How To Be The Greatest Improviser On Earth

by Will Hines

Become great at performing long-form improv! We skip the basics and get into advanced topics like: being truly present, being authentic, dealing with difficult performers, being actually funny (!) and the rarely discussed but essential skill of being healthy. 

Genres: Nonfiction, Comedy, Humor, Theatre, Business, Psychology, How To

226 pages, Kindle Edition

First published July 27, 2016

About the author

Actor, writer, improviser in Los Angeles, California. Longtime performer/teacher at the Upright Citizens Brigade Theatre. Lived in NYC for almost 20 years, sheesh. Previous lives; computer programmer, journalist.

Reviews

[Will Hines · Rating 5 out of 5]

I wrote this book! Parts I love, parts I wish I could do over. On the whole, I like it a lot.

[Kevin · Rating 5 out of 5]

No one will take this review seriously because the author is my brother and I have to say nice things or he won't pass the mashed potatoes next Thanksgiving, but even without that threat I'd still say nice things.

This is a very funny, easy read with lots of great advice for improvisers. Tons of ways to simplify the complicated parts of improv and hopefully get you out of your head. This is like having a great one-sided conversation about improv with a guy who really knows his shit.*

Again you won't trust this review, but that's your hang up and I can't help you with that.

*can you swear on GoodReads?

[Curtis Retherford · Rating 5 out of 5]

When I see a particularly good band, my fingers start to twitch: I want to get up and play guitar, to sing, to make music. While reading this book, I kept wishing that I were doing improv at that very second, that I could instantly jump up and put Will's clear, measured advice to practice. No book on improv tackles what it means to be an improvisor better than this book does: the ruts, the team dynamics, and the million little things that make you great in addition to the simple task of saying "yes, and." This a book on technique, on honing your craft once you know the basics. It should be required reading for anyone who has done improv for 6 months.

[Cara Mcclane · Rating 5 out of 5]

On my improv journey. First book of the year down ♥️

[Jasmine Ariti · Rating 5 out of 5]

Has some great, unique games and exercises that I used with my improv group - tons of fun. And this book really does offer some practical, novel (to me, at least) information that helps you be a better improviser immediately.

[Sam Wong · Rating 5 out of 5]

"Characters should know what they're doing, care about whatever the main issues of the scene happen to be, and say how they feel about things."

Know, care, and say could be distilled down to the simplest decisions we all can make, but at a time of extreme uncertainty and movement, they might as well be the cornerstones to unlocking truth. On the other hand, these unusual times have placed genres like improv at the cusp of existential extinction, especially when other entertainment content is proliferating. Logically, you could probably conclude with a decent degree of certainty that this book wouldn't be worth committing to, regardless of your experience or familiarity with the subject...

...but there's something oddly powerful and so satisfying about jam-packing a quick and easy 200-pager full of juicy concepts of an often underrated and under-appreciated artform - so much so that this has become my new bible for both scenework and life work! As a novice to the craft, I was hesitant to dig into such an ambitious concept, keeping in mind that it'd be way harder to play with the author's best practices directly with studios and theatres being shuttered. However, Hines' compelling commentary and exploration of improv through almost a meta tongue-and-cheek method were captivating, and offer three benefits to the casual reader.

1. Simplicity: Hines' writing is accessible, colourful, and playful, all the while staying true to the goal of the title. To his credit, he not only makes a good case of achieving this hairy objective, but also manages to masterfully bridge the gap between the "science" of improv and the "art" aspect.

2. Variety: Extending the simplicity argument further, I was surprised to see how much ground Hines was able to cover while still keeping structure and flow intact. Notably, he succeeds in synthesizing key parts of scenework into bite-sized pieces (theory), while providing practical games and situations to make the elements come to life (application).

3. Applicability: Among all other parts of this book, the sheer fact that each chapter and concept is framed using endearing imperative statements (e.g. be present, be authentic, be healthy) suggests that this isn't just about learning techniques for improv; rather, it's about building your toolkit to interacting with people and thinking about life.

Yes , this book is great - and , I'm confident to say you'll get something out of this fun and fresh read no matter what!

