Memorizing material: Is comedy like acting?

Hi Dave – Does a comedian write down their monologue and memorize it thoroughly? The more I learn about being a comic, the more it sounds like acting. Is there much of a difference? – JB

Hey JB – Okay, this is gonna tick off some of the actors reading this. Before we continue, let me say that I respect the craft of acting. Make that good acting.

It’s not easy being an actor because you have to learn to express emotions on cue and make it all believable. When you’re in a long running play it involves a lot of repetition – every show. When you’re interacting with other actors you must be on the right spot at the right time and say the correct words to cue a response. The words are in the script, so no arguing about this statement is necessary.

Acting also involves practiced lighting, props, entrances, exits and even bows (curtain call) at the end. Plays, TV shows and movies are directed. Actors do what directors tell them and say what writers tell them to say. And one last thing – the audience is not involved. People in the seats are there to watch. Professionally it’s called a fourth wall on the stage and that’s the invisible wall separating the audience from the actors.

Groucho Marx

As with everything, there are exceptions. Improvisational acting involves more creativity and spontaneity by the actors as they invent dialogue that are sometimes suggested by the audience or based on a loosely structured script, (as in doing a skit). For example, Marx Brothers movies, (I like the classics also), wouldn’t be as funny if Groucho didn’t break through the fourth wall every once in awhile and deliver a few wise-cracks directly to the camera/audience.

I’ve known a lot of great actors who are lousy comedians. Especially the ones who show up for comedy club auditions claiming to be great comics, but can’t buy a laugh once they’re on stage.

They’re acting the role of a comedian, but don’t know the first thing about it.

I guess what I’m really saying is that I think it’s more difficult to be a great comedian than it is an actor. Period. Argue if you want, but that’s my opinion.

Why? It’s because a comedian has to work off an audience, rather than working with another rehearsed actor. Stand-ups deliver material and deal with an audience at the same time. A comedian who just memorizes a monologue and recites it with no regard to audience response is acting. They’re doing a one-person, (acting), show. It may be based on a stand-up routine, but it’s not stand-up comedy.

Robert Dubac with Dave

Again, there are exceptions. Robert Dubac is a great stand-up comedian who does great one-man theatrical (acting) shows. He has a script, but he also works off an audience. If you haven’t checked out The Male Intellect: An Oxymoron, then you’re missing both great comedy and great theater.

Another is the talented English comedian / actor Dave Gorman. His show Googlewhack Adventure had me crying with laughter. But talking about what he and Dubac can do with a script and stand-up comedy experience would fill another article, so I’ll just leave it at that for now.

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My point in saying all this it that yes, you can write and memorize a monologue and perform it in a comedy club. Lots of comedians do it. But unlike acting, a comedian has to be prepared to deal with audience response.

An audience is usually unpredictable. They may not laugh when expected and laugh hysterically when it’s not expected. A good stand-up will react also. If the material is not going over as expected, they can switch gears. This means they can pull out different material, work-off (talk) to the audience or change their delivery. It involves having a lot of material, some ability to improvise and on-stage experience. Actors stick to the script and hope the same material works better the next night.

If you memorize your comedy routine word for word, it MUST be conversational. It MUST seem as if you’re making it up on the spot. I gave an example last week about using your personality on stage. The same example holds true here…

Imagine you’re with a group of friends at a party. Everyone’s been telling stories and now it’s your turn to talk. You have a funny story, joke – whatever – that you want to share. How would you deliver it to your friends in a way that will make them laugh?

I’ve seen comedians night after night deliver the same routine word for word. Their gestures and facial expressions are the same every night. Does it work? YEAH – if they’re an experienced comedian because it will look like they’re saying it for the first time at every show.

For example, there is a VERY famous comedian I’ve booked dozens of times. I won’t give his name – but if you’ve ever taken my workshop you know who I’m talking about, (because I tell this story and mention his name!). Every show he delivered the exact same act. It was great, it worked and it took him years to develop his material.

One night during a very late show with a very light audience, another famous comedian stood on stage behind him and mimicked his act exactly. It was like having a shadow. We were all in the back of the club laughing – and so was the headlining “star” comedian on stage. But it didn’t matter because his act was great and each time he did it he made it look as if it was brand new. It was memorized – but the audience had no idea and that’s what counts.

Hang around comedy clubs and you’ll see what I mean. Watch some of the comedians more than a few times and you’ll see they do the same routine for each show. For some it’s completely memorized, but the best ones know not to deliver it that way.

Other comedians will follow a mental outline for their monologue. They deliver the same jokes / stories with the same punch lines, but allow themselves to improvise and work off the audience. It keeps it entertaining for the comedian and they don’t get bored doing the same show over and over.

As always, the most important element is the material. You need to have funny material that makes an audience laugh. When it does – then you keep it in the act until eventually you replace it with better material. It’s a never ending process if you want to be a working comic.

There’s nothing wrong with memorizing your act if it helps you feel more comfortable. The key is to make it seem conversational and like you’re saying these words for the very first time. It’s like going to a different party and telling the same story to a different group of friends. If you did it successfully the first time and want the same reaction at this party, chances are you’ll deliver it in a very similar way. In other words – it’s your act.

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Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up Comedy, Comedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Personality separates you from the competition

Hi Dave – Many of my friends think I am funny in an I Love Lucy kind of way… which I suppose comes naturally. However, I am not sure how to release that side of me when I am giving a presentation. Thanks – DB

Hey DB – When it comes to giving a presentation as a humorous speaker or doing a set as a comedian, you must connect with your audience. That’s the bottom line – period. If you don’t connect, they don’t listen.

What’s a great way to connect? By doing what comes naturally and showing off your personality. Let me explain…

Working comics know performing stand-up is more than telling jokes. Anyone can tell a joke, (some better than others). But to be a successful performer, you need to show who you are on stage.

Comics, agents, managers and talent bookers call it your comedy voice. For our purposes, we’ll call it your personality as a speaker.

The classic joke-tellers like Rodney Dangerfield and Henny Youngman, (to mention only two), had GREAT personalities on stage. That’s what sold their material to an audience.

They could do a series of basic, (and clever), one, two or three line jokes that fans couldn’t wait to re-tell the next day around the water cooler or in school. The fans’ renditions might get laughs from their coworkers and friends, but rarely ever the same as the originals. As imitators, we couldn’t match their personalities.

