Send in the clowns

This morning, when I traveled to work, I was confronted with a huge billboard displaying a super-sized clown face. Well, at least I think most people would describe the character on the advertisement a clown. It was promoting a film called “It: Chapter Two”, which appears to be the sequel to a 2017 big screen adaptation of Steven King’s novel about Pennywise, a bloodthirsty clown with a red balloon. As I don’t like the horror genre, I’m not a Stephen King fan either. Though I understand that people appreciate his novels. But, honestly, I’d call this poster perverse (as I haven’t read the book or seen the movie, I’m not going to give any appreciation about them). It is showing a horrible mutilation and commercialization of a childhood hero character of mine.


You may call me a sentimental old fool – I’ll gladly accept it as an honorary title, except for the ‘old’ adjective – but clowns rather belong in a circus ring than in a horror movie. They are among us to provide comical and emotional relief. Just think of the cliniclowns or clown doctors that bring hope and humor to thousands of hospitalized children, or the “red nose day” fundraising campaigns in countries around the world.

In The Comic Toolbox (a book on which I wrote in an older post) John Vorhaus says that “every comic character begins and ends with his strong comic perspective – a character’s unique way of looking at his world, which differs in a clear and substantial way from the normal world view.” Clowns, if not by definition then by perception, have this comic perspective. They are well fit to be a prominent character in many stories. There need to be protagonists and antagonists, heroes and villains, characters that make you laugh and make you cry. Or both at the same time. As Vorhaus also writes: “A character’s humanity must be a real part of his character.” As such, I don’t want characters make any audience feel frightened or horrified. Neither with nor without a red balloon.

So, where are the clowns? There ought to be clowns. Send in the clowns. The kind, nice and funny ones, please.

Related posts:

The comic toolbox

“The class clown tells jokes everyone gets while the class nerd tells jokes that only he gets.” – John Vorhaus in the Comic Toolbox

The Comic Toolbox: How to Be Funny Even If You’re Not” is kind of a reference book for comedy script writers, written by John Vorhaus in 1994. The author, who is also known as the screenwriter of success series such as “Married… with Children,” is a rare example of someone who has dived into the foundations of humor, who is able to explain (and illustrate) how a joke actually works, and offers helpful suggestions for using it.

Personally, I find the subtitle a bit misleading, as the writer doesn’t force you at all to be funny. What he does, however, is provide a comprehensive and reproducible framework for creative thinking, character-building and storytelling.

Humor is subjective, but the principles underlying humor are not. And even if you’re not writing sitcoms of comic novels, there’s a lot of wisdom to find in this oeuvre. The techniques and exercises can bring value for any business speaker, technology presenter or corporate spokesperson ― they will teach you how to become the class clown instead of the class nerd.


Let me share a few quotes I found interesting, and explore how they could be used in your daily life as a B2B storyteller…

The very first chapter is about truth and pain.

“You often don’t have to tell a joke to get a laugh; sometimes you just have to tell the truth.”

The example given by Vorhaus about airplane food is quite illustrative:

“When a stand-up comic makes a joke about bad airplane food, he’s mining a common vein of truth and pain. Everyone can relate. Even if you’ve never flown, you know airplane food’s, shall we say, ptomainic reputation. You get the joke.”

I have used this combination of truth and pain many times in my business presentations. If you introduce your audience to a painful situation or confront them with an uncomfortable problem (preferably one they have experienced themselves), they tend to be much more open to listening to the solution you’re going to present.

Another section I found extremely useful is the one in which the author maps the three classic types of conflict, man against nature, man against man, and man against self, onto comic situations. Let me focus only on the first one, which

“[…] is the conflict between people and their world. The conflict can be that of a normal character in a comic world or a comic character in a normal world.”

The book illustrates the first case by “Back to the Future” protagonist Marty McFly (played by Michael J. Fox), and the second one by the personage of Michael Dorsey (portrayed by Dustin Hoffman) who becomes Dorothy Michaels in the movie “Tootsie.”

As a business or technology presenter, this global conflict is almost a natural state of conflict to exploit. Aren’t all your customers struggling with some small of big problems in their “comic” ―which is often also their real― world, when they come listening to your presentation? If you can manage to find their sweet (or sour) spot you’re probably off for an interesting dialogue.

A next paragraph (in chapter 12) I’d like to elaborate on is the following one:

“When dealing with story problems, you need to think in terms of two kinds of logic: plot logic and story logic. Plot logic is outer logic, the sequence of events that you, the writer, impose on your story. Story logic is the inner logic of your characters, the reasons they have for behaving the way they do. All of your story moves must satisfy both plot logic and story logic. In other words, your characters must do what they do to move the story forward, but their actions have to make sense to the characters themselves.”

Now, think of the plot logic as the structure of your talk, and of the story logic as the main concerns of your listeners. Your presentation must satisfy both too. In other words, your speech and your visuals must follow a plot that conveys your key messages, but the vocabulary and the tone of your content should be adapted to the needs and expectations of a specific audience.

There’s still a lot more in this book to reflect upon, that I may come back to it in a future post on this blog. In the mean time, you may go to your (online) book store, order the Comic Toolbox and look for my favorite quote on page 133:

“The best lines in comic writing do three truly marvelous things: They tell the story, tell the truth, and tell a joke, all at the same time.”

Wow! Isn’t this what all of us presenters and storytellers dream about at night?

If you don’t have time to read the book, you may also start by watching this video recording of a lecture given by John Vorhous at the Norwegian national television.

And here’s another inspirational movie to help you make it through your day. A proof that one can be a good presenter and be funny at the same time. Watch this “Life after Death by PowerPoint” video by American comedian Don McMillan. I wonder if he has been reading the same book as I did…

You may also read this other article: