Archive for the ‘club owners’ Category

You’ll never work in this town again

May 6, 2018

Hi Dave – I’m fairly new to this newsletter, so I don’t know if you’ve addressed this topic but I think it could be a good one. How to prepare yourself in the event of a car breakdown and what to do when it does. I was driving to a gig last night and it happened… with not a town in sight. I drove the car onto an exit, ended up following the ramp around and saw a gas station in the distance. It just so happened that a couple cops pulled in after me and I told them what was going on. One of them worked on cars and luckily he fixed it up. I have no idea what I would have done otherwise! – J.N.

Get there on time!

Hey J.N. – Nope, we haven’t talked about this topic, so thanks for asking. I don’t have any solutions about what to do in your particular automotive case, so I’m glad to hear you have a police officer for a fairy godfather. As long as you made it TO the gig, what happened during your efforts in getting there could be potential comedy material.

But since you brought it up, let’s talk about the importance of getting TO gigs…

Unless you’re near death, someone near and dear to you is near death, or you have this important stipulation – “Due to an act of God” – written into your contract (and you should) you never miss a paid performance. What the heck – I’ll say it – you also don’t want to miss an un-paid performance if you’ve promised a booker, club owner or event organizer you’ll be there. Either way the talent booker is planning on having you perform and if you’re a no-show, it could be a definite bridge-burner when it comes to future gigs through that booker (and other talent bookers that hear about your unreliable reputation).

It’s your career and it’s a job.

So before you leave, make sure your car has gas and is tuned-up, your flight’s not over-booked (and if so, arrive early so you’re not the passenger getting bumped), or have an updated public transportation schedule. Unless you can show a photo of you in a hospital or standing next to your totaled doublewide house trailer after a tornado, you’d better show up and be ready to perform. If not, don’t expect a second chance re-booking from the same person.

Case in point…

When I was the talent coordinator at The Los Angeles Improv, one of my favorite NYC comedians was flying out for a television audition. She’ll remain nameless because she’s quite famous and I consider her to be a friend in this business and would never write anything to make you think less of her. She called and I told her to come to the club and do a set. Then I mentioned this the person in charge of the showroom (also nameless because I like to hang onto my friends) and he said no way. He liked her, but she had stood him up a few years earlier by canceling an important benefit performance at the last minute.

And without a near death photo or evidence of a destroyed doublewide, she had committed the worse sin in the business. So instead of watching my friend on stage at The Improv, we met for lunch at a deli near The Laugh Factory.

Being a no-show is worse than ignoring the light while on stage and going over your performance time.

Remember that.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – June 2, 2018

Includes evening performance on Wednesday, June 20th

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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From the business side of the comedy biz, you don’t miss gigs for any reasons less than the ones mentioned above. It’s a business for both you and the club (or event) and you need to treat it that way. And in case you haven’t figured this out, all talent bookers want to work with professionals. If you don’t handle your career like a professional – then don’t bother contacting professional talent bookers.

Another case in point. In fact, here are a couple…

A number of years ago I was booking a club about an hour outside Cleveland. There was an aspiring comic that came through my comedy workshop who really had promise – decent material and good stage presence. She really just needed stage time to get better. I had given her a few MC gigs, she did well – and since this club was only running a two person show, it was a good chance for her to do a longer set.

So even though she didn’t have a lot of experience, I told the owner she would be great and we booked her for the paying gig. It wasn’t so great when the club owner called me about 15 minutes after the show was supposed to start and asked when she would arrive. I called the phone number I had for her – and never heard back. I worried that she was stuck on the highway, got lost or suffered a near death (or worse) experience.

The show went on with only one comedian, but I lost a chunk of my booking fee since half the talent never got there.

The next day she called and said she had gotten my message. She couldn’t call back because she had taken a waitress job and was working the night of the show. She had given us no warning and no previous calls asking, “Can you find someone else?” She just never showed up for the gig. BUT (if you can believe this) she then asked if I could re-schedule her for the same club when she had a day off.

That was the last time we spoke.

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Another example? Okay…

I was representing a comedian in the college market. He had successfully showcased through NACA (National Association for Campus Activities) and as a result I had scheduled him for a number of good paying gigs within driving distance of his home in Ohio. One was a Friday night at a campus in Pennsylvania. Not long before the show was scheduled to start, he called to say he was hopelessly lost.

Find my GPS!

I would think – and maybe this is just me (I say sarcastically), but if I was supposed to drive to a good paying gig, an updated phone, GPS, or even a road map would be a good business items to invest in. He told me he THOUGHT he knew ABOUT where the college was – so just headed in that direction hoping to see signs to help him find it.

