Archive for the ‘Local comedy clubs’ Category

Leave the audience wanting more

October 7, 2019

Hi Dave – I was in a local open-mic comedy contest and I’m upset about the way it was run. The show lasted way too long. The comedian who put it together had ten comics competing, and then four more after that. Three of them did 15 minutes and the last one went for over half an hour. I feel like it really wasn’t fair to the audience. The people I brought were getting tired and had to work the next day. We finally left at 11:30 pm and the show was still going. It was like being at a concert and the opening band never knows when to get off the stage.

Would it be in poor taste to tell him the show was too long? I know a lot of people who would like to see me perform won’t want to come if the show lasts that long. I’m also worried the people I brought won’t want to see me again now that they know this is a possibility. Thanks – Comedy Contestant (CC)

A long night…

Hey CC – I don’t blame you for being upset. It not only sounds like a really long night, but also a very amateur production. If the comedian in charge has been around the comedy biz for any amount of time he should know it’s not a good idea to burn out an audience. He should have followed an old showbiz “suggestion” (I hate to use the word “rule”) that makes a lot of sense for a very good reason. It works:

Leave the audience wanting more.

I didn’t make that up. It’s been around since audiences learned to clap their hands together and scream for an encore.

There are no rules about time limits when it comes to great entertainment. A classic pop song can come in under three minutes while a rock band can hold an audience’s attention for over three hours. But sitting through a local comedy contest in an open-mic room that lasts longer than a Rolling Stones concert? I’m squirming in my chair just thinking about it.

BUT let me make my opinion perfectly clear.

It’s not because of BAD comedians. Many open-mic comics are very good and ready to jump to the next level. Others are still learning and need the stage time. That’s what open-mics are for. What I’m talking about is the length of a show.

To make my point, let’s use the movie biz as an example.

“The Tonight Show” was originally 90 minutes

How long are most comedy movies? According to personal research using a television remote control to check out running times for random On Demand movies, I’ll go with around 90 minutes. Of course there are exceptions, but check out big money-earners by Adam Sandler, Will Farrell, Kevin Hart and other hit comedies and you’ll see that’s a worthy guesstimate.

This is nothing new.

Somewhere in the long history of Hollywood movies someone had to come up with a “suggestion” that audiences are comfortable with around 90 minutes of entertainment. They’ll stay longer if it’s exceptional, but otherwise it doesn’t make any sense that most movies usually last about that long.

And if audiences really enjoy the movie they might see it again, or spend a night camped outside the theater to be first to see a sequel. That means it was entertaining and left the audience wanting more.

It’s a format that works and is successful.

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October 2019 Comedy Workshop at The Chicago Improv

Saturdays – October 19, 26 and November 2 (noon to 4 pm)

Performance at The Improv – Thursday, November 7 at 7:30 pm

Workshop Marquee 150

Space limited to no more than 11 people

For details and to register visit…

TheComedyBook.com

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We could also add television shows to this theory. Even the most highly anticipated season finales of The Voice, Dancing with the Stars, The Bachelor and others stick to a max time limit of two hours. Take away the commercials and we’re talking about 90 minutes worth of entertainment. If it’s more than that, they’ll break it up into two nights.

So why wouldn’t someone that hopes to launch a successful open-mic or comedy contest do the same thing? The idea is not to burn out your audience, but keep them entertained so they have fun and want to come back for more.

The show’s producer could learn a lot from the big-name comedy clubs. But before I get too deep into this, I know many of the biggest name clubs are in New York and Los Angeles and shows can go on for hours.

But these are showcase clubs.

On weeknights they’ll feature a lot of comedians doing shorter sets during one long show. Audience members come and go throughout the night. At New York’s Original Improvisation we’d start shows at 9 pm and run sometimes until 2 am or later, as long as we had an audience. But it was very rare when anyone outside of the staff was there from start to finish.

So let’s talk about the big-name clubs outside of NYC and LA that use a three comic lineup: opener, feature and headliner.

