The Elements of Humor E-Book

Scott Dikkers

• Herausgeber: John Wiley & Sons
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 201

Veröffentlichungsjahr: 2024

Beschreibung

Find the funny in your writing, speeches, presentations, and everyday conversations

Are you ready to elevate your writing, speeches, and conversations with unparalleled wit and comedy? Look no further than The Elements of Humor by bestselling author and comedy writing legend, Scott Dikkers. This isn't just another book on humor—it's a transformative guide that stands head and shoulders above the rest, designed to make you the funniest version of yourself.

While many writers treasure Strunk and White's Elements of Style for its writing standards and best practices, the realm of humor writing has long awaited a credible, comprehensive guide. Scott Dikkers answers the call with a book that is both hilarious and instructive, offering clear, replicable steps to infuse your writing and speaking with unforgettable humor.

In the book, you'll find:

• Step-by-step guidance for everything from sophomoric pranks to sophisticated satire as you learn the fundamentals of crafting humor that resonates
• Diverse humor strategies for different kinds of funny, including self-deprecation, referential jokes, shock humor, hyperbole, wordplay, slapstick, and even meta-humor
• Engaging tools, including helpful diagrams, funny illustrations, interactive exercises, and a comprehensive index of all discussed tools, skills, and methods

The Elements of Humor is your key to making the people around you laugh. Scott Dikkers' expert advice is easy to follow, ensuring that anyone can become a master of humor. Perfect for enhancing presentations, content creation, or everyday conversations, this book will secure a prominent place on your library shelf.

Don't miss the chance to transform your approach to humor. Whether you aim to entertain, persuade, or simply bring more joy into your life and the lives of others, The Elements of Humor is your go-to resource. Add it to your cart now and step into a world where laughter is just a page turn away!

Leseprobe

Table of Contents

Cover

Table of Contents

Title Page

Copyright

Preface

CHAPTER 1: The Unknowable

How This Book Is Organized

Best Practices

Exercises

CHAPTER 2: What Is Humor?

Humor in Animals

Humor in Babies

The Universal Field Theory of Humor

Humor Across Cultures

The Lost Skill of Humor

The Hope of Humor

Best Practices

Exercises

CHAPTER 3: Quick Start

The Tone of Humor

Communication Plus

Being Aware

Thinking Differently

Embracing Failure

A Relaxed State

Best Practices

Exercises

CHAPTER 4: The Humor Mindset

A Clown State of Mind

An Editor State of Mind

Just Kidding

When Humor Doesn't Work

Best Practices

Exercises

CHAPTER 5: The Right Kind of Laughs

A Willingness to Try

Being Self-Effacing

The Skill of Getting Laughs

Social Lubricant

A Temporary Reality

Riffing

Being Conscious of Your Target

A Rich Humor Environment

Best Practices

Exercises

CHAPTER 6: Being in the Moment

Confidence

The Mood of the Humorist

The Mood of the Audience

Social Proof

Reputation

Context

Best Practices

Exercises

CHAPTER 7: You Have the Floor

How to Communicate

Internal Messages

Turning Thoughts into Humorous Thoughts

Free Writing

Free Talking

The Opinion Generator

Best Practices

Exercises

CHAPTER 8: The Funny Filters

New Toys

The Funny Filters in Conversation

Humor Preferences

Best Practices

Exercises

CHAPTER 9: Isn't It Ironic

How Irony Works

Simple Comparisons

Dramatic Irony

Irony Examples

Using Irony

Best Practices

Exercises

CHAPTER 10: What a Character

How Character Works

Characters in Context

Character Examples

Character Archetypes

Is Everyone a Character?

Where Is the Surprise in Character?

