Mary Jo Pehl is a former writer for Mystery Science Theater 3000, where she also played evil nemesis Pearl Forrester. She is currently a writer, producer, and actor for Cinematic Titanic, a direct-to-DVD series. Mary Jo is a regular contributor to Minnesota Monthly, and her work has appeared in many other publications. She has contributed to several anthologies, including Life's A Stitch: The Best of Contemporary Women's Humor and Travelers' Tales: The Thong Also Rises. In addition, her commentaries have aired on NPR's All Things Considered and Weekend America and The Savvy Traveler on Public Radio International. She has appeared in various stage productions from New York to Los Angeles, including live shows of Cinematic Titanic.

When did you first realize that you were uniquely funny?

Actually, I'm still wondering about that! I think I had an inkling that perhaps I was out of step humor-wise when I saw The Sound of Music for the first time. I was pretty young, maybe 6, and there's a part where Maria is on her way to the Von Trapps after singing a lusty, bravada song about how confident she is. She arrives at their giant gate, and says, “Oh, help.” I cracked up at the irony and I was the only one (as I recollect) laughing in the theater.

Who do you think were your influences?

Carol Burnett, Laugh In (when I could sneak in a viewing without my parents' knowledge), my Mom, my whole family, my best friend Kitti in high school, Monty Python (and each member's individual projects), The Onion, John Kennedy Toole with Confederacy of Dunces, Saturday Night Live, and as I made my way up the standup comedy ranks, my tremendously funny friends and colleagues. Stop me!

When did you realize that comedy was something you had to do for a living?

The “universe” backed me into a corner. I kept getting fired or laid off from all the cube corporate jobs I tried to fit in at. I didn't get corporate politics. Apparently I was “ineffective” as an employee. I had an “attitude.” And several companies I worked for went out of business. At one point, I'd gotten fired right when I got a long-term gig doing a comedy show. I knew I would survive for a couple of months on that, and I decided to give it a go. I felt like I didn't have any choice, really!

What was your first job comedy writing / performance?

I used to do sketchs and/or impersonations in high school talent shows but I'd say the REAL first was when I started a sketch comedy group with a couple of friends of mine. We called ourselves the Boneless Hams. We wrote and performed sketch comedy and stand-up bits, and performed at a bar in an office building off an interstate exchange during happy hour.

How did you first get involved with Mystery Science Theater 3000

I knew most of the gang working on the show from the Minneapolis comedy scene. When the show got picked up by Comedy Central, I heard they were looking for a new writer. So I called Mike Nelson, the head writer, and expressed my interest. They asked me in for an audition; I was there for two weeks, then they forgot I was there and I just stayed.

What are you currently working on?

I'm a writer/producer for Cinematic Titanic and I'm working on a book, as well as some other creative projects that are in the tadpole stage.

What is the biggest difficulty you've encountered being a comedy writer?

Not being funny! Sometimes the funny fails. Sometimes you have no idea what's funny anymore. The subjectivity of humor and justifying my humor to people who don't share the same sensibilities as me. Trying to come up with something specific for a spot in the film, as in the case of MST3K or Cinematic Titanic. People who dismiss women in whole as “not funny” just because they are women. Having to hear really bad, disgusting, vile jokes because “Hey, you have a sense of humor — you'll love this — “

Are there jokes that you do just for you?

Sure — mostly in my stand-up comedy act, and sometimes a sort of joke that might show up in an episode of Mystery Science Theater 3000 and now Cinematic Titanic.

What are the differences between writing for yourself and writing for others?

Obviously, the voices and point of view are different. So you have to figure out a way to make someone else funny, which might not be as organic. Fortunately, on Mystery Science Theater 3000 — and now Cinematic Titanic — we all worked together a long time and get each other's sensibilities, so it's easier to do.

Where do you think the future of comedy is headed?

I really couldn't say. I think it's getting harder to be funny because so many real life events are so preposterous you couldn't make them. Real life beats comedians to the punch.

What is the best thing about being a comedy writer?

There is nothing like making people laugh. There is nothing that compares to meeting people or getting an e-mail that thanks you for making them laugh and getting them through hard times. There is nothing like saying something funny on stage and hearing laughter.

Do you have any advice for up and coming comedy writers?

First of all, be a good writer. Secondly, figure out a way to do it. In this day and age, there are so many outlets and venues to get your work out there. Comedy and writing is no longer dependent on a publisher or a TV network — it's all DIY.