At first, I thought about calling this essay “The Emotional Momentum vs. The Electrical Impulses of Logic,” because that’s essentially what I’m discussing on a scientific level. But on a comedic level, it’s really about understanding the core of comedic timing.
I’m currently reading The Act of Creation by Arthur Koestler, a book that George Carlin once recommended to me. I had completely forgotten about it until I watched an interview where Carlin mentioned it. The book is a deep dive into the psychology and philosophy of creativity and humor, and while it’s not always an easy read, there are some incredible insights in it. I believe every comedian or humorist should have a copy on their bookshelf.
For this article, I’m focusing on just a small part of the book that I’ve reinterpreted in the context of timing in comedy (and drama). Understanding why timing works the way it does is crucial to fully grasping how it works.
The Brain’s Role: Intellect vs. Emotion
In my book Breaking Comedy’s D.N.A., I explored comedic timing from a left-brain/right-brain perspective, breaking down how our brains process logic and emotion differently. Koestler’s book gave me a fresh look at this, and his ideas on the topic are so profound that I felt compelled to share them with you.
In The Act of Creation, Koestler discusses the difference in how our brains process logic versus emotion:
“Thinking, in its physiological aspect, is based on electro-chemical activities in the cerebral cortex and related regions of the brain, involving energy transactions which are minute compared to the massive glandular, visceral, and muscular changes that occur when emotions are aroused.”
In simpler terms, Koestler explains that logic involves rapid electrical impulses in the brain, whereas emotions, like laughter, are a slower, more complex process involving several different areas of the brain and body.
This “bi-sociation” between intellect and emotion is crucial for comedians to understand. By grasping the differences in how these two systems work, a comedian can gain a significant advantage in mastering the craft of humor.
How This Applies to Stand-Up
In stand-up comedy, performers sometimes rush through their material, speaking quickly without allowing enough time for the audience to process their words and, more importantly, for their emotions to catch up. While the brain processes words and logic almost instantly, emotions—such as laughter—require time to develop.
When you tell a story, your audience understands the words right away, but it takes a fraction of a second for their bodies to respond emotionally. If you don’t allow for this reaction time, you risk losing the emotional impact of the joke or story.
A Quick Example
Here’s an example from a fictional stand-up routine that illustrates the difference between logic and emotion:
“My cat’s name is Trixy. I spell it with a Y instead of an IE. I know a lot of people would spell it with an IE, but I wanted Trixy to be different. Kinda like, ‘Y DID YOU POOP ON THE RUG?’ Anyway, Trixy’s a house cat. She loves staying indoors. The other night she got out, though, and made it all the way to my neighbor Jim’s driveway. Jim’s a diabetic and has these purple spots on his skin—what do you call them? Spotches? Splotches? Anyway, Jim came out, got in his car, and accidentally ran over Trixy. So sad, right? I just found out my mom’s a narcissist, though. Now it all makes sense why she spends her days taking selfies.”
If someone were to tell this story at a party, they might later say, “I can’t believe you didn’t react when I told you Trixy got run over!” The lack of an immediate emotional response is due to the pacing of the delivery, and the failure to allow the audience to emotionally process the loss of the cat before moving to the punchline about the mother.
If the comedian were more aware of how emotions are processed in the brain, they would have left a pause after mentioning Trixy’s death, giving the audience time to react emotionally. Without that pause, the story loses its punch.
Why This Should Be Taught Earlier
It’s not the comedian’s fault if they don’t instinctively understand this concept. Unfortunately, no one teaches us how to control emotional timing when we’re growing up. It’s something that most people only learn through exposure, practice, and experience.
When we listen to a story, our brain is processing a lot of things: the sounds of the words, their meanings, the logic behind them, and the context of the situation. All of this happens at a fast, logical level in the brain. But when the comedian introduces something emotional—like the death of a pet—it triggers a much slower emotional process.
The brain needs a second or two to activate the physical and emotional responses to what we’re hearing. It’s only then that the audience is ready to react with gasps or laughter. But if the comedian doesn’t allow this time, they’re effectively “stealing” the emotional punch of the story from the audience.
The Key to Better Timing
To improve your timing, recognize where your laugh points are in the story and pause. Allow your audience time to process the emotional beats before moving on. If you’re rehearsing your routine, it can be helpful to mark your script with visual cues like “//” to remind yourself where to pause. It might seem amateurish, but these pauses are critical, especially when you’re still finding your rhythm on stage.
Comedic Timing is a Skill, Not a Gift
Many people view comedic timing as a mystical talent, something that only a lucky few are born with. That’s simply not true. Just like any other skill, comedic timing can be learned and perfected with practice. It’s not some divine gift—it’s a learned ability, much like learning how to walk or talk.
I had a conversation with Jerry Seinfeld about this. He initially said that timing couldn’t be taught, but I countered with the example of acting. “Can you teach acting?” I asked. He replied, “Of course, all great actors take classes and train.”
I pointed out that acting is essentially about reacting—listening, processing, and responding with authenticity. And those are all elements of timing. If you can teach acting, you can certainly teach timing.
Conclusion: Timing Can Be Mastered
Understanding comedic timing is like learning to ride a bike. At first, you may struggle with balance, but once you get the hang of it, it becomes second nature. Timing is no different. If you can learn to give your audience the space they need to react emotionally, you’ll take your performances to the next level.
I hope this new perspective on timing helps you refine your craft and enrich your comedic performances. Timing is something every comedian can learn to master—just give it the right focus and practice.