That’s why Dangerfield and Youngman (and if you don’t know these guys, brush up on your comedy history) were paid big bucks to do their jokes on stage while the rest of us (the fans) got detentions for re-telling their jokes in school.

Dangerfield’s jokes worked because of his personality – who he was on stage (his comedy voice). He had a talent for putting himself down…

• “I get no respect.”

Youngman’s personality made him a natural at making wise-cracks (another talent most of us shared to earn school detentions)…

• “Take my wife… please!”

Without showcasing their personalities, these legendary comics might never have stood out from the pack of other wise-cracking joke-tellers.

The same can be said of humorous speakers.

I always get a laugh at – as opposed to with – humorous speakers who call themselves humorous speakers just because they throw in a lame joke once in awhile during a presentation. I’m sure you know what I’m talking about…

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For the opening of their presentation they’ll repeat a joke they found on the internet or even worse, take an old joke and re-work it to make it seem as if it were a true story that pertains to their topic.

This – they think – makes them a humorous speaker.

I’m almost gagging as I write this since it reminds me of how I’ve seen speakers do this WAY too often. For some reason they hide their fun(ny) personalities, (we all have one, though some are more outgoing than others), because they assume it’s the only way to be taken seriously as trainers and educators.

That’s fine if you’re strictly a no-frills, non-humorous speaker, trainer or educator. But if you’re billed as a humorous speaker and want to stand out from the competition it’s important to use your natural talent.

Your personality.

So… your friends say you’re similar to the legendary Lucille Ball? Then there must be some truth in their opinions. I assume you’re not trying to imitate Lucy – you just somehow remind people of her. It’s part of your personality.

As a humorous speaker you want to find a way to bring your personality onto the speaker’s platform with you. It’s who you are and what makes you an individual and unique when compared to others who speak on the same topic. That’s what helps separate you from the competition – the other humorous speakers who want to be hired for the same gig.

You don’t have to imitate Lucy. In fact I recommend you DON’T imitate Lucy. Unless you’re hired to play her as a character it would take the believability away from your message. But if you have a talent for making funny statements or even physical humor – which is probably why your friends compare you to Lucy – then use your talent in your delivery.

But before you plan on filling your mouth with chocolate candy or presenting from a scaffold on the side of a building, (I Love Lucy fans know exactly what I’m talking about), keep in mind Lucy’s style of physical comedy doesn’t necessarily mean slapstick comedy. You don’t have to overdo it to stand-out.

Keep it simple. It could just be a look or way you naturally use your hands. If it’s part of your personality, what good does it do to hide it?

If you’re in the humor game, it’s all about not being a stiff, boring speaker. Use your natural personality to connect with an audience.

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Here’s the bottom line. You don’t need to tell jokes to be an effective humorous speaker. If you have a signature story, examples or descriptions that an audience might find funny – make them funny. Don’t be afraid to use facial expressions, hand gestures or movement. Don’t get stuck standing in one place showing a power point or simply reciting solutions to problems.

Use your personality. It’s a natural talent that you probably use everyday. Think of the last time you were together with a group of friends. Maybe you were sitting around someone’s kitchen table and you wanted to tell them about something that happened to you that day. It could be as simple as your drive to work, but something interesting (and hopefully) funny happened.

How would you tell it in a way that would get the reaction you wanted? How could you tell it in a way that would make your friends laugh?

Here’s a good tip. Think of the audience as a room full of friends. How would you deliver your message (the point of your presentation) to them in a way that not only informs, but will also entertain them?

By using your personality.

They’ll remember you over a boring speaker (or one trying to entertain with an old joke you’ve probably heard before) with the same message. That’s how you stand out from the competition.

It worked for Rodney, Henny and Lucy – and more than a few humorous speakers and working comics. There’s no reason why it can’t work for you too.

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Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up Comedy, Comedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Corp comic or humorous speaker? Readers respond

A few newsletters ago (January 29 to be exact) I asked a business question:

Wannabe a corp comic or humorous speaker?

Okay, maybe wannabe is not a legit business term, but it makes sense to many of us in the creative business. After all, we tend to think more out of the box.

Along with the other 1,222 (you make 1,223) who receive these FAQs And Answers via email, there are others who read through LinkedIn and Facebook. A few of the LinkedIn sites picked up on this question and their followers chipped in thoughts and opinions. I hope none of the contributors mind, but if you’re not linked in through LinkedIn (and you should cuz it’s all about networking!) I wanted to make sure these were shared with you.

All the people listed below can be found on LinkedIn. I suggest you look them up and follow their sites and comments. Most of you are in the same business with the same interest of working in this business, and it wouldn’t hurt to be connected.

As usual for these readers tell all reports (sorry – I was in the supermarket and looking at the tabloid celebrity who tells all headlines) I picked out comments that I thought were the best ones to pass along. They could be helpful with your game plan, thought-provoking about where you fit in, or just funny. But if you’ve been wondering…

Corp comedian or humorous speaker?

…here’s what Enquiring minds need to know. And yeah, I promise not to read any more supermarket tabloids before writing these. Sorry…

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“What’s the difference between the average club comic and the average corporate comic? Answer: $3000 a day + expenses.” – Frank King

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“Good topic. Often I am asked if I am a comedian. My reply is that I am a humorous speaker. My appearances are often tailored and laced with humor that is build around the theme of the event.

“Most comedians more often than not are naturals with the ability to hold an audiences’ attention. A good comedian is a good story teller. Comedians that can stand up and tell jokes for 20 minutes to an hour – is a skill that I admire, coming from one who considers himself more a humorous speaker than a comedian.” – Barack Alike

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“I’ve always wondered about this very topic. I’d imagine that because public speaking when it comes to corporate events, as a comedian, if you find something in your wheelhouse that you’re passionate about, you could very well become more comfortable. Therefore, have it be an (easier) gig for you when push comes to shove. It would be just a matter of having a good enough agent to book gigs that resonate with you personally.” – Lionel Forbes

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“In the UK many comedians have success on the after dinner and corporate function circuit, as do comedy writers writing for speakers of all kinds. Even politicians have on occasions been known to bring on board a comedy writer to write a few gags. These kinds of comedy gigs can be quite lucrative but I think they need to be approached in a different way to the comedy circuit as the material needs to suit the audience and the occasion.

