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Be Funny or Die: How Comedy Works and Why It Matters
Comedy is a game that all humans play. There are big social prizes if you win, but it is easy to end up with custard pie on your face... or worse.
Comedy can soothe our pain, vent our anger, make us feel less alone and provide the answer to life’s most difficult questions, such as, ‘What do you call a man with a seagull on his head?’* It’s a social glue but it can also be divisive, and the joke is on us if we don’t understand how it works.
So, what are the rules? How does comedy do its magic and why does it matter? Join professional comedy writer Joel Morris on a hilarious journey into the hidden world of shared laughter where he reveals the mechanisms that make jokes work and what comedy can teach us about ourselves. Offering astute analysis of everything from stand-up to slapstick and sitcom to spoof, Morris examines comedic patterns, rhythms and dynamics to uncover the algorithms that secretly underpin comedy.
Packed with gags and examples of comedy at its best – plus some invaluable tips on how to master that b’dum tish timing – Be Funny or Die is a fascinating investigation into how our species has developed and mastered this essential art form where laughter is the universal language and only the funniest survive.
*Cliff.
Comedy can soothe our pain, vent our anger, make us feel less alone and provide the answer to life’s most difficult questions, such as, ‘What do you call a man with a seagull on his head?’* It’s a social glue but it can also be divisive, and the joke is on us if we don’t understand how it works.
So, what are the rules? How does comedy do its magic and why does it matter? Join professional comedy writer Joel Morris on a hilarious journey into the hidden world of shared laughter where he reveals the mechanisms that make jokes work and what comedy can teach us about ourselves. Offering astute analysis of everything from stand-up to slapstick and sitcom to spoof, Morris examines comedic patterns, rhythms and dynamics to uncover the algorithms that secretly underpin comedy.
Packed with gags and examples of comedy at its best – plus some invaluable tips on how to master that b’dum tish timing – Be Funny or Die is a fascinating investigation into how our species has developed and mastered this essential art form where laughter is the universal language and only the funniest survive.
*Cliff.
384 pages, Hardcover
First published March 6, 2024
31 people are currently reading
304 people want to read
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Displaying 1 - 30 of 49 reviews
March 1, 2024
4,5 ⭐️
Educational and entertaining, a great book for novices looking to learn about how comedy works but also for readers interested to dive into subjects of mechanics and theories about comedy. While analytical, the narration was still humorous as one expects of such topics. Audiobook was excellent.
*thanks to NetGalley and publisher for the copy of the book
Educational and entertaining, a great book for novices looking to learn about how comedy works but also for readers interested to dive into subjects of mechanics and theories about comedy. While analytical, the narration was still humorous as one expects of such topics. Audiobook was excellent.
*thanks to NetGalley and publisher for the copy of the book
March 28, 2024
The early chapters on neuroscience and so forth were not really for me and felt like something I'd already read in other books on comedy, but as soon as Joel Morris got onto character, the structure of jokes and plots and all the stuff he's so brilliant at pulling apart and illuminating on his podcasts, I loved this.
November 29, 2024
This should be required reading on every syllabus, and on every HR department's personal development courses. Utterly essential.
March 8, 2024
Be Funny or Die is NOT your casual comedy book that will leave you with a few light-hearted laughs and a brighter outlook on life. It is in fact instead a very serious (and sometimes not as serious) look at what makes comedy work, what makes it not work, and how the structure of comedy, be it on stage, in a show, or in a movie is what makes comedy work.
For my part, I think this could have easily be a 5-star read if I were 1. British (and understood all of the references) 2. a comedian myself. It was a bit too deep for me as merely a casual consumer of comedic efforts. I honestly kept thinking, "Gosh, I wonder what my comedy-performing friends would think of this. Could it help? Would it make them overthink things?"
The comedic patterns - especially the three Cs are fascinating for me from a sociological/psychological perspective - and he really does cover so much, I was impressed with the writing and incorporating of examples. The cover is also just outstanding!
Thanks to NetGalley for the advance copy of this book.
For my part, I think this could have easily be a 5-star read if I were 1. British (and understood all of the references) 2. a comedian myself. It was a bit too deep for me as merely a casual consumer of comedic efforts. I honestly kept thinking, "Gosh, I wonder what my comedy-performing friends would think of this. Could it help? Would it make them overthink things?"
The comedic patterns - especially the three Cs are fascinating for me from a sociological/psychological perspective - and he really does cover so much, I was impressed with the writing and incorporating of examples. The cover is also just outstanding!
Thanks to NetGalley for the advance copy of this book.
March 27, 2025
This is a comedy writer's guide to how humor is crafted. It's a bit popular psychology and a bit of a how-to guide. If one is expecting, because it's on comedy and humor, a book that is a laugh riot on every page, this isn't the book for you. That's not so say Morris doesn't pepper the book with witty commentary and humorous examples, but it's ultimately a book about how the sausage gets made and is, thus, somewhat analytic -- if in a readable style.
At the core of Morris's theory of comedy is a three-component structure: construct, confirm, and confound. Other major ideas are the fundamental tribalism of comedy and the connections between comedy and music. It wouldn't be a present-day book on comedy if there wasn't some discussion of the idea of offense and the "limits" of what can be said.
I can't say all of Morris's ideas found immediate resonance with me, but even when I didn't fully buy the argument, I did find the presentation thought-provoking. For example, I don't know that I buy Morris's argument about the importance of tribality to comedy. I do agree that one needs a common language and some overlap of experience, but all of humanity has a domain of overlap of experience. Yes, one may have an easier time the more extensive that overlap is, but ease doesn't necessarily mean one can't get big laughs from an audience whose worldviews and experience are radically different from one's own. [Of course, I may just be being overly sensitive as a traveler in a tribal world.]
For writers, the end of the book has a few chapters that are more about story than comedy - per se, and - while these chapters compare and contrast comedy and drama writing - they provide information useful to any writer engaged in storytelling.
I'd highly recommend this book for any readers interested in comedy writing, be it of standup material, scripts, or other content.
At the core of Morris's theory of comedy is a three-component structure: construct, confirm, and confound. Other major ideas are the fundamental tribalism of comedy and the connections between comedy and music. It wouldn't be a present-day book on comedy if there wasn't some discussion of the idea of offense and the "limits" of what can be said.
I can't say all of Morris's ideas found immediate resonance with me, but even when I didn't fully buy the argument, I did find the presentation thought-provoking. For example, I don't know that I buy Morris's argument about the importance of tribality to comedy. I do agree that one needs a common language and some overlap of experience, but all of humanity has a domain of overlap of experience. Yes, one may have an easier time the more extensive that overlap is, but ease doesn't necessarily mean one can't get big laughs from an audience whose worldviews and experience are radically different from one's own. [Of course, I may just be being overly sensitive as a traveler in a tribal world.]
