Archive for the ‘business’ Category

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

June 17, 2019

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

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

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

Gene not Johnny

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

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

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

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

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

Admit one!

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

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

Yeah, sure… what’s your name again?

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

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

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

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

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

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

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

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

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

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

Are you following me so far?

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

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

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June 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

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

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details on upcoming Cleveland & Chicago workshops visit…

TheComedyBook.com

*

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

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

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

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

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

Referrals can be the Golden Ticket.

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2019 – North Shore Publishing.

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Contacting television talent bookers

June 4, 2019

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

“Look! I’m on television!”

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

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

Seriously.

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

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

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

Looking for laughs!

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

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

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

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

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

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

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

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

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

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

Play detective.

Playing detective

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

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

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

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

Then ask for “help.”

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

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June 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

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

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details on upcoming Cleveland & Chicago workshops visit…

TheComedyBook.com

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2019 – North Shore Publishing.

Still sending promotional postcards?

May 20, 2019

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

Still funny & still works!

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

Let me explain this better…

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

Not everyone needed to use this promotional tool.

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

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

The Pre-Modern Era

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

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

But another (secondary) option is to send postcards.

Are postcards outdated?

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June 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

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

Workshop Marquee 150

Workshops are limited to 11 people age 18+

For details on upcoming Cleveland & Chicago workshops visit…

TheComedyBook.com

*

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

Postcards are dispensable.

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

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

Anyway, you get the point.

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

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

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

What’s a regular basis? Ask them.

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

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

But postcards are a different story.

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

It’s not my job!

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

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

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

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

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

  • College programmers and…
  • Corporate event planners.

 Almost all told me they prefer postcards.

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

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

So I’ll say it once again:

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2019 – North Shore Publishing.

Playing the talent booking game

March 26, 2019

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

Let’s Play!!

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

Let me explain…

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

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

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

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

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

Secret Cheat!

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

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

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

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

Yes, that’s pretty much correct.

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

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Spring 2019 Comedy Workshop at The Chicago Improv

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

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Space limited

For details and to register visit…

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BUT I’ll go back to today’s question:

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

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

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

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

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

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

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

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Repeat the process until you get an answer.

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

You want personal experience to back this up? Okay…

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

No lie.

Television Appearances!

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2019 – North Shore Publishing.

Finding stage time in Los Angeles

March 11, 2019

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

Here’s your first sign!

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

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

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

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

Major Hollywood comedy club

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

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

It’s part of their job requirement.

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

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

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Spring 2019 Comedy Workshop at The Chicago Improv

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March 2019 workshop at The Cleveland Improv

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

Start reading.

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

Pay as you go!

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

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

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

You never know unless you ask.

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2019 – North Shore Publishing.

Being local helps grab cancelled bookings

February 25, 2019

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

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

The advice I gave you is nothing I made up.

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

Let me explain how this works…

In a panic!

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

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

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

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

Here’s an example of how this can work…

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March 2019 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Performance at The Improv

Wednesday, April 3 at 7:30 pm

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

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

In other words, eight hours before show time.

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

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

So, here’s the tip.

I’m a local!

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

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

That’s your home base – your home city.

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

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

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2019 – North Shore Publishing.

Creating a one-person show

February 12, 2019

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

Theatre stage vs comedy stage

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

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

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

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

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

Keep in mind this is not easy.

Writer’s room

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

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

Create an outline for a planned show.

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

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

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March 2019 Comedy Workshop at The Cleveland Improv

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

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

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For information and to register visit…

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

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

You will experience the same thing.

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

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

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

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

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

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

A night at the theater

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2019 – North Shore Publishing.

What should you wear on stage?

January 14, 2019

Hi Dave – I was wondering what to wear / how to dress on stage. I notice there are not very many women in comedy. The ones that are maybe my favorites – Wanda Sykes, Paula Poundstone, Whoopi Goldberg, Ellen DeGeneres, etc… I can’t help but notice, they dress like a man. Did you ever notice that?

