There are few funny hypertexts. Is comic writing really that hard? Steve Almond weighs in on writing funny.

The comic impulse is, in essence, a form of radicalism, an attempt to subvert the predictable bromides of our superegos. It's the force that propels well-behaved little Philip Roth from the comfy suburban confines of "Goodbye, Columbus" to the libidinal jungle of "Portnoy's Complaint." It's what allows Aristophanes (or, for that matter, Jon Stewart) to express moral outrage without moralizing.
The reason young writers have so much trouble "writing funny" is because they are so often dead-set on appearing serious. They view any trace of mirth in their prose as proof of their frivolity, a judgment that critics tend to ratify.