For writers, the end of the book has a few chapters that are more about story than comedy - per se, and - while these chapters compare and contrast comedy and drama writing - they provide information useful to any writer engaged in storytelling.
I'd highly recommend this book for any readers interested in comedy writing, be it of standup material, scripts, or other content.
January 14, 2025
By a distance the best book about writing I’ve ever read. And I’ve read upwards of two chapters of Story by Robert McKee.
Read
April 30, 2024Joel Morris' name first lodged itself in my mind as co-author of the spoof Ladybirds for adults, and from there I've gradually realised how much British comedy over the past couple of decades has had him tinkering away in the background. And - a very mid-2020s thing to say of an author, this - his newsletter is absolutely brilliant, reliably analysing eg why a tarted up new version of Calvin & Hobbes has somehow contrived, with quite minor tweaks, to ruin strips that seemed immortal. So I had high hopes for this, especially after a launch event that emphatically worked as comedy in its own right. But what I should have remembered is that I have the sort of nitpicky mind that is almost incapable of buying into grand unified theories, and that while I may almost always think Morris is on the money as regards a specific piece of comedy, pronouncements about the whole form, however well argued (and they are) are always going to leave me suspicious, especially when grounded in ev psych. Not with any of the horrible -isms it sometimes brings in its train, I should emphasise - but right from the start, with the assertion that only humans do humour, I was cavilling (yes, it's true that laughter in the other apes seems to serve a different function, unless they've been socialised with humans - but horses definitely appreciate slapstick, and I'd want at least a mention of cephalopods and cetaceans). What follows is one of those frustrating theories that can explain everything if you choose to use that lens, rather than necessarily explaining everything - though it certainly does a better job of explaining more comedy than most alternatives, not least the theories proposed by lesser thinkers such as Plato, Aristotle or Freud.
Mention of lesser thinkers brings me naturally to the joyous section heading Some Immediately Dismissable Horseshit From Robert McKee. Because the back end of the book turns out to cover plot, story, the difference between the two, and the structure thereof. And again, while Morris undoubtedly has the edge on the likes of McKee, whenever I see any kind of advice like this, even if - especially when - it's this convincingly and amusingly presented, I just worry about the homogenising effect, how many middling screenplays are going to clog the pipes with this at their back, when what I'd more been hoping for from the closing sections was the subtitle's 'Why It Matters' interpreted along the lines of Morris' frequent, fervent, and very necessary defence of comedy in a time when not enough of it is happening. There are asides about the shortage of sketch shows lately, nods to the rise of dramedy and sadcom - but no full section of stirring theses to be nailed to commissioners' doors.
All the same, if you are writing something comic, and it's not quite there, you could certainly do a lot worse than read and inwardly digest this. Even if not, a lot of its individual analyses are fascinating reading, sometimes even in the smallest details, the ones not directly related to the topic; now Morris has said it, of course Daniel Craig wasn't playing the Daniel Craig James Bond in that sketch with the Queen! Or, in a discussion of references that are generationally locked, was Mrs Mangel really only in Neighbours for a year and a bit? Apparently so. You just have to remember not to let yourself be overtaken by Morris' CV and plausibility and accept it all uncritically. For instance, I was particularly sceptical when he discussed the difference between surrealist art and surreal comedy, and why we supposedly don't laugh at the former, without considering that at least in some instances this might be down to the atmosphere our culture so studiedly wraps around what has been deemed to be high art, rather than any intrinsic quality. Which is such an odd blind spot when he's normally the first one jabbing at the way drama gets more respect and money than comedy for entirely unfair and probably culturally damning reasons. But then I think that explains why I found bits of the book so frustrating. Morris' theory of comedy is partly about structure (there is a rule of three, but it's not the one you're thinking), but it's also about tribes, and as he notes, there's nothing more alienating than when comedy your mates love leaves you cold. So it's precisely because I had him down as one of us, because I usually am part of his assumed 'we', that I find myself so irked when he takes fairly infrequent wrong turnings.
May 12, 2025
“Unlike drama or ballet or sculpture, you know when you’ve made comedy: it’s when people laugh.”
I guess this book should die because it really wasn’t very funny.
That sounds harsh and I’ll be up front that I don’t think I was the target audience for this book. It wasn’t quite the type of book I was expecting going into it.
I’m a pretty hilarious person so the idea that I could become even funnier if I knew all the principles of comedy is what drew me to this book. While there were some decent things to learn here, it turns out I really don’t know much about comedy or at least in the pop culture world because there were very few references that I recognized. I don’t know if it was because they were British things or if I’m just so illiterate of the comedic world— which is actually very possible.
The Office and Nate Bargatze and some random SNL skits are probably the big rocks of my comedic knowledge.
And if that tells you— I probably shouldn’t care what this woman says about this book— you may very well be correct.
I’m not out to write a really good comedy script or do stand-up. I just wanted to become a better storyteller or joke-deliverer. However, my husband is tinkering with writing some sort of funny animated show and so what I did highlight in this book was mostly things that I thought may be helpful to him as he’s thinking through that.
This book felt very, very long (it’s 57 chapters; 364 pages). I think it would have been more effective if it was shorter. Sooooo much of it felt repetitive. We get it. Evolution and comedy make total sense (nope…) and nobody laughs if they’re in danger and comedy is about defining groups and making people feel safe and you need to confound them. But we don’t need like ten chapters of each thing.
Maybe it’s because I read it so sporadically and if I had read bigger chunks at a time it would have felt like it flowed better. The science of comedy and the evolutionary exploration was towards the beginning of the book and I was pretty ready to be done with that so I skimmed a large portion of the book. And then I skipped over probably the 60-80% section so I have no idea what was in there. I liked the last section better where it talked about characters.
I think I probably could have skipped the first 175 pages in general and been fine.
If you’re wondering, the book is split into 6 parts: Comedy is Human; Comedy is Music; Comedy is Us; Comedy is Character; Comedy is Story; …And the Punchline.
I think it’s interesting how hard evolutionary biologists have to work to make sense of the world. He points out how humans are the only animals that make jokes: “There is, as far as we know, no comedy in the animal kingdom.” And somehow they’re convinced that millions of years of evolving led to people (or whatever they would call them) to be like, let’s start laughing more and being hilarious so our tribe can survive more, I think that would be a good idea.
I’m not here to debate evolution, that’s for an argument for A Biblical Case Against Theistic Evolution, but when I read about people trying to explain certain things by way of evolution, it just makes me stand in more awe of a Creator. It just makes me appreciate and love God more that he created humans with the ability to laugh and the minds to create jokes and comedy, and that he created a way to lighten our spirits and bond with others and that’s really cool.
