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writing

Develop Your Sketch And Comedy Writing Skills

Sketch and Comedy Writing

Writing classes cover the important essentials for developing and writing original sketch scenes. Our classes are designed to build on each other, deepening your skills through each level. Students will experience both solo and collaborative exercises. Brainstorming, comedic structure, and character development are a few tricks of the trade to be covered.

Take a Sketch and Comedy Writing Class

Writing 1

Writing 1 is for any student who is looking to start the journey of writing to and for a Second City-style revue. This class is the foundation for scenic comedy writing, a guide for utilizing an improviser’s skill set for rapid creation, and learning writing refinement. The concepts and tools provided in Writing 1 are the building blocks for being able to quickly and creatively write to and for a Second City-style revue. Every comedic writer must have the knowledge and skills that are offered in this course.

Writing 1 teaches students how to write comedic scenes that could be found in a Second City-style revue by exploring different scenic set-ups, character dialogue, genres and point-of-view. Students use improv as a tool for character and dialogue generation.

Writing 1 class time includes a combination of solo exercises and collaborative exercises to build skills in brainstorming, comedic structure and character development. Students also gain a Second City perspective on theatrical writing – including observation, idea generation, dialogue, and character creation. Feedback focuses on ‘what works’ in terms of the structural building blocks. Class time is active, positive and encouraging. Students practice concepts through a series of weekly homework assignments.

Any student interested in creating Second City-style comedic writing or interested in extending their improvisation abilities and experiences into writing should take Writing 1.

Writing 2

Writing 2 builds on the foundation for scenic comedy writing established in Writing 1 by expanding on scenic types, writing to cast and running order, and writing through collaboration. Writing 2 focuses on the construction of a sketch comedy revue running order. Students who understand the structure of a show are able to better write to the needs of a show and its cast.Writing 2 provides students with understanding of the different types of scenes found in a Second City-style sketch comedy revue. The lens of the course is focused on the Cast and the Characters. Understanding scenic formulas, writing to cast size, and character point-of-view. Students practice creating simple structures with relatable characters as they learn the building blocks of a sketch revue.Students in Writing 2 develop variety in their comedic scene creation by watching and analyzing a Second City-style revue and work on in-class exercises to write towards the need of a Second City running order. Students also work with one another to develop scenes as collaboration is a cornerstone of the Second City creation process.

Writing 3

Writing 3 builds on the exploration into a Second City running order established in Writing 2 by focusing on the various sources of scenic inspiration and delving deeper into satirical writing. Writing 3 addresses the satirical needs of a sketch comedy revue running order as well as the skills and needs brought on by the varied talents of the cast. By filtering the lessons acquired in previous Writing levels through the lens of satire, students get better acquainted with the style and asks of a Second City-style show. Students examine various sources of inspiration such special skills of the whole cast, other cast members, and personal experiences. As students sharpen the picture of the elements and source of Second City material, they deepen their exploration and understanding of satire and practice several formats that support strong satirical premises. Students in Writing 3 continue developing variety in their comedic scenes by focusing on the needs of the cast and/or the running order. Students continue to work with one another to develop scenes by collaborating on varied satirical premises.

Writing 4

Writing 4 completes the writer’s toolkit with advanced skills for achieving strong point-of-view and applying scenic writing skills to custom writing opportunities. Writing 4 is a culmination of the skills acquired through The Second City Writing Program. It is with this class that a student will be prepared to move into the final levels which focus on writing an actual Second City-style revue for an actual cast. Students are challenged to heighten their jokes while deepening their satiric point of view. Songwriting and other theatrical conventions are explored. At the end of the term, students apply their skills to typical Second City writing challenges in adapting material for special audiences. Additionally, students gain a greater understanding of writing opportunities available at The Second City. Students in Writing 4 focus greatly on writing to need. Class time will be used on writing with a partner, rewriting, writing towards specifics projects, joke construction, and heightening. There is no performance associated with Writing 4; however, there is an in-class reading of material. Please note that admittance into Writing 5 is based on acceptance of a writing submission from Writing 4. Submissions are due in week 4. This submission should be a new scene, and should not be revised as part of in-class work.

Writing 6

Writing 6 is the culmination of the Writing Program guaranteeing the production and theatrical run of a Second City-style revue. Writing 6 focuses on producing a staged comedy sketch show by fulfilling production roles, writing to show and cast needs, and working with a director to mount a show properly and on time.

Students in Writing 6 continue to refine material produced in Writing 5 while continuing to generate material based on the needs of the cast and running order. Students learn how to work with actors and a director as class time is used as rehearsal for the creation of the show. Students experience production meetings to ensure that their show is produced efficiently and effectively.

Class time is used as rehearsal time geared towards creating and producing a final show. Students work directly with the cast and director to hone existing material and to provide additional sketches as needed. Students schedule and attend production meetings to make sure that the show is created and produced in an organized and expedient fashion.

