Surprising Storytelling Lessons That Instructional Designers Can Learn From Comedy Writing

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As a child, I would stay up way past my bedtime on the weekend to watch Saturday Night Live, laughing at Phil Hartman and Chris Farley as the rest of my family slumbered. I was young enough that I didn’t always have the context to understand the sketches that were based on current events, but even when I didn’t get the cultural references, I still appreciated the comedy. For better or for worse, SNL played a big part in helping me construct my understanding of the world. From an early age, I experienced the power of comedy writing.

As a child, I would stay up way past my bedtime on the weekend to watch Saturday Night Live, laughing at Phil Hartman and Chris Farley as the rest of my family slumbered. I was young enough that I didn’t always have the context to understand the sketches that were based on current events, but even when I didn’t get the cultural references, I still appreciated the comedy. For better or for worse, SNL played a big part in helping me construct my understanding of the world. From an early age, I experienced the power of comedy writing.

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Recently, I took Sketch 101 at my local comedy theater, a class that focused entirely on the structure of comedy sketches. This was not long after reading Rance Greene’s Instructional Story Design . I couldn’t help but notice that the two methods complement each other. You know that stories help us learn and remember. Here’s how comedy elements can enhance instructional story design:

Recently, I took Sketch 101 at my local comedy theater, a class that focused entirely on the structure of comedy sketches. This was not long after reading Rance Greene’s Instructional Story Design. I couldn’t help but notice that the two methods complement each other. You know that stories help us learn and remember. Here’s how comedy elements can enhance instructional story design:

Establish Base Reality

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If you pay close attention to a comedy sketch, you’ll find that it isn’t funny right away. Before you get to the comedy, you must establish base reality: who is in the scene, where are they, and what is at stake?

If you pay close attention to a comedy sketch, you’ll find that it isn’t funny right away. Before you get to the comedy, you must establish base reality: who is in the scene, where are they, and what is at stake?

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This is the same as creating a realistic scenario with relatable characters who are trying to succeed at their jobs. If you’ve done a full needs analysis, the stakes should be clear.

This is the same as creating a realistic scenario with relatable characters who are trying to succeed at their jobs. If you’ve done a full needs analysis, the stakes should be clear.

Characters

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Since comedy sketches are performed on stage or screen, a writer must reveal everything through the characters’ actions and dialogue. Characters often have a strong point of view that they maintain throughout the sketch. Some characters are grounded (reasonable), while others are absurd.

Since comedy sketches are performed on stage or screen, a writer must reveal everything through the characters’ actions and dialogue. Characters often have a strong point of view that they maintain throughout the sketch. Some characters are grounded (reasonable), while others are absurd.

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When creating characters for an instructional story, it is important to develop relatable characters that reflect the audience and make sense in the workplace environment. There is room, however, to play with their point of view: if it’s in line with company culture and values (grounded), it can help them be successful; if it’s out of line with those values (absurd), learners can see the results of the characters’ follies. It’s also good practice to show, rather than tell, through their actions and dialogue, just like in comedy writing.

When creating characters for an instructional story, it is important to develop relatable characters that reflect the audience and make sense in the workplace environment. There is room, however, to play with their point of view: if it’s in line with company culture and values (grounded), it can help them be successful; if it’s out of line with those values (absurd), learners can see the results of the characters’ follies. It’s also good practice to show, rather than tell, through their actions and dialogue, just like in comedy writing.

The Game (A, but B)

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The game is what makes a comedy sketch funny. The game begins when the first odd thing happens: someone says or does something unexpected. It can be simplified into an “A, but B” format. (A family is chosen as a Nielsen family, but Dad takes it way too seriously.) There is usually a juxtaposition between the absurd and the grounded. You might have an absurd character in a grounded environment, or a grounded character in an absurd environment.

The game is what makes a comedy sketch funny. The game begins when the first odd thing happens: someone says or does something unexpected. It can be simplified into an “A, but B” format. (A family is chosen as a Nielsen family, but Dad takes it way too seriously.) There is usually a juxtaposition between the absurd and the grounded. You might have an absurd character in a grounded environment, or a grounded character in an absurd environment.

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This “A, but B” premise of the game is very similar to Rance Greene’s story premise structure:

This “A, but B” premise of the game is very similar to Rance Greene’s story premise structure:

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A story about _____, who struggles to _____.

A story about _____, who struggles to _____.