To give you a better sense of what kinds of things are in this book, here are some quotes. Some of them are pretty good. But just keep in mind, these are within the context of a really long book and you might get a whole chapter talking about just one of these quotes over and over again but just with different words (and some same words):
“[Comedy] can help declare our values, when we want to say who we are, or feel that identity is under threat. It can neutralise threats with absurdity. It can provide relief when we need cheering up. it can help us bond with friends. What makes us laugh is as much part of our identity as what makes us dance, or cry.”
���The feeling of bottled hysteria— the recognition of common values, the hint of transgression, the moment of relief, the warmth of ownership and intimacy, the sharing— is the pure essence of comedy.”
“Every transgressive, dark or shocking comedy is still meant to reassure, by testing the boundaries of our group values. Shock comedy can be a way of ‘othering’ nonmembers of the group whom we wish to test, or drive away, but every offensive joke that horrifies an outsider solidifies the in-group by contrast.”
“We laugh more readily and more often when we are in company, because laughter is intended to be a social act.”
“There is notable statistical bias towards prioritizing humour as a desriable trait in a potential partner by women…”
“Incongruity is expecting one thing and getting another. And that’s how comedy works… Comedy is a game that humans play, which challenges other humans to guess what is coming next.”
“different sorts of jokes, such as puns, seem to light up different parts of your brain, which is a fascinating idea.”
… a summation of the essential elements required to make comedy might be listed simply as 1) Expectation 2) Surprise 3) Relief.”
“Comedy might be seen as the silly relation of the finer storytelling arts, but it gives your brain more extreme mental exercise, faster, than almost anything else. And that is really good for you.”
“What I think comedy has, at its best, is not truth, but clarity. And that’s because it is an art form that relies for its effects on balance, mirroring, symmetry, rhythm, contrast, pace, harmony, juxtaposition, and surprise.”
“Here are your three keys: 1. Construct (Interesting…) 2. Confirm (Of course… as I expected) 3. Confound (Hey!)”
“Character needs to be established quickly, and then we relax, and look for pattern matches.”
“Comedy is always the art of reading the room. Comedy has become a very different beast on social media in recent years, precisely because the difficulties of defining that room.”
“The common features of a joke are that: it plays games of expectation and surprise using our pattern-detecting system, it returns us to a safe state, which we may indicate to others with laughter, and it forms or reasserts a social bond within a group.”
“There’s an old comedy writer’s trick that your ensemble of characters is only ready for use when you know instantly how every one of them would react to the same stimulus.”
“If characters change, or obfuscate their motives from the audience, that’s getting dangerously close to drama.”
“Comedy isn’t meant to make everyone laugh at the same things. It’s meant to divide us, and delight us, to appeal to niche audiences. it’s not mean to bring the world together in harmony to laugh at the ultimate joke that tickles us all equally. It’s meant to gather us in small tribes, under the flag of whatever joke we, and only we, like best.”
Recommendation
If you are in the business of or would like to be in the business of stand-up comedy or writing comedy, you might find this book helpful.
If you want to know how many obscure comedy moments you know about, this might be the perfect test.
If you just want to be the life of the party, you probably don’t have the stamina for this book.
This book is for a very niche audience and I cannot tell you if that’s you. You must look deep inside yourself, all the way into your funny bone, and see if these words are written on its heart.
If that sounds dumb to you, you probably would actually like this book.
Anyway, why am I still rambling on… I don’t have much to contribute to this situation.
[Content Advisory: 5 f-words, 12 s-words]
**Received an ARC via NetGalley— also I thought this was a new release because it was on NetGalley but turns out it was published in March 2024**
Book Review Blog | Facebook | Pinterest | StoryGraph
I guess this book should die because it really wasn’t very funny.
That sounds harsh and I’ll be up front that I don’t think I was the target audience for this book. It wasn’t quite the type of book I was expecting going into it.
I’m a pretty hilarious person so the idea that I could become even funnier if I knew all the principles of comedy is what drew me to this book. While there were some decent things to learn here, it turns out I really don’t know much about comedy or at least in the pop culture world because there were very few references that I recognized. I don’t know if it was because they were British things or if I’m just so illiterate of the comedic world— which is actually very possible.
The Office and Nate Bargatze and some random SNL skits are probably the big rocks of my comedic knowledge.
And if that tells you— I probably shouldn’t care what this woman says about this book— you may very well be correct.
I’m not out to write a really good comedy script or do stand-up. I just wanted to become a better storyteller or joke-deliverer. However, my husband is tinkering with writing some sort of funny animated show and so what I did highlight in this book was mostly things that I thought may be helpful to him as he’s thinking through that.
This book felt very, very long (it’s 57 chapters; 364 pages). I think it would have been more effective if it was shorter. Sooooo much of it felt repetitive. We get it. Evolution and comedy make total sense (nope…) and nobody laughs if they’re in danger and comedy is about defining groups and making people feel safe and you need to confound them. But we don’t need like ten chapters of each thing.
Maybe it’s because I read it so sporadically and if I had read bigger chunks at a time it would have felt like it flowed better. The science of comedy and the evolutionary exploration was towards the beginning of the book and I was pretty ready to be done with that so I skimmed a large portion of the book. And then I skipped over probably the 60-80% section so I have no idea what was in there. I liked the last section better where it talked about characters.
I think I probably could have skipped the first 175 pages in general and been fine.
If you’re wondering, the book is split into 6 parts: Comedy is Human; Comedy is Music; Comedy is Us; Comedy is Character; Comedy is Story; …And the Punchline.
I think it’s interesting how hard evolutionary biologists have to work to make sense of the world. He points out how humans are the only animals that make jokes: “There is, as far as we know, no comedy in the animal kingdom.” And somehow they’re convinced that millions of years of evolving led to people (or whatever they would call them) to be like, let’s start laughing more and being hilarious so our tribe can survive more, I think that would be a good idea.
I’m not here to debate evolution, that’s for an argument for A Biblical Case Against Theistic Evolution, but when I read about people trying to explain certain things by way of evolution, it just makes me stand in more awe of a Creator. It just makes me appreciate and love God more that he created humans with the ability to laugh and the minds to create jokes and comedy, and that he created a way to lighten our spirits and bond with others and that’s really cool.
To give you a better sense of what kinds of things are in this book, here are some quotes. Some of them are pretty good. But just keep in mind, these are within the context of a really long book and you might get a whole chapter talking about just one of these quotes over and over again but just with different words (and some same words):
“[Comedy] can help declare our values, when we want to say who we are, or feel that identity is under threat. It can neutralise threats with absurdity. It can provide relief when we need cheering up. it can help us bond with friends. What makes us laugh is as much part of our identity as what makes us dance, or cry.”
