin.
Quite possibly my favourite story follows rule 117: Try to resist if the Prime Minister wants to join your writing team. If you remember the cringeworthy “sketch” Margaret Thatcher wrote while PM featuring the two main characters from Yes, Prime Minister, you’ll know what this anecdote is about.
There’s poignancy too. Lynn describes working on the play Loot with Leonard Rossiter, a masterful comic actor but a perfectionist who could be difficult to deal with. The play was a huge success and they became friends, and then Rossiter died suddenly: in his dressing room, from an aneurism, during a performance. Lynn includes the eulogy he gave at the funeral.
Lynn’s one of the greats behind the camera of post-war British comedy, up there with Galton and Simpson, John Sullivan, Eric Sykes, Muir and Norden, and so on, and Comedy Rules is a fantastic memoir. Recommended.
September 27, 2011
I bought and read Comedy Rules because of a burgeoning desire to write some comedy, whether it be sitcom or a play or other, and prior to going on my second of Jan Etherington's Comedy Course days. Whilst Jonathan Lynn's book is not, and does not profess or set out to be, a 'how-to' book, it was still a joy to read and gave a lot of background and anecdotes around his comedy writing life. Along the way, despite not intending to instruct, the book also gave a wealth of invaluable tips. Extremely pleased I read it and would recommend it to anyone with an ambition to write, or even already writing, comedy.
December 2, 2020
This book is part of my Masters course in Comedy Writing and full of writing and directing gems to help me throughout the course and far beyond. Lynn is a delightful storyteller who also knows when to get to the point whether it is the craft of writing, art of directing or stories about his friendships with the Cambridge Footlights crew, Leonard Rossiter and Jack Rosenthal. Packed to the gills with great advice and witty wordplay.
January 8, 2026
Writing tips esconced in a droll memoir.
I'll admit that, while I knew of Yes, Minister, I did not know the writers behind the show. Lynn is only half of a talented duo but his credentials are very impressive.
Comedy Rules shares a curated history of Lynn's comic career, beginning with the Cambridge Footlights and running all the way to Hollywood. He shares his many on-screen successes including Yes, Minister; Yes, Prime Minister; Clue and My Cousin Vinny (a range that surprised me) as well as his marvellous theatre work. Crucially though, Lynn also presents his more notable failures as a writer, director and actor, explaining how these came to be wuth a refreshing dose of honesty.
This neatly dovetails into the rules as mentioned in the title. Rather than present them as commandments in one single section, Lynn drip feeds these into the main text. Some of them are standard fare for writing advice (i.e. keep writing, avoid reviews, polish your dialogue etc) but there are a lot of unique tips in this mix. My favourites are that good farce is masterfully structured, the best comedy comes from cardinal sins, a lead character shouldn't know they're funny, and one should employ 'treacle cutters' to end a solemn moment with an uplifting gag.
Most of all, I found Lynn's interpretation of the audience fascinating. They're essential to comedy so you need to get them onside immediately with a joke that hits at a truth they know personally, to follow absurd premises in a logical but not over-explanatory fashion and to ultimately tame their expectation. Now comedian's talking about 'dying on stage' or 'killing them' makes sense. A humorous spectacle is a kind of primal conflict: an audience can be ruthless if you don't know how to deflect their animosity and convince them you're not a victim but an ally.
This is a book that taught me more than it outwardly intended to. Whatever Lynn's intentions were, I'm pleased to have experienced his multifaceted relationship with fame and comedy. If this also sounds up your street and if you have ever enjoyed any of the aforementioned TV shows or films, I recommend picking up Comedy Rules.
I'll admit that, while I knew of Yes, Minister, I did not know the writers behind the show. Lynn is only half of a talented duo but his credentials are very impressive.
