Scarron's origins were bourgeois, and it was originally intended that he should enter the church. After a period in Brittany and a visit to Rome, however, Scarron settled in Paris and devoted himself to writing. His first works were burlesques. The poet Marc-Antoine Girard de Saint-Amant had already started the vogue for parodies of the classics, but Scarron is mainly responsible for making the burlesque one of the characteristic literary forms of the mid-17th century. His seven-volume Virgile travesty (1648–53) had a tremendous success. Modern readers, perhaps because they are less impressed than Scarron's contemporaries by the daring of parodying the Aeneid, often find the humour facile and too drawn out.

Scarron, who married d'Aubigné in 1652, was also a considerable figure in the theatrical life of Paris in the years immediately preceding Molière's arrival in the capital. He often wrote with particular actors in mind; for example, Le Jodelet (produced 1645) was written to include a starring role for the popular comedian of the same name. Scarron's plots are usually based upon Spanish originals, and even his most successful comedy, Dom Japhet d'Arménie (produced 1647), owes a good deal to a play by Castillo Solórzano. Though no longer performed, Scarron's plays are of real historical importance, and Molière took many hints from them.

Scarron's profound practical experience of the theatre is reflected in Le Roman comique, 3 vol. (1651–59). This novel, composed in the style of a Spanish picaresque romance, recounts with gusto the comical adventures of a company of strolling players. The humour of Le Roman comique has lasted better than that of the parodies, probably because it is more human and less literary. The realism of the novel makes it an invaluable source of information about conditions in the French provinces in the 17th century.