“I don’t think you necessarily need an agent to find the bookings, you can do this yourself or by joining speakers organizations. Reading a few books on public speaking won’t go amiss either.” – Jenny Roche

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“From what I have seen becoming and marketing yourself as a humorous speaker is almost 180% different from being a straight up, stand up comedian. You can get away with a lot more as a stand up than as a humorous speaker. Most often you are working a room where someone there has a vested interest in making sure you do not offend anyone or hurt feelings.

“If you work clean already you have a much greater chance of working as a humorous speaker. Being a humorous speaker can make you some REAL money, not club work money but real money. I have a friend who goes to a corporate luncheon and works 30 min and makes from $8,000.00 to $14,000.00. He is an exception, but I know professional comedians that work the club circuit and that would be 1/3 of their year’s salary in 30 minutes.

“I doubt he has ever worked a straight club gig in his life. My resolution for this year is, I am going to get him to give me some guidance and hopefully start a new humorous speaking career.
“I realize that a lot of comedians feel they need to push the envelop, ala, Carlin, Lenny Bruce, etc, etc. That is great but it would never work as a marketable humorous speaker.” – Mike “Cookie” Crawford

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“The big key is to be able to tie-in your humor with subjects the corp client feels will help their people: leadership, time management, managing people, stress, sales, marketing, etc. Entertain and educate. Check out the professional speaker bureaus for topics and how some of the comics list their subjects.

“Check them out… work up a few topics that interest you and get your videos on your website if you have one. Those video clips are your business cards for corporate speaking. Go for it! Best wishes! – Curtis Kessinger

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“While many corporate gigs do ask for you to tie in some material with their theme, many corporate shows do not expect a comedian to mix in business humor. They want you there purely for entertainment (clean comedy). They do ask the talent to spend some time mingling with the guests before or after.

“I attended a corporate event that brought in Brian Regan and he did no business themed material specific for the event. So it could go either way on having to do business material.” – Jerry Krull

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“Great comment Jerry. I agree with you. I was going the route that to increase your chances of getting speaking gigs you should develop other material related to topics that most corporations would hire someone to speak about. Very few will hire unknown comics. Brian is at the top of the list. If you can add in humor with your other topics you open up new doors that otherwise would not be open. – Curtis Kessinger

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Curtis, no doubt you increase your chances if you do add some business humor. I was at another conference for a company that used jugglers who were funny and used the theme of teamwork and trust in their set while juggling running chainsaws. If you have business themes it does increase your opportunities. Just wanted to mention that not having business humor means you shouldn’t pursue corporate shows. – Jerry Krull

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Thanks to everyone who commented and for sharing your valuable insights, experience and advice. Keep laughing! – Dave

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Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Guide To A Career In Stand-Up Comedy, Comedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Booking conference gigs: think big and start small

Hi Dave – I just joined your email list. I do humor and did my first two stand-up open mics… rough crowd. Someone threw a cup of ice at one of the other comedians. My goal: to get some gigs entertaining at travel conferences. I have a bunch of funny travel stories. Any idea who I approach? A booking agent? I’m new to this, so any thoughts are appreciated. – R.R.

Hey R.R. – Only one cup of ice and you call it a rough crowd? Welcome to the world of open mics. No wonder you want to perform at conference / corporate gigs. They’re usually better behaved and the most they’d throw at you are icy stares if you’re not funny…

What you really need to concentrate on is getting more experience performing in front of an audience. Two stand-up open mics are a great start, but you need a LOT more. It’s key for working not only on your material, but also timing and delivery – and avoiding icy stares.

That can only be learned through on stage experience.

So in addition to getting more performing experience, my suggestion for you right now would be to focus on writing. Specifically – since you mentioned it – writing funny travel stories. It’s a topic that interests you and what you want to share with an audience.

After all, you mentioned it…

This is true for anyone who writes, whether it’s comedy material, a speaker’s presentation, short stories, epic novels… and the list goes on and on. If you don’t find it interesting, chances are your audience won’t either.

There are many different writing techniques to help you get started, or if you’ve already started, how to organize your efforts into a working comedy set or presentation. I’ve shared more than a few in past FAQs And Answers (scroll down to read – it’s free) and organized the best ones in my book Comedy Workshop: Creating & Writing Comedy Material (check out Amazon.com – it’s cheap… or as they say in the corporate world: inexpensive).

In the meantime, pick topics that you really want to talk about. In your case, travel stories.

Start small. What I mean by that is to work on coming up with a short five minute set or presentation. It’s like writing a book. You may have an outline for an entire novel, but you still have to write it one chapter at a time. To use anold saying to back me up:

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“Don’t bite off more than you chew.”

Put together what you feel is a great five minute presentation. Fill it out. Use colors (my favorite term for great descriptions). If it’s about travel – take the audience there with you through colors and experiences. And since we’re also talking about humor, be creative and funny with your writing.

The next step is to try it out in front of an audience. If you’re a comedian, hit all the open mic clubs in your area as many times as they’ll let you on stage. If you’re a humorous speaker, volunteer to do your short presentation at their breakfast, lunch, or dinner meetings.

For free.

Why free? Because it’s a  practice session for you. These places are doing YOU the favor – not the other way around.

I’ve written a lot about this concept in past FAQs And Answers. It’s the open mic circuit for speakers and the best way to put together a presentation. But remember, keep it squeaky clean and G-rated (another concept I’ve shared a lot about in past articles).

That’s the ONLY way to work in this market. Don’t let anyone fool you into thinking otherwise.

Once your five minutes works on an audience (gets laughs), start writing another five minutes and trying it out in front of live audiences. Repeat the process. When that works, guess what?

You’ll have TEN minutes of working material.

For talent agents and event planners, the term conference means more than just a simple breakfast, lunch, or dinner meeting. It basically describes more of an event that can be spread out over time – for instance, a few days or an entire weekend – and can include training seminars, break-out sessions, field trips, banquets, entertainment, awards ceremonies, and other events that make up the entire conference.

And to have a successful conference, meeting planners want successful presentations from proven presenters. Make sense? It needs to if you want to work in the conference market.

When it comes to entertainment (comedians and humorous speakers), conferences usually book 45 minutes to an hour of performance time. Keynote speakers, break-out sessions and training seminars are different types of programs than what your question pertains to, so I’ll save writing that epic article for another time.

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IT’S COMING BACK…!

