Tag Archives: standup monology

Sep20

So You Want to Write a One Person Show, Part 6 of 7

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So You Want to Write a One Person Show, Part 6 of 7

So to recap, Part 1 of "So You Want to Write a One Person Show", I spoke about discovering the Central Moment on which your show pivots.

Part 2 of "So You Want to Write a One Person Show" we looked at the moments that lead up to the Central Moment of your revelation in your solo show.  We explored possible turning points and after effects of the Central Moment, and we looked at possible through lines, the threads that sew your stories together into one cohesive piece.

Part 3, Write write write. We threw out all we "knew" and explored all possible avenues.  This is where the rubber meets the road–we took creative risks and pushed past our normal habits and ideas about who we are and what we can create.

Part 4, Take a break, play, and contact your muses. We contacted our "muses"–that something greater that guides us and shows its genius.

Part 5, Bringing it all together, editing, refining through performance.  "The difference between a standup show and a solo show is that in standup, the character knows exactly what they're talking about and exactly what they think.  And they're going to tell you.  In a solo show, the character doesn't know.  They're looking for something, they want something, and they're figuring it all out with you, on this ride, together.  The hero has a conflict."

Part 6, Kill Your Darlings.  

You may have heard this quote before and not fully understood what it meant, so let me elaborate.   It was Sir Arthur Quiller-Couch who spoke it first, ???Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it ??? whole-heartedly ??? and delete it before sending your manuscripts to press. Murder your darlings.??? 

My senior film thesis in college was a mockumentary about standup comedy.  I made a feature length film (video) in which I starred as a struggling comedian, struggling with whether she wanted to be a famous comedian or just date one.  It was a lot of fun to make, and earned a high grade in a school where we didn't technically even have grades.  And it was good work.  But years later, I got re-acquainted with an assistant who helped shoot the movie.  He handed me a DVD of my film, recut.  He recut my film.  From 75 minutes to 40.  And you know what?  It was better.  It was a totally different movie and missed a lot of the points I was making, but there were about 30 minutes of purely self-indulgent material that I had no ability to recognize as indulgent at the time.  In fact, if I were to re-cut the film again, I'd make it about 25 minutes long.  There is a fantastic scene (which I am not in) that I directed two friends to improvise about chicken soup and sex, and it is probably the best 10 minutes of the whole film.  By killing 65 of my "darling" minutes, there is an incredible piece that would be wonderful to watch.  And it took 10 years to be able to see that truth.

So take some steps back, acknowledge and let go of your darlings.  What is really in your work because it stands on its own, and what is there that needs explaining?  What is in your work because it makes only you satisfied, and what is truly satisfying to people in general?  What is in this piece that sheds light on some aspect of humanity never before spoken, and what is trite or cliche?  What is in your piece that's part of some inside joke and what is a universal joke?  What's there to make a secret jab and someone you're mad at, and what's there to speak truth to power?  What's there to secretly impress someone you're in love with and seem clever or brilliant, and what's there that was truly channeled through genius?  What's there that distracts people from what you really want to say, and what's there to artfully hide what you want to say so they'll come upon it in surprise?  It's time to be ruthlessly honest with yourself, step aside, and allow your muses to speak through you.  And when it goes well, let them take the credit, too.  The joy will come, not in hearing the accolades, but in being an instrument for something truly, humanly brilliant that touches people's hearts and raises the stakes in living their lives fully.

Stay tuned for Part 7, though I have no idea what could follow that!

Aug16

So You Want to Write a One Person Show, Part 5 of 7

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So You Want to Write a One Person Show, Part 5 of 7

So to recap, Part 1 of "So You Want to Write a One Person Show", I spoke about discovering the Central Moment on which your show pivots.

Part 2 of "So You Want to Write a One Person Show" we looked at the moments that lead up to the Central Moment of your revelation in your solo show.  We explored possible turning points and after effects of the Central Moment, and we looked at possible through lines, the threads that sew your stories together into one cohesive piece.

Part 3, Write write write. We threw out all we "knew" and explored all possible avenues.  This is where the rubber meets the road–we took creative risks and pushed past our normal habits and ideas about who we are and what we can create.

Part 4, Take a break, play, and contact your muses. We contacted our "muses"–that something greater that guides us and shows its genius.

Part 5, Bringing it all together, editing, refining through performance.

I recently spoke with Paul Stein, who is a really perceptive theater and comedy director in LA, about my new show.  We talked about the difference between solo performance and standup monology, and which art form this piece will fall under.  It seems to be a perennial question for me.  He said something I won't forget: (paraphrasing)

"The difference between a standup show and a solo show is that in standup, the character knows exactly what they're talking about and exactly what they think.  And they're going to tell you.  In a solo show, the character doesn't know.  They're looking for something, they want something, and they're figuring it all out with you, on this ride, together.  The hero has a conflict."

