Archive for the ‘Books’ Category

Parlay comedy experience into getting noticed

March 26, 2018

Hi Dave – I’m in a big city, have gotten invites and done showcases (not at comedy clubs), have a professionally shot ten minute set, ordered business cards, and am set to headline a C-level club three hours from my city. My question is this, are there ways to parlay this experience into getting noticed by agents or bookers or NACA? If so how? I know networking is the best way and I’ve made some friends, but I’m horrendously shy when not on stage. Thank you so much – ER

You can’t be shy!

Hey ER – I’m going to have to make an assumption here. It sounds to me like you might still be a bit new in the comedy business. I don’t mean that as a bad thing and please don’t think I’m about to write off your question due to lack of experience. That’s not what’s happening here. I’m just trying to figure out where this FAQ and Answer is going to be based on what you’ve told me…

You’re in a big city and have done showcases and have a ten minute video, but not at comedy clubs. So I’ll have to guess we’re talking about performing experience at schools (high school talent shows or some college gigs) or if you’re out of that age group it’s probably through local events, private parties or associations (Rotary Clubs, etc.…).

But you haven’t done any showcases at comedy clubs.

Especially in a big city, that’s where these guys – agents, bookers and talent managers – find most of the comics they work with. From my experiences in NYC and LA they would hang around on weeknights to watch the newer comedians. They didn’t have to do that on Fridays and Saturdays because those shows would feature more established comedians that already had agents, managers and full schedules.

In other words, there was no reason for them to hit a top LA club on Saturday night to see Dave Chappelle or Amy Schumer. Those guys already have representation to take care of their bookings. Agents and managers looking for new talent can take the weekend off and start back to work Monday night checking out local showcases.

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

Workshop also meets Sundays – April 22 & 29 from noon to 4 pm

Includes an evening performance at The Funny Bone on Monday, April 30

For information, reviews, photos and to register visit…

TheComedyBook.com

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If you’re already scheduled to headline a comedy club outside the city and have a professional promotional video, it’s a good idea to start showcasing at the better clubs to be seen. If you’re not in NYC or LA where they have showcase clubs (lots of acts doing short sets on the same night) then contact the better clubs in your area and ask about auditioning or submitting your video. But keep in mind you’ll still need to keep building other performance credits if you want most agents and bookers to take you seriously.

Even if the first contact you make is through your website with video link, the general opinion is that they’ll want to see you perform live before putting you up for any bookings. This is especially true in the competitive college market.

Go ahead and look!

BUT if you have experience and a good video – BUT not personal contacts through showcasing opportunities, you can check out agency websites for submission policies. Most of them will spell out exactly what they need from comedians they might want to work with.

BUT again, a lot of it will be based on experience. They’ll want to know what clubs you’ve played, corporate shows or benefits. And to repeat myself – this is especially true in the competitive college market.

For anyone not familiar with NACA, it stands for National Association for Campus Activities. There’s also another group called APCA or Association for the Promotion of Campus Activities. I talk about working with both in my book Comedy FAQs And Answers: How The Stand-Up Biz Really Works. You can also do a Google search for NACA and APCA to find out more about what they do.

To work in the college market the agents will want to know if you have an act that works for college audiences.  Some will represent new talent based on videos and previous college performing credits, but keep in mind some will also charge you $$’s in advance for various doing business costs, such as submission fees to even be considered for a showcase at NACA and APCA conferences. Again, this is all in my book, so let’s cut to the chase…

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A lot of it is based on experience. Dave Chappelle and Amy Schumer can book as many college shows as they want because they’re known. For newer comedians it’s tough to book college shows without a college agent. AND it’s tough to get a good college agent without any college performing credits.

Talk about a Catch-22 – that’s a big one. There’s a way to do it – and again, I’ve talked about it in the book. But to get back to today’s specific question, it comes down to getting experience on stage and being seen by the right people.

The best thing to do is parlay your upcoming out of town gig at a smaller club (don’t ever call it a “C-club” in front of the owner or booker if you want to play there again) into more shows. Ask for a return engagement or the best way to send in your avails. Use marketing techniques (sorry, I don’t want to keep plugging my books, but that’s why I wrote them) to announce this new credit to other clubs and bookers.

Don’t be too pushy!