May 2013 – stay tuned for details…

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Event planners will call agents, watch videos and ask other event planners or clients for recommendations. They want a comedian / entertainer / speaker who has proven he can provide the entertainment or message they need for this particular conference.

Why?

1. Because they paid good money and want their money’s worth and…
2. If this conference gets good word-of-mouth, everyone and more will want to attend the next one. That reeks of success in the business world!

The best way to break in is to think big and start small. Focus on your material and get stage experience. Build your presentation or comedy set “chapter by chapter.” On stage experience will help develop your delivery style and timing. Get rid of material that doesn’t work and work on new material that does.

The only way to do this is through continued writing and performing. And the only way to know for sure if it works or not is from audience reaction. An audience will always tell you.

It’s a process and hopefully this advice will take some time off the learning curve.

Finally, I wouldn’t think about contacting a booking agent until you’re truly confident you can deliver the goods – proven material from an experienced comedian or speaker.

You’ll have a good idea you’re ready when your free gigs start leading to paying gigs. Someone in the audience might hand you a business card after a performance and ask if you’re available for their next meeting or conference. I’ve seen it happen – a lot. And when it does, just be prepared to ask…

“Where, when and how much are you gonna pay me?”

When it happens on a consistent basis, booking agents will be looking to work with you. Why? Because YOUR proven experience will attract paying customers. I’ve seen it happen – a lot.

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic and Comedy FAQs And Answers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

It’s all in the delivery

Dave – I need to work on my delivery. During our coaching session you had indicated that it sounded like I was just reading from a magazine. I see what you mean after listening to my last set a couple times. I’m working out a new bit that I’m taking care not to write out in script form, but in outline form. I’m beginning to get the laughs where I want them and I know the confidence to ad-lib only comes from stage experience. But working on delivery seems like the next logical step. Do you agree? – DB

Hey DB – When you’re just starting out in the comedy or speaking biz, having the right delivery on stage is something everyone worries about. It’s up there with getting over any nervousness you might have just standing in front of an audience AND also remembering what the heck you’re gonna say.  But you know what?

It’s nothing to sweat about at this stage – the beginning stage – of your career on stage. Wow, it’s not everyday I can use the same word three times in one sentence. Guess I need to work on my delivery…

Your delivery – or comedy voice, as I’ve heard it called too many times to ignore – will develop through experience.

It comes with getting stage time.

Right now – and again, I’m talking about the beginning stage – I’ll suggest something else to concentrate on that I’ve also heard many times (from working comics). Write, write and WRITE some more.

Got that? The idea is to have something – ideas, topics, stories, whatever – that you can talk about and try out in front of an audience. Then you rewrite, edit, come up with new stuff, and repeat the process again and again.

As you do this your material will change and evolve. You’ll also become more comfortable knowing your material AND being in front of an audience. For some people it seems easy, but I’ve talked with many more who’ve said it was damn hard work. It’s doing open-mics and any other gigs as often as possible.

During this process you (should) also develop your delivery. But again, sometimes it’s not that easy. So I’ll make a suggestion based on your question…

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A lot of comedians and speakers start out by memorizing their material. There’s a great story about that in my book How To Be A Working Comic from one of the great stand-up improvisors and ad-libber’s in the business, Rick Overton. His many fans might find it hard to believe, but he told me that’s what he did in the beginning. You have to find a way to get yourself on stage and if memorizing your material helps, then try it. Then through experience you can gradually develop and grow as a writer and performer and break free of that restraint (memorizing) and have as much fun as the audience.

It takes stage time.

Memorizing your material can be a valuable crutch to use when you’re first going on stage. As you know, all kinds of things – mental and physical – are happening when you’re new at this. It’s not a normal everyday thing to walk onto a spotlighted stage, stand in front of a microphone and start talking to people.

But even if it’s memorized the KEY is to NOT make it sound memorized.

Ad-libbing and working off the audience can loosen things up and help you as a performer and writer come up with new material, or learn how to deliver what you already have to get bigger laughs. In other words, you want to sound like you’re making this stuff up on the spot. It’s called being conversational - which is the opposite of  sounding like you’re repeating a magazine article from memory.

Now I know all comedians and speakers are not the same. There are one-liners, physical comedy, story-tellers, insult comics and more. Just keep in mind I’m talking in general – okay?

I don’t know how many comedians I’ve seen over my career, but I know as the current manager of a major comedy club I see at least three doing at least three shows  every weekend. And what I’ve noticed during every show is how they deliver their material – their set – to each audience.

The successful ones are very conversational. They make it seem the audience is in on the creative process – like the comic is making it up on the spot. But what the audience doesn’t see is that most times (not all because again, I’m talking in general) the next show can be almost exactly the same.

But it’s still seems different because of the comic”s delivery. They know how to involve the audience and have a conversation with them using their proven (through stage experience) material.

I know I’m repeating this story from one of my books, but I remember years ago when a VERY famous comedian was doing a set at The Comedy Cellar in NYC. It was late – the other clubs were closed and this was the only one that would put up with us at 3 am. There were only about four “real” customers in the audience and everyone else was a comic with at least a beer or two already in them.

The famous comic was doing his act and another – who would also be famous within a few years – jumped on stage behind him and did a mimic bit. He silently mouthed the words and did the same physical gestures. The already famous comic knew it (they were good friends) and played along. It was hysterical, but also proves my point that a skilled comedian can do his same act and make it seem new each time in front of different audiences by being conversational.

Again – I’m talking in general terms here. But that story always helps me make a point.

So you may know your material frontwards and backwards, but you don’t want your delivery to ever sound memorized. Since you’re still in the beginning stage and searching for your comedy voice, take a few chances. That’s what open-mics are for. Try working off just an outline in your head or have a notebook (it’s an open-mic and you can do that) with key words about the topics. This means already having a few ideas you want to talk about – and then just talking about them.

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It’s part of the process of finding out what works best for you as a performer. It also helps you become more conversational on stage rather than sounding memorized.

And even though you already know what you’re going to say – for instance jokes or descriptions you’ve written in advance and hope will get laughs – the method you use to get there will make it look like you’re making it up on the spot for that particular audience.

And as you said, you’re beginning to get laughs where you want them, so keep those moments in your set. That’s why you record your performance every time you’re on stage. When you listen you’ll know what works (lines, words, emphasis, physical gestures – whatever) based on how the audience reacts. If they laugh you’ll use them again because you’ll know through experience they should get laughs again from a different audience.