[Keith Moser · Rating 4 out of 5]

Will Hines is the kind of improv genius who should have written a book like this years ago! He's one of the funniest robot improvisers out there—always cool, calculating, and ready to make a fantastic justification or detailed addition to a scene. I miss seeing him perform in NYC.

The book would have been a much quicker read if I hadn't been in the middle of two others. The short chapters make it perfect for a quick refresher any time you need it, and the exercises given at the end of each chapter make it feel like it'd be a great workbook for a new team not lucky enough to be in a major metropolitan area (probably in conjunction with The UCB Manual referenced toward the end).

I love the way the book is written—not too scholarly, but still smart. It's almost like sitting down and getting a friendly lesson in improv. I like to read these types of books with a highlighter, to emphasize key sentences to make re-reads quicker, but the way Hines wrote made it sometimes difficult to mark one specific phrase; often the "key" lesson was a whole paragraph or page!

Some of the sections felt familiar (I probably read them on his Improv Nonsense blog before) but there was still plenty of great advice in here to earn its spot on my bookshelf next to pretty much every other improv book that's ever been written.

[Ryan · Rating 4 out of 5]

This is a fantastic book. It gives you very specific tips to improve your game in many different ways. Want to work on X area? Try this exercise or be mindful of this. If there's a book I'd recommend for anyone trying to improve after getting the basics down, it'd be this.

I tried distilling and summarising the tips from the book into notes, but really, there's so much I can't capture because it's all explained so well and with great examples. There are so many things to try that I don't even know where to start. At the same time, the book is so well written that it makes me want to jump back into improv right away and have fun with it.

"Know, Care, Say" is probably one of the best tips I got out of it. So much better than learning like a million other vices and rules to creating a character that other books have suggested.

It does assume that we know the basic improv stuff from the UCB manual, so it might take a while to get into for a new improviser. But after a while it becomes quite easy to understand. Would probably not recommend it if you're not doing improv though.

The prose is easy to read, and the author is nice to you. It's like talking to an improv teacher who respects you and has faith in your abilities.

Most importantly - and this book says as much - Hines reminds us why we love doing improv. Many of the tips are also focused on the holistic side too. How can you give a good show if you don't enjoy yourself, if you are not confident in your own abilities?

And finally, the last chapter was pretty moving to me:

Someone submitted a question to my improv blog titled: “Is improv a road to nowhere?” He asked, “should one admit to themselves that as fun and enticing as improv is, if your ultimate goal is to achieve something like Neil, that improv should not be your main commitment?”

About a year ago I was sitting in the Mustard Seed Cafe on Hillhurst Avenue in Los Angeles, reading a book. I heard someone say, “Can I get you anything?” and looked up to see a performer named Nate Lang, who I had performed with in New York City. I hadn’t seen him in probably two years. He apparently had moved to LA (which I did not know), saw me in a diner, and walked in and pretended to be the waiter.

“Yeah, I’d like a cappuccino,” I answered.

“Great. Be right back,” Nate answered. And he walked out of the diner, crossed the street, and walked away. I haven’t seen him since.

Isn’t that a big reason why you do improv? To have people in your life that make you laugh and are weird in the way that you like?

Commercial success is not the same as happiness. It’s just what you’re trying to do for a job. Improv is something you do because you like it, not for what it gives you.

If something is fun and enticing, you are victorious. You should keep doing that. If you’re a zombie and going through the motions it’s time to move on.

Improv is fun. Enjoy it.

