Humorist and Author of the Harry Potter parody “Barry Trotter” Mike Gerber makes an interesting case for the singular voice of a humorist without interference from an editor. One statement I particularly like:
Any novel that’s the least bit pointed or ironic is christened “a satirical romp” or “a comic tour-de-force,” but when you put them up against The Daily Show, which makes you laugh more? And that’s the test of a humorous piece of writing—does it make you laugh?
The rarity of laugh-out-loud prose compared to the number of blurbs that suggest it is enough to make a reader suspect that literary critcs have a congenital funny bone deficiency. No wonder the Daily Show book “America” is number one… the literate are starved for laughs.
In some ways the question of how much latitude a creator needs to have in their work is important. I think one of the most important factors in creating something funny is having something to resist against… the more restrictions on a piece the funnier it gets. This goes for no-holds-barred humor that stretches society like National Lampoon, but also from humor that doesn’t aspire to be as caustic. A good editor of humor will help hold a writer to the comic boundaries setup at the begining of the piece. If the writer wavers, goes too far… a smart editor will recognize that and rein them in. I don’t think the editor should ever drill down so deep as to the mechanics of joke-telling (and if they did, why would they need the writer in the first place?). But they can help a writer keep honest with their premise.