He missed the show and again, I missed a booking fee. I also lost a hard earned business relationship with that college. Do you think I ever booked him again? Yeah, I’m laughing (sarcastically) that you would even consider that option…

So this week’s message is simple. Don’t miss a gig if you plan to work for that talent booker again in the future. And if you do, just hope he sees you on the television news explaining how the tornado interrupted your rendezvous with the aliens who’ve been visiting the trailer park – and were supposed to give you a lift to your comedy gig. If you’re lucky, he might buy that excuse – or find it entertaining enough to give you a rare second chance.

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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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.

How long do you go until you hit with a bit?

February 25, 2018

Hi Dave – At what point do you drop a bit? Is there a magic number or amount of time that you spend refining before you shelf a joke or bit? Thanks! W.K.

How many times for a joke to work?

Hey W.K. – I enjoy this type of question because it will always start a debate. In fact, it’s already started one – with myself. In other words, I have two answers…

The first falls back on my dedicated opinion that comedians and humorous speakers are creative artists. Writing and performing original material is an ongoing process. You create something and continue to develop it and make improvements.

Will it ever be perfect? Not really… at least for a creative artist.

Here’s what I mean. A lot of comics I’ve worked with have had killer sets. They come off stage knowing they’ve nailed it – the crowd laughed all the way through and both the performer and audience feel pretty good. But then the performer (artist) can usually find some fault. It could be delivering one line a different way or even using another facial expression that could’ve taken everything over the top.

Could it be called a perfect set? Maybe for the audience, but a creative artist will probably always feel there’s some room for improvement. It’s the curse of being creative.

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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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Interested in the next workshop at The Cleveland Improv?

Keep reading…

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Here’s another example…

I’ve heard too many interviews with recording artists who’ve had No. 1 songs, but can pick out moments (that listeners wouldn’t notice) where – if they could record the song again – they would do something different (in their mind, something better). The song may have hit No. 1, but they can see room for improvement.

Name that tune!

The artist doesn’t stop selling the music – because it’s still good. It’s just not perfect. They might continue to change and develop the songs in live performances, which is something that has driven fans of Bob Dylan crazy for decades. He never seems to play his songs the same as the recordings.

Okay – now back to your question about comedy bits.

Just because a bit doesn’t work, that’s no reason to think it will never work. If you think it has promise and you’re dedicated to working on it… well, there’s always the chance.

In that case you would keep working on a bit for as long as you believe it can be made funnier. It will never be perfect, because in the back of your creative mind you always think it can be better.

Okay – that was answer No. 1. Now I’ll share with you a different opinion that I’ve also heard from so many comedians that I can’t ignore it.

I also share this in my workshops as a method for putting together a comedy set that might someday get you hired. It doesn’t take away from your creativity, but it saves the audience – and also importantly the club booker – the agony of paying for performances where the comedian is continually working on improving the same not-yet-working bit.

By the way, that’s great for open-mics and what open-mics are for. But when customers are paying upwards of $20 for a ticket, a two-drink minimum and parking it makes good business sense to give them a show with proven material.

This different opinion also shares the name of another comedy writing theory:

The Rule of Three

The best known example of this in writing comedy concerns the actual structure of a joke or bit. For an explanation I saved you time and looked it up in Wikipedia. Here’s the scoop:

One of the best examples of the power of rule of three is in comedy, where it is also called a comic triple. Two is the smallest number of points needed to establish a pattern, and comedians exploit the way people’s minds perceive expected patterns to throw the audience off track (and make them laugh) with the third element. Example: “How do you get to my place? Go down to the corner, turn left, and get lost.”

Okay, okay… That sounds too much like textbook theory, which is something creative artists don’t worry about (at least too much). It also doesn’t pertain to your question, but it leads me to a different Rule of Three…

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

Workshop Marquee 150

Also meets Saturdays – April 7 & 14 (skips Easter Weekend)

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

TheComedyBook.com

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I remember conversations about this at the NYC Improv. As I like to say, I don’t make this stuff up and this idea seemed to be a general opinion with a lot of the comics hanging around the bar waiting to go on stage.

The idea is to try a bit or a joke three times in front of three different audiences.

Three things can happen:

  1. The audience will laugh
  2. Some of the audience will laugh, but not all
  3. The audience won’t laugh

After doing this three times, you add up the score:

  1. If they laugh all three times, you keep the bit or joke in the act
  2. If you get some laughs, but not a lot – rework it and repeat the process
  3. If they don’t laugh, cut the bit from you act

Of course the first result is the goal, while the last one is pretty much a death sentence for the material.