It's looking like my new show is taking the form of a standup show, but that it will have an arc, a through-line, through the jokes.  He asked me to describe what is the one thing I most want to communicate in this show.  And with that answer, he said, "Find a way to relate and further that communication in each moment, in each piece of your show.  Ask yourself, bit by bit, if each segment fulfills that purpose.  If not, you know what to cut."

So I'm now looking at each segment, with that central communication, that central "conflict" for my character (the fictionalized version of me that I'm presenting through my standup persona, which is sort of an exaggerated, fun-house version of me).  I'm not going to cut anything yet.  I put everything in chronological order for this show (at this point).  And now I'm editing and strengthening each segment so that it's succinct, clear, pithy, and funny or highly poignant.  It's going to take some time.  I have noticed that I need my writing to be colloquial–I'm not writing a book here–and cut as many words as possible before even going on stage.  When the work reaches the point where I'm happy with what I'm saying, (after many edits), I'll take it to the stage, piece by piece.  I didn't do this with my last two shows, which leaned much closer to solo show than to standup.

Comedy that's already well-written and memorized benefits and grows greatly from reaching an audience.  From working the material out in front of an audience, magic arises… nuanced moments, new tags, different perspectives, and an understanding of what bits are not well-communicated or just don't click. Plus, it's fun! Standup tip: Memorizing your material allows for greater confidence on stage and if you feel like riffing or deviating, you've always got a route back "home".  It's a lot like jazz–learn the standards, and then you can do anything.  But sit down at a keyboard with no musical knowledge, expecting to play like Miles Davis, it's just not going to happen.)

If you're not doing standup, there are many open mics that allow performers to showcase various art-forms.  Storytelling nights, solo performance nights, alternative comedy shows, small gatherings at friends' houses.  You can even gather a friend or two you trust to enjoy a piece from your show.  Some people are really happy to hear what you're working on.  They might feel honored that you'd like to read for them.  In this case, you might even be able to convince them to sit for 10-20 minutes while you read from your script, drink some tea or wine, and give you their impressions.  

Tips for friend-readings: don't ask "Did you like it?", but instead, ask "What did you feel I was communicating?  Was it clear?  How might I improve my clarity?  Which parts were most engaging?"  These questions guide people away from "good/bad" and toward what you really want, which is honest feedback about whether you're fulfilling the obligations you've set out for yourself.  Take this as information and not judgment.  And let it sit with you before you make more edits.  Other people make great mirrors for us.

Continue with this refining process until you have worked through your whole piece at least twice.  And stay tuned for part 6 of 7 on writing a one man show or a one woman show or a one human show…

Jul23

So You Want to Write a One Person Show, Part 4 of 7

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So You Want to Write a One Person Show, Part 4 of 7

So to recap, Part 1 of "So You Want to Write a One Person Show", I spoke about discovering the Central Moment that your show pivots on.  You did free-writing about this pivotal moment and you held it close to your heart, a secret for yourself.  

Part 2 of "So You Want to Write a One Person Show" we looked at the moments that lead up to the Central Moment of your revelation in your solo show.  We explored possible turning points and after effects of the Central Moment, and we looked at possible through lines, the threads that sew your stories together into one cohesive piece.

Part 3, Write write write.  It can be tempting in this phase to feel as if it's time to choose a topic and stick with it.  It may feel like you're taking a new direction or things are "falling apart".  Good.  Stay committed.  Create quantity now and worry about quality later.  "It's all good in the end.  If it's not good, it's not over." 

Part 4, Take a break, play, and contact your muses.  Whether it's closer to standup comedy or closer to melodramatic tragedy (not that I think you're being melodramatic), if you're following the process diligently, you'll find you may have become a little overwhlemed by looking at your life, or this fictional version of your life so intensely.  Of course your show might not be about your life..  it's still going to be intense to sit with all the work that's come through you over the recent past.  

This is a good time to take a little space from your project.  At least three days if not a week.  A good time to nap and write down your dreams, to spend time with friends who both relax and inspire you, who you tell the truth with, to read books that have nothing to do with your project.  A good time to draw or paint something, to make an offering or gift to your muses and ask for their guidance.  Make up a ritual or a ceremony!  Light some candles!  Invite that special puzzle piece, that something more into your work that you could not possibly have come up with on your own.

See a piece of theater or hear a piece of music that is truly brilliant, truly transportive.  Unfocus your eyes, soften your ears.  Understand how this art is specific and universal at the same time.  Grok how  some part of the person who created it bowed their small self to the something greater to come through them.  Perhaps it was a deeper intelligence in their brain or perhaps it was divinity..  It was most certainly something that spoke softer and felt truer than their personality, their habitual way of being, their social conditioning.  In Hindi, the word namastasay means to bow.  Find a way to bow your small self and make way for something greater. 

