Getting a referral is good – being a “pain” is not

June 17, 2019

Hey Dave – I was in a comedy club competition, I made it to the semi finals. But I was just asking if you know anyone I could maybe open for and if you would put in a recommendation for me. I don’t want any money, and I’ll go anywhere! I’ll take any help I can get. Thanks – H.A.

First a note to everyone: This email is from a young (18 years old) new comedian who has contacted me a few times. I’ve written back that I appreciate his enthusiasm and the fact that he’s really out there getting experience. I’ve also sent him back a private answer to his question because I doubt he emailed me thinking it would end up as this week’s FAQ And Answer.

That said; here are some thoughts about asking for referrals…

Gene not Johnny

I’ve written a lot about the importance of getting references for showcases and bookings. When you have a respected comedian telling a talent booker to hire you or to schedule a showcase, it’s like receiving the Golden Ticket in that Gene Wilder movie Johnny Depp remade about the candy maker.

I just can’t think of the title at the moment…

Oh yeah, Willy Wonka. I’m pretty sure I was already listening to albums by Richard Pryor – Wilder’s frequent on screen co-star – when that movie came out and it didn’t even register a blip on my entertainment radar. Trust me, I’m a loyal Gene Wilder fan, but didn’t get back into kid’s movies until I had kids.

Anyway, a good reference will usually result in being seen. It doesn’t guarantee a paid booking, but when it comes from a reliable and respected source you can pretty much bypass all the marketing advice I’ve shared in past articles when focusing on that particular talent booker. Phone calls, postcards, emails, websites, videos, Facebook, Instagram and LinkedIn are not needed to make a first impression when you can walk into a club and showcase for the booker because another comedian he/she respects put in the good word for you.

Of course, those marketing tools will be needed to stay in touch afterwards. But that’s not what we’re talking about today.

Admit one!

It sounds easy – yeah, I know. However, don’t be too anxious or overbearing to get that Golden Ticket referral. Otherwise you might wind up being a pain in the you-know-what and have your efforts working against you.

Of course, you want to have a good relationship with the referring comedian. You don’t have to be best friends, but at least know each other on a professional level (it’s a business, remember?). It’s pretty annoying when someone you hardly know comes up and asks for a referral:

Yeah, sure… what’s your name again?

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It’s also a no-brainer the person you want the referral from has actually SEEN you perform AND actually likes it. In fact, you should really wait for them to tell you:

Hey, that was a great set. I really liked it.” (Or something close to that).

And be sure they really did and are not BS’ing you just to be polite. Sometimes it takes a mind reader to know, but do your best to make sure they’re sincere.

Now in a perfect world, the comedian could offer to put in a good word for you with a talent booker he (or she) works with. It’s not impossible; I’ve seen it happen. But if not and you truly think they are sincere about liking your act, then go ahead and ask. You have to be aggressive in this business.

The key is not to be so aggressive that you become a pain in the you-know-what.

Here’s an example of how being a pain can come back and bite you in the you-know-what

When I was booking comics in New York and Los Angeles, I used referrals from comedians already working with us to help set up talent showcases. I still went through tons of promotional material and watched videos to find new comics, but if one of our regular comedians (already working for us) called or walked into my office and said we should see a comic he had just worked with, I’d add the referred comic to my showcase.

It would be a done deal and I’d thank the referring comedian for making my life easier.

But there were also times comedians would stop by and give me some inside scoop. In other words, they’d fill me in on someone who was being a pain. The scenario went something like this…

The already-working comic couldn’t even walk into the club without having the referral-hungry new comic asking him (bugging him, annoying him, etc…) for his help in getting a showcase. So, what would happen is that the working comic (the one being asked, bugged and annoyed) would make a point of telling me the new comic isn’t ready to play the club. BUT he was being such a pain in the you-know-what the comic could now say he had mentioned the new comic – and now he was off the hook.

Are you following me so far?

Yeah, I know it’s confusing. Basically, he could tell the new comic he dropped his name to the talent booker. This way (he hoped) the new comedian would stop bugging him. The ball was now in my court.

And do you want another behind the scenes insider insight? Okay, here’s the blunt honest truth…

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June 2019 Comedy Workshop at The Cleveland Improv

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Performance at The Improv – Wednesday, June 26 at 7:30 pm

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details on upcoming Cleveland & Chicago workshops visit…

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Since the so-called referring comedian wasn’t really referring and was also telling me the newer comedian was a pain in the you-know-what, I had been forewarned. There would be no Golden Ticket showcase. No way. I didn’t want to be hassled either. So, my response would be to tell the newer comedian I couldn’t work off any recommendations (a big fat lie – sorry to admit). He would have to send in promo and video just like everyone else.

Sounds a bit cruel? Yeah, well showbiz ain’t easy. You need to know how to play the game…

So, the whole process could backfire against the newer comedian. He hadn’t earned the recommendation, so the word put in by the referring comedian was more negative than positive. And on top of that, the word would get around that he could be a pain because it was probably safe to assume he was asking for recommendations in this same way from other comics at other clubs.

Similar to many other businesses, news and reputations can travel fast in the comedy world.

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The result was the newer comedian would find it more difficult to get an audition anywhere because he had earned a pain in the you-know-what reputation, rather than a good recommendation. He would’ve been better off putting that energy into working on material and getting on stage more.

Referrals can be the Golden Ticket.

But if you don’t have one, don’t try to force it. Work on getting so good on stage no one can ignore you and learn to professionally promote yourself. If and when a recommendation is made on your behalf, it’ll be like an extra coating of chocolate in that movie Gene Wilder made that I can never remember the name of…

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

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Contacting television talent bookers

June 4, 2019

Dave – I worked with a comedian last week who thinks I’m ready to do a set on one of the late night shows. I know there aren’t as many opportunities on talk shows as there used to be for comics, but Comedy Central does specials with upcoming comics and there are shows on netflix, etc. The reason I’m sharing this with you is because I was wondering if you could provide some insights as to how to go about contacting these talent bookers. The show I’d really like to be on would be Jimmy Kimmel Live. – MC

“Look! I’m on television!”

Hey MC – First of all, it’s good when someone else in this crazy business says you’re ready to move up in your career. Especially when they think you’re good enough for late night television. Otherwise, you’d have to look at the source of this praise – and moms and drinking buddies don’t count. When they’re peers and know the biz, you might want to start thinking about it.

Anyone with real experience in the industry knows it’s not easy to score one of these coveted late night performing spots that guarantees exposure to millions of comedy fans and talk-fest insomniacs. But what do you think?

Seriously.

Do you really feel you’re ready for television? Are you working on a regular basis at the best clubs? Are you getting great audience response and killing on stage? Is your material “right” for the shows you’re thinking about?