Comedy Rules shares a curated history of Lynn's comic career, beginning with the Cambridge Footlights and running all the way to Hollywood. He shares his many on-screen successes including Yes, Minister; Yes, Prime Minister; Clue and My Cousin Vinny (a range that surprised me) as well as his marvellous theatre work. Crucially though, Lynn also presents his more notable failures as a writer, director and actor, explaining how these came to be wuth a refreshing dose of honesty.
This neatly dovetails into the rules as mentioned in the title. Rather than present them as commandments in one single section, Lynn drip feeds these into the main text. Some of them are standard fare for writing advice (i.e. keep writing, avoid reviews, polish your dialogue etc) but there are a lot of unique tips in this mix. My favourites are that good farce is masterfully structured, the best comedy comes from cardinal sins, a lead character shouldn't know they're funny, and one should employ 'treacle cutters' to end a solemn moment with an uplifting gag.
Most of all, I found Lynn's interpretation of the audience fascinating. They're essential to comedy so you need to get them onside immediately with a joke that hits at a truth they know personally, to follow absurd premises in a logical but not over-explanatory fashion and to ultimately tame their expectation. Now comedian's talking about 'dying on stage' or 'killing them' makes sense. A humorous spectacle is a kind of primal conflict: an audience can be ruthless if you don't know how to deflect their animosity and convince them you're not a victim but an ally.
This is a book that taught me more than it outwardly intended to. Whatever Lynn's intentions were, I'm pleased to have experienced his multifaceted relationship with fame and comedy. If this also sounds up your street and if you have ever enjoyed any of the aforementioned TV shows or films, I recommend picking up Comedy Rules.
May 17, 2018
An excellent combination of autobiography, memoir and treatise on comedy. Conversational in tone and broken up with short chapters of 'rules' of comedy, it is easy to dip into and very rewarding. If you're a fan of some of his more obscure projects (e.g. the movie Clue), it's a good background on them as well.
November 25, 2024
Full of fascinating insights of Jonathan's life as an actor and director who was amongst the Cambridge Footlights tribe that brought forth Cleese and Chapman. And the rules are superb. Some apply to comedy across the board, which is what I was looking for as someone who still aspires to be Douglas Adams. Who aspired to be John Cleese. Who's eating this chicken? Etc. Etc.
July 16, 2021
Top comedy book - bought for insight into Cambridge Circus but there is so much more important history covered - such as the story behind Yes, Minister. Wise, amusing, and probably actually useful to those starting out in the entertainment industry.
May 5, 2021
One of my favourite books of all time on writing. Fun and easy to read.
May 5, 2020
Memoir and guide to becoming good at humour, before the humour police stepped in and ruined comedy in the 2010s.
July 19, 2016
At the very beginning of the book Mr Lynn advises us "not to read it like a comedy text book", although it definitely starts off like one. As I am unlikely ever to deal with film studios or demanding performers the tips in these areas are of purely academic interest. But they are interesting nonetheless, and they get funnier as the book progresses.
Where the book excels is as a memoir and some of these sections are hilarious. The contradictory nature of some of the rules highlights the challenges required in getting a production to work. Mr Lynn has a very dry wit, allowing the humour of his material to stand on it's own.
Overall, very funny and recommended to anyone interested in the process of getting a show going, at whatever level.
Where the book excels is as a memoir and some of these sections are hilarious. The contradictory nature of some of the rules highlights the challenges required in getting a production to work. Mr Lynn has a very dry wit, allowing the humour of his material to stand on it's own.
Overall, very funny and recommended to anyone interested in the process of getting a show going, at whatever level.
May 2, 2013
Lynn's reminiscences of his experiences during a time of great UK humour generation are worth the cover price, but we also get some practical, insightful exploration of how and why comedy works. Some of Lynn's rules are straightforward ('If the audience laughs, it's funny') while others are extremely shrewd. Well worthwhile.
March 22, 2016
The best part is the description of the creation of the Yes Minister and Yes Prime Minister series.
April 25, 2015
An excellent book if you want to get into writing comedy.
Displaying 1 - 13 of 13 reviews