Longreads

Jerry Seinfeld: How to Write a Joke: The comedian describes the anatomy of his Pop-Tart joke, still a work in progress, and shows his longhand writing process.

When he arrived at the warehouse, the first thing he noticed (after “the beautiful, sweet, mellow smell of aging Canadian whiskey,” he says) was the black stuff. It was everywhere—on the walls of buildings, on chain-link fences, on metal street signs, as if a battalion of Dickensian chimney sweeps had careened through town. “In the back of the property, there was an old stainless steel fermenter tank,” Scott says. “It was lying on its side, and it had this fungus growing all over it. Stainless steel!” The whole point of stainless steel is that things don’t grow on it.

"Brain time," as David Eagleman calls it, is intrinsically subjective. "Try this exercise," he suggests in a recent essay. "Put this book down and go look in a mirror. Now move your eyes back and forth, so that you're looking at your left eye, then at your right eye, then at your left eye again. When your eyes shift from one position to the other, they take time to move and land on the other location. But here’s the kicker: you never see your eyes move." There’s no evidence of any gaps in your perception—no darkened stretches like bits of blank film—yet much of what you see has been edited out. Your brain has taken a complicated scene of eyes darting back and forth and recut it as a simple one: your eyes stare straight ahead. Where did the missing moments go?