These are questions you need to ask yourself and seriously answer. It also helps when you have other people in the business saying you’re ready. That’s a positive and supportive step in the right direction.

My first thought is that you have to be seen. And it’s always best to be seen in person. I say this from experience and also by keeping in touch with friends in NYC and LA – so I believe it’s still true.

Looking for laughs!

The BEST way to get on television is to be SEEN in the clubs where the television talent bookers are hanging out.

For instance, all the high profile television networks that feature comedians are based in New York and Los Angeles. The talent bookers, producers, writers and other important “showbiz connections” from these shows go to the clubs in these cities. That’s a fact because I would see them all the time when I worked in NYC and LA. They would hang out and watch the comedians. They knew who had the material and experience because they’d see it first-hand. They could also request showcases so they could audition a number of comics on the same night in front of a live audience.

Even if they were interested in a comedian through a video submission, they would eventually want to see alive performance. It’s all part of the process because they need to be sure the comedian will be successful on the show, since that’s what talent bookers are hired to do –find good talent.

To backup that opinion, I’ll rely on the interviews with Drew Carey and Jeff Foxworthy in my book How To Be A Working Comic. I interviewed them separately, but their experiences were similar since that’s how this business (most often) works…

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Each told me he couldn’t even get the attention of anyone at The Tonight Show when they submitted videotapes (the old days) even though they had been headlining for years in the best clubs outside NYC and LA. And the reason why they weren’t working the NYC and LA clubs was because these are normally showcase clubs. You do them to be SEEN and not to make money. These guys had to make a living.

But each really felt he was ready for The Tonight Show. And each felt he only needed to be seen by the talent booker.

Eventually they both had to bite the economic bullet and move to Los Angeles. It was the only way they could be seen every night for The Tonight Show (in the days of Johnny Carson when it really was a star-making appearance). They took a big pay cut by not playing their regular clubs outside of NYC and LA, but it paid off for both in the end.

But if you can’t afford to do that, the next best thing is a great video.

You also need great references, experience and ways to market yourself without being a pain in the butt or getting lost in the pack. We’ve had a more than a few FAQs And Answers about marketing, but you can also check out the marketing and networking sections in How To Be A Working Comic.

How’s THAT for a blindsided sales pitch? LOL!! Now that I have that out of my system, here’s what else you should do…

Play detective.

Playing detective

When you’re in clubs and meet comedians that have done these shows, ask for advice. Ask what they did to be seen and how they were seen. If they appear to enjoy your performance (again – be honest with yourself) ask for the name(s) of people booking the comedians. If they don’t think you’re ready, they probably won’t tell you. You have to understand they have their own relationship with the talent booker and can’t make it seem they’re recommending every comic they come in contact with. It doesn’t help their reputation, so if they’re evasive drop the subject.

Don’t be a pain and don’t try to push yourself on someone who may not see you as “being ready.”

You should also watch these shows and take notes. What is the name of the production company? Who is the talent coordinator listed during the ending credits? They don’t run these credits every night because of time restraints, but you can usually catch them once or twice a week.

Again, play detective and research online the production companies and names for their contact info. Make a call. Don’t worry about having to sell yourself right away. These talent bookers are not easy to reach, so you’ll only get The Gatekeeper.

Then ask for “help.”

Gatekeepers are assistants hired to keep you away from the people you want to contact. Again, from experience and hearing this a lot from working comedians and speakers, Gatekeepers seem to respond to that term better than grilling them with questions. Ask for their “help” in learning what is the best way to be submitted for the program. It could go through a separate booking agency, or directly through the show’s producer, writing staff or others.

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June 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Performance at The Improv – Wednesday, June 26 at 7:30 pm

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details on upcoming Cleveland & Chicago workshops visit…

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Then follow their “help” guidelines. Start the process of submitting your video and promo information – or work your way into the clubs where talent bookers hang out looking for new talent.

But in the meantime, continue getting experience and getting better. As I love to say whenever possible in these articles:

They may call it amateur night, but no one is looking to hire an amateur.

This is particularly true when it comes to television. And if you really feel you’re ready, don’t throw all your eggs into one basket (have I spent too much time outside of NYC and LA to have picked up that old saying?). Don’t just concentrate only on one show, (you mentioned Jimmy Kimmel Live).

Do the same with the other shows on different networks. Start getting your name out to the “right people” whether it’s through live performances at showcase clubs, recommendations, or online videos. Just be sure you’re ready, because no one with a viewing audience of millions of comedy fans or talk-fest insomniacs wants to hire an amateur.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Still sending promotional postcards?

May 20, 2019

Hi Dave – You’ve talked about using postcards as a way to follow up with clubs and agents that you were trying to get work from. How would you suggest staying in touch when you already work for them (on the standard circuit, roughly once a year)? Thanks! – J.N.

Still funny & still works!

Hey J.N. – Good question and good timing. I’ve been reviewing my postcard etiquette recently and have come up with this conclusion. The old way may not be the best way – but it’s still a good way.

Let me explain this better…

In the old days before technology made our promotional efforts easier with websites, emails, twitter, YouTube, Facebook, LinkedIn, Instagram and… well, whatever else I’ve missed (it’s hard to keep track of them all) comedians, speakers and performers in general were sending out hand-written postcards to stay in touch with talent bookers. I remember these old days, because that’s how they stayed in touch with us if they wanted a showcase for the TV show A&E’s An Evening at the Improv. Our office was at The Improv on Melrose Avenue in Los Angeles and the comics that lived too far away to drop off a video or do a live showcase had to rely on the U.S. Mail to let us know they were out there and should be seen.

Not everyone needed to use this promotional tool.

I don’t remember seeing postcards from the comedians I worked with locally in Los Angeles or when I was at The New York Improv. They could always stop by the club(s) to do a set or just network in person. But if you were in Chicago, Cleveland, Atlanta, Toronto or… Okay, I’ll stop with the city listings. I trust you get my drift. If you weren’t in LA or NYC you had to rely on your reputation, networking, recommendations, an agent or manager, and a relic from the old days:

A professionally printed and neatly tucked into a two pocket folder promotional (promo) package.

The Pre-Modern Era

In the modern era (these days) everything is online. For immediate examples, do an online search for your favorite comedians. On the websites I’m sure you’ll see a headshot, bio, resume, reviews, schedule and most importantly, a video. Basically, everything that was once included in hard-copy promo packages.

The usual way to stay in touch after making first contact and after you’ve already worked with a talent booker is by email. You should already have the booker’s email address because they’ve offered it or you’ve asked for it (after working for them) and your messages won’t be blocked or relegated to a spam folder.

But another (secondary) option is to send postcards.

Are postcards outdated?

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June 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Performance at The Improv – Wednesday, June 26 at 7:30 pm

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details on upcoming Cleveland & Chicago workshops visit…

TheComedyBook.com

*

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Only if the talent booker tells you they’re not necessary. Personally, I would prefer everyone use email (I’m into saving trees) but in this competitive business you need to follow all different promotional methods to be noticed and hired.

Postcards are dispensable.

In other words, they’re only a method to keep your name and face (your headshot) in front of a talent booker. It’s a simple reminder that you’re available for work. The booker will usually look at it, maybe read the message on the back (keep it short and simple) and then toss it in the trash. That’s not a bad thing; it’s just the way it works. If they saved every postcard it wouldn’t be too long before their offices were filled with boxes of them.

In hindsight, I wish I’d kept some of the postcards sent to me while I was at the LA Improv. Quite a few of those comedians have gone on to mega-stardom and would be great examples to show when I talk about postcards in my workshops.

Anyway, you get the point.

Postcards are still a great way to stay in touch and even in this advanced era of 2019 I receive postcards from comics, speakers and variety acts looking for work. And this is after technology has made our lives (supposedly) way easier.

I’m a major proponent of using technology to promote whatever it is you’re doing. You know that already, which is why you’re reading this online. I also have a large email list of subscribers that is used to remind them I’m still here and easy to find. The talent bookers – “the self-booked clubs, comedy clubs that use an agency and the talent agency itself” – that you’ve already worked with should be on your email list.

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You need to stay in touch on a regular basis to remind talent bookers you’re available for work. Clubs and agents have large rosters of performers and unless you’re a personal favorite or have a track record for drawing big (paying) audiences, it’s easy to get lost in the pack.

What’s a regular basis? Ask them.

Some bookers will want your avails (when your schedule is open and you’re available for work) once a month, every few weeks, an exact date (ex: the 1st of every month) – or whenever. Know when they expect it – and then do it. Send an email with your open dates and (always) your contact info.

In the old days, that’s what postcards and faxes were for. To be honest, I threw away my fax machine years ago. I seldom used it since most everything now is via email. If I need to fax something, I’ll just go to the library to use theirs.

But postcards are a different story.

I written about the importance of comedians and speakers using postcards when they’re trying to connect – especially for the first time– with clubs, talent bookers and event planners. These performers are still unknowns to the people doing the hiring and may not have the proper inside email addresses. Their messages could end up going to the box office, telemarketers (pushing tickets for a show you should be on), assistant managers, or other departments inside the club.

It’s not my job!

In most of these cases, they’re going to hit “delete” because it’s not their job to hire you.

Your messages could also wind up in spam folders since the booker’s email program has no way to separate you from unsolicited advertisements (especially the ones comedians joke about). It may also be set up with a filter not to accept attachments (for your website and video) from senders they don’t know.

To play it safe, postcards are a great backup marketing plan. They’re not a pain in the you-know-what like an unsolicited cold call or “dropping by because I was in the neighborhood” personal visit. Even if you’re a working comic and not getting any response from bookers you’ve worked with in the past, it won’t hurt to send them an occasional postcard with a career update or open dates. They may still not hire you again, but at least you’ve made a good effort to contact them.

I’ve made a few calls to talent bookers asking for opinions about postcards vs. emails. Yeah, they were unsolicited cold calls, but I’m known for being a pain in the you-know-what anyway, so I went for it. I’ve been surprised at the results.

And I’m also surprised at what markets gave me these results:

  • College programmers and…
  • Corporate event planners.

 Almost all told me they prefer postcards.

Mainly because the emails sent by performers won’t make it through the school or business spam filters. Put a few links in your email such as “Click here to visit my website” and there’s a chance your message will be rerouted to the “undeliverable” folder and returned to you “unopened.”

When you put the effort in to design and send a decent promotional email, it’s wasted time and energy if potential talent bookers never even see it. That’s not good business strategy.

So I’ll say it once again:

The old way may not be the best way – but it’s still a good way.

If you’re an unknown to a talent booker you want to work for, send an email one month and a postcard the next. It’s not overdoing it – you won’t be considered a pain in the you-know-what– and chances are they’ll receive one of them. If they receive both, that’s even better. It’s a good marketing plan.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Memorizing material – is it comedy or acting?

May 5, 2019

Hey Dave – Do comedians write down their monologues and memorize it thoroughly? The more I learn about being a comic, the more it sounds like acting. Is there much of a difference? – D.J.

Comedy or acting?

Hey D.J. – Okay, before we continue with this, let me say that I respect the creative art and craft of acting. Make that good acting. It’s not easy being an actor because you have to learn how 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, every night (including matinees). 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 the correct response.

The words are in the script and need to be memorized to continue the scene as it was written – and how the writer intended it (and how the director interprets it).

Acting also involves the use of lighting, props, entrances, exits and even bows at the end. Plays, TV shows and movies are directed. A good actor’s work is not easy. Actors  use their talent, creativity and training to bring characters to life, while still relying on what directors tell them to do and say what writers tell them to say.

And one last thing – the audience is not usually involved.

People in the seats are there to watch. There is a fourth wall on the stage, which is an acting term for an invisible wall separating the audience from the actors. The audience does not exist in the play or scene. Interaction is between the actors. If it’s a solo monologue, it’s a “private moment.”

The Great Divide

As with just about everything else, there are exceptions. Improvisational acting often involves suggestions from the audience. And Marx Brothers movies (I like the classics) wouldn’t be as funny if Groucho didn’t break out of scenes and deliver a few lines directly to the camera/audience.

And now we’ve set the stage for what follows…

I’ve known some very good actors that were very bad comedians. They’ve written material, practiced (like for a play), but couldn’t buy a laugh once they were on stage. They were acting the role of a comedian but didn’t have the needed “on the job” training.

Working comics know exactly what I’m referring to – stage time.

A comedian (and yes, speakers too) need performing experience, rather than directed rehearsal time. This is because comedians (and yes – speakers) have to deliver funny and practiced material AND deal with an audience at the same time.

There is no fourth wall.

A comedian who only memorizes a monologue and recites it with no regard to audience response is acting. They are basically doing a one-person (acting) show. It may be written as a stand-up comedy routine, but it’s not really stand-up comedy.

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Summer 2019 Comedy Workshop at The Cleveland Improv

Saturdays – June 8, 15 and 22 noon to 4 pm

Performance at The Improv – Wednesday, June 26 at 7:30 pm

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Workshops are limited to 11 people age 18+

For more details and to register visit…

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When I worked in New York, I heard the comics call it “sleep walking through your set.” In a great comedy show, the audience is part of the ensemble.

Again, there are exceptions. I’ve seen standup comedians who write and memorize a monologue and perform it in a comedy club. Lots of comics do it. But unlike acting, a great comedian deals with audience response.

An audience is unpredictable.

They may not laugh when expected and laugh hysterically when it’s not. An actor will continue playing a part while a good comedian will react to the audience. If the material is not going over as expected, a comedian can switch gears. This means they can pull out different material, work-off (talk with) the audience, or change their delivery style, (example; from high energy to low energy).

It involves having a lot of material, an ability to improvise, and lots of on-stage experience. Actors have to stick with a written script and hope the same material works better on a different audience.

If you memorize your comedy routine word for word, it should be conversational. The good ones make it seem as if they’re making it up on the spot and saying it for the first time.

Not everyone will laugh!

Imagine you’re at a family party. The old folks (think older than you) are sitting in the living room. They’re a conservative bunch, but you have a very funny story you share with them. They laugh and you didn’t insult or embarrass anyone who could potentially write you out of an inheritance.

Then you move into the kitchen where the crazy relatives (think of your peers) are hanging out. You want to tell them the same story, and there’s no worry about insulting or embarrassing anyone in the process. How would you deliver it in a way that makes them laugh?

That’s the difference between being an actor and a comedian. It’s the same story, but an actor is trained to rely on a script and direction. A comedian has material (could be scripted) but can base his delivery on audience response.

I’ve seen comics night after night deliver the same set word for word.

Does it work? Yes, because the good ones have valuable on stage experience performing in front of audiences and can change their delivery by reacting off their response. At every show it will look like they’re saying the words for the first time.

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 one of my workshops you’ll know the comic I’m talking about because I tell this story and mention his name.

Get everyone laughing!

At every show he delivered the exact same 20-minute set. We’re talking “word for word.” It took him years to write and develop his act on stage. It was funny and audiences loved it. We would stand in the back of the showroom and recite the act along with him (and we could do that with a lot of the best comics – we knew their acts by heart).

In fact, 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 (he has a great sense of humor). But it didn’t matter because his material – his act– was practiced, audience-tested, and each time he did it he made it seem as if it was all brand new.

Each audience thought he was making it up on the spot – and that’s what counts.

Hang around comedy clubs and you’ll see what I mean.

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Watch some of the comedians more than a few times and you’ll see quite a few do the same routine in different shows. It’s memorized, but to make it work they don’t deliver it that way. It’s based on audience response – with no fourth wall.

Other comedians will follow a mental outline for their material. They deliver the same jokes / stories with the same punch lines but allow themselves to improvise and react off the audience. It also keeps the performance entertaining for the comedian and he / she won’t get bored doing the same show over and over.

There’s nothing wrong with memorizing your act if it helps you feel more comfortable. In fact, I just re-read an interview in my book How To Be A Working Comic from one of my favorite stand-ups with a reputation for being a great improviser. He said memorizing his act was the only way he could convince himself to go on stage in the beginning. The key is to make it look conversational and as if 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.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

Dave Schwensen is the author of How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and How To Be A Working Corporate Comedian: A Step-By-Step Guide Into Launching & Building Your Career.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

The best place to start doing comedy

April 22, 2019

Hi Dave – Where do you think is the best place to get started as a comedian? I know that every comedian wants to move to New York, but I’m about to move to Los Angeles in a little while and wanted to ask if that was a good place to at least start experiencing stand-up on a higher level. Sincerely – J.H.

Showbiz City!

Hey J.H. – It seems this question is asked in every one of my workshops. I have an answer that I’ll share with you in a moment, but I’m sure there will be comics in New York and Los Angeles – and in between – that will argue with me. Then again, I know there will also be many who agree.

First of all I’ve worked in all three places – New York, Los Angeles and in between – as a comedy talent booker. I’ve also interviewed a lot of working comedians and written books about the business. That doesn’t mean I know the definitive answer to your question, but I can share observations, experiences and opinions.

So with that being said, let’s start with observations…

New York and Los Angeles are the main focuses of the comedy biz as far as television and films are concerned. These are the entertainment media capitals of the world. That’s a no-brainer when you look at where the major networks, film studios, production companies, talent agencies and managers are located. If your aspirations are to be BIG in this business, you’ll eventually wind up working in these cities.

Every BIG comedian already knows that. It’s where they work and where they live – until they get so BIG they can afford to live someplace else and only go there for work in films and television.

The only place?

But these comics also need stage time to work on new material. And they still do this at their local clubs. It may make the morning headlines if Jerry Seinfeld surprised an audience by walking on stage in any other city, but in New York and Los Angeles it’s just another night at the comedy club.

From experience, I’ve seen it.

During my time at the LA Improv Seinfeld and Jay Leno (to mention only two) were regulars. They could walk in unannounced at any time and would immediately be asked to go on stage. My line to them was always, “Would you like to say hello to the audience?” Of course they would because they were always writing and working on new material.

And that, by the way, is great advice for any comedian regardless of where you are in your career. Continue writing and performing – the best ones always do.

The “star” comedians who were offered stage time the moment they walked into the club had worked hard for that recognition. They deserved it and I’m sure, appreciated it. The audience always loved it and the club owners, management and staff did too since their appearances are great for business.

All were winners – right?

Wrong.

The lesser known comedians that might originally have had those performance slots were either pushed back until later or cancelled for another night. And there was never any guarantee it wouldn’t happen again.

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Spring 2019 Comedy Workshop at The Chicago Improv

SOLD OUT!!

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Workshops are limited to 11 people age 18+

Summer 2019 Comedy Workshop at The Cleveland Improv TBA

To join waiting list if space opens in Chicago visit…

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So another option…

There were always a lot of open-mics during my time in both cities. But the best ones were always crowded – and I’m not talking about audiences. A comic might sign up for an open-mic at 6 pm and not get on stage until 4 am. I know because I saw it happen all the time. But if you were a night owl and fortified with patience, at least you could get in five minutes of stage experience in front of a few night owls fortified with alcohol before last call.

The complaint I hear a lot is that most open-mics in New York and Los Angeles are bringer shows. Comedians are required to bring in paying customers – sometimes as many as ten or more – before they can go on stage. If you’re just moving to either city, do you know ten people who will pay to see you? Every night?

Getting a crowd!

So it’s tough to get stage time if you’re just starting out. Not impossible, just tough.

Another obstacle is the main reason why you’d want to perform in New York or Los Angeles. Comedians want to be seen by the industry people who can help guide them to BIG careers. But are you ready to be seen? If not, then you might want to wait.

I know I’ve used this example before, but it’s a good one worth repeating. So here’s the experience part of this answer…

A New York comedian who also happens to be a very good friend, had GREAT sets the very first two times he ever went on stage at an open-mic. This rare experience convinced him that he was ready to be seen and BIG. He scored a lottery number at a MAJOR comedy club in the city and his third performance EVER was a BIG audition. He bombed BIG TIME and this first impression came back to haunt him.

Years later I saw him killing regularly at open-mics. I was working with a very successful talent booker and recommended my friend for a showcase. The booker turned me down saying she had seen the comic before at that MAJOR comedy club during his audition and was awful. There was no need to see him again when there were so many other comedians she hadn’t seen.

She was remembering him from years before!

In some cases first impressions count BIG TIME and can last a LONG time. The comic would’ve been better off keeping a low profile at the beginning of his career, until he had more experience and was truly ready to be seen.

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I don’t know where you’re located, but my opinion (you knew it was coming – right?) would be to check out your local comedy scene before making a career move to New York or Los Angeles. Do your bombing (and everyone does when starting) under the radar. Eventually, you’ll know when you’re ready to be seen.

Plus the comedy world is actually pretty small. Good comics know who the other good comics are. And the word spreads – which is networking (the best PR tool).

Los Angeles producer and talent manager Dave Rath said in my first book How To Be A Working Comic, the goal is to be the best comedian in your city. It doesn’t matter where it is because eventually they’ll hear about you. They always do. Other comics will talk about you and even recommend club bookers, agents and managers take a look at you.

In past articles I’ve called that your Golden Ticket.

It’s a personal recommendation from a respected source. People in the entertainment industry that work with talent are always looking for new faces. That’s how they stay current, grow their businesses and make money.

But I won’t fool you into thinking they’ll regularly travel to your city just because they’ve heard you’re funny. You should consider visiting New York or Los Angeles to get a feel for the comedy scene. Hang out in the best clubs and watch the shows. Try to get onstage at open-mics and showcase clubs (pay admission for ten people to be your required audience members if you have to!) and see how you do compared with the other comics. If you’re confident in your material and experience – and audience response, then you might consider making the move to one or the other.

So the answer?

You can start out and become a great comedian in New York and Los Angeles. Lots of BIG comics have. But before packing up and moving, work in the comedy scene where you are now. Get stage experience and get REALLY good (REALLY funny!). After all, that’s what the talent people in New York and Los Angeles are looking for – comics that are ready to be seen and ready to work.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Working the audience

April 8, 2019

Dave – I’ve noticed that in some (comedy) rooms you can just get up on stage and begin your material. Other rooms are a little stiff, but sometimes these rooms respond well with a more interactive style of comedy – where the comedian talks with the audience. Do you have any tips, questions or strategies one should use for this type of interactive comedy? – B.T.

How’ya doin’?

Hey B.T. – You’re talking about the dilemma comedy club MC’s / opening acts go through every time they step on a stage. Depending on the audience – and experienced comics and speakers already know each audience is different and has its own personality – the MC has to make a decision about how much material he can do and how much he’ll have to work the audience.

The decision is based on audience reaction.

I’ve heard a lot of comedians describe it as, “reading the room” or “finding the level of the room.” Whatever you might call it, the ultimate decision should be quite easy. If they’re not laughing at your material, then a good alternative is to start talking with them.

All comedians start out in the comedy club circuit as a MC, also known as the opening act. They may call themselves a headliner in their own self-booked show at a local venue, but no big-name (legit) comedy club will bring in an unknown as the headliner or feature (middle) act.

Working comics pay their dues.

After a bad set!

The only comics I’ve ever known that will try to headline a show without valuable stage time experience are either kidding themselves into thinking they’re ready – and think legit clubs are wrong – or are already stars. For example, I’ve seen (and in some cases, unfortunately worked with) a few television sitcom stars that wanted to entertain their loyal fans by appearing in comedy clubs. Overnight they think they’re going to become good stand-up comedians, but really have no stage experience away from a television sound stage.

At best they are considered novelty acts by talent bookers and club owners, and are coasting on their television (acting) fame. Clubs will book them because (remember, it’s a business) audiences will pay to see them once (a novelty). But if they’re not funny and can’t deliver the laughs because of lack of performing experience, it’s a good bet the novelty will wear off.

The next time they’re scheduled to headline ticket sales will go down.

To get back to my original point, all good comedians start out as opening acts. It’s the next level up from open mics and how they earn much needed experience in front of live audiences. It’s hands-on learning. And as MC’s, they gain experience reading the room and learn how to work the audience. It comes with the territory. As the first performer on stage MC’s have to set the tone for the show. Once you have that experience, whether a room is stiff or loose won’t matter.

You’ll know – through experience – how to adjust.

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Spring 2019 Comedy Workshop at The Chicago Improv

Saturdays – May 4, 11 and 18 from noon to 4 pm

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Space limited to 11 people

For details and to register visit…

TheComedyBook.com

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There are no magic formulas for doing this any more than there are magic formulas to write comedy material. Using comedy legends for example, imagine putting Rodney Dangerfield and Richard Pryor in the same room and telling them “This is the formula you use to write a joke.

That’s not how it works.

But it’s difficult to ignore the old standard lines or questions performers have used for decades to get an audience involved in their act:

  • “Where’ya from?” And…
  • “What do you do for a living?”

To be honest, if these questions didn’t work in getting an audience to interact with the performer, no one would use them. And I’ve seen both used quite often quite recently. But to make them work in your favor, you’d better be ready to think on your feet and be funny. The best way to do that is through:

  • On stage experience (hands-on learning) or…
  • Take a workshop in improvisation – and then get on stage experience

Every time you go on stage it should be a learning process. If the audience is not responding to your act, direct it more to them as individuals. Ask questions, talk with them, make conversation, interact and (importantly) be funny. If you can get their attention and make them laugh, chances are they loosen up and not be so stiff.

Talk to me!

Here’s an example:

When I was working at the Hollywood Improv, one of the writers for a well-known late night television show was also one of our top comedians. He was – and still is – a great comedy writer. His material on stage never failed to get an audience laughing, until one night…

He was on stage doing his act.

It was a weekend night with a room full of paying customers, so he was giving his best show and not trying out any new material. In other words, I had heard all his material before – and it always worked. But things weren’t going as normal. The audience wasn’t laughing. I thought for sure he was in trouble because his material didn’t seem funny to them. I didn’t know if he had a backup plan because I had never seen him bomb or improvise off a crowd.

Mainly because he never had to. His material was always killer.

Anyway, his proven jokes weren’t working that night. But he didn’t seem too worried about it. He took the microphone out of the stand (I had never seen him do that before) and stopped doing his material. Instead he started talking with the audience and asking them the same two “old” questions listed above:

  • “Where’ya from?” And…
  • “What do you do for a living?”

His responses were very funny, and he connected with the audience. Before too long everyone was laughing. I watched as he continued the conversations, while putting the microphone back in the stand. Then he started – again – doing his material (his regular act).

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The audience loved him. He was in total command and they laughed through the rest of his set.

After he was off stage, I told him I had never seen him perform like that – working off an audience. He laughed and taught me the lesson I shared with you today. He told me it’s how every comedian starts out. He had been an MC at small clubs for years while learning to write great material. He had the experience setting the tone for the shows by reading the audience and knowing how to get them – and keep them – involved. When the material wasn’t working, he would work the crowd by engaging them in conversation.

So, without a magic formula, how do you do that?

Experience.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

 

Playing the talent booking game

March 26, 2019

Hey Dave – You’ve been writing about promoting. I’m on Facebook, Twitter, LinkedIn and YouTube. How do I get bookers to look at my video? I send emails but don’t hear back and don’t know if they’re watching. Thanks – D.M.

Let’s Play!!

Hey D.M. – As you probably know from following these ramblings I post online, to get bookings you have to treat it like a business. BUT I’ve also learned from personal experience that it’s like a game and you have to play it. If I had to describe the booking game, I’d call it a cross between Tag and Hide and go Seek.

Let me explain…

Sometimes you have to break down and make a phone call. When you don’t have access to a talent booker’s personal messaging; emails, snail mail and online networking are not the only other resorts. Sometimes you need do it the old-fashion way by picking up the phone and start talking.

If you get a booker or agent on the line – that’s great! Use some of the concepts I’ve shared in past articles about using a conversational hook (short – just as an icebreaker) while being professional AND personable. Remember, you’re making a business call, but at the same time you’re in the entertainment biz and not an insurance agent or tax collector.

Then ask if they’ve received your email and if they’ve watched your video.

If not, and this is the secret cheat (if you want to compare it to playing video games) ask, “When is the best time for me to call you back?

Many talent bookers, agents, college student programmers, event planners – whatever – have certain hours during certain days when they accept phone calls. Ask when these hours are (by actually asking: “When is the best time for me to call you back?”). There’s no reason why they shouldn’t tell you. For instance: “Tuesdays between 2 and 4 pm” or give you a general idea: “Give me a couple weeks.

Secret Cheat!

Mark that date or “a couple weeks later” on your calendar.

If they give you a specific time of day, mark that down also. They might just come right out and tell you if mornings or afternoons are best. THEN – and this is the second secret cheat – after you hang up, send the talent booker a postcard. I’m not talking about a vacation postcard with a pretty landscape. I’m talking about the type of business postcards that I’ve described in my book How To Be A Working Comic and in past FAQs And Answers.

Use the type of postcard that promotes you as an entertainer.

** “Wait a minute! Postcards are so old school. Everything today is online and by email. I don’t even know where to find a post office!”(Note: I’m imagining this response from everyone reading this online).

Yes, that’s pretty much correct.

Especially for working comics that already have relationships with talent bookers. They’ve received approval to send in avails via email or text every few weeks and can get work.

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Spring 2019 Comedy Workshop at The Chicago Improv

Saturdays – May 4, 11 and 18 from noon to 4 pm

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Space limited

For details and to register visit…

TheComedyBook.com

*

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BUT I’ll go back to today’s question:

  • How do you contact them just to look at your video (for the first time) and…
  • How do you know if they’ve watched it (or even received it)?

The problems – mainly for performers unknown to the talent bookers – are spam filters. This happens with some of the clubs, but is especially true if you’re trying to break into the college and corporate markets. Many unsolicited emails with links (to videos or websites) won’t get past the school or business in-house email systems.

This eliminates all the unwanted non-school related or non-business related ads and other spam that would fill up their inboxes. You – as an unknown email sender – have a good chance of falling into that category. A good email program will let you know what addresses you are sending to are either blocked or rejected as undeliverable, but otherwise you have no idea.

You could be waiting for a response that may never come because your important email was weeded out by a spam filter. You haven’t been added to booker’s accepted (not blocked) contacts list.

* Also from experience, many comedians and speakers still rely on postcards to stay in touch. I don’t consider myself to be a talent booker anymore (very rare when I do), but I still receive postcards from performers looking for work. It’s a way to stay in touch without being a pain in the you-know-what.

So I’ll repeat because it’s very important. Send the talent booker a postcard with a brief note saying it was good talking with him/her and the date you will be calling again.

In reality, you probably won’t get the booker on the phone. In that case, always leave a short message that you were following up on your promotional material. If you’re making the effort to call, you might as well get something out of it, even if it’s just for the booker to hear your name. In your voice message say you’ll call again in about two weeks, then hang up and send a postcard.

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Repeat the process until you get an answer.

This might take some time (remember you’re playing The Talent Booking Game) but it will keep your name and face (postcard headshot/photo) passing in front of the booker on a regular basis without being an annoying pain in the butt. That’s the most important part of this game plan. You don’t want to be in their face every day (annoying). You just want to drop a reminder on a regular basis.

You want personal experience to back this up? Okay…

When I was talent coordinator for A&E’s An Evening at the Improv I’d receive literally hundreds of promotional packages with videos (this was before online promo really took off… and suddenly I’m feeling old…). These packages would pile up on my desk and I’d plan out “sittings” where I’d watch about 30 at a time.

No lie.

Television Appearances!

The comedians who played the above game were not a pain in the butt. They also were not forgotten or lost in the pile of videos. I would get these regular reminders and eventually dig through the pile to find their promo material. I was tired of being embarrassed when they’d call a couple of weeks later and I still hadn’t seen their video. It made me feel like I wasn’t doing my job, even though it seemed I never stopped watching videos. I just hadn’t seen theirs.

Now, this by no means guaranteed them a showcase or a spot on the television show. Sometimes it worked out in their favor, but sometimes they just weren’t ready. But at least they had put in the work and had been seen.

I also remember talking about this years ago at a comedy festival with a manager friend out of Los Angeles who has successfully taken his company into the big time by producing television shows and movies. How did he discover new talent? His advice was to be a player. If you weren’t seen in person on a comedy club stage where he scouted talent on a regular basis, you played the game without being annoying.

So as I like to say, this is nothing I’ve made up.

I’ve learned this from personal experience and talking with people that are successful in this crazy business. Play it correctly and eventually you should get at least some type of response. Of course that response could be good, bad or indifferent depending on where you are as a comedian or speaker, but that’s a different game we’ll play some other time.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Finding stage time in Los Angeles

March 11, 2019

Hey Dave – I won a contest for a trip to Los Angeles to appear in a commercial. Unfortunately, since I’m not in SAG (Screen Actors Guild), I’m being buried in the background as an extra. I’m pretty stoked about the trip though. I’m hoping to hit one of the popular comedy clubs in Hollywood and see if they’ll let me do a guest set. I’m wondering if you have any recommendations. I’ll be there next week for six days. – S.

Here’s your first sign!

Hey S. – Congratulations! Winning the contest is very cool, but sorry you’ll be buried in the background of the commercial. Consider it an incentive to get a SAG card. Then again, I had a SAG card for a lot of years and they still kept me buried in the background…

Here’s the scoop and as always, you may find it’s different for you.

Unless you’re already a headlining comedian with lots of credits and contacts in the business that “know who you are” – it’s REALLY tough to get any type of stage time at the popular Hollywood comedy clubs when you’re just visiting. The acts that live there have been investing their time and energy hanging-out, showcasing, schmoozing, taking workshops, bringing paying audience members (bringer shows) and basically doing whatever it takes (hopefully within reason) to get on stage.

The L.A. comics are paying dues and positioning themselves to eventually be seen. You’re a visitor for six days and honestly (because we know each other), not yet a headliner, feature act or even scoring MC sets at major clubs. That seriously means – and I’m sorry for being so bluntly honest – there are no reasons for you to be seen by anyone that could put you on stage at a major Los Angeles club.

Major Hollywood comedy club

The bookers (and I was the one at The Improv in L.A. so this is experienced information) are not going to give you stage time if you’re just visiting for a week and then leaving. It doesn’t do them any good job-wise.

Bookers need to spend their time showcasing comedians they can use in the immediate future, rather than someone they may not see again.

It’s part of their job requirement.

I don’t mean to discourage you, but it’s very unlikely you’ll get on at The Improv, The Comedy Store, The Laugh Factory, or the other high-profile and popular clubs (the ones that draw industry people as well as locals and tourists). Your only chance is to score a recommendation from a comedian who is already a regular at the club. And I’m talking regular regular and not someone that just moved out of the open mic scene into MC’ing Sunday and Monday night shows. If you’re on the talent booker’s holiday card list, you might have a good chance of getting on stage at a major Hollywood comedy club within six days. Otherwise, don’t waste your time or energy only hanging around, hoping you’ll be noticed and asked to do five minutes. It doesn’t work that way.

Now that I’ve said that, here’s how you can still make it a productive comedy visit…

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Spring 2019 Comedy Workshop at The Chicago Improv

Dates – TBA

March 2019 workshop at The Cleveland Improv

SOLD OUT!

Workshop Marquee 150

For details and advance registration for upcoming workshops visit…

TheComedyBook.com

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Go online and start searching. I just did by Googling Los Angeles comedy open mics 2019 and came up with 7,180,000 results. That doesn’t mean there are over seven million open mics, it just means there are seven million sites available for you to begin looking.

Start reading.

These will be your best options for stage time in Los Angeles. Like in New York, Chicago and other major cities, there are plenty of performing opportunities in small places you’ve never heard of. But always call the venue in advance to make sure they’re still doing open-mics or even still in business. Some of these clubs are here one week – and gone the next.

Pay as you go!

But that doesn’t matter because there will always be another one opening in a bar, coffee house, pizza parlor or bowling alley. All it takes is a dedicated and stage deprived comedian or future comedy entrepreneur to convince a venue owner he can make money charging a two-drink minimum while providing up-and-coming comics with valuable stage time.

Wherever you find comedians, you’ll find comedians looking for stage time. They have to – or they won’t improve as comedians.

It’s also important to contact the club or if possible, the person that books the shows and find out what you need to do to get on stage. Reserve a time? Bring paying customers? Just show up? Sometimes if you admit you’re only in the area for a short time they’ll be kind enough to give an out-of-towner a few minutes on stage.

You never know unless you ask.

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You’ll also want to go to The Improv, The Comedy Store, The Laugh Factory, etc… just to check out the scene. As long as you’re in Los Angeles, get a taste for it. See one of the weekday shows. Weekends are always for tourists and star comedians you can see at home on television. You want to see the up and coming acts; the ones that are still hungry and pushing their way to the top.

That’s where you’ll want to be eventually.

The comedians performing on the big name stages will give you an idea of what it takes to get to that level. You’ll also see some of the same acts at open mics trying out new material, along with many just starting their comedy careers. It’ll be a great comedy learning experience and as long as you’re there – take advantage of it.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Being local helps grab cancelled bookings

February 25, 2019

Hey Dave – I was in your workshop and we talked about getting last minute bookings at local clubs. You said not to put your home address on your promo material and just tell talent bookers you live on the “east side or west side” of your city rather than make it sound like you live someplace too far away to fill in if someone cancels at the last minute. It worked! I just got a call from a club manager. He said his guest emcee for tonight cancelled and he needed someone local. I actually live an hour away but have plenty of time to get there. I’m not sure he would’ve called if he had known what town I actually live in. Thanks for the tip! – DB

Hey DB – You and I know the city you’re referring to, because you named it in your email. For everyone else I’ve left that info to be filled in since the same tip can be used just about everywhere to get nearby gigs. It’s a universal “stretching of the truth” and as you just proved – it works.

The advice I gave you is nothing I made up.

Comedians and speakers have been doing this for years and are the ones that filled me in about it. At first, I was like… are you serious? But if it’s worked for others, there’s no reason why you shouldn’t take advantage of it.

Let me explain how this works…

In a panic!

One of the problems talent bookers must deal with is last minute cancellations by comedians or speakers. Every booker who has been in this crazy biz for any length of time has had this happen. And it registers on their mental charts as an emergency because if a show is cancelled no one – including the booker – gets paid. The only solution is to find a replacement fast.

And a good way for a performer to get in with the talent booker is to be that replacement – and to be that replacement fast.

The tip we’re referring to starts with your promotional material and networking.

Talent bookers (in this case a club booker) want to know what comics or speakers live close enough to call in case of an emergency. When they need someone fast, they start calling local. If you’re within close enough driving distance to be there by show time – and that could mean hours as well as minutes – there’s no reason why you can’t be considered local.

Here’s an example of how this can work…

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March 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Performance at The Improv

Wednesday, April 3 at 7:30 pm

Workshop Marquee 150

For details and to join waiting list if spot opens visit…

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The manager of a major comedy club called me because he had one of these emergencies. His feature act had cancelled, and he needed to find another one FAST!! The show started at 8 pm and his call for help was coming to me at… well… around noon.

In other words, eight hours before show time.

He was in a panic and wanted my help to find a local comic who was available and funny enough to play his major club that night. I knew a few and gave him names. He wanted to know where they lived.

Every honest location I gave him was at least an hour or two away and his panic shot up a notch. He kept saying he needed someone local, even though a two-hour drive in my opinion (and I’m sure in every working comic’s opinion) was local enough in this case. He still wouldn’t listen and probably wasted the rest of his afternoon raising his blood pressure trying to find someone within a twenty-minute radius of the club.

So, here’s the tip.

I’m a local!

The goal is to keep your name in the emergency pool for the clubs within driving distance by appearing to be local.

For instance, if the closest club to you is in Dallas and you live an hour or two from Dallas – use Dallas as your home location when you audition and on your promo material. Same for those of you who live near Detroit, Chicago, Atlanta – or whatever major city that’s within driving distance.

That’s your home base – your home city.

It’s not important what suburb or small town you actually live in because the booker might not even know where it is. But when you say it’s the same city where his club and emergency are both located, you could be the calming solution to his or her rising stress level.

And to backtrack a bit, a recent FAQs And Answers article was about not getting too personal with your promotional material and networking. In other words, you don’t want to put your home address out there because you can’t control who will see it – and therefore, who will find you.

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In some cases, that could turn into your own emergency situation.

So, when you have an opportunity to showcase or meet the club booker, let him or her know you’re local and available in case of last-minute cancellations (emergencies in their mindset). And if they ask where you live, be vague. Just say east or west side, or north or south – it doesn’t matter. What does matter is that you’re in the same city (okay, close enough) and have a great chance of being there when needed.

But here’s a warning about this “stretching of the truth” advice.

If you get the emergency phone call, be honest about whether you can make the gig or not. Don’t push your luck and ruin any future opportunities you might have to play the club. If you live two hours away and the show starts in twenty minutes, thank the booker for calling and just say you’re not available.

But if you have enough time – take the gig and be there.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Creating a one-person show

February 12, 2019

Hey Dave – I’ve had some crazy experiences in my life that resonate in my memory and in my opinion are very comical. But also these were very serious moments. It’s hard to bring these stories out on the stand-up stage because they take a lot to build to a punchline. I am still very new to the stand-up world, let alone theater acting. I’ve taken a few classes, but don’t have a solid background yet. I’ve written about these crazy moments in a journal form, but am unsure of how I build a show off them because I am no play write. I guess my overall question is if you have a little experience, how can you start to build up to putting together a great One Man Show? Thanks! J.W.

Theatre stage vs comedy stage

Hey J.W. – The best advice I’ve ever heard from any working comic or writer is to just keep writing. You’re already doing that by keeping a journal and creating stand-up sets. The idea is not to get too far ahead of yourself. A one-person show is a big project – so you’ll want to create a few shorter ones (like laugh out loud five minute comedy sets) first.

You say you’re not a playwright (correct spelling, by the way), but that doesn’t always mean having to sit down at a computer keyboard and “write” a show. As I say in my workshops, some people can do that – most can’t.

Most stand-ups and speakers have to talk it out.

And by this I mean in front of an audience. It makes the material and delivery real. I think this way of working will suit you best. You don’t need to be a playwright to talk and convey your message in front of an audience.

Talk your stories into an audio recorder. Then transcribe – write them out. Edit, make changes, add your humor and tweak the material. Then do it again and write some more. Take it on stage and try it out in front of an audience. Are they interested? Are they laughing? If yes, then it’s working. If not, then you go back to work. Write some more and continue to repeat the process until you get the audience reaction you want.

Keep in mind this is not easy.

Writer’s room

Working writers, speakers and comedians dedicate themselves to these careers. Emotions range from failure to success and every hard knock in between. But if you’re serious, have a thick skin and really want it – then you’ll continue.

Okay, so let’s say you have very funny stand-up sets and get great audience reaction (laughs!). Now you also want to add “serious stuff” so the result is more of a one-person show (theatrical) rather than a Comedy Central stand-up special.

Create an outline for a planned show.

What is it you want to say? Who is your audience? But don’t knock yourself out trying to make it perfect – like a finished and polished script for a successful Broadway show. Everything always changes when you start to do it live in front of an audience. That’s why Broadway shows go on the road for previews in various cities around the country (like stand-up comics) followed by multiple re-writes, re-casting and more previews.

These changes are based on audience response. If audiences don’t like the second act or a certain character, the playwrights and producers fix it before bringing it to Broadway for the definitive make-it or break-it reviews.

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March 2019 Comedy Workshop at The Cleveland Improv

Saturdays – March 16, 23 and 30 from noon to 4 pm

Performance at The Improv – Wednesday, April 3 at 7:30 pm

Workshop Marquee 150

For information and to register visit…

TheComedyBook.com

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Shows, comedy sets, motivational speeches, books, plays, movies – whatever – go through many drafts before they are considered finished.

That’s important to remember so you’re not discouraged after each preview. My first book was re-written a number of times before I had a literary agent accept it. Then she made me rewrite it a few times before she would shop it around to publishers. Then after a publisher bought it, I had to rewrite a few more times before they printed and got it into stores. It was at least a dozen re-writes total.

You will experience the same thing.

But as I said earlier, don’t get too far ahead of yourself. You’re still in the first draft stage of creating your show.

Concentrate on what you’re doing now, which is getting stage experience in stand-up, improvisation and acting. Keep creating short (3 to 5 minute) comedy sets and trying them out in front of audiences at open-mics and in clubs. The comedians I’ve worked with find their comedy voice first. After that they “write for” that comedy voice.

Okay – got that? Now, if you want to continue into one man (or one woman) show-land, let’s visit television sitcom-land for a quick example…

One of my favorite sitcoms in the 1990’s was The Drew Carey Show. The pilot for that show was written around Drew’s stand-up act. In fact, when you watch the first episode you can actually see him doing bits that he did countless times in comedy clubs. The storyline for the episode was written around his comedy voice and what he was already doing on stage.

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It was the same with Everybody Loves Raymond, Home Improvement and many others that starred stand-up comedians.

Take one of your stories and see if you can make into a five minute stand-up comedy bit – as a storyteller. But keep your personality (comedy voice) and don’t try to be an actor. Right now it’s you talking about you. Later as it develops, you might want to try acting out some of the other characters involved.

A night at the theater

The best advice I can give is to realize a one-person show is also a theatrical production.

Creating and starring in a one-person show was a very popular career goal in the comedy biz during the 1990′s and many comedians failed because they didn’t realize that. It’s more than just doing your stand-up act on a stage with a couch and a table. It needs to be more of a night at the theater, rather than a set at a comedy club.

My favorite example of a comedian-writer-actor developing his own successful one-person show is Inside The Male Intellect: An Oxymoron by Robert Dubac. I’ve seen it many times – from it’s earliest first draft performed at The Santa Monica Improv to a sold-out Palace Theater in Cleveland – and highly recommend it whenever I can. If you’re not familiar with it, you can purchase the DVD for under $5 on Amazon.com.

It takes work to write and create anything. But hopefully it’s work you enjoy. Just keep writing and trying out your material out on stage. With talent, creativity, experience and luck you might wind up with something great. You never know unless you try.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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 ComedyComedy FAQs And Answers: How The Stand-Up Biz Really Works, and Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers.

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.