And for anyone who wants to be a working comic or humorous speaker – that’s what talent bookers and event planners pay for. Proven laughs.

Okay, once again this is pretty general and based generally on DB’s question. There’s really no specific answer – as there never is when dealing with creativity and performances. But I’m sure many of you have your own thoughts and suggestions about this, so leave a comment or send an email to dave@thecomedybook.com. I’ll be happy to share them in a future FAQs And Answers.

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic and Comedy FAQs And Answers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Back of the room sales at corporate events

Hi Dave – Your discussion about back-of-room (BOR) sales raises a question. Merchandise sales are common in comedy shows and speaking engagements open to the public. But what about corporate gigs where the company is paying you to speak? Is that something most companies accept, or is it generally frowned upon? At the very least, I would think we should focus very little on our products during the presentation itself (30 seconds max). How do you handle this? Thanks! DG

Hey DG – Like just about everything else in the speaking and comedy biz, it depends. BOR sales of merchandise is so common today that I’m always surprised when the speaker – or comedy headliner AND feature act – isn’t camped behind a table full of merch (show-biz slang) and selling everything that isn’t nailed down after all their shows.

It’s a big source of income. In fact, it’s not even looked at anymore as extra income. In a lot of cases BOR sales can add up to more $$$’s than what the comic or speaker is being paid by the talent booker just to do the gig.

For a big-time, big money example…

Not too long ago I was talking to a very good comedian friend (who will remain nameless because I’ll drop $$ amounts in this story). She was in a panic because she was going directly from one show in Florida to another in Cleveland. But after the Florida gig she had completely sold-out all her merch and needed another shipment over-nighted so she could have all her money-making DVDs, CDs, T-Shirts, photos (to autograph for $$’s) and books available for fans after her Cleveland show.

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If I remember correctly, she was paid about 10 grand for the performance itself. What I do remember correctly is that she told me she made 22 grand selling merchandise after the show!

Yeah, I’d be in a panic too.

Comics and speakers sell all kinds of stuff. Audience members can look at these items as souvenirs of a fun night and also a chance to get an autographed copy of something just in case the performer becomes famous. Then of course the fan can make some money selling it on eBay, but that’s a totally different business proposition…

But you’re definitely right, it’s different when playing a corporate-paid gig. It can be done – and is quite often – but in my opinion, you need permission in advance from the person signing your check.

As always – I’m interested in your thoughts and experiences about this and would be glad to share them in a future FAQ And Answer. Just leave a comment or send an email to dave@thecomedybook.com.

But yeah, you don’t ever want to surprise a corporate client by setting up your mini-store at an important training seminar or formal banquet without an agreement made in advance. In fact, I recommend if you get the permission in advance, that it’s included in your signed contract. I use a contract rider that includes everything from BOR sales to the exact wording of my introduction and what type of microphone I prefer.

So even if they forget that they’ve given you permission for BOR sales and ask you to start putting all your merch back into the trunk of your car, you’ll have it in writing.

So how do I handle all this? Thank you for asking. As usual, it depends…

I do two separate corporate-style programs. One is based on a communications course I designed for Cleveland State University. It has a 65 page workbook – but it’s not for BOR sales and I don’t pitch it during my program. The corporate sponsor has an option to purchase copies in advance for audience giveaways. If it’s a half or full day training seminar, it’s added into my fee so everyone in attendance will have one because we’ll use it during the program. Either way I’ll know how many are needed and can have them printed up in advance.

So I won’t even make a 30 second pitch for BOR sales during this particular corporate-paid program. I’ll stay afterwards to talk and trade business cards because as you should already know, it’s all about networking. You never know who’s in the audience that might want to hire you for a future speaking gig.

And when that happens, ask them in advance about BOR sales!

My second program is not for training purposes, but as entertainment. Since this is what comedians do in clubs, pay attention…

This is a pop culture program based on one of my books, The Beatles In Cleveland. For this one it’s already in the contract that I do BOR sales. Like I mentioned above – and how most comedians and other entertainers should look at it – I consider this as part of my payment for doing the gig. It also helps in negotiating since BOR sales will allow me to come in for a lower fee than a no BOR sales training seminar. Book and t-shirt sales make up the difference.

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Here’s a different BOB (Back of Blog) sales pitch for this week…

Two of the wildest concerts in Beatles – and rock – history!

Available in paperback, Kindle and Nook

For more details visit website

To purchase now visit Amazon.com or Barnes and Noble

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Then again – that’s what I do and I’m only spelling it out cuz you asked. I’m in no-way a know-it-all about this and I’m sure there are working comics and speakers reading who will have more thoughts and personal experiences about this topic.

Care to share? We’d love to hear from you.

Leave a comment or send to dave@thecomedybook.com

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic and Comedy FAQs And Answers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

What is corporate material?

Dave – What do you regard as corporate material and what is not? – URM

Hey URM – You know what? I’ve never been asked that question in such a general way. Usually it’s more specific – such as a comedian or speaker asking if certain material (that they already perform) is appropriate for a corporate show.

So with that being said, I already know there will be a lot of opinionated responses about this one. So… help me out comedians and humorous speakers:

Do you have any constructive thoughts or personal experiences about what is regarded as corporate material? Let me know and I’ll share them with everyone in a future FAQ and Answer.

But for right now – for a general answer to your general question – my experiences as both a booking agent and corporate speaker is to work clean. I’ve said that many times before, but I wouldn’t continue to say it if it wasn’t true.

Recently I’ve been following a debate happening on LinkedIn (or some other social network) that the F-Bomb will soon be acceptable at corporate functions. If you ask me, the people spreading that opinion are a little more than F-Bombed themselves.

It ain’t happening now and it won’t be anytime soon.

Oh yeah, as always in showbiz there might be an isolated instance here or there for an “edgy” company (think music biz), but if you wanna work regularly in the corporate market, then you work clean.

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That means no F-Bombs or any bits where F-Bomb is the focused activity. Got that?

Okay, so now that we know you must work clean in the corporate market, let’s get back to the real topic of your question. What type of material are they looking for?

A lot depends on the corporate function. It’s all about the theme…

I’ve found through experience that stand-up comedians get booked more often for holiday parties and special events – like a retirement or awards ceremony. And yes, there are exceptions – but when I get calls for comics those are the most often mentioned.

