Mechanical Notes v Descriptive Notes
issues of usefulness, stickiness, accuracy
Today I want to discuss “mechanical” versus “descriptive” notes. I’m making a lot of these up as I go and am open to suggestions of better ones!
Let’s say a “mechanical” note is something that asks the players to do a discrete, measurable task. Something like “Get out your who, what, where.”
Let’s say a “descriptive” note is something that asks for a general quality. Something like “You need a grounded reality.”
The descriptive note is more true to how improv works. It illuminates a fundamental principle. It leaves the player free to execute it how they want.
But the mechanical note is easier. And it sticks.
“Don’t Ask Questions” vs “Make Choices”
Do you know what note every single improviser knows? “Don’t ask questions.” They also know that it’s not really true. You can ask tons of questions in an improv scene. But they remember that note.
What’s the descriptive version of “don’t ask questions?” It’s something like “add information” or maybe “make choices” or “don’t make your partner do all the work.”
Those are all more accurate as to what makes a good scene. None of them are memorable.
“Don’t Ask Questions” is the sticky version of the principle “make choices.”
Level One Mechanical Exercises
For introductory classes, mechanical notes are for sure the way to go. A level one class is not ready for “have a grounded base reality.” They ARE ready for “establish the who, what and where.”
You can have mechanical exercises versus descriptive exercises too. A mechanical exercises is something like “Let’s do scenes where each character at some point makes a confession.” A descriptive exercise is “Let’s do some two person scenes, and really work to keep them grounded.”
Just like notes — descriptive exercises are more accurate to the principles of improv and a better reflection of what you really need in a show. But mechanical exercises stick.
The king of mechanical exercises in my opinion is “three line scenes.”
The way I was taught this is: get the class into two lines. The person from the left line does the first line, the person from the right responds, and then the person from the left does a third. Goal is to have a who/what/where. Boom, that’s it. Then the people go to the end of the opposite line.
In a way, you’re training these people “wrong.” It is rarely necessary to get out the specific who / what / where in three lines. The resulting scenes from this exercises are not actually good.
But it’s easy. It’s fast. The players taste success because they achieve the mechanical goal. They’re practicing making choices in response to each other.
The descriptive version of this exercise is something like the teacher saying “let’s go 2 at a time, and I will end the scene when I know generally what the situation is. You can take as long as you need.”
It’s not a bad exercise. But it’s harder, perhaps more intimidating. Better for a bit later in the intro class, or maybe even a future level.
Mechanical Exercises For Advanced Players
Mechanical exercises have their place for advanced players too.
As you get more advanced, both players and coaches move away from mechanical approach. Coaches tell the groups to just do a set, and then give their feedback overall. The players know what they’re doing generally. They need a coach who can address deeper issues of their play —- are they calling back the best things, are they staying grounded as they heighten, etc. etc.
But a good exercises really makes things fun.
I’m doing a two-person improv show with Ian Roberts these days and we’ve been coached by Craig Cackowski. I’ll write about this very fun experience more in full someday. But what I want to address now is how fun it’s been to be coached again.
Craig (hello, Craig) is a kind and smart coach. He’s the best audience member you could ask for, and he’s really thoughtful about what’s working or not in an improv set.
But he also loves a good exercise. He’s got a bunch and he’ll make some up on the fly too. After a particularly verbal set, he asked Ian and I do scenes where we each use only seven words at a time. Were the resulting scenes perfect? No, but it worked a muscle. And it made a point.
Another one is “I Know.” After the first line, each person must begin their move with the words “I know.” It removes conflict, forces you to yes-and, also surprisingly sounds natural.
Suggested Mechanical Exercises
I’m always trying to find mechanical exercises to practice “higher level” things. Here’s a few I’ve done recently:
“Object Work and Honesty” Two person scenes with side quests. Each person must at one point go to the environment. At least one person must use the phrase “Can I be honest with you?”
“Reaction Pattern” Two person scenes. At least one person has to repeat some reaction three times (not in a row, but throughout the scene).
“I Knew That.” Four person scenes of friends hanging out at one of the character’s home. Each person takes turn confessing something, after which the other three explain how they already knew it.
“Eyes and Brows” - My dumbest one, but it’s fun. One person has to keep their eyes wide, while the other one must keep their brow furrowed. It’s meant to force one person to be foolish and the other one to be a voice of reason. It often works!
Descriptive Notes
A great place for descriptive notes is after a show. The coach can speak to overall vibe of the entire set. Was it confident? Manic? Hesitant? Did the team overall seem to work on the thing they wanted to?
Plugs, Fresh
Empathy and Point of View Class in London — My improv cohort Jim Woods is teaming up with Mike OT (they are both co-founders of the awesome London improv theater the Free Association) to teach some intensives in London the first two weeks of July. It’s called “Empathy and Point of View” - four all-day sessions for 250 pounds. This will be an intense, challenging, and awesome course and I wish I could take it! There’s a weekday one (July 1 - July 4) and a weekend one (July 6, 7 and July 13, 14). Payment plans available.
Plugs, Ongoing
Screw It, We’re Just Gonna Talk About Comics - Comic book podcast, hosted by my brother Kevin and I. We just finished the Bendis/Bagley run of Ultimate Spider-Man.
Clubhouse Fridays - WGIS’ weekly improv show. Fridays 7pm at The Clubhouse. Free!
The World’s Greatest Improv School: The improv school I run with Jim Woods and Sarah Claspell. We’ve got classes online, in LA and even a few in NYC!
How to Be The Greatest Improviser On Earth - My improv book, available at Amazon. Kindle or print. It’s a hodge-podge of advice I wrote in 2016 about doing improv. If you’re broke and want a free PDF version just email me and I’ll send it over.