���The feeling of bottled hysteria— the recognition of common values, the hint of transgression, the moment of relief, the warmth of ownership and intimacy, the sharing— is the pure essence of comedy.”
“Every transgressive, dark or shocking comedy is still meant to reassure, by testing the boundaries of our group values. Shock comedy can be a way of ‘othering’ nonmembers of the group whom we wish to test, or drive away, but every offensive joke that horrifies an outsider solidifies the in-group by contrast.”
“We laugh more readily and more often when we are in company, because laughter is intended to be a social act.”
“There is notable statistical bias towards prioritizing humour as a desriable trait in a potential partner by women…”
“Incongruity is expecting one thing and getting another. And that’s how comedy works… Comedy is a game that humans play, which challenges other humans to guess what is coming next.”
“different sorts of jokes, such as puns, seem to light up different parts of your brain, which is a fascinating idea.”
… a summation of the essential elements required to make comedy might be listed simply as 1) Expectation 2) Surprise 3) Relief.”
“Comedy might be seen as the silly relation of the finer storytelling arts, but it gives your brain more extreme mental exercise, faster, than almost anything else. And that is really good for you.”
“What I think comedy has, at its best, is not truth, but clarity. And that’s because it is an art form that relies for its effects on balance, mirroring, symmetry, rhythm, contrast, pace, harmony, juxtaposition, and surprise.”
“Here are your three keys: 1. Construct (Interesting…) 2. Confirm (Of course… as I expected) 3. Confound (Hey!)”
“Character needs to be established quickly, and then we relax, and look for pattern matches.”
“Comedy is always the art of reading the room. Comedy has become a very different beast on social media in recent years, precisely because the difficulties of defining that room.”
“The common features of a joke are that: it plays games of expectation and surprise using our pattern-detecting system, it returns us to a safe state, which we may indicate to others with laughter, and it forms or reasserts a social bond within a group.”
“There’s an old comedy writer’s trick that your ensemble of characters is only ready for use when you know instantly how every one of them would react to the same stimulus.”
“If characters change, or obfuscate their motives from the audience, that’s getting dangerously close to drama.”
“Comedy isn’t meant to make everyone laugh at the same things. It’s meant to divide us, and delight us, to appeal to niche audiences. it’s not mean to bring the world together in harmony to laugh at the ultimate joke that tickles us all equally. It’s meant to gather us in small tribes, under the flag of whatever joke we, and only we, like best.”
Recommendation
If you are in the business of or would like to be in the business of stand-up comedy or writing comedy, you might find this book helpful.
If you want to know how many obscure comedy moments you know about, this might be the perfect test.
If you just want to be the life of the party, you probably don’t have the stamina for this book.
This book is for a very niche audience and I cannot tell you if that’s you. You must look deep inside yourself, all the way into your funny bone, and see if these words are written on its heart.
If that sounds dumb to you, you probably would actually like this book.
Anyway, why am I still rambling on… I don’t have much to contribute to this situation.
[Content Advisory: 5 f-words, 12 s-words]
**Received an ARC via NetGalley— also I thought this was a new release because it was on NetGalley but turns out it was published in March 2024**
Book Review Blog | Facebook | Pinterest | StoryGraph
May 23, 2025
There's something nice about having someone who's very good at doing something tell you about how they FEEL that thing works (with some science but more conjecture)
April 27, 2025
fine, but about 100 pages too long
October 7, 2024
Q. What do you call a book that goes into repetitive, needlessly granular detail again and again and again?
A. To get to the other side.
EDIT: had more of a think, and need to clarify. There are some BRILLIANT points in this book, illustrated perfectly by excellent comedy examples, almost all of which I adore. Just felt it missed the mark by, well, completely obliterating the mark over and over again. But yeah, that review above was unfair.
A. To get to the other side.
EDIT: had more of a think, and need to clarify. There are some BRILLIANT points in this book, illustrated perfectly by excellent comedy examples, almost all of which I adore. Just felt it missed the mark by, well, completely obliterating the mark over and over again. But yeah, that review above was unfair.
June 8, 2024
Really enjoyed this, however if felt like the chapters got shorter as you went on. As if even Morris was running out of things to say. Some points started to get repeated more as a result and after the halfway point there’s little new being said.
But the book gives a fantastic insight into comedy and the structure of jokes. I took a lot from it, and it’s also very funny itself.
But the book gives a fantastic insight into comedy and the structure of jokes. I took a lot from it, and it’s also very funny itself.
February 23, 2024
AUDIO EDITION 9h 3m Available March 6, 2024
The title pretty much summarizes the book. That said, it wasn't quite what I was expecting but was an interesting read nevertheless. Narrated by author Joel Morris, the narrative flowed and I felt like Morris was sitting across from me and simply chatting as he shared his experiences and thoughts. Chapters were simply announced and the narration carried on. Since, as is my usual custom with audio editions, I listened while driving or doing everyday things, I'm sure I probably missed some of the nuances, especially since I only scribbled a few notes to myself. I will admit that there were times when I felt like I was going into info overload, but then he'd move right along and I'd find myself right back into the flow.
Although the names used weren't always familiar, it was easy to see where they fit into the whole, that comedy is a universal language. I haven't done so yet but the section on Robin Williams laughing and telling jokes to a giant ape who knew sign language has me ready to do some internet digging in the near future. The question of whether animals share our need and love of humor was definitely intriguing. Morris also brought back fond memories of the late Queen Elizabeth's foray into comedy. Remember her short video with "James Bond", ie Daniel Craig? Just as the graphic of the late Queen hand-in-hand with Paddington Bear was utilized as a sort of universal sharing of grief, it also brought back memories of the very regal Queen sharing lunch and the secret of her always present purse with Paddington. That's part of the humor process Morris discusses, btw, the unexpectedness of it all.
That's the focus of the book. What works and doesn't work. More importantly, reasons why. Rather than being a guide to budding comedians, however, this is more a look at the comedy genre. As such, it all became a bit too much for me at times but was ultimately intriguing. Much of the advice that can be mined within is probably obvious, like know your audience, timing, expectations, and pace. But it also talks about what makes comedy duos work, heck, trios or groups. Thinking about the examples used, it all made sense, even as I was driving down a snowy highway while listening to that section. Oh, the potential comedy of a snowy highway. So, if you're looking for an in depth look at being funny, this is the book for you. It won't tell you how to be funny but you'll better understand why you find some things funny and, well, others not. We've all been there. That joke that makes everyone but you in the room roar while you muster a bewildered smile.
