Writing Situational Comedy

The way to write good situational comedy it is to have quirky characters and then add as much conflict as you can from the beginning. Do not try to write funny. That’s the worst thing writers can do. They end spending too much time and energy trying to come with funny one-liners which only seem forced. Instead what they should do is set up the premise, i.e., what the protagonist wants, and then try to create as many obstacles in his/her way. This will create conflict and automatically give rise to situations that are funny.

The reason Indian comedies don’t work is because very often a) they don’t have solid well-rounded characters off whose personality traits you can play off b) they don’t have a premise which has potential for enough conflict. Or, even if they have a premise they don’t work hard enough on the story to sustain it for two hours. Then they end up writing in situations that seem forced and gags which are dependent on exaggerated physical quirks and stupid, scatological humour.

Take Singh is Kinng. The premise was good enough. A good-natured, well-meaning country bumpkin becomes a big don. That’s it. And then what do they do? They mess it up by bringing in a stupid love angle which is not strong enough to hold the movie together for two hours.

Instead what would have worked better as a main plot would have been Happy Singh trying to fit into Lucky Singh’s shoes and trying to be the menacing don who strikes fear in everyone’s heart. The love angle would’ve worked better as a side plot. You know, something to add to the already chaotic situation.

But we all know, that it ain’t gonna happen. Just today I read in the papers that the producers are looking for a story for a sequel. Brace yourselves, you’re in for another attack of Sing is Kinng.

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