[Craig boob · Rating 5 out of 5]

4/5. This book offers advice to the intermediate/advanced improviser. The same flavor of UCB “right and wrong”, but provides more nuances and dimensions to the many improv mantras.
The importance of not planning ahead but of making assumptions about the current moment
p.17: …always assume something is happening. When someone says “hi,”, it’s never just “hi.” You shrink your scope down. Instead of thinking head 22 minutes, or even two minutes, you look around you at the current moment […] ou turn into a Sherlock Holmes of observing the present instant […] You’re constantly waking up into worlds that already exist and trying to fake it
Know, care, say
p. 67: “Find the love”. No matter how dry an audition piece seemsyou can find the love between the characters. Even if it’s angry, that anger comes from love. It’s on the actor to find it. This applies to the start of improv scenes. No matter what the situation, find a reason to care about what’s going on in it.
Justification, knowing the real “why”
Good justification isn’t invented/fabricrated, it’s come from digging deep and looking for real reasons behind the feelings that drive your reactions. You’re looking for real, personal, grounded answers to why your character feels the way they do.
p. 111: In improv you’re often doing something before you really know why you’re doing it. This is if you’re doing it right. You react, and now you’ve done something. That’s great. The next step is realizing why you’re doing something—the real natural why that’s inside of you, not the one you think you should have. I saw a two-person class scene where one person said, “I want to run with the bulls in Spain.” The other person had this instictince reaction and responded with just a tiny bit of disgust: “Ugh, not that”. I stopped the scene and said, “I love that, Why don’t you want to run with the bulls?” And the student felt guilty that he has “said no,” and corrected himself: “I mean, I love running with the bulls.” I said, “No, I didn’t want you to change your min. It’s okay you didn’t like it I just wanted to know why your character didn’t like it.” Then the student thought about it too much. He tried to create a big improvably backstory to explain his actions: “Maybe my father was killed by bulls?” “No, I said. “That’s no the reason. You had a reason—there’s something you didn’t like about the idea off a gut level. I’m just asking what that reason was. The one you already had.”
And then he remembered what it felt like the moment he answered and he said, “Because running with the bulls is something that jerks do?”
The was it. That’s the real reason. That’ the type of reason an audience can sense and will laugh at, when they see you realize and articulate it. You say “Ugh, not that,” and then follow up with, “Don’t be such a a frat gut. Don’t try to be so tough.” It’s your real grounded answer.
When you have an instinctual, visceral reaction to something—it’s probably the honest and true one. You just have to say what that honest reaction is. Being able to stop, hold, and articular you r natural feelings is a hugely necessary skill in improv.”
Be funny
surprise: to big A to C’s off of suggestions
Ironic/opposite ideas are funny, as long as they are still saying yes to the scene. Undermine the expectation while keeping the facts true.
p. 139: I saw a scene where the suggestion was “vegetarian”, to start Chris Gethard stepped off the back line and mimed heaving a bucket of paint on someone, while saying, “Fur is murder!”. That right there is pretty funny. It’s surprising in a satisfying way. Instead of an obvious start off of vegetarian, like just sitting down to dinner, he made the A-to-C leap to make a scene about someone protesting animal rights. Surprise fit.
The response to this initiation from Zach Woods was even better: “C’mon! This is a gorilla suit!”
That player said yes to the fact that he is wearing the silliest, most harmless kind of fur you could think of.
be able to name the funny thing simply
p. 156: strategies for this:
What IF: Title the game with a “what if.” “What if the top clique at a high school were scientists?”. This makes you isolate the funny part
Instead OF: say “instead of” to clarify. “A version of the s how Cops, but instead of domestic violence and drug deals they bust people who play sex games”. This forces you say the “normal” version, which makes “funny” part pop.
AS IF: This is direction for the performers. “A guy who tries to wow his date with a fried egg as if it were caviar or champagne.” It also shows you how to play the funny part. “Play the gm trainer talking to her client as if you are a jealous girlfriend.”
be ironic behave in the opposite way that people would expect.
—
Living healthy
talking about living healthily as an improviser, and dealing with ruts. He talks about some serious self-defeating shit going on in his head after a decent show, then reflects on it"
p. 179: “When I feel like I did that night, I often think of times that I’ve heard people who I think are great express their doubt in themselves. I think “This person is crazy—they’re really good!” They have some weird self0defeating thing going on that they’re giving into.” When I think of that, then I can more easily cast off my own self-defeatism. Someone else would look at me and thin I’m crazy for feeling discourages, so I put this here to make you forget your own self-defeatism. It happen stop everyone; it’s mostly pointless.
On harolds
second beats should repeat and expand the weird philosophy from the first scene, a good strategy is to expand the world. If first beat = marathon runner who insists he be allowed to bring a chair with him on his race, then the word expands to a meeting of an athletic commission to figure the best way to test runners for chairs.
third beats: don’t plan or force the connection, ideally, they should surprise you. expand the world of your scenes, and the group will see a way to connect to the other scenes. make lots of choice as if it’s the first scene, and you’ll stumble on the branch to connect.
Names
Grab actual names from someone you knew in middle school (p. 201).
On a think *I think* Tj and Dave do
Charlie Sanders “close eye” move where you stand so your right eye is directly in from of the other son’s left eye. Whatever this is, I like the idea of standing off center from one another. It’s a subtle, almost intangible yet evocative spin, similar to the boogly eyes in Rick and Morty.
Life and ambition
p. 204: In a creative life, you don’t always think, “What will this get me later?” You think, “What can I do now that is fun?” Yes and.
p. 207: There is a voice in my head that whispers, “This improv that makes you happy is a waste of your time.” That voice is the enemy. Comparing yourself against the barometer of commercial success can be important to do as a motivator, but it isn’t the only measure of success […] Spend your days in love with what you’re doing as much as possible and thank the start for your chances to do that. […] If something is fun and enticing, you are victorious. You should keep doing that. If you’re a zombie and going through the motions it’s time to move on,