The second should spark the creative mind to continue improving the bit or joke. But eventually you’ll need to make a decision. If it’s only going to be a mediocre piece of material no matter how many changes you make, file it for later or dump it for something new and funnier.

Who’s out?

If you want to work in this business, you need material that works in front of an audience.

The creative artist will always continue to develop new material. The working comic or humorous speaker will have material that has already been proven to work in front of an audience – and that’s what they will be paid to deliver. So if the bit or the joke is not working, then follow a similar Rule of Three from the game of baseball theory:

Three strikes and you’re out.

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.

Promotional videos need an audience

February 12, 2018

Dave – Does the promotional video have to be in front of a live audience? Most open-mics are restricted to 5 minutes and my bits are longer. Also, many open-mics are poor venues to make quality video. – ET

Hopefully more than this!

Hey ET – If you’re promoting for a live performance gig you need to show the talent booker what you can do in front of a live audience. Maybe if you’re sending in your “reel” for an acting gig – commercials, TV or film – I doubt it would matter. Then again, since we’re dealing with comedians and humorous speakers and not actors (well, not necessarily) the answers to your questions – in order – are:

  1. Yes
  2. Tough
  3. Figure out another option

Okay, I know the last two sound kind of harsh, but I’ll explain my reasoning in a moment. But for right now I’ll fall back on a standard reasoning that this is a business. Yes, it is a creative business that survives on talent and continues by discovering new talent that is different, innovative and sometimes not afraid to push down a few established barriers. But when it comes to the business of promoting, there are some established thoughts I don’t think are going to change anytime in the near future.

One is submitting a promo video filmed in front of a live audience.

When you want to be considered for a performance gig – you need to show the talent booker a performance in front of an audience. They want to see how you work on stage and an audience reaction before they’ll take a chance on you. There’s no other way outside of a live showcase to do that.

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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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Interested in the next workshop at The Cleveland Improv?

Keep reading…

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Think of it like test-driving a new car. A buyer wants to know how it runs on the highway, rather than just taking the seller’s word on it. It’s the same thing with live performers. A good talent booker wants to know what he’s buying before putting the comic (or speaker, or musician…) on stage in front of a “live” audience. If the audience enjoys the show they might come back for another (clubs like returning customers), but if it’s a bomb they might just go to a movie or another club next time.

It’s pretty much impossible to get an accurate feel for a comedian or speaker without an audience. Yeah, I know the television show Last Comic Standing used to have comics perform in front of only three judges in the first round, but those three people were still an audience. I’m sure most comics know what I’m talking about from doing open-mics in front of only two or three people. They’ve learned that you still need to perform for them.

I remember getting videos for A&E’s An Evening at the Improv from aspiring comedians that were filmed in their living rooms, basements and bedrooms, and even outside. No audience – just them in front of a camera. Honestly, they were laughable because they came off as amateurs that really had no performing experience (an experienced comic would know better). And as I’ve been known to say…

They may call it amateur night, but no one wants to hire (pay for) an amateur.

So don’t even consider sending a promo video for a performance gig that was not filmed in front of an audience. The talent booker will be wondering why you couldn’t get on stage anywhere and had to do it this way.

Now as far as a time limit of say… five minutes. Again, it’s the business.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

Workshop Marquee 150

Also meets Saturdays – April 7 & 14 (skips Easter Weekend)

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

TheComedyBook.com

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Talent bookers get a LOT of video submissions and simply don’t have the time to watch a string of comics doing… well, a LOT of time. Usually most of them know within the first 30 seconds if the comedian has the experience and material to maybe be hired. It’ll show right away. Most also know how to fast forward and stop at random places to see if the comic is getting laughs from an audience. I’ve sat and watched promo videos with more than a few very influential talent bookers in NYC and LA and have seen this happen. So whatever the length of the video, it should be your best and filmed in front of a live audience.

But saying five minutes is not enough time for your long bits could hurt you BIG TIME when you’re just starting out. An important part of the club business is keeping comics “within their time.”

Headliners – the acts audiences are paying to see – have the most flexibility when it comes to time. I’ve seen many do an hour or more if there’s only one show that night and the audience is really having fun. But the opener and feature need to “stick to their time” so the headliner doesn’t go on too late in the show or in front of a burned-out audience.

Sometimes an opener can be given 15 minutes. But other nights, especially when there are two or three shows and maybe a guest set thrown in, the manager might tell the opener to do 5 minutes or less.