Do your best to get over being horrendously shy in this business. You never want to come off as too pushy, but smart marketing and promotion will help these bookers find you. The good ones – the busy ones – are always looking to discover new talent. They can’t keep running the same acts through the same clubs over and over and over…

Also keep in mind there are good smaller agencies near just about every big city. They may not book the mega-rooms in NYC and LA that will get you seen for Comedy Central or late night television, but they can get you work. They might book a string of one-night gigs and will take a chance on comics based on a good video and some credits.

Usually they’ll send a comic out as an opening act and get feedback from the club owners or managers. If the reviews are good, they’ll continue to book them. Your goal as a comic is to use this experience to get better and eventually work up to the feature and headliner spots.

You can do this at the same time with other booking agents and continue to build up performing credits. Again, I’ve been more specific about it in my books, but I at least hope this gives you a good start. Have a killer set at the C-club, network, promote and work to put you in a position to be seen.

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, The Omaha Funny Bone; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

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Personal request from headliner to open shows

January 15, 2018

Hey Dave – After a recent showcase the headliner came up to me and asked if I’d be willing to open for him on his upcoming shows. What’s the best way to approach being a featured comic or host at this (major) club? I have the manager’s email and a video of the showcase set as a sample of what I can do. I also have a website with my headshot and resume and can burn the video on DVD and post on YouTube. Sincerely – L.S.

You’ve got this!

Hey L.S. – That’s great news! As I say in way too many articles, that’s your Golden Ticket. A personal recommendation from a headlining comic is ALWAYS better than trying to do it all on your own through blind mailings and emails, or hanging out at the club (topics we’ve talked about in past newsletters).

Of course I’d never discourage comics or humorous speakers from promoting themselves with good business methods (website, video, postcards, etc.). But when you have someone that actually works in the club as a headliner putting in the good word for you, it’s always easier to at least be seen (given a showcase).

And if you already have a track record – meaning decent performing credits – you might just end up with a paid booking. I’ve seen that happen a lot, meaning a good headliner will have his own opening and feature acts on the road with him. Clubs book the “package” – which makes the talent booker’s life a bit easier.

My advice is to stay in touch with the headliner about this. Ask him exactly what he has in mind. For instance, would it just be for his upcoming shows at this (major) club? Does he want you to go on the road and open for a string of clubs for x-number of weeks?

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January Comedy Workshop at The Cleveland Improv

SOLD OUT!!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

Upcoming 2018 Chicago & Cleveland workshop dates TBA

For information, reviews, photos visit…

TheComedyBook.com

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By the way, you should be able to find out what he has on the schedule by checking out his website. Most comics keep their online calendars updated not only for talent bookers, but also their fans. I always talk a lot about promoting and there are more than a few (smart!) comics who buy advertisements on Facebook and LinkedIn (there’s more about that technique in the updated version of How To Be A Working Comic) aimed at the cities / areas they’re playing a week or two in advance. Clubs love it when comics help to promote their own shows. And since (smart!) comics also attach their websites to these ads to help build audience interest through their videos and credits, you can check out their touring schedule.

Making the call!

Preferably you’ll want the headliner to personally contact the club booker or manager requesting you open his shows. He can tell them to expect your call or email, or just call you back to say it’s a done deal and fill you in on the details. Either way, he has to be the one to do this.

The headliner (or his agent) needs to personally mention this to the club booker. That’s what will cut through all the red tape. All it takes is one phone call from the comedian or his agent.

That’s important because otherwise the booker might not believe you if you’re the only one calling to set this up. And I don’t mean to single out just YOU – it’s like that with all comics they don’t know. You’d be surprised how many comics “drop names” but don’t actually have that comic’s recommendation. I’ve had that happen to me in the past and it never works in the “name dropper’s” favor.

I’m sure there are more than a few club bookers who can relate to that last statement. And I’ve also read some recent online posts from a few comics who’ve tried it – and ended up regretting it.

If for some reason the headliner doesn’t follow through on this or just suggests you make the contact, then go to Plan B. Send an email to the club booker that the headliner talked with you about being the opening act for his upcoming shows. Ask for the “correct way” for you to submit a video and promo. Hopefully the booker will request you send a link to your website and video.