[Elin Isaksson · Rating 5 out of 5]

This is a great book on improv for people who are already familiar with the basics of it. Hines assumes you know what you're doing and focuses on skills and abilities that are not connected to the "rules of improv". The chapters are Be Brave, Be Present, Be Authentic, Be Healthy etc. It's good advice for improv and life and will make you a better improvisor and actor. I very much appreciated the chapter titled "Be Healthy" where Hines basically tells us to chill the f* out and do other things except improv. He gives advice on when you feel bad about yourself and what to do in a slump, how to approach auditions and not to drink too much with your friends. All solid stuff.

[Dan Devor · Rating 5 out of 5]

As someone who just started taking an improv class because:

1. I thought it might be fun
2. Because I wanted to be a better DM

I thoroughly enjoyed the book. I’m sure those who really want to get on stage and become a real life improviser would get even more out of the book than myself. I’m sure I’ll get the chance to implement some of the techniques explained here in class and in my home game, and if I ever get more into the craft beyond my hobby I’ll give it a reread.

Took lots of notes while reading too, which felt rewarding and engaging.

[Joseph Dinas · Rating 5 out of 5]

This book is awesome! Its short and sweet and fairly easy to read book. I never felt like the chapters were to complicated or to tasking. I do recommend you take UCB classes first though, or at least read the manual or else most of the book will be confusing. It mostly talks about how to keep improv simple and why "the rules" they teach you in class are more like guidelines making them ok to be broken sometimes. So go with the flow is the theme of the book.

[Ryan Fernandez · Rating 5 out of 5]

Incredible book with great advice for those that have already been doing improv for a bit.

[Megan M · Rating 5 out of 5]

Great book for improvisers who are beyond a beginner level and looking to refine their creative abilities. Specific suggestions, exercises to try, and hot takes. Nicely done.

[Dan Richter · Rating 5 out of 5]

Das beste Impro-Buch, das ich in den letzten Jahren gelesen habe. Auch für Fortgeschrittene und Profis sind einige Perlen und sogar neue Spiele zu finden.
Will Hines muss ein lustiger Mensch sein.

[Richardzimmermann86 · Rating 5 out of 5]

Terrific book that explores the basics and not-so-basics in a very accessible and identifiable way. Some good common-sense but still useful advice about group dynamics and getting along with others too which is worthwhile. Have been recommending it to other improvisers, and I will return to it over time.