Bottom line, while this book offered me more than I wanted to know at times, overall I found it quite interesting. As a narrator, I loved Morris' British accent. And, hey,speaking of Brits, his comment about the late John Lennon once saying that if he hadn't been a Beatle, he'd have loved to be part of the Goons comedy troupe. Humor really is a universal language, just as music is, notes Morris. I'm rating this a four star since it wasn't quite a perfect fit for me but, honestly, for those desiring an in depth look at "how comedy works and why it matters", this is easily a five plus.Thanks #NetGalley and #DreamscapeMedia for sharing an early listen that gave me some laughs and grins as well as made me think. Also, thanks to the author for the solid citations.
The title pretty much summarizes the book. That said, it wasn't quite what I was expecting but was an interesting read nevertheless. Narrated by author Joel Morris, the narrative flowed and I felt like Morris was sitting across from me and simply chatting as he shared his experiences and thoughts. Chapters were simply announced and the narration carried on. Since, as is my usual custom with audio editions, I listened while driving or doing everyday things, I'm sure I probably missed some of the nuances, especially since I only scribbled a few notes to myself. I will admit that there were times when I felt like I was going into info overload, but then he'd move right along and I'd find myself right back into the flow.
Although the names used weren't always familiar, it was easy to see where they fit into the whole, that comedy is a universal language. I haven't done so yet but the section on Robin Williams laughing and telling jokes to a giant ape who knew sign language has me ready to do some internet digging in the near future. The question of whether animals share our need and love of humor was definitely intriguing. Morris also brought back fond memories of the late Queen Elizabeth's foray into comedy. Remember her short video with "James Bond", ie Daniel Craig? Just as the graphic of the late Queen hand-in-hand with Paddington Bear was utilized as a sort of universal sharing of grief, it also brought back memories of the very regal Queen sharing lunch and the secret of her always present purse with Paddington. That's part of the humor process Morris discusses, btw, the unexpectedness of it all.
That's the focus of the book. What works and doesn't work. More importantly, reasons why. Rather than being a guide to budding comedians, however, this is more a look at the comedy genre. As such, it all became a bit too much for me at times but was ultimately intriguing. Much of the advice that can be mined within is probably obvious, like know your audience, timing, expectations, and pace. But it also talks about what makes comedy duos work, heck, trios or groups. Thinking about the examples used, it all made sense, even as I was driving down a snowy highway while listening to that section. Oh, the potential comedy of a snowy highway. So, if you're looking for an in depth look at being funny, this is the book for you. It won't tell you how to be funny but you'll better understand why you find some things funny and, well, others not. We've all been there. That joke that makes everyone but you in the room roar while you muster a bewildered smile.
Bottom line, while this book offered me more than I wanted to know at times, overall I found it quite interesting. As a narrator, I loved Morris' British accent. And, hey,speaking of Brits, his comment about the late John Lennon once saying that if he hadn't been a Beatle, he'd have loved to be part of the Goons comedy troupe. Humor really is a universal language, just as music is, notes Morris. I'm rating this a four star since it wasn't quite a perfect fit for me but, honestly, for those desiring an in depth look at "how comedy works and why it matters", this is easily a five plus.Thanks #NetGalley and #DreamscapeMedia for sharing an early listen that gave me some laughs and grins as well as made me think. Also, thanks to the author for the solid citations.
May 16, 2024
Thanks to the publisher and Netgalley for the eARC (in audiobook format).
In the world of comedy, where the line between a belly laugh and a groan can be as thin as a tightrope, Joel Morris’s “Be Funny or Die” emerges as a seminal work that not only walks this line with grace but also invites us to join him on the wire.
Morris, a seasoned comedy writer with a repertoire that includes collaborations with Charlie Brooker and contributions to the Paddington films, embarks on a quest to dissect the frog of comedy without killing it—a task many would deem quixotic. Yet, through his narrative, he achieves the seemingly impossible: he makes the analysis of comedy not just palatable but downright enjoyable.
The book opens with a promise bold enough to pique the interest of any comedy aficionado: to reveal the secret of comedy itself. And while many might guess ‘timing,’ Morris delves deeper into the psychology and sociology behind why we laugh and the importance of triggering that response in others. He navigates through the evolutionary origins of laughter and the role comedy plays in exploring social conventions, all while maintaining a tone that is both scholarly and accessible.
“Be Funny or Die” is not just a collection of humorous anecdotes or a how-to guide on crafting the perfect punchline. It is an exploration of comedy as an art form, a social commentary, and a psychological study.
Morris argues that comedy’s divisiveness is not a flaw but a feature, providing social cohesion within tribes while simultaneously acting as a battleground in the culture wars.
The book shines brightest when Morris applies his theoretical framework to practical examples, illustrating the ‘rule of three’ or, as he puts it, Construct, Confirm, and Confound. This golden maxim is the backbone of the book, providing a structure that is both enlightening and entertaining.
Narrated by Morris himself, the audiobook adds an extra layer of authenticity and engagement. His voice conveys the nuances of his writing, making the experience akin to attending a masterclass with the author.
“Be Funny or Die” is a must-read for anyone interested in the mechanics of humor, the intricacies of comedic writing, or simply the joy of laughter. It is a book that will not only teach you the ‘b’dum tish’ timing but also why it resonates with us on a fundamental level. Morris has crafted a work that is educational, entertaining, and, most importantly, funny—a triumphant exploration of why comedy truly matters.
⭐️⭐️⭐️⭐️⭐️ A five-star journey into the heart of comedy that will leave you enlightened, engaged, and chuckling
In the world of comedy, where the line between a belly laugh and a groan can be as thin as a tightrope, Joel Morris’s “Be Funny or Die” emerges as a seminal work that not only walks this line with grace but also invites us to join him on the wire.
Morris, a seasoned comedy writer with a repertoire that includes collaborations with Charlie Brooker and contributions to the Paddington films, embarks on a quest to dissect the frog of comedy without killing it—a task many would deem quixotic. Yet, through his narrative, he achieves the seemingly impossible: he makes the analysis of comedy not just palatable but downright enjoyable.
The book opens with a promise bold enough to pique the interest of any comedy aficionado: to reveal the secret of comedy itself. And while many might guess ‘timing,’ Morris delves deeper into the psychology and sociology behind why we laugh and the importance of triggering that response in others. He navigates through the evolutionary origins of laughter and the role comedy plays in exploring social conventions, all while maintaining a tone that is both scholarly and accessible.
“Be Funny or Die” is not just a collection of humorous anecdotes or a how-to guide on crafting the perfect punchline. It is an exploration of comedy as an art form, a social commentary, and a psychological study.
Morris argues that comedy’s divisiveness is not a flaw but a feature, providing social cohesion within tribes while simultaneously acting as a battleground in the culture wars.