Breaking Down the Scene: A Q&A Discussion with Mick Napier

Ever wondered how legendary Second City scenes featuring the likes of Tina Fey, Rachel Dratch, and Scott Adsit were crafted? In this exclusive Q&A, Mick Napier—director of over 15 Second City revues—will break down some of the most iconic moments from The Second City stage. You’ll get a behind-the-scenes look at the creative process, discovering how scenes evolve from initial improv to polished sketch.

Plus, this event will feature clips from classic Second City revues, providing a rich, interactive experience as Mick shares insights on how to shape improv into lasting comedic gold. Whether you’re an improv enthusiast or sketch comedy fan, this discussion will offer valuable takeaways for everyone. Come prepared with questions—this is a rare chance to learn from one of improv’s true visionaries!

About Mick Napier: Founder and visionary behind the acclaimed Annoyance Theatre, Mick Napier is known both nationally and internationally as an innovator and creative force in comedy, improvisation, and theater. His belief in the element of risk-taking that is at the core of improvisation influences his work and his direction, inspiring genuine creativity in any project with which he is involved.

With the Annoyance, Mick has spent more than 20 years developing and cultivating a style of work and production that has been both acclaimed and imitated. As a Director and Artistic Consultant for the internationally renowned Second City he made his mark having directed more than 10 revues there, including the 40th and 50th Anniversary revues, and Paradigm Lost, which earned him a Joseph Jefferson Award for direction. Mick has also directed such high-profile actors and writers as Martin Short (Martin Short & Friends), Jeff Garlin (I want Someone to Eat Cheese With), and David & Amy Sedaris in their Obie Award Winning hit One Woman Shoe.

In film, Mick directed and edited Annoyance Productions’ first feature film Fatty Drives the Bus, which was released by Troma Pictures in November 1999. For television, he was

writer/performance director for the Cable Ace nominated Exit 57, which aired on Comedy Central for two seasons, Creative Producer on the nationally syndicated sketch TV show The Sports Bar, and for HBO/Comedy Central, he directed the live pilot: T.B.A. His original animations have appeared on the cable programs Tame Show, and R-Rated, as well as in the Chicago Comedy Film Festival.

In addition at The Annoyance, Mick has directed over 20 original productions. Notable ones include Coed Prison Sluts, the longest running musical in Chicago, Splatter Theater, an annual Halloween blood bath, The Tragedy of Balloon Boy, That Darn Antichrist, and more recently The Boy Scout Musical and Swear Jar.

As an Actor, Mick has appeared in the films Ice Harvest and Let’s Go to Prison, Watch, and Talent, and on television as a talent judge in the Canadian reality show Second to None, and in Shrink, a SeeSo television series. The documentary Second to None chronicles Mick’s process of directing a show for The Second City.

Mick’s first book, “Improvise. Scene from the Inside Out” (Heinemann, 2004) reached its 10th printing, and is widely regarded as a seminal work on the subject of Improvisation. It was re-issued with three additional chapters in 2016 under Meriwether Publishing. Meriwether published Mick’s second book, “Behind the Scenes: Improvising Long Form“, in 2016, as well.

Mick worked with many companies and organizations over the past 15 years in areas such as Communication, Collaboration, Innovation, Leadership, and Presentation.

Mick also enjoys a mentalist act with his partner and partner, Jennifer Estlin; they go by the name Napier and Estlin.

Intro to Writing for TV & Film

Intro to Writing for TV & Film is for anyone who wants to learn the crucial basics of writing for film and television or anyone with a great idea of a movie who needs help putting it into (properly formatted) words. It gives you a strong foundation for TV and film writing, demystifies the language and process of writing, and gives you the tools to begin turning your great idea into the next Citizen Kane/Troop Beverly Hills (same thing).

You’ll learn about the language of film/TV writing, the importance of deadlines, the unique qualities of a cinematic story versus a sketch, lots of screenplay formatting, how and what to pitch, and the scale of your ideas.

You’ll watch films and TV shows with a critical ear for dialogue and structure, read scripts, learn how to pitch, pitch those great ideas, and create outlines or treatments for that million-dollar sitcom or film idea. Oh, and table reads!

This course is a great introduction to the Comedy TV Pilots and Writing for Late Night programs.

Writing for Late Night TV

Learn how to write monologue jokes, desk bits, remote segments, guest pieces, sketch and a variety of segments for shows like Fallon, Kimmel, Amber Ruffin, Seth Myers, Colbert, Ellen, Noah, Oliver and more. Pitch monologue jokes weekly, brainstorm, explore and heighten material in this collaborative Writer’s Room environment. Create original material to strengthen your writing samples, and produce the elements to put together your pitch packet for a talk show.

Writing Drop-In

Are you interested in taking a sketch writing class, but you’re not quite sure if it’s right for you? Give it a test drive! Our drop-in writing class for beginners is open to everyone. It’s a great opportunity to practice, have some fun, and meet new people!

The class is subject to cancellation if enrollment is low, so please book in advance!

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