Comedy Has Structure
Long form comedy isnât just a series of jokes. Whether itâs a sitcom, a film, or a stand-up set, thereâs a structure to humor that relates to dramatic structure.
Over time, strong comedy builds. New jokes call back to previous jokes. By the end, you havenât just watched a string of unrelated funny moments, but youâve seen how one joke leads into a joke later on.
Great comedy builds. It lifts the audience up.
To show you what Iâm talking about, Iâd like pick apart the inner workings of an episode of Parks & Recreation.
Parks and Recreation Episode 4×11 – âThe Comeback Kidâ
There are a few key elements of the larger story of this season that help set up this episode:
- Leslie and Ben are in a relationship, but Chris had a policy forbidding romantic relationships between co-workers.
- The discovery of this relationship created the scandal that damaged Leslieâs candidacy for city council and lead to Ben resigning his position in the government.
A quick synopsis of the episode:
With Leslie still reeling from her poll numbers plummeting and her campaign staff abandoning her, she recruits her co-workers as a replacement staff to stage a re-launch for her city council campaign at the Pawnee Sports Building. Seeing that Ben has spiraled into a depression brought on by resigning his job, Chris attempts to lift his spirits.
There are three main plot lines to this episode:
- Leslie and Ann attempt to convince former Pawnee High School basketball star âPistolâ Pete to appear at the event and endorse Leslie.
- Ron leads a group of the rest of the new campaign staff in preparing for the event.
- Chris attempts to break Ben out of his funk, which needs to start with getting Ben to recognize heâs depressed.
Plants and Payoffs
A plant is when a writer offers a piece of information to the audience early on in a story ahead of when they absolutely must use it. Itâs making sure the audience is thinking about some aspect of the story, be it the stakes, a task some character needs to perform, or even a specific object important to the story.
A payoff is when the writer cashes in on the audienceâs memory of that earlier plant, using that information to resolve a story, tell a joke, or throw a twist at the audience.
There are two specific payoffs in this story that weave together the three story lines, and we need to talk about them first to get a better idea of what to look for in their construction.
Payoff One – The Climax
Leslie prepares to walk out into the Pawnee Sports Building believing that she doesnât have Pistol Pete, her stage is incomplete, the banner she ordered has an error, and to make matters worse, the basketball court she thought sheâd be walking out on has been resurfaced as ice for an upcoming hockey game.

Leslieâs campaign staff vows to go out and help her try and save face, only to see that Tom couldnât order a red carpet that leads all the way to the stage.


As they shuffle together across the ice, a short clip of Gloria Estefanâs âGet On Your Feetâ loops (a clip that wouldâve been a perfect duration for a brisk walk across a basketball court).

Champion, April and Andyâs new dog, starts peeing on Ron.

In the scramble to get up on the stage, Leslieâs notecards got out of order, and she starts delivering an incoherent speech.


At the last moment, when Leslie admits to the crowd that this campaign event was a disaster, Pistol Pete shows up in his old jersey to endorse Leslie. When he attempts to make a slam dunk at the end of his speech, he slips on the ice and injures himself.

Even out of context, these moments are funny, but thereâs more at work. Each of these jokes has an origin point earlier in the episode, planting these ideas to play with the audienceâs expectations.
Because you were taught what to expect by the earlier parts of this episode, youâre rewarded for your attention and your patience with even bigger laughs.
Payoff Two – The New Story Direction
After Chris talks Ben out of his funk and gets him thinking about how to make better use of his time, Leslie and the rest of the campaign team show up, fresh from the disaster at the Pawnee Sports Building.
Leslie approaches Ben and asks him to step in and be her new campaign manager. After seeing what happened without someone with political experience at the helm, she wants Ben there, no matter if his connection to her scandal and polling problems could damage her chances.
This launches a new phase of the story where Ben and Leslie will directly work together on her campaign, but the emotional payoff of this moment requires us to see how much Ben and Leslie need each other (due to seeing the disasters they have to deal with when they intentionally keep themselves apart).
Turn by Turn Directions to Our Destination
So letâs take a look at the big picture. In the following graphics, Iâve charted out, scene-by-scene, what happens, and what information is used to build the story toward the climactic moments.
Some things to pay attention to:
- Notice how the writers keep most of these plot threads separate from scene to scene until we get to the final act. These individual threads and stories have a distant connection at first, but they start to interact the deeper we get into the story.
- Look at the way the narrative moves between the different storylines. We spend a little time with Ben & Chris, then back to a part of the main storylines dealing with the âComeback Kidâ event.
- The sheer density of this showâs writing. There are moments that barely qualify as having a setup, like how Jerryâs job to pass out flyers to get an audience is a note on a whiteboard, yet it comes back at a crucial moment to raise the stakes for Leslie.