The book shines brightest when Morris applies his theoretical framework to practical examples, illustrating the ‘rule of three’ or, as he puts it, Construct, Confirm, and Confound. This golden maxim is the backbone of the book, providing a structure that is both enlightening and entertaining.
Narrated by Morris himself, the audiobook adds an extra layer of authenticity and engagement. His voice conveys the nuances of his writing, making the experience akin to attending a masterclass with the author.
“Be Funny or Die” is a must-read for anyone interested in the mechanics of humor, the intricacies of comedic writing, or simply the joy of laughter. It is a book that will not only teach you the ‘b’dum tish’ timing but also why it resonates with us on a fundamental level. Morris has crafted a work that is educational, entertaining, and, most importantly, funny—a triumphant exploration of why comedy truly matters.
⭐️⭐️⭐️⭐️⭐️ A five-star journey into the heart of comedy that will leave you enlightened, engaged, and chuckling
February 25, 2024
This book was a lot of fun! (No pun intended.) Haha.
I wasn't really sure what I was getting into when I requested this book. I think I was maybe picturing something between a David Sedaris book and Justin Halpern's "Sh!t My Dad Says."
It was neither of those things.
Instead, it was an interesting, informative book about why we need comedy, the circumstances under which comedy can be successful, how we use comedy to cement ourselves within our tribes, and how to be successful as a comedian.
Of course, being written by a funny man, it had plenty of humor, as well. (It also references many of the best comedies, sketches, performances, etc. of all time -- which was awesome because it gave me a new list of things to check out.) I actually found this book to be really educational. I, myself, am not a comedian or an aspiring comedian. However, I AM a writer. And there was plenty of stuff in this book to benefit me, so I can only imagine how informative it would be for a legitimate comedian.
The book was about 75% anecdotal, 15% pop culture-inspired, and 10% research- and scientific-based factual information. Whether you simply enjoy a good comedy show or are an aspiring funny man (or woman) yourself, I highly recommend giving it a listen.
As for the audio aspects of the book (which is how I "read" it), no complaints. It was read by the author himself, and that always makes a book better for me. When the author reads his or her own work, I feel like you really get to experience it the way they intended. It was also clear, perfectly paced, and had noticeable errors or problems.
All-in-all, this was easily a 4-star book, and I say that as someone who mostly reads fantasy, horror, and true crime. So if you're actually into this kind of stuff, you'd probably love it.
I wasn't really sure what I was getting into when I requested this book. I think I was maybe picturing something between a David Sedaris book and Justin Halpern's "Sh!t My Dad Says."
It was neither of those things.
Instead, it was an interesting, informative book about why we need comedy, the circumstances under which comedy can be successful, how we use comedy to cement ourselves within our tribes, and how to be successful as a comedian.
Of course, being written by a funny man, it had plenty of humor, as well. (It also references many of the best comedies, sketches, performances, etc. of all time -- which was awesome because it gave me a new list of things to check out.) I actually found this book to be really educational. I, myself, am not a comedian or an aspiring comedian. However, I AM a writer. And there was plenty of stuff in this book to benefit me, so I can only imagine how informative it would be for a legitimate comedian.
The book was about 75% anecdotal, 15% pop culture-inspired, and 10% research- and scientific-based factual information. Whether you simply enjoy a good comedy show or are an aspiring funny man (or woman) yourself, I highly recommend giving it a listen.
As for the audio aspects of the book (which is how I "read" it), no complaints. It was read by the author himself, and that always makes a book better for me. When the author reads his or her own work, I feel like you really get to experience it the way they intended. It was also clear, perfectly paced, and had noticeable errors or problems.
All-in-all, this was easily a 4-star book, and I say that as someone who mostly reads fantasy, horror, and true crime. So if you're actually into this kind of stuff, you'd probably love it.
April 24, 2024
Incredible.
As a writer of novels that blend crime and comedy I've done my fair share of reading of books on plot and writing theory but have always found that books on comedy weren't really about comedy. They tended to be about how to become a standup.
As a result it was refreshing to read something from someone who, like me, professes no desire to do that. Safe behind our keyboards we want to see how the story works and how the comedy works and make it better.
Joel Morris has written one of the only two books I've ever read on the subject of comedy that actually nailed down how comedy works and why it works (and sometimes doesn't). He covers the neuroscience of comedy, reveals why (as I've always said) comedy is more difficult to write than any other genre and, crucially, how to make it less difficult.
I backed the crowdfund for the book so have been looking forward to getting it in my hands for a long time and it was entirely worth the wait, a genuine treasure-trove of advice that comes from having actually done it that is constructed in a way that renders it a) impossible not to laugh at the book and b) impossible not to constantly take away actual examples of how to make your comedy writing better no matter what type of comedy you write.
Whether you are someone who is curious how comedy works or a seasoned writer, this book will fascinate and entertain you.
As a writer of novels that blend crime and comedy I've done my fair share of reading of books on plot and writing theory but have always found that books on comedy weren't really about comedy. They tended to be about how to become a standup.
As a result it was refreshing to read something from someone who, like me, professes no desire to do that. Safe behind our keyboards we want to see how the story works and how the comedy works and make it better.
Joel Morris has written one of the only two books I've ever read on the subject of comedy that actually nailed down how comedy works and why it works (and sometimes doesn't). He covers the neuroscience of comedy, reveals why (as I've always said) comedy is more difficult to write than any other genre and, crucially, how to make it less difficult.
I backed the crowdfund for the book so have been looking forward to getting it in my hands for a long time and it was entirely worth the wait, a genuine treasure-trove of advice that comes from having actually done it that is constructed in a way that renders it a) impossible not to laugh at the book and b) impossible not to constantly take away actual examples of how to make your comedy writing better no matter what type of comedy you write.
Whether you are someone who is curious how comedy works or a seasoned writer, this book will fascinate and entertain you.
March 5, 2024
Review of “Be Funny or Die” by Joel Morris
Disclaimer: Please note that I received an ARC audiobook copy of this book from NetGalley and The Dreamscape Team, in exchange for an honest and unbiased review.
⭐⭐⭐⭐⭐
“Be Funny or Die” by Joel Morris, narrated by the author himself, is a riotous journey into the world of comedy.
Whether you’re a writer, creator, or aspiring comedian, this audiobook is a goldmine of wisdom. I was pleasantly surprised by how insightful it was, even beyond the realm of comedy. Morris effortlessly blends humor with education, making learning about comedic beats and rhythms an absolute blast.
Throughout the audiobook, Morris breaks down the nuts and bolts of comedy, from stand-up to sitcoms, revealing the hidden mechanisms behind what makes us laugh. With plenty of jokes and examples, “Be Funny or Die” not only entertains but also teaches practical tips on mastering comedic timing and understanding the essence of humor.
