First...

I think it's an interesting question. Does the rhythm and cadence of joke-telling somehow relate to copy.

I'll give you a short (not too thought out answer) but I'm going to save the big (much more thought out) answer for my blog... launching later this month.

Short answer... yeah I think maybe it does relate. A big part of getting people to laugh is to get them into your rhythm and flow. Once on stage you look to get "into the pocket" where everything you say kills em.

Top 5 comedy albums? I don't have a definitive list but here are some... in no particular order.

1. Eddie Murphy Comedian
2. George Carlin Class Clown
3. Bob Newhart Buttondown Mind
4. Richard Prior Anthology
5. Early Bill Cosby.

I must say I've been finding George Carlin most inspiring when writing to the "contrarian investors" market.

Colm

If you ever write anything for Military Intelligence, listen to Robin Williams... he was a former ditty bopper (Morse). Those guys have to be crazy...

#1 comedy album of all time for me:

Richard Pryor - Is It Something I Said?

Hey Colin,

I've written about this quite a bit on my blog. There are many valuable lessons about effective copy in the rhythm and timing of comedy.

There's also great lessons in the art of joke writing, which is something Vin mastered in 18-years writing comedy television.

As noted by the preferences stated here, styles vary greatly among comedians... not much similarity in the styles of Bill Cosby and Chris Rock, but they're both brilliant.

(Personal opinion alert: if you're too offended by language to see the magic in "art with an edge" then you are suffocating your own potential.)

However, this topic is about much more than rhythm and flow... here's the REAL value in the comparison: Persuasion.

Not NLP Dr. Spock mind-melding shiznit or PUA nonsense...

... just good ol' fashioned: premise, set up, punchline.

If you're searching for the hidden formula in stand-up comedy, there it is. It's a condensed version of the classic essay format you'll find in the first paragraph of any decent op/ed piece in your Sunday paper.

It goes like this:

1) Begins with a topic sentence that introduces a general theme.
2) Follows the topic sentence with sentences that narrow the focus of the theme.
3) Narrows the discussion of the topic by identifying an issue or problem.
4) Finishes by making a debatable claim a thesis statement, which is defined as a debatable point/claim.

Of course, the best comics stretch that theme beyond recognition to create a style all their own.

YouTube some of Carlin's stuff. He starts out with a premise, makes his case, then "tags" the joke relentlessly until it's played out.

Then watch Cosby take the same formula and stretch every detail in the opening statement -- stopping to meticulously examine micro-scenarios before finally closing it up with a final "summation."

Same formula, wildly different styles. And the key to success in each case is that moment where you mutter breathlessly between laughs: "It's so true!"

Hope that shines a light for you.

Check out the book Comedy Writing Secrets by Melvin Helitzer.

A ton of that stuff translates directly to writing copy.