So should I wear a tie? Of course I’m not going to wear a tie. I’m also too old to look hot in a tight pair of jeans. I have tight jeans, (lately all my clothes are a bit tight), but I don’t want to gross anyone out. I’m not fishing for compliments. I just wonder if I should dress up, dress down, look masculine, feminine, should I wear black, should I wear some color…? What I’m not going to be like is Phyllis Diller and dress crazy. Thanks – J.

The always fashionable Phyllis Diller!

Hey J. – I realize I’m talking with a woman of comedy and it’s not (the late and great) Phyllis Diller. And to make another point, I’ve never been known for my fashion sense. Keep in mind your question was not sent to Calvin Klein, which is the only name I know from the fashion design world. And that’s only because he designed my underwear – which is probably getting a little too personal for this FAQ and Answer session.

I also know there will be comedians and humorous speakers reading this who will think it’s not an important question. They’re wrong because it is. In fact I can’t remember doing a comedy workshop where this question wasn’t asked. It’s also been asked by working comedians I’ve booked for various gigs.

“What should I wear on stage?”

The answer depends on who you are on stage and where you are performing. You have to consider both to find the correct answer.

When I started out on the club scene in New York City, I don’t remember stage wear being an important issue. For everyone starting out, writing and stage experience were the biggest concerns (and still should be for any comedian). We didn’t hang around the NYC Improv wondering what the comedians should wear on stage. It looked to me like whatever you put on that day before walking outside was what you wore on stage that night.

But I also learned a lesson about what to wear on stage from another comedian I worked with at the NYC Improv. The look is best called successful and the advice came from one of the funniest comedians I know, Rondell Sheridan. In fact it was such good advice, he shared it in my book How To Be A Working Comic

“I think I only did stand-up three times before I passed the audition at The Improv,” he said. “I always had a good gift for ad-libbing, and a couple of things happened in the audience during my audition. Plus, I dressed up. None of the other comics dressed up for the audition. I sort of looked like I’d been doing this for a long time.”

This is a lesson in showbiz.

Murray Langston The Unknown Comic

Of course the number one factor is to be funny on stage. But your image can also influence an audience and talent bookers. If your material and who you are on stage – your comedy voice– says you’re successful, then what you wear should help convey that image. If you’re street – then dress street and not in a 3-piece suit (you punk!).

Whether you believe it or not, what you wear on stage also puts you into a category. In showbiz, they call it typecasting. I was surprised to go from a comedy scene in NYC where t-shirts, sports coats, jeans and sneakers were referred to as the comedy uniform, to Hollywood where there were actual lists in talent booking offices categorizing (typecasting) comedians because of what they wore on stage. The ones I remember distinctly were:

  • T-shirt comics
  • Sweater comics
  • Sport coat comics and…
  • Suit comics

I’m being serious about this. It’s the truth – and anyone who has ever been behind the closed doors of the booking industry knows it. In fact, you can check it out yourself by going online and watching reruns of the classic stand-up comedy shows that influenced many of today’s comedians like A&E’s An Evening at the Improv, Caroline’s Comedy Hour, Comedy On The Road and others.

When it came time to book these television shows, the producers knew it was always good to present a variety of comedians. This would attract a wider range of viewers. For instance, unless it was a theme for a particular episode, not everyone would be interested in watching a line-up of only prop comics or of only political comics.

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Winter 2019 Comedy Workshop at The Cleveland Improv

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Performance at The Improv – Wednesday, January 30 at 7:30pm

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The great thing about these shows was if viewers didn’t like one particular style of comedy, chances were they’d continue to watch because they might like the next one. It’s often the same when booking live shows. The headliners don’t want the comics before them doing the same act.

What you wear on stage should help define your comedy voice.

And to base this off what was just explained, not all television viewers will be interested in what successful comics wearing 3-piece suits have to say. Others would have no interest in a show featuring only comics in ripped jeans and t-shirts. Just like with music, comedy fans have different tastes. So to cast these shows, it made the job of deciding who would be scheduled on what episode a lot easier for talent bookers by referring to the lists.

This way audiences would see a variety of comics during each episode.

This is also true for auditions set up through comedy clubs. For example, when I was working at the Hollywood Improv I remember getting calls from casting directors for movies, sitcoms and talk/news programs like The Today Show looking for specific types. If they wanted to audition young guys in their 20’s for a role, we had a list of comics that fit that type. If they wanted to see political comics, we had a list for that also. We didn’t have to waste a lot of time going through our complete roster of comics.

We already had it narrowed down.

But getting back to today’s original question, here are some quick thoughts…

Dress for who you are on stage. If you’re upscale, dress the part. If you’re on the streets – look it. Don’t dress like a bank president if your material is about being broke. And if you’re not crazy, don’t dress like (the late and great) Phyllis Diller.

You need to give this some thought and make a personal decision about your image and how you want an audience to see and remember you. One of the greatest examples of stage clothes influencing an audience and actually enhancing the comedian’s material was when Steve Martin wore his white suit.

A Wild and Crazy Guy!

If you’re too young to remember, look him up on YouTube – or check out the cover of his book, Born Standing Up (which I highly recommend reading). He’s wearing a white suit… looks expensive… looks classy… BUT he’s wearing bunny ears or has a fake arrow sticking through his head. Then he’s acting like a “wild and crazy guy” and the perception works because audiences believe he is crazy because he’s so dressed up, but obviously not normal.

Many comedians and speakers fashioned a look their audiences would remember. Rodney Dangerfield – uncomfortable in a jacket, white shirt and skinny red tie. Drew Carey – white shirt, skinny tie and glasses. Kat Williams – pimp (I’ll say no more). Early Robin Williams – suspenders. Early Margaret Cho – Valley Girl. Later Margaret Cho – hip, rebellious. Dave Chappelle – street. Larry The Cable Guy – redneck. Pee Wee Herman…

Well, you should have a mental image by now for all these performers and others. What they wore on stage helped create that image. Again, the number one factor is that they are all funny. The look enhanced their comedy material and their comedy voice.

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Another consideration is where you are performing.

I’ll make this fast: If you’re doing a black tie event or a corporate gig, don’t show up in ripped jeans and a t-shirt. If you’re performing at a NASCAR rally – call Larry and ask to borrow one of his Cable Guy shirts.

Just like your comedy material and promotional material, it’s a good idea to put some thought into what you wear on stage. Remember, it’s show-BUSINESS. And in the business world, packaging (a recognizable image) promotes sales (getting paid bookings).

And finally, to address one of your other questions, I never really thought about the female comedians you named all dressing like men. As I mentioned, I’m no Calvin Klein and my fashion sense is pretty limited. If it fits the comedian’s image, then it’s fine with me.

But I’d also like to point out Amy Schumer, Rita Rudner, Loni Love, Sarah Silverman and… well, I could also make a long list of women that don’t dress like men. Does it make a difference from an audience point of view? Not that I’ve noticed. If the clothes fit the material and the performer – who they are on stage and where they are performing – it works.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2019 – North Shore Publishing.

Freedom of speech comes with a price

January 1, 2019

Dave – What are the implications of mocking a device or its creator? For instance, I’ve made comments in my act about a medical device that could be construed as less than savory, yet funny. But the backers of this device are my current employers and have been known to be surly regarding their investments. I know of one nurse who wrote a novel about her experiences and was summarily fired. Not that I fear such action, but… well… I still have a mortgage. – M

What did you say?

Hey M – Any topic is pretty much fair game in comedy. But you’ll have to make your own decision about this one since it involves your current employer. I believe in and support freedom of speech. But in practical real-world situations (your mortgage would qualify as one of those) you have to consider the consequences. If you think the material will come back and bite you in the you-know-what and cause you to lose your job, then it’s best to keep your mouth shut.

I like to point out that knowing your audience makes a difference in how far you can go with free speech. If you’re making a living as a comedian and talking about your personal life, then making fun of your former employer (former husband, former wife, former co-workers – you get the picture) is no big deal.

They’re all fair game when it comes to sharing humor.

But to be on the safe side, it’s probably a good idea not to mention them by name. I’ve seen that scenario come back to bite a few comics in the you-know-what.

It also helps that you don’t have to deal with these former associates after your performances. But that’s not a rule written in stone. I’ve watched comics on stage use their current family members, employers and co-workers as the source of comedy material. It depends on the relationships and in many cases these “victims” enjoy being part of the show.

Freedom of speech is the center of the comedy universe.  The topics can include whatever is on your creative mind. How far you take it… well, it depends…

There are comedians who are family friendly and others billed as “for adults only.” And no one can tell you one style is better than the other. It depends on personal taste. And the comics making a living either as clean or dirty can do it because they know their audience.

But on the flip side of this comedy creative universe is the comedy business. What you say can sometimes affect your career. Here are some thoughts…

When I scheduled comedians for the television show A&E’s An Evening At The Improv, we gave the performers some guidelines on material. These were strictly for business reasons such as ratings and legalities.

First of all, demographics showed that our largest viewing audience was in the Bible Belt. Therefore, we couldn’t let the comedians make fun of God or religion. If they did, a lot of fans in these areas would stop watching the show. Advertisers would stop buying commercial time because the consumers they were aiming for wouldn’t be watching their commercials anymore. And since that’s how the show made money – everyone involved would risk losing his or her job.

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Comedy Workshop at The Cleveland Improv

Starting Saturday – January 12, 2019

SOLD OUT!!!

Performance at The Improv – Wednesday, January 30 at 7:30pm

Workshop Marquee 150

For information about upcoming Chicago workshops visit…

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Secondly, the producers of the show didn’t want to be sued if a comedian badmouthed a product – like the medical device you mentioned in today’s question. For example, comedians couldn’t say McDonald’s sucked or Taco Bell gave them heartburn. Those companies could come down hard with a team of lawyers to protect their reputations.

Comedians were warned before show tapings not to practice their freedom of speech when it came to these specific topics. Of course some ignored the warnings. But it didn’t matter because they didn’t have any control over the final outcome – it was all business related. That’s why you can watch episodes where certain comics are only on for four or five minutes instead of the standard seven-minute set.

They didn’t follow the “rules” and the forbidden material was cut out before the show was broadcast.

It’s also important to note saying the F-bomb on network television is still forbidden. You can say it at certain times on certain cable shows and all day long on others, but not on the major networks. So as a comedian, you have to play by the rules if you want to sit on a chair next to Jimmy Fallon, Jimmy Kimmel or Seth Myers.

But on stage in a comedy club, comedians can say those things. You can make fun of companies, religion or whatever you want as long as – and this is the business side talking – you bring in paying customers. Most club owners support the art and creativity of stand-up, but are still in it to make a living.

You call these jokes?

Now in your case, as a beginning comedian who still needs a regular paycheck until your career takes off, you have to protect yourself. How far will your employers let you go before they get offended and fire you?

I’ve had more than a few comedians in my workshops that were police officers. I always found it interesting because some felt they had to use a stage name and never mentioned police work during their sets because they were worried their superiors would crack down on them. Others didn’t care and talked about being a cop and what they did on the job.

It’s a personal decision that I couldn’t make for them because I couldn’t predict the repercussions.

So in your case you need to figure out what or if there will be any fall-out or flack from your bosses if you do this material on stage. You want freedom of speech, but you also have a mortgage.

One last thought. Even “stars” have to be careful in certain situations. Without mentioning names (but if you’re really into the comedy biz I’m sure you can think of a couple), they’ve made headlines practicing free speech on stage by making horrendous remarks about race or sexual preferences. It probably wouldn’t have been that intense or newsworthy if they hadn’t been well known from starring on television and in movies. In some cases there were a lot of protests and the comics eventually had to publicly apologize to salvage their careers.

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I happened to see one of these (no names!) comedians a couple weeks after one of these newsworthy episodes at a popular comedy club. He confronted the situation right away and admitted to the audience he got in a lot of trouble for what he said. He promised he wouldn’t talk about it and was finished with the subject. But as a comedian – he then told the audience he was going to pick on a different group instead and launched into that material.

Some audience members laughed while others didn’t.

But he was practicing the art of free speech and made a choice about how far he would go regardless of what the consequences might be. That’s a personal decision and you have a right to make it. But just make sure you have both your artistic and business thinking caps on when you make it.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2019 – North Shore Publishing.

Acting credits on a comedy resume?

December 2, 2018

Hi Dave – Last week you wrote about what credits can go on a comedy resume. I’m just getting into comedy and my resume is more for acting. Although acting is something I would love to do, comedy is my passion. I’m not sure how to make a comedy resume because I haven’t done anything worthwhile so far in comedy other than some shows I set up for my school and a few open mic nights. Can I take some of my acting credits and put it onto the comedic resume? – C.

Hey C. – Of course talent bookers are looking for comedy credits. School shows and open-mics count (at the beginning) because it shows you have stage time and are getting experience. Once you start doing “real clubs” those credits can be taken off and never mentioned again – ha!

BUT – and I expect some debate about this – I also believe acting credits have a place on comedy resumes.

Basically, these credits show you have stage time and performing experience. These shouldn’t be at the top of your comedy resume, unless it’s all you have at the moment, but can be listed following any comedy credits you might already have. Even after open-mics and school shows, which take preference over acting credits in a comedy resume.

An exception would be if you were starring or co-starring in a hit television show or movie. In that case you won’t even need a resume. What the heck – you don’t even need much comedy experience. There are talent bookers who will schedule a celebrity knowing the club will be in for at least one big $$$ weekend – even if the celebrity is not funny. Audiences will pay at least once to see a celebrity. But after word hits the street he’s not funny, a second time through the club circuit can be a difficult sell for the club owner.

Not paying for this again!

Why? Because no repeat business and bad word of mouth is not good for business when you run a comedy club.

But since you’re already concerned with building a comedy resume at this early stage of the game, I’ll assume you’ll have stage experience and a funny act by the time your acting credits land you on the cover of People Magazine.

I’ve had comedians send me resumes that include credits from doing soap operas, local television, community theater, commercials, voiceovers and school talent shows. With a lack of comedy performing credits, it shows they are still involved in showbiz and have at least been on stage in front of an audience.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – January 12, 2019

Also meets Saturdays – January 19 and 26 (noon to 4 pm)

Performance at The Improv – Wednesday, January 30 at 7:30pm

Workshop Marquee 150

For information about upcoming Chicago workshops visit…

TheComedyBook.com

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You would be surprised at the number of submissions I used to receive for A&E’s An Evening at the Improv with NO real credits at all. I’m talking about nothing! There were videos filmed in someone’s living room with NO audience and the “comic” was sitting in a chair talking into a camera and…

Well, I think you get the picture, but I’ll repeat myself again. NO audience! That’s a great way to prove you have NO experience at all as a performer. But they were still trying to get work as comedians.

I’m an active supporter in helping people achieve their goals, but I don’t know any comedy talent bookers that would hire someone for a paying gig without onstage (in front of an audience) experience. If all you have is a growing list of open mics, school shows, and acting credits – it’s a start.

And every booker knows you have to start somewhere.

It counts!

Listing your acting credits shows you have something going for you as far as showbiz experience. Based on resumes I’ve seen over the years from working comics, include them until you have enough real comedy credits to take their place.

There’s also more information about writing resumes and bios in my book How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up Comedy. I’m not trying to sell you a copy to make a big payday – I just wanted you to know. Your local library should have a copy or can find one for 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 Cleveland and Chicago Improv Comedy Clubs; 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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Sign up now through this LINK for Dave’s free newsletter

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And visit Dave’s author page at Amazon.com

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