Archive for the ‘personalize’ Category

Singin’ the (comedy) blues

April 24, 2017

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

Taking your emotions for a ride!

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

It’s not easy.

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

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

You got the blues?

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

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

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

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

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

It comes with the creative territory.

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Comedy Workshop at The Chicago Improv

Starts Saturday – June 3, 2017

Workshop Marquee 150

Includes an evening performance at The Chicago Improv

Thursday – June 29th at 8 pm

For details, reviews, photos and to register visit…

TheComedyBook.com

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

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

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

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

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

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

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

Will sing for laughs.

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

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

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

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

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

Finally, here’s another creative thought…

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Personality separates you from the competition

February 18, 2017

Hi Dave – I do a lot of presentations through my job. These are specific to the industry and I’d like to start speaking at related conferences. I’m not a stand-up comedian, but know the importance of humor in getting my message across to an audience. Many of my friends think I am funny in an I Love Lucy kind of way… Which I suppose comes naturally. However, I am not sure how to release that side of me when I am giving a humorous presentation. Thanks – DB

bored-audience

Not connecting!

Hey DB – When it comes to giving a presentation as a humorous speaker or doing a set as a comedian, you must connect with your audience. That’s the bottom line – period. If you don’t connect, they don’t listen.

What’s a great way to connect? By doing what comes naturally and showing off your personality. Let me explain…

Working comics know performing stand-up is more than telling jokes. Anyone can tell a joke, and some better than others. But to be a successful performer, you need to show who you are on stage.

Comics, agents, managers and talent bookers call it your comedy voice. For our purposes, we’ll call it your personality as a speaker.

The classic joke-tellers like Rodney Dangerfield and Henny Youngman (to mention only two) had GREAT personalities on stage. That’s what sold their material to an audience.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 25, 2017

Workshop Marquee 150

Meets 3 Saturdays from noon – 4 pm

Evening performance at The Improv – Wednesday, April 12

Chicago Spring 2017 Dates TBA – Stay Tuned!

For details, reviews, photos and to register visit…

TheComedyBook.com

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They could do a series of basic (and clever) one, two or three line jokes that fans couldn’t wait to re-tell the next day around the water cooler or in school. The fans’ renditions might get laughs from their coworkers and friends, but rarely ever the same as the originals.

As imitators, we couldn’t match their personalities.

RodneyThat’s why Dangerfield and Youngman (and if you don’t know these guys, brush up on your comedy history) were paid big bucks to do their jokes on stage while the rest of us (the fans) got detentions for re-telling their jokes in school.

Dangerfield’s jokes worked because of his personality – who he was on stage (his comedy voice). He had a talent for putting himself down…

  • I get no respect.

HennyYoungman’s personality made him a natural at making wise-cracks (another talent most of us shared to earn school detentions)…

  • Take my wife… please!

Without showcasing their personalities, these legendary comics might never have stood out from the pack of other wise-cracking joke-tellers.

The same can be said of humorous speakers.

I always get a laugh at – as opposed to with – humorous speakers who call themselves humorous speakers just because they throw in a lame joke once in awhile during a presentation. I’m sure you know what I’m talking about. For the opening of their presentation they’ll repeat a joke they found on the internet or even worse, take an old joke and re-work it to make it seem as if it were a true story that pertains to their topic.

This – they think – makes them a humorous speaker.

I’m almost gagging as I write this since it reminds me of how I’ve seen speakers do this WAY too often. For some reason they hide their unique and fun(ny) “real” personalities (we all have one, though some are more outgoing than others), because they assume it’s the only way an audience will take them seriously as trainers and educators.

That’s fine if you’re strictly a no-frills, non-humorous speaker, trainer or educator. But if you’re billed as a humorous speaker and want to stand out from the competition it’s important to use your natural talent.

Your personality.

So… your friends say you’re similar to the legendary Lucille Ball? Then there must be some truth in their opinions. I assume you’re not trying to imitate Lucy, but you just somehow remind people of her. It’s part of your personality.

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As a humorous speaker you want to find a way to bring your personality onto the speaker’s platform with you. It’s who you are and what makes you an individual and unique when compared to others who speak on the same topic. That’s what helps separate you from the competition – the other humorous speakers who want to be hired for the same gig.

You don’t have to imitate Lucy. In fact I recommend you DON’T imitate Lucy. Unless you’re hired to play her as a character it would take the believability away from your message. But if you have a talent for making funny statements or even physical humor – which is probably why your friends compare you to Lucy – then use your talent in your delivery.

lucille-ball-candy

We love Lucy!

But before you plan on filling your mouth with chocolate candy or presenting from a scaffold on the side of a building, (I Love Lucy fans know exactly what I’m talking about), keep in mind Lucy’s style of physical comedy doesn’t necessarily mean slapstick comedy. You don’t have to overdo it to stand-out.

Keep it simple. It could just be a look or way you naturally use your hands. If it’s part of your personality, what good does it do to hide it? If you’re in the humor game, it’s all about not being a stiff, boring speaker. Use your natural personality to connect with an audience.

Here’s the bottom line.

You don’t need to tell jokes to be an effective humorous speaker. If you have a signature story, examples or descriptions relating to your topic that an audience could find funny – make them funny. Don’t be afraid to use facial expressions, hand gestures or movement. Don’t get stuck standing in one place showing a power point or simply reciting solutions to problems – or telling old jokes.