If you’re a comedian, it’s important to know the theme of the event. For instance, I’ve scheduled comedians to perform at corporate Christmas parties where the client wants at least some mention of the holiday season. The comic can talk about his marriage, kids, sports, news – whatever – for a lot of his act, then throw in some holiday jokes and the client is ecstatic. Other times the client might complain that he specifically wanted holiday jokes and doesn’t give an F-Bomb about the other material.

I’ve also sent out comedians for retirement / banquet parties. They don’t even know the guy the company is retiring and feeding, but they want laughs. The comics for this type of event are usually good at “roasting” and ad-libbing. But as usual, most companies will demand a clean show.

So it’s always good to know the theme and work that into the act. One way to do that is to talk with the client before the engagement to see what type of material they’re looking for. Again, for comedians it can be most anything because they are considered entertainment. No lessons, training, or message required. Just make the corporate audience laugh in a way that doesn’t embarrass the CEO or other head honchos (that means clean comedy).

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Humorous speakers (speakers in general) have it a bit different. They already have a topic that fits into the business / corporate market. Many can be called keynote speakers and / or trainers (with humorous delivery). So their material will be based on their expertise.

For instance, if you’re an expert in communications – that’s what your material will consist of. If you’re an expert in technology, finance, marketing, selling – whatever – that’s what you will talk about.

That will determine what is corporate material for you. Get it?

Okay, like  I said earlier that was a pretty general question – but I hope my general answer helped. Now it’s up to you.

Any thoughts…?

Leave a comment or send to dave@thecomedybook.com

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic and Comedy FAQs And Answers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Same show – different audience response

Hey Dave – You talked last week about audiences giving objective feedback. I did a five minute open-mic at The Improv that killed! People were coming up to me telling me I was the funniest of the 20 comics by far and that I was hilarious. Fast forward to last night at a different open-mic…  Exact same set from The Improv – no change at all and NOTHING!! Not even a snicker or two. I was shocked. I thanked them for being so quiet while I practiced my comedy. Those nights are painful, but I know they are part of the process. I’m just amazed at the change from one crowd to another. – M

Hey M. – Every group of people has its own personality – just like individuals. Sometimes that personality will like what you do on stage and other times it won’t.

It’s just like the old saying: “You can’t please everyone.”

That’s one thing comedians and speakers need to realize. They’re not gonna have 100% of the audience love everything they say or do on stage. It just won’t happen – and I don’t care who the performer is. An example I use about this in my comedy workshops involves Jerry Seinfeld…

I consider Seinfeld to be one of the top comedians not only of our time, but in the long history of comedy. Right up there with Richard Pryor, George Carlin and Bill Cosby – who were mentioned the most as influences by the working comics I interviewed for my books. Seinfeld’s name starting creeping in during the success of his TV show and it’s stayed there.

I’ve been fortunate to see Seinfeld perform dozens of times. Mostly it was at the LA Improv when the TV show Seinfeld was still in production and he would stop by the club to work on new material. I was in the audience at The Cleveland Improv during the filming of his movie Comedian and have also seen him do a few theater shows.

The last time I saw him (theater show) he was GREAT!! He KILLED and it was positively the BEST show I had seen him do – at least in my humble opinion (do I really possess such a trait?). I laughed from beginning to end.

BUT on the way out of the theater, there were two couples walking behind us and one guy turned to the others and said, “You should’ve seen him last time. He was a lot funnier than this.”

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My jaw dropped in disbelief – but then I slammed it shut. Every individual has his own personality and opinions and obviously, this guy’s was different than mine. It’s the same when a group of people get together.

An audience develops a personality.

You mentioned The Improv. It’s a known comedy club (celebrating its 50th year folks!) and people go there to see comedy. They are more supportive audiences than an open-mic in a stereotypical neighborhood bar. You know the type I mean – the kind of place where the bartender shuts off the game and announces to his customers:

“It’s time for a little comedy.”

To put this into classic television perspective, imagine Sam Malone pulling that on the gang at Cheers in the middle of a Red Sox or Celtics game. Let’s just say that bar-crowd audience is not gonna be as supportive of a comedy night as an audience of comedy fans at The Improv.

Different audiences have different personalities.

Can you play both? An experienced comedian has a pretty good chance. A beginning comic needs to look at it as real life on-stage experience.

Sometimes you can’t do anything about it. Certain audiences (like people with certain personalities) will hate you no matter what. They’re not your crowd and it happens to everyone during the course of their careers. Imagine if you produced a show and your co-headliners were Bill Maher and Carrot Top. One is gonna get more laughs than the other based on the comedy tastes of the majority of the crowd. In other words, a big chunk of a performer’s success depends on the crowd’s personality.

Another example would be like having Justin Bieber open a concert for The Rolling Stones. Let’s just say it wouldn’t be pretty…

My best advice when you’re having a difficult time is to try and engage the audience in your set more than you might normally do. I talked about this technique a few weeks ago, but here’s a quick rerun…

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I saw one of the best comedy writers in the biz do his regular set at the LA Improv years ago. From my past experiences watching him many times before, his material was guaranteed to get laughs. But for some reason, this Friday night crowd wasn’t laughing – at all.

So instead of chalking it up to a bad experience and hoping his next crowd was more receptive,  this “material” comedian took the microphone out of the stand and starting talking to the audience. He used all the old comedian tricks:

“Where’ya from?” and “What’da’ya do for a living?”

Next thing you know, he had engaged the audience. They were suddenly interested in what he was saying. He had related to them.

Then (and this was the cool part) he stepped back, put the microphone back on the stand, and went into his usual material that I had seen work many times before. And this time – it worked again!! The audience laughed all the way through the rest of his set.

After he got off stage I talked to him about it, (I was the talent booker and allowed to do that). He said – like every comedian – he had started out as an opening act. It’s what you have to learn to be a good MC. You must learn how to relate to and engage the audience. He just hadn’t needed to do that at The Improv (the only venue where I had seen him) in a long time because his material was practiced and usually works. But when it doesn’t he goes back to what he learned as a good MC, which is relating to the audience, and continues until they’re with him.

