A Quote by Michelle Wolf

Twitter is a good medium to lean how to write jokes. It pushes you to write a better joke in that, on Twitter, the first joke about something has already happened. You need to think of the second joke and the third joke.
When I'm writing columns, it's - all I'm thinking about is jokes, joke, joke, joke, setup, punch line, joke, joke, joke. And I really don't care where it goes.
The U.K. and Europe in general seem to be a lot more patient. The U.S. are expecting 'joke joke joke joke joke joke joke.' They don't actually sit and listen to you.
I did so many open mics. I would write jokes on Twitter constantly, and then slowly, over time, open mics turned into shows. If you can get a joke to work at an open mic, it's a good joke.
On Twitter, when someone would die, I would write a joke. Or if there's a tragedy, I would write a joke and tweet it. That was my thing, and then at a certain point, people started demanding it.
I think I'm a good joke writer. I'm also very scared that the last joke I wrote is the last joke I'll ever write.
Often, when you're in some of these writing rooms for... and the most restrictive is network television, right? They say, 'Wow, that's a great joke, but we can't do that. Okay, let's try the second joke. Oh, you can't do that one. But the third joke you can do,' and hopefully it will be great, but it will remind people of what the joke really was.
What's cool about Twitter is that you can make a joke about something very of-the-moment or random that I wouldn't be able to joke about in stand-up.
Twitter is just a great joke laboratory. You go in there and there are so many witty people that I know any joke I make is going to have a response with at least 10 great jokes coming back.
When I was governor, if I told a joke in front of the press - I learned. I would go, "That was a joke, joke, joke," and I'd say it three times.
What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.
I had an awful joke about Auschwitz I drove everybody crazy with that joke. But that joke makes me feel good. You know what "cuit" means? When something is cooked. It's a joke like that: "What are the birds doing when they fly over Auschwitz? 'Cuit! Cuit!'" It's awful, but it's desacralizing. For me, it's good.
Something is mighty wrong with our priorities when professing Christian men joke about their wives, joke about their children, and joke about God, but fight to the death over their favorite sports team.
I don't see much point in doing things for a pure joke. Every now and then you need a joke, but not so much as the people who spend all their lives constructing joke palaces think you do.
You know, I liken it to - when you write a joke for somebody else, it's like you - you know, like the Wile E. Coyote dynamite plunger, where he pushes the plunger down and then you see the fuse go then there's an explosion in the distance? That's like writing a joke for somebody. When you tell the joke, you're in the explosion.
Humor has the tendency to be funny once. If I tell you a joke, we're going to have a big laugh. But the second time I tell the joke, it's going to be a bit strange, and the third time you're going to ask if there's something wrong with me. So I am very cautious with jokes, but there is a lightness in my work.
As far as outlining is concerned, I don't outline humor. I might right down a word or two to remind myself of a punch line I thought of, but the actual structure of a piece I really don't. I don't think it would really help me because for me the process is joke, joke, joke, joke.
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