Sleight of Hand
But the writers canât just have the characters look at the audience and say âHey, hereâs a new dog for Andy and April! Pay attention to this dogâs wacky hi-jinks and get ready for it to do something really funny near the end of the episode!â
When planting an element to set up a later joke, it needs to be introduced to the audience so that theyâre only mostly paying attention to it.
A successful plant lets the audience know something is there without giving away that the writer wants their attention drawn to it.
Think about a magician. Theyâll tell you where they want you to look, and theyâll tell you what theyâre going to do, but theyâre always conscious about drawing your attention away from the actual work of the trick.
They want you to know youâre being fooled, but they donât want you to know how.
Itâs the same with comedic storytelling. The writer wants the audience to laugh as much as possible, but they know that laughter will be stifled if the audience is too aware of the construction of the jokes and the dramatic storytelling underneath.
Nothing kills a joke like telling somebody that itâs going to be so funny.
So letâs break down one scene as an example.
Anatomy of a scene
(Please note, this isnât the actual script for the episode. Itâs a transcription I made to help explain this point.)
Iâve added some notes to the scene highlighting where important plot threads are referenced or introduced, and adding specific notes on how these jokes introduce exposition and plant information in a way that avoids falling flat.


By disguising the planted elements with conflict and humor, the writers keep the audienceâs attention on the present moment and donât give too much away about what they have planned for Champion and Ben.
Tying it all together, these elements of conflict and humor are based in what the audience already knows about the characters. Ben is rigid in his behavior and frequently doesnât understand other peopleâs enthusiasm. April & Andy are impulsive, and they regularly go all-in with their enthusiasm if itâs something they both care about.
We know these characters because weâve grown to care about them. Without that emotional connection, the jokes canât help to obscure the intent of the planted material, and the payoffs wonât land with full force.
We need to care if weâre going to laugh.
We need to care about Benâs mental health, and his rebound from losing his job and sense of identity. We need to care about Leslieâs desire to win the election and become part of Pawneeâs City Council. We need to care about the desire of her friends and co-workers to help her.
We even need to care, at least a little bit, about Pistol Pete. A character we just met needs to be human enough that his decision to embrace his past and endorse Leslie with a dunk means something.
A man choosing to do something foolish, like try and dunk a basketball on a hockey rink, is funny. A man choosing to do something foolish because we know, in his heart, this is about rising up and coming to terms with a deep, internal pain… Thatâs comedy gold.
Mounting My Own Comeback
I used to write a lot more about film and television. I used to make a lot more time to watch film and television.
This blog was something I approached from a place of intense study and small a authority. Coming fresh out of grad school, I had a lot of information in my brain and not always a lot of clear outlets for it.
I donât know what it is now. Youâre just as likely to see me writing about my daughter and our cat as you are to see me dissect a television episode.
Iâm not sure what itâs going to become, either.
I know this is my place on the internet to do what I wish. I know that Iâve got lots of ideas. I know that there are other things Iâm writing and working on that arenât even related to it.
Life is a lot messier than fiction. Not everything you plant pays off later.
But I care deeply about storytelling. And I care deeply about putting these ideas out there. I want to make sure I donât leave that behind as I head toward whatever happens to come next.
Iâll leave the last words to Leslie Knope:
âWell, um, I can assure you people in the bleachers that, if you follow my campaign, it will be interesting.â
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