In short, “Be Funny or Die” is a must-listen for anyone who loves to laugh. Whether you’re a seasoned comedian or just someone who enjoys a good chuckle, this audiobook offers an eye-opening exploration into the power of humor. It’s educational, entertaining, and downright hilarious – a definite five-star gem.
Disclaimer: Please note that I received an ARC audiobook copy of this book from NetGalley and The Dreamscape Team, in exchange for an honest and unbiased review.
⭐⭐⭐⭐⭐
“Be Funny or Die” by Joel Morris, narrated by the author himself, is a riotous journey into the world of comedy.
Whether you’re a writer, creator, or aspiring comedian, this audiobook is a goldmine of wisdom. I was pleasantly surprised by how insightful it was, even beyond the realm of comedy. Morris effortlessly blends humor with education, making learning about comedic beats and rhythms an absolute blast.
Throughout the audiobook, Morris breaks down the nuts and bolts of comedy, from stand-up to sitcoms, revealing the hidden mechanisms behind what makes us laugh. With plenty of jokes and examples, “Be Funny or Die” not only entertains but also teaches practical tips on mastering comedic timing and understanding the essence of humor.
In short, “Be Funny or Die” is a must-listen for anyone who loves to laugh. Whether you’re a seasoned comedian or just someone who enjoys a good chuckle, this audiobook offers an eye-opening exploration into the power of humor. It’s educational, entertaining, and downright hilarious – a definite five-star gem.
April 16, 2024
Four and a half stars.
This was a deeply satisfying read. I paid it the highest compliment-- I listened on regular speed, rather than speeding up playback, because I wanted to savor it.
Part of the pleasure was remembering old (and not so old) comedy shows that Morris uses to illustrate points about how comedy works. The list is heavy on UK entries, as I expected – Fawlty Towers, The Good Life, Only Fools and Horses, Dad’s Army-- but also included Peanuts, The Simpsons, South Park, Frasier, and Friends, among many others. Even Star Trek and the Beatles get a tiny little mention, illustrating the comedic archetypes of Matriarch, Patriarch, Craftsman, and Clown.
Morris makes a case for eschewing “dangerous” comedy in favor of inclusion. The laugh, he says, always comes when the audience feels safe, never when they feel off balance. He uses this to counter the oft heard 21st century complaint “You can’t say anything any more!”
While describing what comedy is, and what makes it work, he also tells us what makes a good story, and provides a lot of great advice for would be writers, comedic or otherwise.
Recommended for anyone with an interest in the structure of comedy, and what makes it effective.
April 1, 2024
This is a book about writing comedy, but more than that, it's about writing in general. Comedy writers really, truly understand pace. They live and die by it, because audiences expect comedy beats to come at them, thick and fast. Morris knows this – has clearly spent a lot of time really THINKING about it – and as a result has written a truly useful book for all writers, comedy or not.
I stayed up until 2am one night finishing this because I simply didn't want to put it down. I don't think that's happened to me with any non-fiction book before – it's certainly never happened with a book about writing before – and it speaks volumes about Morris's skill and knowledge. There were so many 'oh, I see!' moments, both while reading and later, as I found myself spotting everything Morris describes in every half-decent novel, story, radio drama, film or television show I've come across in the following weeks. If you're a writer, you should read this, and if you're a comedy writer, you should read this twice. And then make all your friends read it.
I stayed up until 2am one night finishing this because I simply didn't want to put it down. I don't think that's happened to me with any non-fiction book before – it's certainly never happened with a book about writing before – and it speaks volumes about Morris's skill and knowledge. There were so many 'oh, I see!' moments, both while reading and later, as I found myself spotting everything Morris describes in every half-decent novel, story, radio drama, film or television show I've come across in the following weeks. If you're a writer, you should read this, and if you're a comedy writer, you should read this twice. And then make all your friends read it.
March 3, 2025
*thank you to NetGalley and the publishing team for a free advanced reader copy in exchange for an honest review*
As one of the humans that did not evolve to be funnier or read the room better, I really appreciated this. I thought the idea of breaking down the science and philosophy of comedy was quite a hot take. I am always in search of what book can make me better, faster, more beautiful, and/or more funny. So this really spoke to me. I scanned these pages through my robot brain. After tabulating the results I have determined: I shall die.
I thought this book was really fantastic. It did have many things that I enjoyed. In my opinion, the writing came from a more scientific than comedic angle. I also frequently didn't understand the headings of the sections, and it made it difficult to go back and reference things. I also thought this could have called a few pages .
Don't throw your tomatoes yet! I
My critiques are pretty nitpicky. I'd give it 3.5 rounded up. Just be prepared to buckle in for a long intellectual journey.
As one of the humans that did not evolve to be funnier or read the room better, I really appreciated this. I thought the idea of breaking down the science and philosophy of comedy was quite a hot take. I am always in search of what book can make me better, faster, more beautiful, and/or more funny. So this really spoke to me. I scanned these pages through my robot brain. After tabulating the results I have determined: I shall die.
I thought this book was really fantastic. It did have many things that I enjoyed. In my opinion, the writing came from a more scientific than comedic angle. I also frequently didn't understand the headings of the sections, and it made it difficult to go back and reference things. I also thought this could have called a few pages .
Don't throw your tomatoes yet! I
My critiques are pretty nitpicky. I'd give it 3.5 rounded up. Just be prepared to buckle in for a long intellectual journey.
July 23, 2025
This review refers to the audiobook, read by the author.
This is an enlightening book written by a master of his craft in which he attempts to dissect both the structure of comedy and its importance. In both matters he does an excellent job, particularly as to how comedy functions as a social structure: giving the all clear to a tribe, allowing its members to relax. I found this tribal nature of comedy very interesting, especially as to how a joke by its very nature almost always 'others' somebody. (I had a school friend - a very funny guy - who delighted in making up non-sequitur jokes that were intrinsically unfunny and then watching people laugh at them before asking them why they found the joke funny. It was cruel but hysterical if you were in on the jape.)
The various rules given such as 'Construct, Confirm, Confound', the 'Family of Four' and the 'But & Then but never And' were enlightening and, as the author himself declares, do not lessen one's reaction to comedy but can increase your enjoyment.
This is an enlightening book written by a master of his craft in which he attempts to dissect both the structure of comedy and its importance. In both matters he does an excellent job, particularly as to how comedy functions as a social structure: giving the all clear to a tribe, allowing its members to relax. I found this tribal nature of comedy very interesting, especially as to how a joke by its very nature almost always 'others' somebody. (I had a school friend - a very funny guy - who delighted in making up non-sequitur jokes that were intrinsically unfunny and then watching people laugh at them before asking them why they found the joke funny. It was cruel but hysterical if you were in on the jape.)