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If you don’t hear back from the club booker wait a couple weeks and send a reminder. The goal is to stay in touch without being a pain in the you-know-what. Know what I mean?

I’ve talked about how to promote and market your career via emails, postcards and phone calls in past FAQs And Answers so no need to repeat it all here. There are also marketing suggestions in How To Be A Working Comic. And yes – that was another blatant book plug.

Did I mention I’m into marketing and promoting? Ha!

But again, if the headliner puts in a personal request for you to open his shows, chances are everything should work in your favor. This is your Golden Ticket – so use 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 Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

Shake things up in 2018

January 1, 2018

Hi Dave – I’m one of those people who will always wonder, “What if?” I’ve fallen behind in my stage fright quotient and will definitely tackle those fears and hit the stage once I get a solid five minutes (of comedy material). I may sink, swim or neither, but it’s time to shake things up. I was just watching what I consider to be the underrated Stardust Memories with one of my favorite lines: “You wanna help mankind? Tell funnier jokes.” Much obliged – P.J.

Hey P.J. – I like your attitude. It’s a new year, which for many people can signal a new change or a new direction in life. Personally I don’t see why changes can’t be made anytime you feel you’re ready and it’s needed, but the New Year’s Countdown and ball dropping in New York’s Times Square can be like a starter’s pistol going off. For some, it’s time to start running in a new direction.

Three, two, one… Happy New Year!

Wait a minute… another year? “What if…?”

How often have you thought that? We’d all like to swim rather than sink, but to do neither sounds like a step backwards to me. So I’m going to kick-start 2018 with a bit of a challenge:

Let’s shake things up.

Since you’ve read this far AND if you’ve read any past FAQ’s And Answers I’m assuming you have a sense of humor AND a flair for creativity (and that’s a creative word: flair). You’re either a comedian or a humorous speaker – or both – or aspiring to be one or the other – or both.

Shake it up!

How do you stand out from everyone else? What separates you from the pack? Maybe it’s time to shake things up and take a risk.

Taking a risk can mean different things to different people. If you’ve never been on stage for whatever reason (stage fright quotient?) but it’s burning a BIG “What If?” in your brain – do it now. If you’re waiting until the ball drops next year, you risk losing this year. Go to an open-mic, take a class, form a writing group – whatever, there are tons of options. There are also plenty of good books on the market (and not just mine – search around) on how to write, perform and find work in this crazy biz.

Let’s shake things up.

If you’re already on stage doing comedy or speaking and your career is not where you think it should be – make a change. Take a risk. Try something different. It could be different topics, different energy, different venues or even a different location. You never know until you try.

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January 2018 Comedy Workshop

At The Cleveland Improv

SOLD OUT!!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

Please use the contact form below to receive an email if space opens!

Spring 2018 Chicago workshop dates TBA

For information, reviews, photos visit…

TheComedyBook.com

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One of my favorite stories in my book Comedy FAQs And Answers: How The Stand-Up Biz Really Works is from comedian Christopher Titus.

He described himself early in his career as being the “happy-go-lucky comic.” He was funny, but there was nothing that separated him from any other observational comic.

Then his manager challenged him to take a risk. He suggested he be real on stage.

Titus was one person (happy-go-lucky) on stage, but off stage he had a dark, edgy – risky – style of humor. Accepting the challenge, he wrote a bit about stabbing his boss with a letter opener. It worked BIG time. This change in his comedy voice separated him from the pack, made him an in-demand headliner and also star of his own television sitcom, Titus.

Now I’m not saying to write material about stabbing your boss with a letter opener. If you look back at the above paragraph, it’s been done. Copying someone else’s material is not going to get you anywhere in this creative business. In fact, it would be a step backwards. And it probably wouldn’t be a good idea to go in a more edgy direction if that is NOT where your true humor is based. Some comics like more family-oriented material or working in the corporate (clean) market.

Go for it!

All I’m saying… suggesting… (motivating?)… is to make this YOUR year. Accept the challenge and shake things up.

If you’re waiting to start, take that important first step and get on stage. If you’re looking for help in preparing for that first step, are too nervous, or have a full-blown case of stage fright, take a workshop and let someone with experience help you ease your way into it. If you’re already performing, remember the famous line from Stardust Memories (a Woody Allen film if you need to know):

“You wanna help mankind? Tell funnier jokes.”