Make sense? You may not kill at every open mic because of this great advice and the audience may not like you no matter what you do. But this will at least give you a fighting chance.  Talk with the crowd, relate to them, find out what they’re interested in – and play off it. It’s almost like you’re the host of a party and it’s your job to greet everyone and make sure they feel involved. Make them feel like they’re a welcomed guest.

Once that happens, then you can kill them with your comedy. If not, then you might have to admit they’re not your audience and move on. It’s sort of like being Bill Maher at a Carrot Top show, or the guy walking behind me after the Seinfeld show. We definitely had clashing personalities that night, but you know me. I kept my (humble) opinions to myself… ha!

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic and Comedy FAQs And Answers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Self-evaluating your stand-up

Dave – In addition to putting together material and preparing a solid five minutes (stand-up), what is the process of objective self-evaluation? If I go to the open-mics with my girlfriend and my brother, I’ll never have any idea how good or bad I really was. You know what I mean? – DB

Hey DB – Yeah, I know what you mean. Your girlfriend, brother (or whoever is connected to you) really wouldn’t be an objective audience. They have preconceived opinions because they know you.

Of course this statement is not always true. There are exceptions, as there will be in just about anything that involves creativity. Your girlfriend or brother might eventually become a writing partner. But for the partnership to be successful they would need to be honest with their feedback and possibly get over a lot of their preconceived opinions of you.

I also think someone close to you should have an understanding of the writing and performing side of the business. Otherwise, this could turn into an annoying nightmare…

I have a pal who thinks he knows all there is to know about the comedy biz, even though he’s never tried it and doesn’t really know any comedians outside of the ones I’ve introduced him to. But he never hesitates (annoying) to offer his opinions on what’s bad in someone’s act and how to make it better. At least 99.9% of the time the comics will stand there and look at him like he’s nuts (nightmare).

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And in my opinion, he is. He’s giving advice (acting like a partner) in a field he has absolutely no experience in. It could be the same thing with your girlfriend or brother. They think they’re helping, but they don’t know how it really works…

But that’s not what we’re talking about here. You want to know how to get objective opinions about your act…

A stereotypical girlfriend or boyfriend will usually say anything to make you feel better. For instance, how funny you are and that you’re destined to be a big success. Don’t get me wrong because it’s great to have that moral support.

But when you break up they’ll (probably) say you always sucked and they were just being nice (ouch!).

A stereotypical brother might grab you around the neck and give you a noogie while saying how funny you are – or will never be as funny as he is.

Again this is stereotypical profiling based on my wasted youth spend sitting in front of a television screen watching family sitcoms. In fact the characters and what I just described was probably an episode in every long-running comedy series from the 1950′s t0 today. And in case you didn’t get it, the hidden meaning is that the girlfriend / boyfriend or brother were not being as honest as they could be.

Another example. I remember the very funny Al Lubel working on a bit saying he was “the best looking guy in the world.” Why? Because his mother always told him that – and mothers don’t lie to their children. Right?

Wrong – because I just talked with my mom and she says I’m the best looking guy in the world.

So who’s right? To know for sure, you need an objective opinion. And when you’re trying out stand-up material, that means an audience of more than your relatives and best friends.

In addition to writing, comedians will tell you to get as much stage experience as possible. This means in front of different audiences. It would be great to have your support team with you, but they’re not the best ones to tell you what works and what doesn’t.

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Comedy Workshop: Creating & Writing Comedy Material

For Comedians & Humorous Speakers

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————————————————————————————-

So how would you know if your set was good or bad?

Easy. You record it and listen to the audience reaction. Yeah, you should know while you’re onstage if you’re getting laughs or not and if they audience is enjoying your set. But the way to really put it together – enhance the good stuff and weed out the dead spots – is to listen to it.

Objectively.

I know I’m repeating myself because the comedians I’ve interviewed for my books talked about this.  But it’s worth saying again when answering your question because if it didn’t work why would they continue to recommend it?

I’ve spent a lot of time in NYC open-mics. Some were a lot of fun and many were just brutal. One place called The Eagle Tavern on West 14th Street would be packed with open-mic comics every Tuesday. You’d draw a number and time to perform and either wait your turn or go out to a movie (that’s how many spots there were!) and come back just before you were due on.

The audience? Glad you asked…

All the other open-mic comics waiting to go onstage.

No one seemed to be really listening. They were writing, preparing to go on – or just hanging out and talking with their friends. But we all said if one of our jokes got a laugh from that tough crowd you knew it was a good one. It was a keeper.

So even though it wasn’t the best barometer (a room full of comics) if it got a laugh you could be pretty sure it was a good joke or bit.

So there really is no other answer. It’s great to have people you’re close to come out to see you and enjoy what you’re doing. But if you’re worried they’re not being quite honest in saying you’re the best (or even best looking), then listen to the recording of your set.

An objective audience won’t lie. If it’s funny – they’ll laugh. If it’s not – then fix it.

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic and Comedy FAQs And Answers.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing

Selling your book

Hi Dave – I’m glad you tackled last week’s topic about traditional versus self-publishing. I’m working on my first book, and hope to have it finished by the end of summer. Over the years, I’ve met and talked with lots of published authors, and most of what they’ve told me rings true with your article. The only thing I believe you missed, and it’s an important consideration, is marketing. – Dave Glardon

Hey Dave – You’re definitely correct about this. The article last week was already so long that I thought about making it two parts, but then I just ended up going with it. If I had talked about marketing, it would’ve been an entire book.

Then I’d have to market it, which is an important job for any published author…

And by the way Dave, you’ll notice I threw in your full name rather than using Dave G. to protect your identity. Your email was very informative and I want to share it with everyone today. Guess that makes us co-authors. And since I’m doing the typing right now, you’re gonna be stuck with the marketing.

But first, my two cents…

If you’re thinking about writing and having a book published – whether to become a famous author or to have unique merch (merchandise) for BOR (back of the room) sales after a comedy or speaking gig, you’ll need to make a decision:

• Self-publish or…
• Find a publisher.

I talked about this last week, so if you missed it just scroll down to check out that particular FAQ and Answer. But basically there are positives and negatives to both options.

Either way you’ll have to write the book.

Oh yeah, after that you’ll also have to think about editing, print layout, creating a table of contents and index, front and back cover design, and all the legal stuff like getting an ISBN number, Library of Congress Number, copyright, price barcode, and things you don’t even think about while doing the actual writing.