Can you do that?

If they manager says, “Do five minutes” and you go over your time because your bits are too long, chances are you won’t work that club again. I also remember a former member of my workshop calling me to say he’d had his best set ever during a contest at The Improv but was disqualified. Why? Because comics were given five minutes – and he had done five minutes and TEN seconds.

I’m not kidding. Again – it’s the business.

So if most open-mics only give you five minutes and your bits are longer, then you need to find other clubs that will give you more stage time. You don’t want to break their rules if you want to be invited back.

And again, time limits are important to remember if you want to get hired in most clubs. If you can’t stick to five minutes and that’s what they’re looking for, then turn down the gig. It won’t work in your favor.

Not every open-mic is a poor venue to make a quality video (your comment above) and if these are the only places you’re performing, it’s probably time to expand your horizons if you want to start getting paid work. Actually some of the more popular open-mics I’ve seen in various cities would be cool settings for a promo video. They may not have “IMPROV” or another club logo on the back wall, but a stage, microphone and spotlight, and an attentive audience will usually do the trick.

This would be better!

The deal is that you want a real audience to make a decent promo video. A room full of open-mic comics who’ve probably heard your set a dozen times and are trying to figure out what they’re going to do on stage when you’re finished won’t be your best audience.

So this is where you figure out another option.

When you’re going to do a promotional video – promote the gig. Seriously. Invite friends, family, co-workers and anyone else you can get in the club. I’ve seen comics in NYC standing on the sidewalk handing out flyers not because it was a bringer show, but because they wanted an audience for their promo video.

Another option is to get a few other comics involved that also want new promo videos. Again, I learned this trick in NYC. Five or six comics would plan to do their videos on the same night and PACK the club with just about everyone they knew.

Once the scene was set – all they had to do was be funny (not an option – ha!) and film it.

At the end of the night they had new promo videos filmed in front of a “live” audience that (from what I remember) got them work from talent bookers. Then when they were booked in better clubs, they got better videos – and the cycle continues for anyone who wants to be 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 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.

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.

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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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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.

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.

Showcases can be a ticking time bomb

September 12, 2017

Hey Dave – You sent out an article last month about how important it is to stay within the amount of time you’ve been given to perform on stage. My question is why are showcases so short? In most cases I don’t think you have enough time to prove how good you really are. – S.K.

Hey S.K. – In case anyone missed it or wants a reminder of the article you’re talking about, it’s still posted below: Stick to your time on stage (August 1, 2017). And now that we’re all on the same page…

Showcasing!

To clarify for anyone just getting into the comedy or speaking biz, showcase is another word for audition. A successful showcase can lead to work (auditioning for talent bookers, event planners, etc.) or representation (auditioning for a talent agent or manager).

Why use the word showcase? I don’t know… maybe it sounds more professional or less stressful, but it means exactly the same as audition.

I’ve been involved in a lot of showcases for comedy clubs, television shows, corporate events and college gigs. And here’s a behind-the-scenes truth about this business. The industry people – talent bookers, agents and managers – looking to hire or represent performers want to make the most of their on the job time. In other words, they don’t want to spend every night of the week going to a club and only seeing one performer showcasing each night. It makes much more sense (time management) to see a number of performances during one show.

They also don’t want to sit through ten, twenty or thirty minute sets when it’s obvious within the first three minutes the showcasing performer is not what they are looking to hire.

This is why industry showcases include numerous performers doing short sets. For instance…

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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…

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When I was auditioning comedians for the television show A&E’s An Evening At The Improv, I would schedule showcases for Monday evenings at The Improv on Melrose Avenue in Los Angeles. I’d block out about 35 minutes to see ten comics do three minutes each. The extra five minutes would be a buffer for MC introductions and time for the acts to get on and off the stage. If everyone kept to their time – and it was more than just expected they would – then Mission Showcase would be accomplished.

Within that short period of time ten comedians would have an opportunity to book a television show.

And it wasn’t just me in the audience on Monday nights watching the showcase. There were talent bookers for The Tonight Show, HBO, MTV and other shows and networks checking out the new comics. They knew this was happening on Monday evenings and everyone could all get a lot of work done in a little over half an hour.

But it was never a surprise when some of the comics complained that three minutes was not enough time to showcase their talent. But you know what?

They were wrong.

Enough already!!

Three minutes is PLENTY of time for an experienced talent booker to know whether or not they want to hire the showcasing performer. In my case, if you couldn’t prove you were ready to perform on A&E’s An Evening at the Improv within three minutes (to be honest it was more like within 30 seconds) then you weren’t right for that particular show.