Ok, now.  Keep a notepad (and pen!!) by your bed, keep one by the shower, keep one in the car.  Before you go to sleep at night, ponder your show for at least ten minutes, as the last thing you do.  When you wake up, first thing, write down your dreams or any ideas relating to your show.  Do this for at least seven days in a row.  Any moment you feel something coming through you, say yes to it.  Write it down.  Write everything down that comes, no matter how silly, how insignificant it seems. 

Alternatively, you may find it helpful to create a time each day to allow this "transmission" to come through.  In that case, chose a time and a place to write for one half hour or one hour each day.  Light a candle or some incense at the start–whatever you need to do to mark this time and space as holy and invite that extra something in.  When you complete your writing for the day, always thank your muses and "close the circle". 

If it feels like things are backwards and confusing right now, this is good.  Anyone can write from A to B.  It's called a diary.  What's happening with you now is that you are breaking some holes in the fabric of your normal understanding so the light can come in and illuminate it.  

Ok, now take each incident or character or vignette in your show and put it on a 3 x 5 card.  Mix them up.  The sequence of your life is now like Dada poetry.  Play around with it for a while.  Scramble it up.  Notice themes and threads you may not have noticed before.  You may start to find an order you like.  Make a note of it but keep scrambling.

Part 5 will be forthcoming.  BTW, I am a real human and this is really being written now, so if you have questions or comments, please write to me and I'll do my best to answer them in future blogs.  I am also a solo show coach and can help you work through blocks and bring what wants to be expressed into being.  Keep up the good work!

Alicia Dattner

Jun16

Solo Performer and Comedian Joe Klocek on Secrets

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Solo Performer and Comedian Joe Klocek on Secrets

Master head shot I met Joe in 1998 when I first started doing standup.  He was about to start headlining at the Punchline then, and his comedy has grown and ripened into a fine french cheese.  It's riddled with self-deprication, wit, and charm.  He is one of the best "riffers" in San Francisco history, on and off stage.  We did his show last Sunday (I was performing a bit from my new, new show for the first time.)  I have to say the crowd was a little quiet, and that had me feeling some nervousness.  Back stage joking around with Joe was actually about three times as much fun as being on stage with the crowd.  I forgot how much fun Joe is to kid around with.  

Here's five minutes with Joe Klocek on standup, solo show/solo performance, storytelling, and comedy in general. Joe's new venture is a monthly show called Previously Secret Information, in which performers walk the line between storytelling and standup comedy.

Alicia Dattner: How long have you been doing stand up?

Joe Klockek: 17 years.

AD: But, Joe, you're like so proficient at sstand up why start telling stories that aren't all funny? Isn't what people want just the good stuff? Just the funny stuff? Like, that's the part non-comedians can't do on their own. That's why you're here, isn't it?

JK: I love stand up and will always be a stand up. I found that editing a incredible, often times life changing event in my life down to only the funny parts started to feel like I wasn't respecting those moments fully. These stories have love, loss, hope, death and faith all told honestly without over the top dramatics. A good edits an adventure down to a series of 30 second jokes. I like to think of this show as the story behind the punch lines. Its for people who want something a little more thoughtful in their comedy.

AD: What kinds of stories do you tell in this show?

JK: I tell one story about losing everything in the Utah desert after I hit a cow with my car. I have another one about taking a stuffed animal to a food court in a mall and then security tries to kick me out. The stories are funny sometimes tragic always entertaining episodes from my life.

AD: What kinds of stories do other comics tell? Who else has performed in this show?

JK: We have had a lesbian explain breast feeding an adopted child, a man tell about helping his father with a plumbing disaster and a woman tell what she wanted to say at a funeral for her mother. 

AD: Who are some of your favorite performers that walk this line that you're proposing we walk?

JK: This might be cocky sounding, but I don't know. The goal is to take elements from solo performance and stand-up comedy to get at something real where the audience doesn't feel sperated from the storyteller and the storyteller feels they are in a place where always getting a laugh isn't bad.

AD: What's the craziest thing you've ever seen?

JK: I once saw a mostly naked man get on the 38 Geary holding a jar of peanut butter, crakers and a guitar. He yelled, "Does anyone have a knife?" The bus was silent for a second then a woman reached in her purse and took out a butter knife. She handed it to him and he sat down quietly to spread peanut butter on his crakers. But that is another story.

AD: Anything else you want to share?

JK: Come see Previously Secret Information at the StageWerx theater.