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On weeknights club management knows many audience members have to be at work the next morning, so there won’t be any late night marathons. On weekends they might run two or three shows each night, similar to movie theaters. Yeah, it’s a business concept because having more shows means earning more profits. But they also want paying customers to have a great experience and come back again as paying customers.

They’re not looking to burn out comedy fans. It’s the complete opposite. A great show will leave the audience wanting more.

Oh, and in case I forget…

Do you know how long these shows usually last? An opener will do about 10 minutes, a feature about 20 and the headliner an hour. That’s 90 minutes in case you can’t find the calculator on your iPhone and want to keep reading instead.

Focusing on your question, the problem might just be inexperience on the organizer’s part. Most comics running an open-mic use it for personal stage time. There’s nothing wrong with that. In fact everyone in the comedy biz should support that dedication because it’s not easy to be a performer, producer, talent booker and publicist (they have to promote to stay in business) all at once. But they also need to consider the other comedians and the audience. It has to be a fun experience (entertainment) or no one will want to experience it again.

If it’s not entertaining, nobody wins.

The comic that worked hard putting this together won’t have a returning audience and will probably lose a new audience once the show’s reputation goes around the neighborhood. He’ll lose the support of the club owners that need to make money to stay in business. He’ll also lose the stage time he was hoping for and the other local comics will lose a place to perform.

If you want run a successful open-mic or comedy contest, use the established format the established clubs use. You don’t want to burn out the audience with a three or four hour show. Even the top club headliners with many hours worth of proven material will only do about an hour at a comedy club. They entertain the audience – and leave them wanting more.

Next time the headliner is in town there’s a good chance the audience will remember it was a fun experience and pay to see him again.

And finally, should you share your thoughts with the guilty comedian who ran the contest? I would if you’re close enough to be honest without making him upset and losing future stage time. Your advice could actually help him run a more successful room.

Achieving the goal!

But either way don’t lose track of your original goal.

You went to this open-mic contest because you want to get better as a comedian and you need performances to do that. There’s always been a lot of hanging around time and traveling in this crazy biz and the dedicated comics do it for valuable stage time.

The idea is to keep working and improving until you’re experienced enough to play the more established clubs. Then the management will tell you how long the show will run – and you won’t even have to worry about 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 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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Don’t be a jerk – respect the room!

September 24, 2019

Hey Dave – I’ve heard some comics think I’m a jerk because of how I run my open-mic room. I try to keep the show on schedule. I like comics being on time and like comics sticking to their time on stage. I’ve had to yell at a few for almost breaking my equipment and throwing stuff at other comics on stage. I’ve put a lot of work into making this successful and would like people to respect the club and the way I run it.

I don’t have to give everyone time on stage and can turn people away if I want to, but I typically don’t. And since no one has said directly to me about how much of a “jerk” I am, it’s apparent that I’m not too big of a jerk to stop them from coming back for stage time.

The way I see it, I’m doing them a favor. And if they want to find their own room and buy their own speakers, microphones, stands and wires, then they can run their room the way they want. Then, when 15 people are ignoring their light to get off stage, they can probably understand my frustrations. – Open-Mic Producer

Show some respect

Hey Open-Mic Producer – I LOVE your attitude! AND I think you are absolutely correct in how you’re running your open-mic room.

Comics – at least the ones who someday want to be considered professional working comics – need a lot of on stage experience. And because they should be thankful someone is giving them this valuable experience, they have to respect not only the club, but also any rules that keep it running smoothly.

This is your room Mr. Producer. You started it, you’re the one running it – and you’ve supplied the needed equipment, such as a microphone, mic stand and speakers, to make this a performance space. In other words, YOU are responsible for making it successful enough to continue giving aspiring comedians a place to gain the on stage experience they need.

Is that your equipment?

The way I feel about it – they can play the game your way or they can play it somewhere else.

Done. Period. No argument from anyone else is needed.

That’s also the way all successful comedy clubs and other performance venues are run by management. I know because I’ve worked for the best in the biz and have firsthand experience.