Best Practices

Exercises

CHAPTER 11: A Point of Reference

How Reference Works

How to Find Reference

Reference Examples

Avoiding Clichés

Using Reference with an Existing Message

Other Types of Reference Humor

Best Practices

Exercises

CHAPTER 12: Shock and Outrage

How Shock Works

The Appetite for Shock

Shock with Your Message

Shock Humor for Kids

Shock Examples

Best Practices

Exercises

CHAPTER 13: A Hilarious Parody

How Parody Works

Parody Examples

Types of Parody

Impressions

Best Practices

Exercises

CHAPTER 14: So Much Hyperbole

How Hyperbole Works

Hyperbole Examples

Hyperbole Pitfalls

Setting Up Hyperbole

Best Practices

Exercises

CHAPTER 15: Playing with Words

How Wordplay Works

Wordplay Devices

Popular Wordplay Devices

Wordplay Examples

Best Practices

Exercises

CHAPTER 16: Getting Carried Away

How Madcap Works

Madcap Examples

How to Use Madcap

Best Practices

Exercises

CHAPTER 17: A Good Analogy

How Analogy Works

How to Use Analogy

A Hidden Message

Analogy Examples

Best Practices

Exercises

CHAPTER 18: Misplaced Focus

How Misplaced Focus Works

How to Use Misplaced Focus

Misplaced Focus Examples

Best Practices

Exercises

CHAPTER 19: Going Meta

How Metahumor Works

Metahumor Examples

How to Use Metahumor

Metahumor Pitfalls

Best Practices

Exercises

CHAPTER 20: Putting It All Together

Combining Filters

Keep Playing

Best Practices

Exercises

CHAPTER 21: The Cringe Factor

Canceled

Finding a Mooring Mast

Following the Rules

Best Practices

Exercises

CHAPTER 22: Make It Fun

Discover Your Own Way

Good Luck

Have Fun

You Got This

Humor Glossary

Acknowledgments

About the Author

Index

End User License Agreement

Guide

Cover

Title Page

Copyright

Preface

Table of Contents

Begin Reading

Humor Glossary

Acknowledgments

About the Author

Index

End User License Agreement

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SCOTT DIKKERS

Founder of TheOnion.com

The Tools of Comedy that Make You Funnier, Happier, and Better Looking

The ELEMENTS of HUMOR

Copyright © 2025 by Scott Dikkers. All rights reserved.

Published by John Wiley & Sons, Inc., Hoboken, New Jersey.Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, [phone], fax [phone], or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, [phone], fax [phone], or online at http://www.wiley.com/go/permission.

Trademarks: Wiley and the Wiley logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries and may not be used without written permission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc. is not associated with any product or vendor mentioned in this book.

Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Further, readers should be aware that websites listed in this work may have changed or disappeared between when this work was written and when it is read. Neither the publisher nor authors shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.

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Library of Congress Cataloging-in-Publication Data

Names: Dikkers, Scott, author.

Title: The elements of humor : the tools of comedy that make you funnier, happier, and better looking / Scott Dikkers.

Description: First edition. | Hoboken, New Jersey : Wiley, 2024. | Includes bibliographical references and index.

Identifiers: LCCN 2024028317 (print) | LCCN 2024028318 (ebook) | ISBN 9781394269198 (Paperback) | ISBN 9781394269211 (adobe pdf) | ISBN 9781394269204 (epub)

Subjects: LCSH: Wit and humor—Handbooks, manuals, etc.

Classification: LCC P53.43 .D55 2024 (print) | LCC P53.43 (ebook) | DDC 398/.7—dc23/eng/20240805

LC record available at https://lccn.loc.gov/2024028317

LC ebook record available at https://lccn.loc.gov/2024028318

Cover Design: Paul McCarthyCover Art: © Steve Bloom Images / Alamy Stock Photo

Preface

I'm told some book aficionados enjoy prefaces. As for me, I skip past them. Forewords, too. Even dedications are a waste of my time. How does an author's message to “my sainted mother” or “my two beautiful children” improve the book-reading experience? I'm just trying to enjoy Ready, Set, Prep: How to Build Your Doomsday Bunker. I don't want to see a private love note. Take me straight to motion-sensor perimeter guns that shoot zombies' heads off. Also, tips for storing my dried squirrel meat.

Forewords have always struck me as stuffy. Just because Mr. Important endorses a book doesn't mean I have to like it. I can judge the contents of a book myself, thank you very much. If anything, forewords create unrealistic expectations. They set me up for disappointment. And I certainly don't care where or when you wrote it. Why are foreword writers compelled to share this irrelevant information? Ooh, you were in New York City on May 3, 2019? Fancy!

What's most troubling about a foreword is the not-so-subtle implication that I have to read it. It's like a threshold guardian in the front of the book, demanding I take this prerequisite test if I want to move forward. I don't like that pressure. It's passive-aggressive. The word foreword itself brings to mind a handsy suitor. Back off, forewords! I just want to read a book. I'm not interested in the literary equivalent of an unsolicited dick pic.

For those curious about the origins of a book, prefaces are the least annoying solution. What's the harm in some insight or background on why the author wrote the book? It's like a DVD commentary – optional, but there if you want it.

My earliest recollections of humor as a mode of communication began with Dr. Seuss. My mother read me The Cat in the Hat, Horton Hears a Who, and the rest of the Dr. Seuss canon in my earliest years. Seuss's wordplay, boundless imagination, and impossibly silly drawings opened a door to a fantastical world where I felt I belonged, unlike the real world. He was the gateway drug that lead to the harder stuff, Sesame Street. Jim Henson and company coaxed me further inside that world, introducing lovable characters whose funny flapping arms and corny jokes amazed and delighted me. As a fringe benefit, these early influences also taught me to read and write.