This was also true for the other talent bookers watching these showcases.

If a comedian couldn’t demonstrate what he can do on stage within the first three minutes, there was NO WAY a talent booker will hire him to do those same three minutes on a television show. Even if the comic suddenly became hysterically funny at the end of this showcase – the first three minutes will have lost viewers channel surfing for better entertainment.

It’s similar to auditioning for Last Comic Standing, America’s Got TalentAmerican Idol, The Voice or So You Think You Can Dance. Before anyone makes it to the televised episodes, thousands of hopefuls showcase in front of one, two or maybe three judges off-camera for (and trust me on this because I’ve been there) much less than three minutes. If performers can’t impress the judges within that time frame – they can forget about moving on in the competition.

Lesson?

If you think you have what it takes to get on any of those shows, don’t waste any time during your showcase. Bring your A Game and go for it asap.

It’s also important to realize this is your opportunity as a performer or humorous speaker (during speaking showcases) to make a good first impression with the industry people. It shows you’re professional by knowing the importance of sticking to a schedule – their schedule. If you don’t know what I’m talking about, read the August 1, 2017 article referred to above.

Another reason to stick to your showcasing time is consideration for your fellow comedians or speakers.

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It doesn’t matter if your showcase is done in front of a live audience, like we did at the Hollywood Improv, or just a few judges similar to first auditions for Last Comic Standing and American Idol. Anyone watching a lot of performers doing short performances will get burned-out faster than if they were watching one great performer during the same time frame.

For example, Jerry Seinfeld can do an hour set and leave the audience wanting more. He’s a seasoned professional entertainer. No one can argue that. But newcomers won’t have the experience or material to hold an audience that long. It takes time – stage time – and talent to reach that status. And if you are already there like Seinfeld – then you wouldn’t be showcasing anyway.

And no one can argue that either…

So one way to make these talent showcases fair (there’s a word you don’t often hear in showbiz) is to keep the talent bookers and audience from being burned-out for the later performers. It’s not fair to the performers at the end of the showcase.

Here’s another example…

During my comedy workshops ten aspiring comedians perform five minute sets during our evening graduation show. That’s 50 minutes – not including an MC warming up the crowd for ten minutes to kick things off and doing short introductions for each comic.

That brings our show to over an hour, which is getting into Seinfeld territory on stage.

The audience is fresh and excited in the beginning. And by keeping each comedian’s set short and funny, chances are the audience will not get burned-out by the end. There may be performers they don’t care as much for, but the next one will be on stage within a few minutes. The audience interest level can be held.

The goal for a good showcase is to leave the audience (or judges) wanting more.

At one workshop performance a few years ago, the FIRST comic in our show – for whatever reason – never took his eyes off the first few rows of tables. He kept his head down and never looked at the people seated in the back. He had been told to watch for my signal from the sound booth (back of the room) telling him his five minutes were almost up and to finish his performance.

Except he NEVER looked up. He kept his head down and didn’t stop talking.

He had a good five minutes – which is what he had created during our workshop. He had been prepared and did a good job. But when he finished his five minutes, he just kept rambling on. He didn’t stop talking.

Suddenly, it wasn’t funny.

Running on empty

In fact – it was the complete opposite. The audience lost interest. You could see them breaking up into small discussion groups at their tables, looking at the menus and trying to order drinks to ease their pain.

When he finally ran out of things to say, he left the stage. The audience had already checked out mentally and the comedian who was unfortunate enough to have the next spot had to work TWICE as hard to get the audience back (get them to pay attention). It was not an easy night for either comic, or even the next few that had to follow this showcase killing disaster.

The comic that went long found me at the back of the room. He had lost track of time and had no idea how many minutes he’d been on stage. So when he asked me how he did, I had to give him an honest answer:

You did ten freaking minutes!” I said.

Okay, I hope I didn’t sound as angry as that looks. But I was being honest. I took time to explain how what he had done affected the show. It really wasn’t fair to anyone that night – including him, especially since the first five minutes of his set was great. The additional time he did onstage (unprepared in advance) left an impression with the audience that he wasn’t very good after all.

To end this lesson on a positive note, he’s still doing comedy. And since talent bookers are hiring him, I know the lesson about sticking to his time on stage was learned.

So whether you’re showcasing or doing a paid gig, remember the importance of time. It’s a ticking time bomb – and we all know how comedians and speakers HATE to bomb!!

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.