I’m sure veteran working comics would have cringed – or laughed in horror – if an aspiring comedian totally disregarded the length of time they’d been given on stage at The Improv in Los Angeles when Budd Friedman was running the show. Especially if the signal to get off stage was coming directly from Budd himself, who was responsible for making his club successful. And in the process of ignoring the light, the comic damaged the equipment on stage or threw something at another comic?

Oh, the horror… Oh, the humanity…

Oh, the fact this jerk just blew a chance to ever perform at that club again. It’s not smart and it’s definitely not professional.

—————————————————————————-

October 2019 Comedy Workshop at The Chicago Improv

Saturdays – October 19, 26 and November 2 (noon to 4 pm)

Performance at The Improv – Thursday, November 7 at 7:30 pm

Workshop Marquee 150

Space limited to no more than 11 people

For details and to register visit…

TheComedyBook.com

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That’s how you should run your room – whether it’s an open-mic or an established comedy club. It’s also how comedians should respond to your efforts – as professionals.

I know this sounds more like a lecture than advice and to be honest, it’s both. It’s important for aspiring comedians to know the value of what you’re giving them, even if it’s a bringer show where comics are required to bring a certain number of paying customers to get a performance spot.

Without customers the open-mic can’t stay in business. When they’re not in business, aspiring comedians have one less place to gain important stage experience. If you don’t believe me – do the math.

Okay, to go along with the lecture and advice, here’s some inspiration and motivation:

As a comedian running an open-mic (and I know the writer of this question fits that category) this is just a temporary situation. At least it should be. You are also putting in the effort to run a successful open-mic to get necessary and valuable stage time.

At least you should be.

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Whether you are hosting every show or doing a short set, your main focus – besides keeping control over everything that makes the club successful, so it continues – is getting better as a comedian. Work on your material and performance every time you get on stage.

The goal is to gain on stage experience and be funny enough to get out of the open-mics and into more established – and paying – clubs.

Yeah, some aspiring comedians might think you’re a jerk when you crack down on them for breaking your rules. But if your efforts, talent and dedication help your goals become reality, the ones who are still goofing around at open-mics, ignoring the light, throwing stuff at other comics on stage – and gave you crap – will be wondering where they went wrong.

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.

The best place to start doing comedy

April 22, 2019

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

Showbiz City!

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

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

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

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

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

The only place?

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

From experience, I’ve seen it.

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

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

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

All were winners – right?

Wrong.

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

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Spring 2019 Comedy Workshop at The Chicago Improv

SOLD OUT!!

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Workshops are limited to 11 people age 18+

Summer 2019 Comedy Workshop at The Cleveland Improv TBA

To join waiting list if space opens in Chicago visit…

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So another option…

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

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

Getting a crowd!

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

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

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

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

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

She was remembering him from years before!

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

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

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

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

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

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

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

So the answer?

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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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

Workshop Marquee 150

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

TheComedyBook.com

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

In other words, eight hours before show time.

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

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

So, here’s the tip.

I’m a local!

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

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

That’s your home base – your home city.

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

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

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2019 – North Shore Publishing.

Bombing on stage

December 19, 2018

Hey Dave – I entered a local comedy contest tonight and did virtually the same set that I did during a showcase that went very well at The Improv. Tonight I think it kind’a bombed. I had it recorded and did not get the same good laughs. I remember you saying that audiences are different. But as good as The Improv felt, tonight felt pretty bad. I would love to get your feedback… Thanks – MB

Now THIS is bombing!

Hey MB – If a television network ever comes up with another reality series about being a comedian, you’re eligible to move into the house. Welcome to the real world of comedy. Don’t feel bad. Seriously – don’t. Not every single set or every club will be a great experience.

It’s a learning process.

I’m not sure where the contest was, but you mentioned your showcase at The Improv. That’s a real comedy club – as opposed to most local open-mic rooms. Newer comedians in my workshops experience this when they actually get to rehearse and perform on stage at The Improv. Again, this is a real comedy club. The comics are prepared and psyched to perform and already know the audience will be supportive.