Have a productive, successful and laugh-filled 2018.

Your Pal – Dave

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

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Getting an MC gig at an “A-List” comedy club

December 11, 2017

Hey Dave – My goal for 2018 is to host a show at one of the top clubs (like The Improv). I have video that I can submit and if nothing else, it will be good to get some feedback and be told what I have to do to get work there. In saying that, do you know how to go about submitting videos to the clubs and what should accompany it, i.e. bio, pics, etc? If you know who the contacts for the club may be or how to find that info that would be great as well. Thanks for your continued support in the comedy scene and I hope you are well. Talk to you soon – CC

Checking the list

Hey CC – Thanks for the support and well wishes. In answer to both I can say I’m trying my best…

And another thanks for your question since it gives me a chance to combine two recent articles into a (hopefully) working answer. Make sense? Again, I’ll try my best…

Usually with the major clubs, the headliners and most features (middle acts) are booked through a corporate office. They have a talent coordinator who books all the clubs in their chain. Opening acts are mostly local or within driving distance and are booked by the club’s in house manager. The opening acts don’t get flown in or put up in five star hotels, if you know what I mean.

When you’re going for an opening (host / MC) spot at an “A-Room” (pick the top club in your area) it’s about the total package. Yeah, of course you have to be a good comic with experience. But you also have to show that in your submission to even be considered. These bookers are not going to hire someone who’s not ready to play their club. The audiences pay for and expect a professional comedy show. And even though the openers won’t have the television and/or film credits the headliners or some features have, audiences are also not paying big $$’s to watch an amateur night.

—————————————————————————-

January 2018 Comedy Workshop

At The Cleveland Improv

SOLD OUT!!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

Please use the contact form below to receive an email if space opens!

Spring 2018 Chicago workshop dates TBA

For information, reviews, photos visit…

TheComedyBook.com

*

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Know what I mean? You should have experience and a list of credits from playing smaller clubs first, before you approach the “big guys.”

I was on a panel at a comedy festival a few years ago with the manager of a major club and an owner of another. One of them – in a very polite way – talked about the smaller clubs being like the minor leagues. He was comparing it to baseball. Get your experience there first to prove you can do it before trying to move up to the major leagues.

Assuming you’ve done that – here’s a game plan for your question.

Last week I talked about doing “face time” (networking) in comedy clubs. Before that the topic was promotional material. Now it’s time to combine…

Make the call

I suggest calling the club and asking the proper way to submit a video for a showcase (audition). The people answering the phones will know – because this is a question they get all the time from comedians. Follow what they say.

Based on the two major clubs in my area, there can be two different scenarios. One is doing face time. For instance, one of the clubs has a bringer showcase once a month. Bringer meaning you have to bring x-amount of paying audiences members to get stage time. I won’t discuss the pros and cons of that now, cuz I’ve also done that in past FAQs And Answers. Let’s just agree it is what it is – and the only way you’ll be seen on stage at this particular club.

Play the game (pay the admission for your friends if you have to) and get on stage. At least you’ll be seen by someone connected with the club. Afterward do some face time and network with whomever is in charge of the show. Ask them what your next step is (you asked about getting feedback so this is your opportunity) or how to be considered as an opening act during one of their regular shows.

Who knows? They might offer you a gig based on your performance (best scenario), say you’re not ready (worst scenario), or ask you to send them a video for more review. That last one’s okay because you’re still in the game. It’s also what you’d have to do for the other club I’m thinking about anyway, so here’s how that’s gonna work…

Again, you might want to consider starting with some face time. Go to a show and keep an eye out for a manager. Another hint – from experience – do this on a “one-show night.” Fridays and Saturdays usually mean multiple shows in the major clubs and everything is more hectic. Go on a Wednesday, Thursday or Sunday and chances are better you’ll get a minute or two with the person in charge.

Then ask. What’s the best way to get a showcase or submit a video? And again from experience – because comics ask all the time – they’ll tell you. Follow what they say.

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If the club doesn’t offer a showcase night ask if they accept submissions via email and get the email address.

