Hey, so in this next section, we're going to talk about editing that I've mentioned before that writing is actually just really rewriting that there's a lot of, of actual editing that goes on in the stand up process. You can see from the punch lines I was writing early, you were probably like, yeah, these are not that brilliant. Yeah, they're about slurpees. They're off the top of my dome. They're not that brilliant. It's true.
They're not nobody's brilliant at first rough draft, nobody's brilliant on their first try, you got to go through a whole bunch of different types of editing and writing. And we're gonna dive into it. But the basic premise is this. You want to get as as as close as possible between the setup and the punch line that you want as little time as possible. You want to get rid of the anything that's in the way of the setup of the punch line. You want the mental furniture of the of the setup and the logical components of it to be immediately next to the punch line.
You don't want to delay it at all, although we will talk about pauses and delays in the rehearsing section. But it In terms of editing, you don't want anything there, that's not going to be there. You want to clear and crisp the way Bill Burr says it is not an ounce of fat on it, you want a very crisp joke. You know, it doesn't make any sense if someone was to say, Why did the chicken cross the road? Well, because he had lots of things he was thinking about. And ultimately he just thought, I'm going to get to the other side.
Nothing needs to be in the center of that joke. It's just Why did the chicken cross the road to get to the other side, that's there's there's no space between those two thoughts. They're right next to each other. So that's how you want to get at a high level with the editing that you're doing. So we're going to jump in and I'm going to show you what I do. We're going to again use the computer you can do it in a notebook also, by trying out different words cutting out words cutting out even syllables.
Mom, Jake, Chris Newberg, who's a good friend of mine and who I started with in Detroit years ago. It's been on television a number of times. He likes to say cut out syllables that don't even need to be there. The way Jerry Seinfeld thinks about it as it's like a song, you need to, you need to move along in a certain kind of way to pull the audience along with you. So you want to make it simple. You want to make it easy to digest and understand.
That's the basis behind editing. And you want to get those two emotional components next to each other. Let's dive in and take a look.