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A publisher will do that for you. A self-published author can learn to do it or hire someone who already knows how. Then once all of that is finished, the real work starts.

You have to promote your book.

Oh wait… Did I sense a few brainwaves from aspiring authors that the publisher will pick up the tab to put your smiling 8×10 photo in store windows, stock the books, supply online sellers, set up television, newspaper and radio interviews, and schedule a nationwide tour so you can sign your books for admiring fans?

Wait a minute again… I think you have the basis for a great comedy act with that train of thought. And here’s where I’ll let today’s co-author Dave Glardon continue:

*

Most aspiring authors are completely unprepared for the question publishers always ask … “How do you plan to sell this book?” People seem to think the publisher is as enthusiastic about their book as they are, and they’re taken aback when they realize the sum total of the publisher’s marketing effort is to send out review copies and include their book in the “New Listings” section of their monthly sales literature.

We envision window posters and hanging signs over the center table display with two dozen copies of our book in every bookstore around the country, and it just isn’t going to happen. Beyond the review copies and a brief mention in the publisher’s sales literature, we’re pretty much on our own. I’ve heard of some publishers assigning their internal PR department to help set up book signings and media appearances, but almost always at the author’s own expense. Most writers are unprepared for that, and as a result, their pride and joy collects dust on a bookstore shelf (one copy in each store, spine-out) until the store sends it back for credit and the book ends up being back-listed.

And for all that, the author gets roughly 10-12% of net sales (less for paperbacks).

*

Ouch! Reality bites – right Dave? But that is so true. Prior to my first book being released by a NYC publisher, my agent told me that it was my job to promote it. Say what?

It was very cool when I first spotted it on Amazon.com and others, but when it didn’t show any real sales I realized – quickly – that I had to do something to get the word out. Luckily through my comedy business experiences I had worked with more than few very good public relations people in NYC and LA, so I followed what I had learned from them and wrote press releases, set up media interviews and book signings.

Guess I was pretty good at it because How To Be A Working Comic has had five printings (a good sign) and my second book was picked up by another NYC publisher. Then I had to do it all again.

I’ll let Dave Glardon pick it up from here…

*

If I have to do all the hard work anyway, why should I settle for such a paltry percentage of the sale price? With self-publishing, I’m out a little cash in the beginning, but far less than the cost of marketing a book nationally. The difference is, I can make 75-80% profit on each book sold. Granted, I probably won’t sell nearly as many as the publisher would, but my book goes to market 2-3 months after it’s finished (instead of 12-24 months), and I’m the one who decides how long it stays in print. And considering that four out of five books from first-time authors don’t earn back their advance, odds are I’ll make more money if I publish the book myself.

*

That’s what I did with my third book. I self-published and learned (by reading other books) how to go through all the proper and legal channels to get it into bookstores and online sellers. Then I did the same PR work as with the earlier book. Granted, I didn’t get an advance and had to pay for everything myself, but successfully cut out the middle man who would cut into all the profits.

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A blatant example of self-promotion…!!

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Comedy Workshop: Creating & Writing Comedy Material

For Comedians & Humorous Speakers

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Nook readers visit BarnesAndNoble.com

——————————————————————————————

I didn’t have to wait six months for sales reports – I could track those immediately, day-by-day if I wanted to. I also didn’t have to purchase books from the publisher (at a laughable author discount) for BOR sales after my speaking gigs. I was in control and it felt good.

Back to Dave…

*

Meanwhile, few things can draw a publisher to an unknown author quicker than a book with a strong sales record. Sometimes they’ll buy rights to the self-published book (unless they think you’ve saturated its market), but if the book is selling well it’s not hard to get them interested in book #2.

My wife and I were having a discussion about Justin Bieber the other night.  We were talking about his social media beginnings (something I’m not a huge fan of) and she said, “But he was discovered by Usher!” I told her no, Usher didn’t discover Justin Bieber … Usher discovered a million YouTube fans. Publishers are interested in one thing – sales. And the more potential sales (fans) you bring to the table, the better your chances of getting a deal.

Blogs and social media are a great way for aspiring authors to reach out to potential readers. It’s not as instantaneous as a viral video or tweet, but the fans you attract feel a personal connection to you, especially if you take time to respond individually to their comments. And when you offer your book to people who already enjoy your work and feel that personal connection, the likelihood of making a sale jumps exponentially. With a decent online marketing campaign, you can sell enough books in the initial offering to more than make up for the publisher advance you’re not getting. It takes work, but I think it’s worth the effort.

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This is very true Dave. I’m not going to get into $$ specifics, but I have found self-publishing to be much more rewarding. But as I mentioned last week – specifically for comedians and speakers – we have additional promotional outlets.

We’re out there talking to people. Audiences are laughing or being informed by the author. Even if it’s only to have a souvenir of that time spent together, you can do more BOR sales at one event than (outside of a best-seller) you’ll have in a week on Amazon.com or others. Of course that’s just my opinion.

How’bout yours Dave?

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I guess all this does is add more confusion to an already confusing topic. To me, the bottom line is this – if you’re not willing to invest the time and money in marketing a book, hand it off to a publisher and hope for the best. Set aside some of the advance and don’t quit your day job. If you are willing to do the grunt work (like you’ve done over the years), there’s a lot more to consider. Do you have a national audience or a huge database of previous readers you can send to the book store (or online seller)? If so, traditional publishing is the way to go. If not, it may be better to bite the bullet and get the job done yourself.

As for me, unless a publisher stumbles on my blog and makes me an offer I can’t refuse, my first book will be self-published.

Wow, I said I was working on my book – bet you didn’t think I’d put it all in one email! Dave, as always, thanks for sharing your insights every week. I look forward to it.

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And Dave, thank you for taking time to share your thoughts and insights for this week’s FAQ and Answer. I’m sure your upcoming book will be a great success – it sounds like you know what you’re doing!

And if you want to know what else comedian Dave Glardon is up to check out his Facebook page at THIS LINK.

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Dave Schwensen is the author of Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers, How To Be A Working Comic: An Insider’s Guide To A Career In Stand-Up Comedy, and Comedy FAQs And Answers: How The Stand-Up Biz Really Works.

For information about these books, comedy workshops at The Cleveland Improv, and private coaching for comedians and speakers in person, by phone or via Skype visit www.TheComedyBook.com

Copyright 2013 – North Shore Publishing