I also suggest you have a dedicated website for your comedy submissions. A certain comedy club I’ve worked for won’t even consider booking a comedian – including an opening act – without one. If you’re working off a Facebook page or other social media site, it doesn’t show them you are serious about your career if you haven’t taken that step as a professional. And if you’re not sure what to include on a website, just check out websites by “working” comedians or pick up a copy of my book How To Be A Working Comic.

Stand out from the crowd

Some comics might tell you this is not necessary since all the booker is interested in is your video. But here’s another hint from experience. To stand out from the crowd (and they get a lot of videos) you should make the extra effort. It makes you look more professional and that’s how you want them to see you.

Again – none of these top clubs are interested in hiring an amateur.

If they tell you to submit a video via email, send a link to your website that includes your video. Yeah, you can probably just email a link to your video on YouTube – if that’s really how you want to play this opportunity. But again, it won’t look as professional.

And for some of you, don’t let the idea of having a website throw you off your game. They’re easy and inexpensive. Check out WordPress and some of the others available for this.

Talent bookers will understand (they should) that you’re not a headliner or feature act because you’re asking for an opportunity to be an opening act (MC). They shouldn’t expect all the “bells and whistles” of a big-time headliner website. But since these are “A-Clubs” we’re talking about, they will expect you to be further along in your career than doing open-mics and using a Facebook page as your business site.

If you don’t get a response from your submission, stay in touch without being a pain in the you-know-what. An email or postcard every couple weeks should work.

But again, networking REALLY helps. If you’re part of your area comedy scene you probably know some of the comics who open at these clubs. If you see them at the open-mics or some of the other clubs – and they like your sets (important to know first!) – ask if they can throw in a good word for you with the booker. As I’ve written in the past, a personal recommendation from someone who already works at the club can be your Golden Ticket. That can either get you a showcase or have your video watched a lot faster than anything I just mentioned above.

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Promoting your videos to talent bookers

October 30, 2017

Hey Dave – How can I promote my videos to talent bookers? What about on YouTube? – BT

Marketing Technique

Hey BT – I’m not revealing any kind of marketing breakthrough by saying almost everything today is done online. There are still a few agents and bookers that request hard copies of promotional packages, but in my opinion it just means they’re really out of touch with what’s going on. If they can’t get online and learn how to work with streaming video and website links, what kind of gigs are they getting for their clients?

I’m guessing Amish barn-raisers.

What used to be included in a hard-copy promotional package is what still needs to be included when you promote yourself online. If you want to know what’s required, pick up a copy of my book How To Be A Working Comic. All the marketing tools that were once in hard copy promo packs are now posted online. And a dedicated website is considered more professional and even required by some bookers I’ve worked with if you even want to be considered for work. And it’s not all that expensive if you look into some of the options like a website on WordPress or Wix.

But don’t be discouraged if you don’t have a big time website dedicated strictly to your comedy or speaking career. Facebook will still work with smaller bookers and LinkedIn is also a good network / marketing tool. But definitely go for a website when the money starts pouring in from smaller gigs.

Here’s some insider advice:

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Comedy Workshop at The Chicago Improv

Starting Saturday – November 4, 2017

SOLD OUT!!!

Includes performance on Thursday, November 30th!!

Workshop Marquee 150

Meets for 3 Saturday afternoons – skips Thanksgiving Weekend

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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Great promotional material might get you noticed, but talent and experience are what gets you hired. Basically it’s still all about writing and performing. That part of the job never ends. But when you’re ready to take the next step in your career, you’ve got to let people know – and that’s when professional looking promotional material and marketing techniques come into play.

Notice one of the words used above – professional. Here’s one of the most important lines from my second book Comedy FAQs And Answers:

“They may call it amateur night – but no one is looking to hire an amateur.”

Yeah… I’ll watch your video

Sharing your videos with friends is easy on YouTube. Millions of people do it every day. Just send them a message saying watch my video and include a link. But when it comes to promoting videos on YouTube to get professional bookings, you need to realize that video and your website have become important marketing tools.

Go back the word I used earlier – professional. Now memorize it.

Once you have a professional looking video and a professional looking website, then you can start contacting bookers to look at it. This is done through networking (meaning you know someone that can recommend you or put you in contact with the booker), researching (going to the booker’s or club’s website and finding the required way to submit promotional material or request a showcase), and/or (and I hate this one, even though I’m good at it) cold calling. With the cold call you basically want to get the correct information on the correct way to contact a booker and then follow it.