And the reason it’s a supportive audience is because when you go to The Improv – or other real clubs like The Funny Bone, Gotham, Zanies, The Laugh Factory and others (I know I’m missing most of them, but you get the point) you’re in a real comedy club.

That’s why the audience is there – to see and laugh at comedians during a comedy show.

Learn what NOT to do!

It’s not like some open-mic rooms where a bartender shuts off the television and announces, “Now time for a little comedy” to a group of beered-up sports fans wondering what funny person is responsible for turning off the game.

When you’re just starting in comedy and going out to open-mics, you never know what you are going to encounter. Compared to doing a workshop or any type of training in a real comedy club, it’s going to seem strange and very different. The audiences – as they are in most live venues – are unpredictable. And the important thing to remember when you’re just getting started is that you’re still very new at doing comedy.

You deserve a lot credit just by going up on stage. It takes nerve and a lot of people can’t do it. They only think and dream about it, but never take that first step.

And BTW every single comedian I know has bombed BIG TIME – and usually at least a number of times – at some point in their career.

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Comedy Workshop at The Cleveland Improv

Starting Saturday – January 12, 2019

SOLD OUT!!!

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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That’s how the business works. It’s a learning process of many successes and failures in an effort to get it right – or as close to right as you can get as a creative artist. The “star” comedians I’ve talked with about this can look back and have tremendously funny stories about bombing. They will also tell you it’s how they learned to write, perform and make it in this crazy biz. So keep in mind that you’re not the only one to have gone through a bad set.

You’re not alone. In fact, you’re in very good company.

But you don’t have to take my word for it. There’s a great book I recommend for comedians called I Killed: True Stories of the Road from America’s Top Comics. It’s by Ritch Shydner and Mark Schiff, who are talented, experienced and funny comedians. It includes stories of bombing by Jerry Seinfeld, Jay Leno, Chris Rock and dozens more. It’s very funny and very true. You’ll also have a good understanding of the learning process and realize what you went through – bombing at a local comedy contest – is nothing to lose sleep over. Some of the comedians in this book were so bad in the beginning they were lucky to get out of the clubs alive. But it didn’t stop them from pursuing their dreams.

You’re goal as a beginner is to keep getting on stage.

Don’t let this experience stop you. You need to feel comfortable in front of an audience and it takes time. I went through that process myself while putting together my corporate and college programs. I was trying to remember what to say and in a panic mode when the audience didn’t laugh or pay attention. There was a lot of sweat.

But you have to keep going on stage. Eventually – even slowly – you’ll start getting it together. You’ll feel more comfortable and that will improve your delivery, which will make your material work better.

Tape your shows and go over the audio and / or video.

It might be painful (I pretty much hated watching mine) but you have to do it. Look for something – anything – that worked (got laughs). That’s a keeper – even if it’s only one joke or bit. As the late Richard Jeni told me for my book, Comedy FAQs And Answers, any laugh you get is a brick to build on. Find out what made it work. Was it just funny? Did you deliver it in a way that made it funny? Was it the wording? Did you have a certain expression? Whatever it might be, build on that. Keep it in your set and come up with another laugh. That’s your second brick and how you build an act.

Write and rewrite. As a comedian, you’re an entertainer. How would you tell this to an audience in a way that would entertain them? This is how you develop your comedy voice.

It takes time.

And finally, if comedy were easy everyone would do it. Because it can be fun, exciting, and creative and – let’s face it – you’re in the spotlight. You’re the center of attention when you’re on stage. Some people crave attention. But for a real artist – a real comedian – it’s much more than that. It’s also a chance to express yourself and tell audiences about life, thoughts and opinions as you see it and experience it.

How cool is that?!

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I’m positive there were people in that audience wishing they had the nerve to get on stage and do what you were doing – even though you thought you were bombing.

Bombing on stage is a big part of the learning process. After figuring out what went right with your earlier set, figure out what went wrong with this one. Make changes and try to cut the chances of it happening again. It will (I promise you – ha!), but as you keep working at it the chances of bombing will go down. It takes experience.

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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.