Archive for the ‘audience reaction’ Category

Singin’ the (comedy) blues

April 24, 2017

Hey Dave – I have a confession to make and was wondering if this is normal or not and if so, how to deal with it? Is there such a thing as having the blues in comedy? I guess you could call it the Comedy Blues. I mean, I’ve been told “no” before and had terrible sets in the past. But I strongly feel it has made me the keen comedian I am today. But still, if I may… help! – A.

Taking your emotions for a ride!

Hey A. – Congratulations. You’re a creative artist. And I think you’re riding what comes with the territory – an emotional roller coaster. It can be a series of BIG ups and downs. That’s why a lot of people can’t deal with a career in the arts – whether it’s comedy, speaking, acting, music, writing or too many others to list.

It’s not easy.

If it was don’t you think more people would go for it? You have to admit that standing on stage getting laughs, greeting your fans after a show AND getting paid for it is a pretty cool gig. People in the audience see that and quite a few wish they could do it, but are afraid of rejection or looking foolish. But those who actually take a chance and really go for it don’t seem to have much of a choice. It’s what they have to do.

Okay, this might be more motivational today than instructional, but what the heck. I’m a creative guy so follow me on this one…

You got the blues?

Let’s relate this to music. A lot of great songs are about HIGHS while a lot of great songs are about LOWS. Let’s call this latter group blues songs since… well, that’s how you referred to your comedy state of mind AND that’s what they’re called anyway. Basically singin’ the blues is telling listeners nothing worth having or doing seems to come easy. Blues songs are usually about losing love, money or both.

But in our case, let’s relate it to being creative.

To be more specific – going for a career as a comedian (which from this point on will also include humorous speaker). You want soooo bad to have something good happen, but there are often road blocks. Things never seem to move as fast as you want them to. Yeah, there are big HIGHS to be had – like passing an important audition, getting your first paid gig or winning a contest.

There are also big LOWS when those things don’t happen.

But you know what? Every working comic will tell you from experience that you’ll hear the word “No” a lot more often than you’ll hear “Yes.” Especially in the beginning.

It comes with the creative territory.

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Comedy Workshop at The Chicago Improv

Starts Saturday – June 3, 2017

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Includes an evening performance at The Chicago Improv

Thursday – June 29th at 8 pm

For details, reviews, photos and to register visit…

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Do you want to stick around in this crazy biz long enough to (hopefully) have a career? Then you’ll need to develop a thick skin along the way.

Let’s move from music and relate this to sports. The best relief pitchers in baseball are going to lose a few games in the last inning during a long season. What makes them the best and others basket cases or unemployed is the ability to shake off the loss, forget about it and try to win the next game.

It’s a mindset they need to be born with or develop if they want to be successful in a competitive business (sports).

Being a comedian means you’re a creative artist in a competitive business. You put your creative work and talent on display to be judged by others, such as talent bookers and audiences. Some will like it and others won’t. It’s the nature of the biz. Hopefully your talent and perseverance will eventually lead to more likes than dislikes.

Likes are the highs and dislikes are the lows. The goal is to not get TOO high or TOO low. But it’s not easy when the results are based on your personal creative talent.

I remember working in NYC and hearing aspiring comics just breaking into the open-mic scene or at their first audition at The Improv saying they plan to have a sitcom within a year. I’m not lying about that. I’m serious and heard it said more than a few times. And I could look at the comedians hanging around The NY Improv at that time like Ray Romano, Dave Attell, Brett Butler and Larry David, and knew how hard they had been working at it for years. They didn’t get everything they auditioned for, but they had experienced the highs and the lows. There were no guarantees they would make it when they started, but someone saying “No” wasn’t going to stop them from continuing.

They were talented (duh!) but hadn’t scored television sitcoms or specials within their first year of doing comedy. The new comics at their first open-mics with unrealistic goals were setting themselves up for disappointment – big lows. They needed to be realistic and understand what to expect:

Will sing for laughs.

Comedy HIGHS and Comedy BLUES. It comes with the territory.

And to finish this thought, I don’t remember anyone getting a sitcom within a year of their first open-mic or Improv audition. But I remember the above mentioned comics coming to The NY Improv every night and paying their dues on stage.

Which leads me to another thought about riding these highs and lows. It’s called paying your dues. Some people drop out of the business because they can’t take the lows. Others have no choice (creative artists) and continue – with thicker skin.

But it’s important to realize that just continuing is no guarantee of success. Talent, business, connections and sometimes just plain luck are also involved.

Basically, there’s no straight answer to your question. It is what it is. Sometimes it’s good to take a break and regroup. Other times you put your head down and continue if that’s what you must do. For many creative artists there’s no choice in the matter.

Finally, here’s another creative thought…

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Consider bringing these feelings (blues) into your writing. You don’t have to talk about having “comedy blues” (blues singers go for the sad while comics go for the laughs). This may add more real emotion and real life into your material and delivery. Audiences can always tell when someone is faking it. They can also tell when creative artists are really going for it and sharing something real about themselves.

Most good comics and speakers have that ability. They talk from experience because they’ve paid their dues by riding the creative roller coaster.

Remember – it’s a creative art. And being a creative artist is not always easy.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Build your potential client contact list

March 27, 2017

Hi Dave – Speaking and comedy both sound like serious business. I’m dead serious about the value of comedy in business — way more serious than folks who don’t know how to laugh. How do I get those humorless folks to seriously see how silly it is to filter out fun from the expressions of ideas? How do I make it pay for me to show them how to make it pay for them? – R.W.

No grumpy people here!

Hey R.W. – Here’s something I’ve noticed about the humorous speaking biz. It seems the people who need us the most – and you know the ones I’m talking about, the humorless people – are the last ones to search us out. In fact, I’ll go out on a limb and say the event planners that schedule humorous speakers already understand the value of humor in the business world. And like us, they’re just trying to convince the other people who need it most to use it.

Anyone who knows anything about the value of humor in business and everyday life already know the positives. I won’t get into a long list, but here are a few of my favorites:

  • Less stress
  • Better teamwork
  • Increased productivity and attendance
  • Improved networking

These are topics a lot of serious business speakers and trainers already talk about because their audiences deal with these on a daily basis. It sounds like you’re doing the same with humor as a solution. The way I see it, it doesn’t matter if you’re going to work or cleaning your house. You’re more inclined to actually do it if you can include an element of fun.

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Okay, all that is just to show I agree with your point – and I’m sure many readers of this newsletter do also (the humorless people don’t subscribe). It is, as you so eloquently put it, silly to filter out fun from the expression of ideas. But as I see it, here’s your main question:

How do I make it pay for me to show them how to make it pay for them?

Your goal is to get this message to the humorless folks and get paid for it. But keep in mind they aren’t going to hire you to speak anymore than they would subscribe to this newsletter. They don’t understand the value of your message. That means you need to…

Networking

Network with event planners (people who can hire you) that already agree with your message.

The best way to do this is to show them what you can do. In other words – get out and speak. And the best places to do this are where both humorous and humorless business folks network – meetings.

I’ve talked about this in past FAQs and Answers and even shared some excellent suggestions from readers on where to showcase your program.

But for a simple instruction guide…

If you don’t have it already, create a short (20 minutes is probably max) presentation about your topic and volunteer (for free) to speak at various organizations in your area. This could include Rotary Clubs, associations, charities, alumni groups, or whatever else you find. If you’re having trouble putting together a working presentation, check out my book Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers at Amazon.com.

Free gigs for humorous speakers are like comedy club showcases for comedians. You don’t get paid, but you get in front of people who can hire (and pay) you in the future. But that’s only the start. As I’ve also mentioned in previous FAQs And Answers you need to build a list of potential clients (buyers) through these free gigs and stay in touch with them.

It’s called networking.

Of course you should always take a stack of business cards to hand out after your presentation. This is a no-brainer and business common sense. Include your contact information and website and give a card to anyone who even looks at you sideways. Make it easy for them to find you.

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Comedy Workshop at The Improv

Chicago, Cleveland & Tampa Dates TBA

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Includes evening performance at The Improv

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Except that’s never a guarantee they’ll contact you. It’s important to give them a reason for you to stay in touch on a regular basis, otherwise you’ll just be another pain in the you-know-what.

Start a blog or send out a weekly or monthly newsletter, (hey wait a minute – that’s how I got you to read this!). Make it informative and entertaining as an incentive for potential clients to at least check it out. Hopefully they’ll subscribe and you’ll become almost like an email family member (like we are right now – correct?).

Again, this makes it easy to find you in case they eventually want to hire you.

But simply handing out business cards can take a long time to build a decent list. You know what I mean – you hand out a bazillion cards and be lucky to hear from one or two people.

So here’s how to kick-start your contact list:

A great way to building potential clients and continue adding to your contact list is to have a prize drawing whenever you do one of these free programs. It’s up to you what the prize will be. It could be almost anything from a CD or printed transcript of your presentation to a plate of cookies. You could even offer a free or discounted presentation for their company. Use your imagination for this one and offer something you think most of your audience would want.

Here’s a personal example…

At the end of my programs, I announce a drawing to win a free autographed copy of one of my books. It doesn’t matter which book because even if the winner is not into the topic they’ll know someone who is and can give it as a gift. But to be in the drawing, they have to put a business card with an email address into a basket. The trade-off is that everyone who enters will be added to the mailing list to receive my corporate (not this one!) newsletter.

The happy winners!

BUT – and this is an important but – I make it clear they can easily unsubscribe through a link in the email. They just need to receive it once. If they like it, they’ll continue to receive it. If not just opt-out and they’ll never hear from me again. And that’s the honest truth.

Everyone who wants to enter puts a business card in the basket. I draw one and that person leaves with a book. I leave the free gig with a basket full of contacts that could possibly turn into paying clients.

So there you go. How do you reach the people who need your message? Get out and preach the gospel – your ideas – in front of people who already get it. Go to where business people and event planners can see and hear you. Use these free gigs to build your contact list.

There are no guarantees they’ll hire you, but at least you’re giving them – and yourself – a chance. You gotta show them what you can do and stay in touch.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Personality separates you from the competition

February 18, 2017

Hi Dave – I do a lot of presentations through my job. These are specific to the industry and I’d like to start speaking at related conferences. I’m not a stand-up comedian, but know the importance of humor in getting my message across to an audience. 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 humorous presentation. Thanks – DB

bored-audience

Not connecting!

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, and 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.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 25, 2017

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Meets 3 Saturdays from noon – 4 pm

Evening performance at The Improv – Wednesday, April 12

Chicago Spring 2017 Dates TBA – Stay Tuned!

For details, reviews, photos and to register visit…

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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.

RodneyThat’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.

HennyYoungman’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. 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 unique and fun(ny) “real” personalities (we all have one, though some are more outgoing than others), because they assume it’s the only way an audience will take them 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, but you just somehow remind people of her. It’s part of your personality.

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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.

lucille-ball-candy

We love Lucy!

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.

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 relating to your topic that an audience could 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 – or telling old jokes.

Use your personality.

It’s a natural talent that you 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 your family or friends 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 family or friends laugh?

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

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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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

How to get letters of recommendation

January 15, 2017

Hey Dave – You had an article a while back about using quotes from clients as promotion on websites. I’ve been doing sets for some local businesses and clubs and the people who hire me say they like what I do. Can I just take what they say and post it on my website or do I need it in writing? How do I get these quotes? I want to move into doing better paying corporate shows. Thanks – H.P.

Hey H.P. – You have a good memory. I ran an FAQ and Answer last June about using “Blurbs and Letters of Recommendation.” Since I only keep these ramblings posted for six months before hitting delete, it’s no longer online. BUT because I’m a good guy (play along if you don’t actually know me) I’ll paste it at the bottom of this one in case anyone wants to check it out.

So we’ll consider this week’s FAQ and Answer a two-parter. Two for the price of… well, nothing. Geez, maybe I should move into a better paying market.

duck-soup-1

“I’ve had a perfectly wonderful evening, but this wasn’t it.”

As a brief synopsis, the earlier article talked about what you’d want a client to say about you and your performance in a good letter (or email) of recommendation. I pointed out that at best it would be an advertisement for what you contributed to the event – and an enticement for potential clients to hire you for future gigs. Then you would pull out a line or two (a “blurb“) to post on your website, similar to a short positive review you’d see on a book cover.

But I won’t repeat all that. The article is posted below so we’ll just continue from here…

As a lot of comedians and speakers know, a letter of recommendation is never a slam dunk. In other words a client may promise to send you one, but that doesn’t make it a guarantee. It doesn’t (always) mean they didn’t like you or your performance, it’s just sometimes they find work, life and other important stuff takes up their time.

They might just forget.

What I suspect is that writing a letter of recommendation – at least for some people – is like doing homework. They may look at writing as “work” or they really don’t know how to put their thoughts into words. They’re not writers like most comedians and speakers, and will put it off the extra work until… like… forever.

We’ll deal with those procrastinators in a moment. But first…

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January 2017 Comedy Workshop

At The Cleveland Improv is SOLD OUT!

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Wednesday, February 8th at 7:30 pm

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To help jolt the memory of clients who might not realize the importance of a letter of recommendation to your career, here’s a tip I learned a long time ago from successful speakers and comedians.

And believe me – it works a LOT more than it doesn’t…

Always take a self-addressed, stamped envelope to all your gigs. When you’re talking with the client after your performance and they’re telling you how great you were, the audience loved it, yadda-yadda-yadda, come right out and ask for the letter. They’re already giving you a positive review, so just make it part of the conversation. And when they say yes – and they will if they’re heaping praise on you – hand them the envelope. Tell them you’re making it easy for them.

Sign here please!

Sign here please!

Seriously. I’m not joking.

Before I started doing this, it was always hit or miss on getting a letter. But once they have the SASE it apparently makes it easier for them to remember. I also suspect they would feel a bit guilty having that envelope and not following through on their promise. So for that reason alone, let’s call it the guilt factor.

It works more than it doesn’t.

It also helps if you send a thank you email, letter or postcard – depending on how you’ve been communicating with the client before the gig. It’s the follow-up that you should be doing anyway. If you haven’t received one by that time, use that opportunity to remind them about a letter of recommendation.

BTW – an email of recommendation is also acceptable. Just like using quotes and photos in a book, I feel it’s important to have something in writing from the person recommending you as proof of their permission. A verbal quote is fine, but they may forget, see their name on your website and… well, like any good business deal having something in writing is always best.

If you still don’t get the letter AND especially for those clients who really aren’t writers and plan to put this off forever, here’s another option. And again – I don’t make this stuff up. I was given this advice by a highly paid and constantly working humorous speaker at a meeting of The National Speakers Association (NSA). And the reason I’m telling you that is because I found making that reference worthy of being a “blurb” to back up this technique…

phone call

Make the call

If you haven’t received a letter a week after your performance, call the client. Since you’ve already worked for them, you should at least have a one phone call relationship where you can again thank them for the gig. You can also ask for any advice or feedback about your performance.

If they have good things to say – and they should if they said it after your performance – ask again about a letter. If the client apologizes and has excuses about being busy, etc… Offer to make their life easier. Ask if you can write the letter (or email) yourself and send it to them.

Again – I don’t make this stuff up. I’ve used this advice and it worked for me – and obviously for the guy that gave me the tip in the first place.

Remind the client it’s important for future bookings or that talent agents and event planners really need recommendations to work with you. Say you’ll write something simple, will send it, (email or with a SASE), and they can edit or change it any way they’d like. Your request is that they email it back with their “okay” (endorsement) or copy it onto a page with company letterhead, sign and return (using your generously supplied SASE). You can usually hear them breathe a sigh of relief on the phone. They just got someone else – you – to do their homework for them.

Okay, most working comics and speakers are probably thinking this is elementary stuff. They know about this. So my excuse is that these tips are for the newbies that don’t. I’ve mentioned this to beginning comics in my workshops and can see eyes light up. Yeah, these are good ideas and they work.

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One generous reader also sent me an email about the importance today of having video letters of recommendation. Again – great idea!

Always consider filming your performance (ask client’s permission first). It could be for promotional purposes or just a way to review your set. If the client or audience members are giving you high praise after your program, ask if they would say it into the camera.

Seriously – again – I’m not joking. Along with a lot of other comics and speakers, I’ve done this and it works. Add their video endorsements to your promo reel. As I said in the earlier article pasted below, it’s always better when someone else is telling the world how great you are – rather than you having to talk yourself up.

And speaking of the earlier article, you can scroll down past all my shameless promotion and comments request below and start reading.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

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Now as promised…

241

Blurbs and Letters of Recommendation

First published June 16, 2016

Hey Dave – I remember you had an article about what goes into a good recommendation letter. I have a few from doing corporate shows and fundraisers. Since you’ve also pointed out that promo is online I was wondering how to get these letters in front of talent bookers. It’s not like the old days when we could make paper copies to send in with a promo package. Thoughts? – J.W.

Hey J.W. – The article you’re talking about was on what would go into a good letter of recommendation. The idea is to share a client’s positive review about your performance and what you contributed to the event. The idea is to show potential clients, event planners and talent bookers you have a track record – experience – at helping to make other events successful. And as we know, they also want their events to be successful.

Here are a few examples of feedback that work in a good letter of recommendation:

  • Great performance
  • Lots of laughs
  • Engaged the audience
  • Easy to work with
  • Great audience feedback
  • Went out of your way to make the event a success.

All that type of good word is… well, good word for you.

You still want to collect letters – or emails – of recommendation. But yeah, the days of printing up paper copies are pretty much ancient history. That’s good for the trees – and also good for streamlining your promotional material. Not to mention saving postal costs from the days when we had to send everything via snail mail.

Today everything goes on your website. And like a modern 15- 20 second television commercial (in the “old days” they could last a minute or even 90 seconds) you need to promote yourself and your services with the best attention-grabbing statements.

What you are looking for is one great sentence or a few short ones together that you can pull out and use on the homepage of your website, LinkedIn, Facebook or other one-page promo.

Something like…

“J.W. was very funny and our audience loved him. We look forward to working with him again.” – name of client / company / event, etc…

The idea is to use this sentence as a blurb, which is a short and positive review similar to what you see on the back of book covers. Or now that so many books are eBooks, these blurbs – recommendations from reviewers – usually follow the book cover image. These are enticements, which is another word for advertisements that will keep potential buyers interested in buying the book.

I know I’m getting off track (my track record?) but for an example of how a good blurb should be written go online to the Amazon.com and look for Kindle books.

You don’t need a Kindle reader to do this. Find any book and click the Look Inside feature. The following will work with almost any eBook…

When you click Look Inside a separate window will open and you’ll get a free sample of the book to read. It’s just like the “old days” of going to your local bookstore where you could pull a book off the shelf, do a quick look and decide if you want to buy it or not.

Ebooks do this online for the same reason. You can read a sample before you buy.

Okay, like I said I’m going off track (you were warned) but follow me on this. It’ll make sense at the end…

Unlike physical books with real paper pages, eBooks only offer the beginning of each book you want to sample. It’s usually only the first 10 or 20 percent. To see the rest, you have to buy it.

So publishers and advertisers (enticers) need to grab a reader’s attention right from the first page and hold it for that first 10% or 20%. There should be no wasted space.

So instead of being similar to a paper book that starts out with title pages, copyright pages, dedication pages, thank you pages, blank pages and other traditional book beginnings, it’s important for eBooks to entice readers right from the very start into purchasing the book. There is also no back cover for an ebook to display descriptions (advertisements) about what’s inside.

So immediately after the cover image you’ll see a short overview (enticement) of the book and the best reviews (advertisements). Since the publishers want to display as many good reviews as possible to convince you to buy it and only have 10% to 20% of an ebook to do that, they’ll only use the best statement(s) from reviews that were probably longer.

These are blurbs.

Following the blurbs the same will jump right into a Table of Contents (more enticements) and the beginning of the book. This gives potential buyers an immediate feel for what they’re buying. The copyright pages and all the rest of the legal stuff and personal comments (“Thanks mom and dad for your support!”) will appear at the end of the eBook. The legal stuff is needed to keep the government and tax man off your back, while the personal stuff keeps family and friends happy. But none of it helps to make a sale.

Now, to get back on track. I detailed these standard publishing techniques because…

You need to start thinking the same way. You’re selling your service just like publishers sell their eBooks. These online books are great FREE examples of how advertising (blurbs of recommendation) should look and work for you. Take a look at the short and attention grabbing one or two sentence reviews at the beginning of an eBook and you’ll understand what you should be looking for in a letter of recommendation. You’ll know what to pull out and use on your website and in your promo material for a blurb.

Get great blurbs (advertising) and put them where potential clients (buyers) will be sure to see them – near the beginning of your promo. It will entice them to read more about you. And if they like what they read, they’ll continue to read. And once they know more about the positives you can bring to their show or event you’ll have a better chance of nailing the job.

You can also check out websites for other comedians and speakers. Any of them that have great letters of recommendation will have the best blurbs posted online for potential clients to read. It’s also common to have a “Reviews” page linked to the home page with a list of blurbs.

Websites for working comics and speakers are loaded with them.

The deal is that you can talk yourself up all you want and great salesmen are skilled at that. But nothing beats someone else talking you up. That’s what a great review – blurbs and letters of recommendation – will accomplish.

Copyright 2016 – North Shore Publishing.

Bomb Alert! Here’s an on stage survival guide

December 18, 2016

Hi Dave – What should you do if no one is laughing or if you realize that you are starting to bomb? – A.B.

Hey A.B. – Duck and cover. Okay, if that’s not the answer you’re looking for, here’s another one I’ve seen work…

But first a definition.

Charlie Chaplin

Taking cover

Some of our readers may not understand what you mean by bomb. That’s when you’re doing your best to entertain (comedians) or entertain AND inform (humorous speakers) and NOTHING is working. The audience is not laughing, you’re starting to panic, you begin to sweat, and you have this overwhelming feeling that everyone in the room HATES you.

That’s called Bombing 101. And if you ever get used to it you’re in the wrong business. I don’t know any comedian who hasn’t gone through the sensation. If they claim they haven’t, they’re playing a joke on you.

The dedicated comics never let bombing on stage stop them from performing again. But the smart ones use the experience to learn something. And what they usually learn is what NOT to do on stage again that caused them to bomb in the first place.

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Winter 2017 Comedy Workshop

At The Cleveland Improv starts Saturday, January 21st!

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Workshop showcase performance at The Improv

Wednesday, February 8th at 7:30 pm

Space is limited to 10 people – for details and to register visit…

TheComedyBook.com

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As an example:

In my book Comedy FAQs And Answers I talked with comedian George Wallace about this. He told me how he first started his career under the stage name The Reverend George Wallace and would use a phone book like a Bible. It worked in NYC, but when he played his first road gig in upstate New York, the audience hated his act. He was paid to do an hour – and he did an hour – but it was a mega-ton bombing experience. He told me that during the drive home he thought about driving his car off a bridge because he felt so bad.

But the learning experience was that he would NEVER allow himself to go through that again. It made him rethink and change everything about his act and his comedy voice (who he was on stage). The Reverend title was gone and so was the phone book. He decided that if he was having fun – a party – on stage, so would the audience. When the audience is having fun – when they’re in a party mood – you’re NOT bombing.

And if you’ve ever seen George Wallace perform you’ll know what I mean. He’s become immune to bombing.

So you want some advice? Okay…

Young Frankenstein

Talk WITH the audience!

If you feel like you’re starting to bomb, a technique or trick (for lack of a better term) I’ve seen some other big-name comics use to turn the situation around is to talk TO and WITH the audience. Seriously, I’ve seen it more times than I can remember. Forget your material for a moment – especially since they don’t appear to like it anyway – and bring the audience into the show.

Here’s an example…

When I was scheduling the comics for the Hollywood Improv, one of our most dependable (meaning funniest) acts was not only a great performer but also a GREAT writer. Comics in my workshops know who I’m going to talk about because I always name (drop?) names. But since I didn’t do an interview with him for one of my books and haven’t been in direct touch lately to politely ask if I could drop his name here, I’ll just keep his identity secret. But I’ll drop a hint that when another big-name star took over hosting a big-name late night television show, this comic was brought in as the Head Writer.

That’s how much respect this guy has in the comedy business!

His material is great and I’ve always enjoyed watching his sets because of that reason – great material. But I remember one evening at The Improv when the audience just wasn’t getting it. I have no idea why not, but it happens to all comics at some time or another.

Anyway, much to my astonishment and confusion, his material wasn’t working. But as I watched, he took the microphone out of the stand (which he rarely ever did), walked to the front of the stage and started talking TO and WITH the audience. He really looked at the individuals and REALLY had conversations.

He kept it simple, easy, and made it comfortable for everyone to be involved in what he was doing.

Where are you from?” and “What do you do for a living?” types of questions led into some very funny replies and ensuing conversations. And once the audience was with him, he stepped back, put the microphone back in the stand and started doing his material.

This time the audience LOVED him AND his material. They followed him, GOT the material, laughed at the material, and it was a great show. He walked off stage to big applause.

So I had to ask him about it – right?

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He reminded me that all comedians start out as MC’s in clubs. That’s where you break in and get your earliest on stage experience. It’s how you develop your writing and performing skills in front of listeners who will respond – positively or negatively. And one of the most important jobs of being an MC is to warm up the audience (make them laugh) and get them involved in the show.

What’s the best way to do that? Talk TO and WITH them.

He had developed the skill, talent and experience for doing that – and could call on it whenever he needed to. Not only did I see (and talk with) comics using this technique in Los Angeles, but also when I worked at The Improv clubs in New York and Cleveland. It’s nothing this particular comic simply tried on a whim because others had already proven it can help defuse a bombing situation.

So in other words, I could also name (drop) other comics I’ve watched do this and also tell you they gave me the exact same explanation. When they were MC’s moving up in the biz, they learned how to talk TO and WITH an audience. It’s an important learned skill and a way to keep them involved, interested and (hopefully) laughing. And when that’s happening you’re not bombing.

So if it happens, start talking. Otherwise, just get used to the duck and cover method of surviving on stage.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

Corporate comedy open mics

December 4, 2016

Hey Dave – Last week you talked about ‘what is corporate comedy material.’ I would also like to learn about getting into doing comedy and humorous keynotes at corporate events. – E.M.

Hey E.M. – Okay, let’s pick up where we left off. I talked about the type of material comedians need to develop to get hired as entertainers at corporate events. But how and where do you develop an act for this market? Using material rated G and PG (max!) and jokes relating to the business world don’t always go over with the usual crowd at late night, beer-soaked open mics.

Not your audience

But that doesn’t matter because they’re not your audience anyway.

The business owners and event planners that would hire you to speak at a corporate function or conference are the networkers you’ll find at morning, afternoon and evening business or association meetings. Instead of late night bars, put your efforts into finding stage time at morning Rotary breakfasts, Knights of Columbus luncheons, and College Club dinners (to mention just three of many possibilities). Almost every city and town has business and social organizations and need speakers or entertainers.

The usual length of your program would be anywhere from five to twenty minutes between the entrée and desert.

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Winter 2017 Comedy Workshop

At The Cleveland Improv starts Saturday, January 21st!

Workshop Marquee 150

Workshop showcase performance at The Improv

Wednesday, February 8th at 7:30 pm

Space is limited to 10 people – for details and to register visit…

TheComedyBook.com

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The idea is to grab these opportunities and use them like open-mics. And like open-mics, don’t expect any pay. The key word to obtaining these spots is “FREE.” Offer to do a FREE five minutes of CLEAN comedy before the meeting’s featured speaker and it’s very unlikely you’ll hear the other key word that is so frequent in the comedy biz: “NO.”

In my personal experiences using this method in putting together a corporate program, my FREE offer was only turned down once. And it happened with a Rotary guy in the Midwest who was about 90 years old and didn’t think his membership would want to hear from anyone unless they were selling insurance, fertilizer or both. When I explained my talk was about humor and creativity, he sounded like he wanted to have me arrested for being anti-American. I simply thanked him for his time, called a different Rotary Club, mentioned FREE and was invited to speak at their next meeting.

As you continue to write and test – successfully – corporate material, move into doing longer sets at these types of meetings. As mentioned above, featured programs usually last about 20 minutes. And again from experience, I’ve found the people who volunteer and are involved in planning can be open to offering a variety of programs.

boring

Can’t have the same program every week!

After all, you can’t have insurance, fertilizer or a combo of both every week.

After doing this a number of times and eating a number of FREE breakfasts, lunches and dinners (they always feed you) I had put together a corporate program. The next step was to network and do some promoting – and then I started getting paid bookings. There’s no way this would’ve happened if I had tried to develop the material doing late night open-mic bars.

So if you’re interested in the corporate market, I just gave you a great way to get the ball rolling. And it was FREE advice. When you can make an audience laugh and keep them interested during an early morning breakfast meeting, you’ve got a good chance to break into the corporate market.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

What is corporate material?

November 20, 2016

Hi Dave – You’ve talked about working in the corporate market as a comedian or humorous speaker. What is considered corporate material and what is not? – B.E.

Hey B.E. – 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 a certain joke or material they’re planning to perform is appropriate for a corporate show.

Work Clean

Work Clean

But for right now – as 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 on one of the popular social networks over whether or not 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’s not happening now and it won’t anytime soon.

Oh yeah, as always in showbiz there might be an isolated instance here or there for an edgy company (think MTV or Comedy Central) but if you want to work regularly in the corporate market, then you work clean.

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?

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November 2016 Comedy Workshop

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Wednesday, December 7 at 7:30 pm

For info on upcoming Chicago and Cleveland workshops visit…

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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 banquet or an awards ceremony. And yes, there are exceptions. But when I get calls from businesses looking for comedians those are the most often mentioned.

If you’re a comedian, it’s important to know the theme of the event.

Christmas Party

Guess the theme and win!

I’ve scheduled comedians to perform at corporate Christmas parties where the client wanted at least some mention of the holiday season. The comic can talk about his marriage, kids, sports, news events – 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 booked comedians for retirement banquets. The comics don’t even know the person the company is retiring and feeding, but they know the audience wants 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’re considered entertainment. No business lessons, training or message is required. The job is to make the corporate audience laugh in a way that doesn’t embarrass the CEO or other head honchos (that means clean comedy).

Humorous speakers are different.

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They already have a topic that fits into the corporate market. For instance, they may talk about stress relief, communications, networking, tech training, or even proper office attire. Believe me, there are a lot of different topics that can work within the themes of a lot of different corporate events. Humorous speakers with a message can be hired to deliver keynotes, do breakout sessions, and half-day (or full-day) training seminars. With a humorous delivery they’re entertaining and delivering information (infotainment) at the same time.

The material – the speaker’s topic – 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 should help you determine what is corporate material for a comedian and/or a humorous speaker. As I mentioned earlier that was a pretty general question – but I hope my general answer helped. Now it’s up to you.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

Booking conference gigs: think big and start small

October 17, 2016

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.

Open mic night

Open mic night

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.

I mean, 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 and organized the best of those 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.

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Comedy Workshop at The Cleveland Improv

Starts Saturday, November 12, 2016

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Meets 3 Saturdays (skip Thanksgiving Weekend)

Includes evening performance at The Improv on December 7th!

For details, reviews and to register visit…

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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 an old saying to back me up:

big food

Thought I could do it…

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 stand up comedian, hit all the open mic clubs in your area as many times as they’ll let you on stage. But since you’re looking to break into the corporate market as a comedian or humorous speaker, volunteer to do your short presentation at local business organizations and special interest groups during their breakfast, lunch, or dinner meetings.

For free.

Why free? Because it’s a practice session for you. Like open mics for comedians, these organizations 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 corporate entertainers 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?

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You’ll have TEN minutes of working material.

For talent agents booking corporate shows 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 keynotes, training seminars, break-out sessions, field trips, banquets, entertainment, awards ceremonies, and other programs that make up the entire conference.

And to have a successful conference, businesses, organizations and 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 schedule 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.

Event planners will call agents, watch videos and ask other event planners or clients for recommendations. They want a comedian or humorous speaker who has proven he/she can provide the entertainment or entertaining 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.

trash shot

Trashing what doesn’t work

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 while also helping you get rid of material that doesn’t work and concentrate on creating 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 or event planner until you’re truly confident you can deliver the goods. That means proven (audience tested) material from an experienced comedian or humorous 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 help them attract paying clients. I’ve seen it happen – a lot.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

Always ask before you audition

September 19, 2016

Hey Dave – I have a big audition coming up. I’m not going to have any profanity in my (comedy) set, but I’m thinking of having a cleaner version and another one that is a bit edgier. I’m thinking of asking the panel of judges what type of set they want before I perform. Do you think this is a good idea? Thanks – DS

eintsteinquestioneverythingHey DS – Yeah, I always think it’s a great idea to ask the judges at a contest – or talent booker for a club or any other venue where you’re showcasing – about any restrictions they might have on material and language. In fact I emphasize this point in my workshops for a couple reasons:

  1. It shows experience. You can adjust your material depending on the audience – and talent bookers like that. (It’s a business – remember?)
  2. It can give you an edge over the competition. I know I talk a lot about how supportive the comedy industry is (nothing has changed my mind about that), but the bottom line is that they can’t hire everyone so you need to stand-out at showcases. Again – think business.

For an example, there may only be five performance spots available for a television show. But you know as well as I do that a LOT more than five comics will be auditioning. Of course being funny is the No. 1 factor – and face it, sometimes it’s who you know (am I right Hollywood comics?!).

So let’s assume everyone at the showcase is funny and knows the same people, so those requirements are met. The tie-breaker would be knowing who the audience will be and adjusting your material and performance for that audience.

You’re not going to perform the same set on The Disney Channel that you’d do on a Comedy Central Roast. Get it?

Here’s another example…

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Comedy Workshop at The Chicago Improv

Starts Saturday – October 8, 2016

Space limited to 10 people – see link below to register!

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Includes a performance at The Chicago Improv

Wednesday – October 26 at 8 pm

For details, reviews and to reserve your spot visit…

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If you’re auditioning for work on a cruise ship and walk on stage dropping “F-Bombs” and complaining in detail about your sex life, you might as well pack your bags and consider a career on dry land. Half of the on board comedy shows are early evening family events with blue-haired ladies and their preteen grandchildren in the front rows. Later after the kids are asleep the parents will go out for the adult humor comedy shows by the same comics in one of the ship’s late night lounges. But if you can’t show at an audition that you can play to both crowds, you won’t get hired.

cruiseHow would you know this if you’ve never been on a cruise or had a chance to pick the brain of someone who works cruise ships? The only way I know would be to ask the person auditioning you for the gig BEFORE you audition.

Of course this advice means nothing if you’re already settled into who you are on stage (your comedy voice) and it doesn’t work in certain venues. Trust me, I’m not trying to push everyone in the same direction or preach work clean at all costs. That would only create comedy clones and make the industry pretty boring.

Comedy is a creative art and a form of free speech. If you want to be an x-rated comic, go for it. Just don’t go to showcases where you already know your style will not be acceptable for work – like a kid’s show or family cruise. You’re not only wasting your time, but also taking opportunities away from other comics who would want to audition for the gig.

Here’s another example of knowing beforehand what you CAN talk about vs. what you can NOT talk about depending on the audience…

When I booked A&E’s An Evening at the Improv we had certain “rules” for the performances. During a noon meeting with the comics who were taping the show that night we’d go over the rules…

  1. Don’t make fun of God or religion. Our highest ratings were in The Bible Belt and we didn’t want to lose viewers. Higher ratings attract sponsors (again – think business).
  2. Don’t knock specific products because we didn’t want to be sued. You can’t say a specific car is dangerous or a specific fast food restaurant will give you food poisoning. (Do I need to say it again – business?).
  3. Don’t sing a song parody for longer than (I think it was) 18 seconds. Producers were not going to pay song royalties for television broadcast, which is what would happen if any song was played for longer than (I think it was) 18 seconds. At that time it seemed a lot of comics were singing funny words to The Brady Bunch Theme Song. They could still do the bit, but it would be cut out of the show if it went over the time limit of being “free.” (This time – music business rules).