[Jesse Keeter · Rating 5 out of 5]

Comforting and inspiring and very, very smart. I got a lot of out of this and hopefully can remember all of it. Like all the great improv advice, this book is trying to teach me to be a better human, but really funny

[Brooks · Rating 4 out of 5]

gratifying to read advice meant for """seasoned improvisers""" without having to wade through page after page of what Yes And means or what a tag out is. in terms of chapters, I'm particularly fond of two chapters, partially because I've been independently mulling these over for months now: Be Funny (I understand the utility and agree that new players should absolutely be told not to be funny, but once you've gotten enough reps and gotten the fundamentals down, you definitey definitely should be funny on some level) and Be Healthy (I've spent a lot of time at workshops trying to convey to college undergrads the importance of getting out there and doing some non-improv shit). I didn't do improv much at all in 2020 but that gave me a lot of time to get into movies and sports and books, which, in addition to the benefit of not letting improv comedy be my only thing and thus solely responsible for my self-esteem (dangerous!), also expanded my cultural cachet and gave me a greater pool of archetypes and tropes to pull from. a cool little book. thanks!

[Anthony · Rating 5 out of 5]

I am an improv teacher at the Upright Citizens Brigade Theatre in NY and I recommend this book to students all the time. Will Hines is incredibly thoughtful, practical, and clear in his explanations and examples used to illustrate and explain long-form improv concepts that can be confounding to students.

As a teacher, the book has been very useful. It includes loads of exercises that pinpoint how to increase skill levels in specific aspects of improv in scenic and fun ways. When I teach an exercise from this book, I can visibly see realizations about their approach wash over students faces.

There are a few improv books out there nowadays but I believe this one is the greatest - it's written by a teacher for students with much consideration and that is felt throughout. Highly recommended!

[Noah Marcus · Rating 4 out of 5]

After my second improv class, I have a distinct memory of coming home and preparing myself to quit. I was terrible and I couldn't believe it. That night, instead of giving up, I ordered this book. Will Hines ("the closest living thing we have to Del Close") has an improv blog and compiled all of his salient advice into How to be the Greatest Improviser on Earth. This book will not give you the foundation the the UCB Improv Manual will give you. Instead, it provides "playable skills." It told me that I was terrible, of course I was terrible! I had taken two classes at that point. This book gave me confidence to get back up there, keep on trying, and set me on track to become the greatest improviser on Earth.

[Dan · Rating 5 out of 5]

This is the improv book you've been waiting for. It's not a manual or a how-to book, but a collection of (actually) helpful improv tips and advice from one with years of experience. A must-read for anyone who considers themselves an improviser. Also, Will, if you're reading this, my mom's name is Janice. I wonder if my grandparents were improvisers...

[Erik Tanouye · Rating 5 out of 5]

Useful improv advice AND I laughed out loud while reading it

[Bernie Gourley · Rating 5 out of 5]

This guide to performing improv comedy alternates chapters that explore various tenets of the art with chapters that present exercises to help one carry out said tenets in practice. So, it is both a philosophy of improv and a how-to manual. The tenets include: "be present," "be changeable," "be brave," "be authentic," and "be funny" -- among others.

Being a neophyte to the subject, I knew nothing beyond the oft joked upon advice to always "Yes, and..." during a scene, a lesson intended to keep a scene moving and which also provides much material for wisecracks. This book doesn't spend much time on that rule beyond discussing when one should break it, and how one can do so without bringing a scene to a halt. The key takeaways of the book were about pacing and the need for normality in contrast to the absurdity to make a scene funny. That is, one can't just go to the whackiest place possible out of the gate and with all characters, instead it is the contrast between everyday conversation and the introduction of an absurd premise that makes a scene funny. As with the "straight man" of a comedic duo, one needs straight elements or characters.

I found this book to be informative. It's a quick read and offers much food-for-thought that could benefit one offstage as well as on.

[Christian · Rating 5 out of 5]

I’ve been taking improv classes for under a year. I read a bit of this book on the bus to class, to try and shake the over active part of my brain after work and settle into improv and think about what i wanted to get out of the class for that day. Make a bold choice today. Know, care and say in a scene today. Play with the person you haven’t found a natural rhythm with yet today. It was like having my teacher give me a wee pep talk before class.

The book is divided into several neat chapters, each tackling key improv breakthroughs. Each of those is broken up into smaller chunks of advice tackling important concepts related to that breakthrough. All of it was really useful advice and I really appreciated having this book for my third improv course.