The various rules given such as 'Construct, Confirm, Confound', the 'Family of Four' and the 'But & Then but never And' were enlightening and, as the author himself declares, do not lessen one's reaction to comedy but can increase your enjoyment.
February 21, 2024
Full disclosure, I heard Charlie Brooker was a patron and I was invested.
Be Funny or Die is a fantastic exploration into the world of comedy and what makes it tick, where it comes from how and who. (Also, I believe the author and narrator Joel Morris wrote for Philomena Cunk, so I knew this would be my jam)
I love the analogy of the personal comedy landscape being architecture that a person can enjoy without necessarily liking the architects
Morris writes like you are chatting with your best friend. A very smart, entertaining and witty friend. the type who chats away to you and then produces a saurated rubber chicken out of nowhere and yeets it squealing through the air at you
Morris has the perfect voice for narration, it keeps the listener gripped and keen to hear more. Very interesting and a lot of fun
Lol - Wabsnazum. Iykyk
Thank you to Netgalley, Dreamscape Media and Joel Morris for this fantastic ALC. My review is left voluntarily and all opinions are my own
Be Funny or Die is a fantastic exploration into the world of comedy and what makes it tick, where it comes from how and who. (Also, I believe the author and narrator Joel Morris wrote for Philomena Cunk, so I knew this would be my jam)
I love the analogy of the personal comedy landscape being architecture that a person can enjoy without necessarily liking the architects
Morris writes like you are chatting with your best friend. A very smart, entertaining and witty friend. the type who chats away to you and then produces a saurated rubber chicken out of nowhere and yeets it squealing through the air at you
Morris has the perfect voice for narration, it keeps the listener gripped and keen to hear more. Very interesting and a lot of fun
Lol - Wabsnazum. Iykyk
Thank you to Netgalley, Dreamscape Media and Joel Morris for this fantastic ALC. My review is left voluntarily and all opinions are my own
May 9, 2024
A comprehensive book about what is funny, and what funny is. Starting with some deep stuff on how our brains work and why evolution may prefer humans with a sense of humour, it casts a curious eye at some of the most well-known (British) comedies and comedians to see what the aspiring funnyperson can learn from them.
We also get a look at the darker side of humour's purpose, and some absolutely rock solid tips on better writing in general and better humourous writing in particular.
I loved the style this was written in, and it's generously interspersed with snippets of humour taken from the world's (or at least British) best practitioners.
A great read for anyone who likes a laugh, indispensable for anyone who wants to write for laughs.
We also get a look at the darker side of humour's purpose, and some absolutely rock solid tips on better writing in general and better humourous writing in particular.
I loved the style this was written in, and it's generously interspersed with snippets of humour taken from the world's (or at least British) best practitioners.
A great read for anyone who likes a laugh, indispensable for anyone who wants to write for laughs.
September 22, 2025
(3.5 rounded down)
There were some interesting ideas in this book about the structure and purpose of comedy but they were all repeated ad nauseum. It felt like I was fed the same point over and over again. This book could have been half as long as it is and not lost any substance. And if it were shorter, I'm sure I would have rated it higher. So maybe if you are willing to skim, you will like it better than I did.
And there are just not enough jokes! There are references to various shows which, unless you are familiar with both British and American shows, will work for you about half of the time (probably a bit less if you are American).
There were some interesting ideas in this book about the structure and purpose of comedy but they were all repeated ad nauseum. It felt like I was fed the same point over and over again. This book could have been half as long as it is and not lost any substance. And if it were shorter, I'm sure I would have rated it higher. So maybe if you are willing to skim, you will like it better than I did.
And there are just not enough jokes! There are references to various shows which, unless you are familiar with both British and American shows, will work for you about half of the time (probably a bit less if you are American).
August 14, 2024
Hands down the best book on comedy I’ve ever read. This is a masterclass in illuminating the fundamentals of how comedy works, from online through stand-ups and sitcoms to films. It’s a genuinely extraordinary exploration.
I exhausted a highlighter in this book. I had to grab a pen a write my own notes and comments, my own realisations of how to account for various things I knew were funny but couldn’t quite explain. I scribbled my way through this like it was a university textbook, which I’ve not done in decades.
Amazing work. Mr Morris..
I exhausted a highlighter in this book. I had to grab a pen a write my own notes and comments, my own realisations of how to account for various things I knew were funny but couldn’t quite explain. I scribbled my way through this like it was a university textbook, which I’ve not done in decades.
Amazing work. Mr Morris..
February 22, 2024
A humorous investigation of how comedy works. It goes into the evolutionary basis for humor, why it’s ubiquitous (but different) across groups, and what makes comedy so important.
I was hoping for a bit more practical advice on how to add humor to stories, while this was more of a theory-focused text, but it was a fun read all the same. It’s well researched, with citations.
Thanks, NetGalley and Unbound, for the gifted ARC in exchange for an honest review.
I was hoping for a bit more practical advice on how to add humor to stories, while this was more of a theory-focused text, but it was a fun read all the same. It’s well researched, with citations.
Thanks, NetGalley and Unbound, for the gifted ARC in exchange for an honest review.
May 11, 2024
This is really a text book for comedy and, obviously, one might not want to have the tricks and techniques of humour dissected. If you do, you’ll find it excellent. I haven’t read anything similar on comedy specifically, but I’ve read several textbooks on storytelling, and this is big as good as the best of the them, while also being stuffed full of jokes. I folded each page that deserves its own note, and can see there are at least two dozen.
January 23, 2025
This one starts out very academic, then turns too British, before striking brilliance and ending with a shaky, rushed landing. There's a ton of useful information in here; you just have to do some parsing. As a stand-up, I enjoyed most of the book, especially the sections about story and characters. I would recommend it more to comedy screenwriters. But it's worth checking out if you've exhausted the other popular options.
February 25, 2024
I really enjoyed this analysis of comedy. The author used examples from both British and American humor to flesh out his points, so fans of one or the other doesn't feel left out and can relate. He also does some analysis with drama selections and reflects on how comedy has an effect on us as a culture. It was well-organized and thought out.
Thank you to Dreamscape Media and NetGalley for an ARC audiobook in exchange for an honest review.
Thank you to Dreamscape Media and NetGalley for an ARC audiobook in exchange for an honest review.
June 29, 2025
I think this was a well written exploration of why we laugh, how we laugh, and why comedy is an enduring part of our culture. However, the disconnect between the British author and his references to comedy that I am unfamiliar with as an American made this less effective. I learned a lot from this, but I think it was a little too bloated and inadvertently exclude non-British comedy fans.
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