Now this is not going sound too friendly or supportive, but I have to say it…

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To the writer of this question – and don’t get angry because no one else reading this knows who you are – I’ve watched the YouTube link you sent. Here’s some really good advice. Do NOT promote it to comedy bookers. It comes off as being very amateur and could damage your chances of being seen later when you’ve actually gained enough on stage credits and experience to be taken seriously by bookers.

No booker has time, desire, energy or interest in watching really bad amateur videos. Take my advice on this one. Plus it could come back to haunt you.

I remember a very influential comedy booker when I ran the NYC Improv. I saw a comedian who was GREAT and went to this booker with a GREAT recommendation to hire the act. I was SHOCKED to be told this booker had seen the SAME comedian FIVE years earlier when he was just starting his career. Based on that early impression, the booker said the comic was terrible and he had no interest in hiring or even showcasing him again.

Here’s my advice.

Promotional Technique

Don’t worry about promoting yourself for work until you’re truly ready to be a hired. Seriously. Be honest with yourself. If you’re doing open-mics or smaller shows and honestly feel you’re just as good or better than others getting paid gigs (listen to your audio recordings – they won’t lie), then make the leap. If not, don’t rush it. The best comics and people hiring comics all know it takes time, dedication and experience.

There are no short cuts.

Then promote your career as if you deserve to be called a working comic. This includes a headshot, resume with a decent amount of on stage credits, a short bio so they know something about you, and reliable contact email and phone number. You can have all that stuff on a website and in any design or format you want – as long as it’s easy for bookers to review.

BUT the most important part of a promotional package – online or hard copy – is your video. Don’t put out something that makes you look like an amateur just to have a video to submit. Think of the first impression you’re making on a booker and that he/she might remember it. For a long time.

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

Professional. Memorize the word and use it when promoting yourself as a working comic.

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

Copyright 2017 – North Shore Publishing.

Showcase Motivation

October 1, 2017

Dave – You’ve talked about showcasing in the last few newsletters. What’s the motivation for a talent booker to organize these showcases? What is the benefit to the booker and the club? – MB

Hey MB – Since your email came in not long after the last FAQ And Answer was posted, I know you’re referring to my mention of comedy club showcases in Los Angeles (and NYC). Instead of repeating myself, if anyone missed it you can just scroll down to the next article to read.

The motivation to organize a showcase is to find (scout) talent. Talent bookers, casting directors, producers, event planners and anyone else looking to hire comedians or speakers can organize or attend live performances to see for themselves before hiring someone. They also watch videos, but when you’re in one of the big media markets – like LA or NYC – there are more (in my opinion) opportunities to see the performers in person.

And you know live is always better – right? If you don’t believe me, watch your favorite band on YouTube and then check them out in concert. There’s a big difference.

When I worked for The Improv in LA and NYC, I would get calls from casting directors looking for certain types. This could be for a movie, television show, documentary – or even a one-shot appearance on a late-night talk show.

For instance, when The Tonight Show set up a showcase, they were looking for comics who were (of course) funny and had the needed experience to do a high-profile (pressure is on!) show – which meant there was less of a chance they would freeze up or bomb when they hit the stage in front of the cameras. In other words, if you were relatively new to the biz and hoping to hit the lottery with the only five minutes of material you had, there was no need to apply.

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Comedy Workshop at The Chicago Improv

Begins Saturday – November 4, 2017

Includes performance on Thursday, November 30th!!

Workshop Marquee 150

Meets for 3 Saturday afternoons – skips Thanksgiving Weekend

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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By scheduling a showcase in the club, the talent bookers could watch a number of pre-selected comedians perform in front of a live audience and decide which ones were “ready” for the show. When I was there the comics were usually given about three minutes to prove their stuff.

I also did this with A&E’s An Evening At The Improv. I would watch tons of videos sent in advance, pick ten comics who “might” be ready to do the show, and schedule them for a Monday night showcase. Each would do three minutes on stage, which meant the showcase would be over in half an hour. There was never a set number of how many would be booked that night to do the television show because it was an almost weekly process. You might find four or five in one night – and none the next.

But the bottom line is that it was an efficient (for bookers) and fair (for comedians) way to audition performers.

This is also how it was done for sitcoms, movies and other casting projects. Once when I was at the New York Improv I got a call from The Today Show.

It was an election year and they wanted a comic that did political material. I already knew ten from our roster that would be great for the gig, so I called them and scheduled a showcase where they all came in on the same night and did three minutes of political stuff. The producers from The Today Show came to the club, watched the showcase and picked one. It made their job a lot easier than sending out a casting call and sitting through hundreds of videos and then scheduling auditions in their office.

So that would be the motivation for the talent booker.

For an agent or manager, they want their clients seen by the people who can give them work. They would schedule a showcase time, usually thirty minutes to an hour, with the club (in my case The Improv) and fill the spots from their roster of comedians. Then they would invite casting people, talent bookers, etc. to watch the showcase. If it were a manager promoting the showcase, they would also invite agents they wanted to represent their clients.

It was a lot of work to make these showcases successful, but again it beat the heck out of sending press packages and making phone calls to set individual appointments. Everyone would be in the same place at the same time for a big schmooze-fest. In other words a good showcase is a prime networking and “doing business” opportunity.

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So what’s the benefit for the booker? Again – it was an efficient way to find talent.

What’s the benefit for the club? There was the prestige that comes from working with the top shows and more business.

Think about it. If you owned a comedy club and had big-time producers and casting agents from every major network, film studio and agency hanging around scouting talent, every comic will want to perform there. And when you have the best comics on your stage, you get the most business because that’s what audiences want to see – good (funny) comedians. That’s why it’s just as competitive between the clubs to host industry showcases as it is for the comedians who want to be on them.

Showcasing is also beneficial for (humorous) speakers.

When I was an agent in NACA (National Association for Campus Activities) showcasing was the best way to score bookings. I won’t get into all the details on how this works – it’s in my book Comedy FAQs And Answers if you’re interested.

But in a nutshell, colleges and universities would send a delegation of Student Activities members to an NACA Conference in their regional area. They would go to various showcases over a few days and watch speakers and comedians (and all kinds of other performers) perform twenty-minute sets. This is how they would choose which ones they would book for the upcoming school year.

If you wanted to be booked – you pretty much had to be seen.

That’s the purpose behind showcases. It’s an efficient and proven way to find talent and show your talent.

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

Copyright 2017 – North Shore Publishing.

Submission tips for comedy festivals

August 28, 2017

Hey Dave – Your newsletters always advertise the next big comedy festival and website information. I have submitted to a few each year over the past few years. It can get pretty costly, so I limit myself to only three or four a year. Other than the general submission of filling out the forms and sending in a link to a video, are there some tips to getting noticed and accepted into these festivals? Thanks and I always look forward to receiving your weekly letters. – RT

Hey RT – Here’s one thing I love about the comedy industry in general:

The unknown.

You don’t need a weatherman to know which way the wind blows!

As always, more than a few people reading this will have opinions and advice concerning your question and I’ll share mine in a moment. But concerning your question about comedy festivals, what makes this biz so lovable – and sometimes maddening – is how diverse and contradictory much of the opinions and advice might be. I’ve spent too many late nights in comedy clubs (and NYC diners) talking with and listening to comics and industry people discussing trends, formulas, theories, what works, what doesn’t work, how to get work and where the industry is headed.

Then WHAM!!! A comic will come out of (seemingly) nowhere doing something completely different and opinions change.

To give this historic reference, go back to the generation that first watched George Carlin do his Hippie-Dippy Weatherman routine on national television. Then a few years later he released Seven Words You Can Never Say On Television. I can only imagine a lot of comics from his generation immediately scrubbed the grease out of their hair, grew beards, ditched suits for faded jeans and stopped worrying about censorship.

It was the WHAM!! of the unknown – the unpredictable. That’s what makes comedy exciting and funny. But then again, maybe that’s just my opinion…

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Comedy Workshop at The Cleveland Improv

Begins Saturday, October 7, 2017

Includes performance at The Improv on Wednesday, October 25

Workshop Marquee 150

Meets for 3 Saturday afternoons – limited to 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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So what does this have to do with RT’s question? There’s no general (safe, trendy, formulaic or whatever-you-want-to-call-it) answer. When submitting or auditioning for anything in the entertainment industry, there’s always the unknown factor.

Comedy festivals are like a comedy club audience. Each one has its own personality. Some are huge and slick entertainment extravaganzas and showcases for experienced and already popular performers, along with those they consider worthy of the title “up-and-coming.” Others are smaller events spotlighting local talent, local venues or even the hosting city in general.

There can also be a festival theme. For instance, with “Women In Comedy”… Well, guys need not apply. And if you want to be part of the “Clean Comedy Challenge,” don’t send a submission video loaded with F-bombs and tales about your sex life.

All these (and much more) are factors organizers consider when selecting comedians for festivals.

I specifically mentioned the unknown because unless you are the person or part of a group reviewing submissions, it’s impossible to predict what they might be looking for at that specific moment. You may send in a video you think is appropriate for all audiences, while another comic goes in a different direction aiming to offend everyone within earshot and gets the final festival slot in a late-night “anything goes” show. And of course the opposite could also happen. You never know.

It’s called the unknown factor.

There have been FAQ And Answer articles in the past about networking, “who you know” and basically, building connections in this business. In the chapter from my book How To Be A Working Comic about agents, it’s very clear the good ones know who the good comedians are in various cities. They score insider info through the comics they represent, by following what comics are getting bookings in good clubs, and talking with the talent bookers the agents work with. It’s the same with many festival organizers. They might give special attention or consideration based on great recommendations from other comedians and industry insiders when reviewing submissions. You never know.

It’s called the unknown factor.

But for my advice (you’ve been waiting patiently – correct?) a good way to put the odds in your favor is by treating this business as a professional. This is a major element of success. Your goal is to be funny, original, dedicated, experienced and reliable. These are the key factors for anyone that wants to be taken seriously in this business.

Without those… Well, pretenders need not apply.

Good talent bookers – and festival organizers – are very aware of this. Their jobs and/or festivals may feature amateurs, but to be successful they don’t run them as amateur events. If audiences leave disappointed chances are good they won’t return.

So how can you improve your chances of being selected?

Understanding there is an unknown factor you can’t control (organizers’ taste in comedy, themes, location – whatever), it’s important to show you can be a factor in making the event a success. And the best way to do that is show them you’re serious about the funny business.

When it comes to showing someone what you do without a live audition, your video submission is KEY. Yes, organizers want to know how much experience you have (resume / credits), but there are plenty of comics with plenty of experience who are still not funny. Video actually shows if that experience has paid off and if you really are funny.

Never submit an amateur-looking or sounding video. NEVER!

It’s not a big production effort or big money cost anymore to get a good quality video. Do some research to find out how much a local videographer charges to get a film of your set with good quality picture AND audio. Even a decent camera set up on a tripod in the back of club can also work. But NEVER submit a low-quality, hard to listen to video. You know the type I mean – filmed through a friend’s cell phone from a table with glasses clinking, people talking and the guy filming trying to steady a shaking hand.

Bookers want to see and hear you AND hear laughter from the audience. Having a good quality video shows you treat this business as a professional.

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Also don’t waste any of the valuable time organizers will spend watching your video.

During a recent coaching session I was working with a very funny young comedian. He also had the same dilemma – not being chosen for a comedy festival. We watched his three-minute video submission and the FIRST thirty seconds included the MC walking on stage and introducing the comic. Then the young comedian came out and went through the old comedian tricks of shouting:

  • Hello (mention the city)!
  • Keep it going for your host and MC – isn’t he great?!” (Who cares? They want to see YOU).
  • Give yourselves a round of applause for coming out and supporting live comedy!” (The most overused stock line of all time).

How much time?

That was the beginning of his video submission. Not funny or original. I can’t imagine that would make a great first impression on an experience talent booker looking for experienced talent. It was basically a waste of valuable submission time.

So what’s my point?

The best advice I can give is to treat your career as a business. Especially if you are planning to someday be a professional comedian. Show this in your festival submissions by sending in a good quality video. You NEVER want to look like an amateur – even if you are.

And BTW, there’s nothing wrong with being an amateur since everyone has to start out somewhere. But when you feel it’s time to go for that next career step, don’t give anyone an opportunity to reject you because a low quality video submission makes it appear you’re not ready for that opportunity.

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

Copyright 2017 – North Shore Publishing.