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When the character in an instructional story first starts to struggle, the game has started. They might struggle because of their environment or because of their attitude or lack of knowledge.

When the character in an instructional story first starts to struggle, the game has started. They might struggle because of their environment or because of their attitude or lack of knowledge.

Heightening the Game

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Once the game is revealed, you can play the game over and over, heightening it as you go. Things become more absurd, or the stakes get higher. In a basic comedy sketch, you have three beats that heighten the game until you reach the breaking point. At the breaking point, there is an emotional shift. Someone might become frustrated and have an outburst, they might break down in tears, or they might switch from being a tolerant, grounded character to snapping and becoming momentarily absurd.

Once the game is revealed, you can play the game over and over, heightening it as you go. Things become more absurd, or the stakes get higher. In a basic comedy sketch, you have three beats that heighten the game until you reach the breaking point. At the breaking point, there is an emotional shift. Someone might become frustrated and have an outburst, they might break down in tears, or they might switch from being a tolerant, grounded character to snapping and becoming momentarily absurd.

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In an instructional story, your game can heighten as one of your characters encounters multiple obstacles to performing an action successfully. Alternatively, one mistake can lead to more problems with increasingly high stakes for resolution. The breaking point is when they must make a final decision or take an action that will either cause success or failure. This is a chance to make the learning stick, as memory is tied up with emotions.

In an instructional story, your game can heighten as one of your characters encounters multiple obstacles to performing an action successfully. Alternatively, one mistake can lead to more problems with increasingly high stakes for resolution. The breaking point is when they must make a final decision or take an action that will either cause success or failure. This is a chance to make the learning stick, as memory is tied up with emotions.

Resting the Game

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Once the breaking point has been reached, a comedy writer will bring the sketch back to base reality. This is called resting the game. There is a pause in the comedy before the comedic ending of the sketch, which allows for emotional cooling.

Once the breaking point has been reached, a comedy writer will bring the sketch back to base reality. This is called resting the game. There is a pause in the comedy before the comedic ending of the sketch, which allows for emotional cooling.

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In an instructional story, this is when you see the results of all the decisions the character has made. This is a chance for the learner to reflect and can be a chance for you to give feedback or further instruction.

In an instructional story, this is when you see the results of all the decisions the character has made. This is a chance for the learner to reflect and can be a chance for you to give feedback or further instruction.

Ending

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In a classic story structure, the ending establishes a new status quo. It is no different with sketch writing. There are four ending types to comedic sketches; not all of which work well with instructional story design:

In a classic story structure, the ending establishes a new status quo. It is no different with sketch writing. There are four ending types to comedic sketches; not all of which work well with instructional story design:

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   Reversing the game: the absurd and grounded characters switch. I do not recommend this for instructional stories, as it may confuse the learner.

   Reversing the game: the absurd and grounded characters switch. I do not recommend this for instructional stories, as it may confuse the learner.

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   Restarting the game: something triggers the game to start again. This can work well in instructional stories, especially as a knowledge check or challenge at the end.

   Restarting the game: something triggers the game to start again. This can work well in instructional stories, especially as a knowledge check or challenge at the end.

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   Heightening to absurdity: characters skip the breaking point and “take it to the moon.” Unless your learners’ job involves being completely irrational and overly emotional, skip this type of ending.

   Heightening to absurdity: characters skip the breaking point and “take it to the moon.” Unless your learners’ job involves being completely irrational and overly emotional, skip this type of ending.

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   Callback: characters refer to a joke from earlier in the sketch. This can work well to reinforce a concept from earlier in the story or training.

   Callback: characters refer to a joke from earlier in the sketch. This can work well to reinforce a concept from earlier in the story or training.

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Incorporating elements of sketch comedy into instructional story design offers a fresh approach to engaging learners. By establishing a base reality, developing characters with clear points of view, and playing the instructional “game” with escalating challenges, we create stories that entertain and deepen understanding. Just like in comedy, timing, tension, and emotional shifts can enhance retention. And while we might not always “take it to the moon” in training, the principles of comedy writing can make the learning experience more memorable and meaningful.

Incorporating elements of sketch comedy into instructional story design offers a fresh approach to engaging learners. By establishing a base reality, developing characters with clear points of view, and playing the instructional “game” with escalating challenges, we create stories that entertain and deepen understanding. Just like in comedy, timing, tension, and emotional shifts can enhance retention. And while we might not always “take it to the moon” in training, the principles of comedy writing can make the learning experience more memorable and meaningful.