What about comics that didn’t follow the rules? If you watch reruns of A&E’s An Evening at the Improv, keep in mind the comedians were each given 7 minute sets. But some are on screen for less time – like only 4 or 5 minutes. What’s up with that?

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They didn’t follow the rules.

In the business it’s easy to correct these mistakes in an editing room – or in the case of live performances, auditioning the acts first and not hiring the ones that can’t follow the guidelines.

In fact, when it comes to working clubs I can’t even think of a situation where you wouldn’t have an opportunity before showcasing to ask the talent booker if there’s anything you shouldn’t say or talk about. Even if it’s only in an email or phone call prior to going to the audition. They should be straight with you, since they know their audience and what they’re looking for better than anyone else.

The goal for talent bookers is to find comics that can appeal to the venue’s audience. This includes comedy contests since the business goal is to always turn first-time audience members into repeat customers. As a performer, you need to find that out. And unless your talent is mind reading, the best way I know to do that is to ask.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newslettervisit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

 

Seeking help for a “stuck” comedy career

September 4, 2016

Hi Dave – I’m not so sure stand-up is for me. I think I may be better suited for improv acting such as The Groundlings, Second City, etc… I’ve always been told I’m funny and animated, but am not so sure how to focus or direct it. I am interested in the profession / business and think I would enjoy it. However, I feel stuck! How do I know if stand-up is for me? What advice do you have as to getting in touch with my creativity and directing it in the right way / format? Any advice would be very helpful, welcomed and appreciated. Thanks so much. Best – C.H.

Just give it a try!

Hey C.H. – The only way to find out what you’re best suited for, whether it’s stand-up, improvisation or anything for that matter, is to try it. And since a lot of people like the controlled environment of having a safety net, take a class. Check out local improvisation groups and see if they offer classes. Most do. You might really take to it – or you might not.

I know a lot of stand-ups that do both. But most (in my opinion) seem to stick mainly with the one that best suits their creativity and style of humor. In other words, some comics enjoy working with a team while others enjoy flying solo.

Similar to a lot of other creative and professional interests it doesn’t hurt to take a class. A good coach can give you insights into the craft and business aspects. You would also get experience actually doing improvisation or stand-up and can make the decision yourself on whether you’re into it or not.

And if you like it, another plus is that a good class should take time off the learning curve you’d be dealing with if you just went out on your own. Here’s what I mean…

Improv Rules

The Rules

Without ever taking a class you could still audition for an improv group. Your natural talent might be great, but you don’t know the “rules” of improvisation or have had any practice doing some of the standard games. You might learn some of this through the audition experience, but someone else who is already familiar with improvisation would have an edge at the audition.

A class would have prepared you in advance.

The same can be said about stand-up and creative writing. Some comedians have a natural ability to go on stage and be funny. Others have no idea what it’s really like to perform in front of an audience or how to create a comedy set. I’ve seen aspiring comedians come at it from both directions and it can be great fun to watch, pure misery – or a little of both.

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Comedy Workshop at The Chicago Improv

Starts Saturday – October 8, 2016

Space limited to 10 people – see link below to register!

Workshop Marquee 150

Includes a performance at The Chicago Improv

Wednesday – October 26 at 8 pm

For details, reviews and to reserve your spot visit…

TheComedyBook.com

*

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For instance…

When I was running the once a month auditions at the NYC Improv all you had to do to get on stage was draw a lottery number. No experience necessary. Usually there would be about 100 aspiring comedians lined up hoping to pick one of the 15 audition spots. The lucky ones went on stage that night for three minutes.

The comedians with stage experience knew what they would do. It didn’t matter if they had taken a class or not because they had worked out a set in front of an audience prior to their big audition. But others had only thought about it and had never even tried stand-up comedy. They’d had no guidance, coaching or any audience response to learn if their material actually made people laugh. And in both cases it was always obvious.

Here are two from the “no guidance” category that I’ll never forget…

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One woman went on stage with a role of paper. This was the type of roll you’d put in a cash register to print out receipts. She had written jokes on the roll and would simply read them into the microphone. When they received no response from the audience (and none did except groans) she would rip that joke off the roll, toss it on the stage and say, “Well, that didn’t work.” It was misery to watch, but funny to talk about later.

An older guy showed up for his audition with a female mannequin dressed in sexy lingerie. I’m not kidding. He took the mannequin on stage, sat her on a stool and completely ignored it… or her… or whatever you want to call it… while he told a few unfunny jokes. He never referred to the mannequin once. When he was greeted with nothing but weird silence, he put the mannequin under his arm, walked off stage and headed towards Times Square – never to be seen again on the comedy scene. Once again there were plenty of laughs when he was out of hearing range.

Mathew

“Where’ya from?”

Would they have done this if they had gone through a class or workshop? Well, you never know. But if they’d had any type of advice or guidance from someone that knows about the business or at least had some prior stage experience they probably would have made better choices about what to do for an important audition.

If you’re “stuck” or unsure about what’s right for you but have a desire to try, then take a class or a workshop to find out. A good one will help you tap into your creativity and give you decent insights into writing, performing and the business. It should also give you a push (kick in the butt) in the right direction to give it a prepared shot. Then you’ll know if it’s right for you. The bottom line is that it can’t hurt.

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 Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newslettervisit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.