It’s also pretty funny for what is essentially a book on theatrical theory. Will Hines is a great improviser, and when I found out this book existed I rushed to get a copy. I finished it the day I am writing this, but it will remain a book I pick up to get into the improv groove when I need a little encouragement. A book that can stay with you like that deserves 5 stars.

[Jason Luna · Rating 5 out of 5]

For an improvising actor, this book is pretty terrific. A lot of direct insight into what are often sort of philosophical and seemingly vague topics, with very funny and modern examples. If it's possible to grow in improv just from reading about it, Will Hines' topic by topic breakdown and directives are priceless.

One takeaway, a simple thing of letting your dialogue "land" on the other person, and the same for when some when someone talks to you as a scene character, expanded my improv by volumes. A lot of the book is like that, very insightful from an insightful source.

For non improvisers? I don't know. It's a very pleasant brisk read that bounces from topic to topic and is well written. It's often funny and entertaining, but also teaching about something not linked to the reader in this case. So a lukewarm recommendation, if you've watched improv and thought "I wish I knew what it was like to be someone who thinks about this everyday!

The best improv book, which is a very specific category that may not be for everyone, but is for me and probably other better improvisers 5/5

[Nate · Rating 5 out of 5]

I haven't read many books about improve since college when I took my first Improv 101 class but I wish this had on the curriculum. Unlike other improve texts such as, "Truth in Comedy" by Charna Halpern, this books offers a much easier read and doesn't come off as a dry textbook. What really stuck out to me in particular was how Will addressed being involved an improv community. This includes avoiding negative/toxic personalities and noticing when you're in a rut performance wise and how to get over the hump. Will does a great job labeling the joy that comes from doing improv and why even after years of playing make believe on stage, it still feels so right to get keep going back out there. Whether you're new to improv or have had a few years of experience, I highly recommend this book.

[Ryan Berger · Rating 5 out of 5]

There's the old adage that says examining comedy on a scientific level is like dissecting an animal, it dies in the process.

I think this is true in the actual "boots on the ground" level when you're trying to explain to somebody why a sketch or scene is funny.

Maybe it's the comedy nerd in me, but when it comes to the "inside baseball" version of poking a dead frog, I come away feeling like my batteries just got juiced. This is one of those. I'm excited to get back out there when the time finally comes (but, you know, pandemic).

Great for cleaning off your tools and whipping you into performance shape. The exercises between chapters are gonna come in handy.

Will is a delight!

[Sean McGrath · Rating 5 out of 5]

It’s a succinct distillation of the myriad pieces of advice coaches and teachers have repeated for decades. “Say yes.” “Don’t ask questions.” “Be peas in a pod.” But Will Hines expounds, expands, and describes, with examples and exercises, what those statements truly mean. Every second of our lives is improvised, with only a vague suggestion on which to build our own premises. Hines’ book, therefore, isn’t just guidance for improv comics, but for life itself: “Be present,” “Be funny,” “Be authentic.” It’s a quick, enjoyable, and fun read that will inevitably become an oft-cited reference point.

[William Arrowsmith · Rating 5 out of 5]

Will Hines offers simple but thought-provoking advice in a way that is engaging and inspiring, equal parts Del Close and Dale Carnegie. I picked this up expecting something that felt like a technique manual I would work through slowly, then found myself burning through most of it in an evening. His insights are structured around improv scenework, but also obviously applicable and useful to many other areas of life. The examples are often hilarious, but I just as much appreciated the benevolent tinkering perspective on humor that only almost works. This has immediately become one of my favorite improv books.

[Katherine Loyacano · Rating 5 out of 5]

How to be the Greatest Improviser on Earth by Will Hines is a terrific resource for anyone interested in learning more about performing long-form improv. Hines includes improv exercises, tips, and examples interspersed between a narrative of his own experiences with this amazingly fun art form. The book includes eight lessons that will help new improvisers get started and take improvisers already performing to the next level. It was an enjoyable read, and a resource that I will reach for again and again throughout my love affair with improv.