I understood why reading and writing were important. Every authority endorsed these skills. Humor, however, was not encouraged. In fact, every pillar of society considered it counterproductive. Don't be silly at the dinner table. Don't giggle at worship services. Don't crack wise in school. The message from every quarter was clear: humor is forbidden.

But I needed it. I was the scion of a long line of farmers, preachers, and puritans who believed meaning in life came not through joy or levity, but through suffering and hard work. I was lonely, withdrawn, and bullied. I was lost in my head most of the time, finding safety and comfort only in that other world.

I began to fight against the tide. I self-published my first work of humor, Jokes and Riddles, which I illustrated myself on scrap paper and stapled together into a book. I was four.

With this humble volume, I earned my first laugh. I took my first step into the comedy business, making important industry connections. Well, one connection. My grandma liked it. Her approval sparked something. It gave me the positive reinforcement I needed to continue working. I was like those famous stand-up comedians you hear about who go on stage for the first time, hear the laughter, and know immediately this is what they need to do for the rest of their lives.

Then, something happened that changed everything. The world of comedy as I knew it exploded as if from a Big Bang. I discovered MAD magazine. Apparently, nothing was sacred. Everything could be ridiculed – even my beloved Muppets!

Emboldened, I expanded my humor repertoire. I told funny stories and put on plays at home and at school. I became a class cutup. I drew cartoons. I did impressions. I juggled. I couldn't be stopped.

Why? What was it about humor that possessed me so powerfully and so completely?

Normal channels of communication, like making friends, making small talk, or playing sports, didn't come naturally to me. They existed outside the fantastical world and didn't make sense to me. Humor was how I interfaced with reality and connected with people. It was my ticket to the ride of life. It transformed me into Prometheus, gathering up whimsy from across the chasm and spreading this elixir of the gods like pixie dust over the world of the normals.

CHAPTER 1The Unknowable

A mysterious force sneaks up and tickles us from time to time – often several times a day. It finds us when we least expect it. It comes at us from every direction: TV, computer, and phone screens; the people and events in our lives; casual conversations; random mishaps; our own heads, where it pops in unannounced while we take a shower or sit in traffic.

Like a visit from a mischievous pixie, it invades our thoughts with a ridiculous image or idea.

The devilish spirit always surprises. It's a sudden puff of pepper in our faces that makes us sneeze. Even when we seek it out, going to comedy clubs, watching funny movies, or reading satirical articles, it still somehow surprises. When it finds us, or we find it, we do its bidding. We respond on cue.

We laugh.

We suffer some kind of seizure, a healing spasm that takes over our bodies. Suddenly transformed into heated kernels, we explode into popcorn as if destined to achieve this enlightened state. Anyone nearby notices immediately and wants to know, “What's so funny?” Everyone wants in on this action. It's so contagious, people nearby – including strangers – start laughing before they even know what's funny.

But then, just as quickly as this sprite possesses us, it disappears without a trace.

What is this unknowable thing? Where does it come from? How is it generated? And why are we laughing at it?

We call it humor. And we need it. We need it the same way we need companionship, sunlight, clean air, and a good night's sleep. Sometimes it's our only weapon against life's trials, challenges, and misfortunes. Without humor, the world would lose all color.

Yet, despite its importance in our lives, nobody can seem to explain what humor is. It defies definition with the same slippery and unpredictable impishness that brings it to us. It's a trickster in the night with no name. It’s a faceless echo in a maze of mirrors. Our best effort to explain it after it leaves us is hopelessly vague and ignorant: “I don't know – it was just funny.”

Full-time masters of the craft of humor, who make millions of dollars whipping it up, are as tongue-tied as the rest of us. “I don't know,” they say, throwing up their hands, “I just come up with funny things.”

In recent decades, humor has been the subject of increasingly serious scientific study. Unfortunately, it falls far behind the study of every related category, including emotion, mental health, social behavior, relationships, and cognitive processes, but we'll take what we can get.

Love, for example, is a similarly powerful yet unseen force in the human experience. But that's where the similarity ends. The way we treat these two delightful aspects of life couldn't be more different. Love enjoys a depth and breadth of attention, fascination, and examination far in excess of humor. We write voluminous odes, songs, textbooks, poems, and stories about love. There are myriad counselors guiding us on how to get more of it and how to strengthen what we have of it. The state recognizes and codifies love with legal contracts, licenses, and laws. Love powers a $70-billion-a-year wedding industry.

Humor is the poor cousin, always left behind, in the boondocks, in a sketchy neighborhood, barely getting by. An infinitesimal fraction has been written about humor, comedy, and the funny arts. There are no comedy counselors. The state couldn't care less if we never laughed, and nobody gives out licenses for it. It does, however, make some money, though not nearly wedding-industry money. People all over the world pay for streaming services, comedy shows, books, magazines, nightclubs – and more – just trying to get a taste of it.

Laughter is the best medicine, so the saying goes. But if it's such effective medicine, why can't anyone describe how the medicine works? Why do we not have specific directions to the drug store where we can get it? Why is its manufacture a cryptic rite? Imagine a pharmaceutical company that doesn't know how to make penicillin or aspirin. That's us with humor. We leave it up to chance. We watch a sitcom, a silly movie, or a sketch, and sometimes we find it hilarious; other times, we're left disappointed. There are no guarantees in humor.

We seem determined to keep humor outside our conscious awareness, as if knowing too much about it will spoil it.

This book attempts to remedy, in a tiny way, the short shrift society has traditionally given to humor. And although I can't guarantee that if you consume the pages ahead you'll always know where to find it and your own attempts at it will always succeed, I can offer some collective wisdom that will at least help you appreciate humor when you catch it and make you more confident when you create it.

Failing this moonshot effort, The Elements of Humor nonetheless pursues the worthwhile goal of giving humor its due. It does this by providing a detailed framework for the concept of humor, with terms we can all use and categories we can all understand. It provides clear and specific instructions for whirling the mysterious particles that create humor, and in the process, demystifies the activity. Laid out in the chapters ahead are the best practices for bringing more humor into our lives and spreading it wherever we go, to brighten our days and the days of everyone around us.

The How to Write Funny series, my other books on the art and craft of humor, is a set of comprehensive, academic books intended to help the professional comedy writer compose better material. They're the equivalent of a scientific article on the subject in a journal only other scientists read.

This book takes a broader approach. It's for the layperson. It's for the nonprofessional as well as the would-be professional. It's for the hobbyist who wants more humor in the world. It's for the shy introvert who's afraid to say anything, let alone something funny. It's for the nervous hopeful trying to ask a crush for a date. It's for the corporate keynoter, toastmaster, and copywriter. It's for anyone who wants to get better at making people laugh. It's for anyone who believes that humor is important enough to take seriously.

For the humorist, it's a style guide. Just as Strunk and White's The Elements of Style is the essential guidebook for serious writers, showing them how to compose sentences with economy and pointing out where the commas should go, The Elements of Humor strives to be the essential guidebook for serious humorists, showing them how to use the tools of humor and pointing out where the punchlines should go. (Hint: they should go at the end.)

E. B. White, the White in Strunk and White, fittingly uttered the most famous statement about the perils of analyzing humor, a grim warning quoted (most often misquoted) by just about everyone who has ever attempted to explain the concept of humor: “Humor can be dissected, as a frog can,” he said, “but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.” The quote comes from his short essay, “Some Remarks on Humor” (Harper Perennial, 2014), which serves as his resignation from the entire affair of explaining humor. In it, he admits to finding humor “a complete mystery,” something so fragile and evasive that it crumbles if anyone tries to explain it.

He gave up too easily. We live in a crowded and competitive world. The stakes have been raised since the days of The Elements of Style. White, resuscitating and embellishing a set of tips written by his departed former teacher William Strunk Jr., provided a durable manual for clear and concise writing, and by extension, speaking. Their book has been the leader in the field for nearly a century. The Elements of Humor takes their important work a step further. The population of the world has increased eightfold since The Elements of Style was first published, and the multitudes have more accessible platforms to write, speak, create audio and video entertainment and communication – and distribute it worldwide – than Strunk and White could have imagined. In this fast-moving, technologically driven attention economy, clear and concise communication is nice – a minimum, competent standard, to be sure – but it's no longer enough to rise above the din. With the added dimension of humor, communication not only gets its point across, it does it with razzle-dazzle. It attracts more attention, builds stronger rapport, and stays longer in people's memory.

How This Book Is Organized

The book will begin by describing concepts and behaviors that you already know and can easily replicate. These introductory sections will make the skill of humor seem so simple that you'll wonder why an entire book is necessary to articulate how it works.

As the chapters go on, however, the concepts will get increasingly challenging, always building on the more basic concepts that precede them. By improving your aptitude for humor this way, you'll always have one foot planted on familiar ground before you take any bold steps forward into new territory.

Go at your own pace. You don't need to master the exercises in each chapter before moving on to the next. You can try any of these exercises at any time and experience the same benefits.