Use your personality.

It’s a natural talent that you use everyday. Think of the last time you were together with a group of friends. Maybe you were sitting around someone’s kitchen table and you wanted to tell your family or friends about something that happened to you that day. It could be as simple as your drive to work, but something interesting (and hopefully) funny happened.

  • How would you tell it in a way that would get the reaction you wanted?
  • How could you tell it in a way that would make your family or friends laugh?

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

By using your personality.

They’ll remember you over a boring speaker – or one trying to entertain with an old joke you’ve probably heard before – with the same message. That’s how you stand out from the competition.

It worked for Rodney, Henny and Lucy – and more than a few humorous speakers and working comics. There’s no reason why it can’t work for you also.

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Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Different performances for different audiences

August 21, 2016

Hey Dave – Last week you talked about personalizing material for corporate shows. So when comedians talk about “knowing your audience,” does that mean you should have entirely different acts for different audiences? – S.A.

Hey S.A. – That depends on a few things such as the material, how it’s delivered and the audience. A lot of comedians are experts at “crossing over” and playing to a wide range of audiences. Others have a niche – an audience demographic they focus on – and know better than to perform where they probably will not be welcome or appreciated.

For two extreme examples…

  • An x-rated comedian is not going to do church shows. On the other hand…
  • A Christian comedian probably won’t be included in an adults only x-rated comedy show.
shocked-crowd

A lesson to be learned

That’s pretty much a no-brainer in the biz. Comedians should know that. If they don’t, then they’re setting themselves up for a hard-learned career lesson. But it’s also important to realize…

Comics have to stay true to themselves and “who they are.”

Many have no interest changing who they are on stage – their comedy voice – just to play in front of an audience that won’t relate to them or laugh at their material. But on the the flip side, others know a few simple changes in their material and delivery can open the possibility for more bookings.

How you want to play it depends on you. I’m just telling you there are ways.

Experienced comedians and speakers often customize their shows. There are a couple benefits in doing this:

  • It could lead to more paid bookings and…
  • It could lead to charging a higher fee for your performance.

Let’s tackle that second one first. I know the term higher fee has the ability to raise the interest of some readers. Especially in the higher paying corporate market when an event planner might contact you to discuss a corporate show booking.

You could have a set fee just for your regular performance. BUT if they would like you to customize it for a specific audience – say a group of financial investors, gourmet chefs, flight attendants or whatever – you could customize the material toward that audience for a higher fee.

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I wrote about this in the last Comedy FAQ And Answer, but I’ll repeat the important stuff…

The selling feature is that it will take extra work on your part in researching who they are (your audience), writing new material, or making specific changes – customizing – what you already bring to a corporate show. But you explain to the event planner that it’s worth the extra money because your performance would be specifically for their group. For instance, you would actually use the name of the company in your performance, what they specialize in, their clients or competitors, where employees hang out after work, the city where they’re located, and even mention the names of a few key people in the company.

What you come up with and can offer in a customized performance is up to you.

For all the extra work and research you put into preparing the customized gig, you ask for a higher fee. A lot of comedians and speakers do this. If the client responds by saying your fee is now too high for their budget, you have room to negotiate. Explain they can still book you for the event at your regular (lower) fee and you will do your regular act, which is what they called you about in the first place.

Customizing your material means to personalize it toward the audience. But it also doesn’t mean you need a completely different act. It’s all about knowing your audience.

Here’s an example…

A very good friend of mine in the comedy biz – and I won’t mention his name here, but as a hint he’s interviewed in my book How To Be A Working Comic – is a master at this. He has decades worth of material and can do a different act every night if he wants to.

laughing audience

Earning the BIG bucks!

But he also has a definite comedy voice.

He probably doesn’t know anything about investment bankers, gourmet chefs or flight attendants, but put him in front of an audience of investment bankers, gourmet chefs or flight attendants at an event and he’ll make them laugh.

That’s what he gets paid big bucks for.

This comedian can do an adult midnight show in a comedy club and be as raunchy as any x-rated comedian in the biz. A lot of his material is about growing up with a large family in an inner city and all the characters in his life. His language can be filled with “F-bombs” and other choice words and I’ve seen him – many times – bring down the house with the bluest (adult) comedy you can imagine.

But the next day (and he’s done this for years) he could be wearing a suit and tie and doing a clean, G-rated corporate show for a group of say… investment bankers, gourmet chefs or flight attendants. Since this is not a typical comedy club audience, the x-rated “F-bombs” are definitely not welcomed – or tolerated.

But the comedian’s job requirement is the same. He is being paid to make them laugh.

So what does he talk about?

The SAME topics he talked about at the late night, x-rated comedy club show the night before. His large family, growing up in an inner city and the characters in his life.

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Dave’s August 2016 Comedy Workshop at

The Cleveland Improv SOLD-OUT!

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Showcase performance at The Improv

Wednesday – August 24 at 7:30 pm

For information about upcoming workshops in

Chicago, Cleveland and Tampa

visit TheComedyBook.com

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But he customizes it based on the audience. He simply takes out the raunchy stuff. His punch lines and descriptions don’t rely on “F-bombs” and other choice words. The material and stories are just as funny without the added adult language and delivery.

He doesn’t have two completely different acts. He has two completely different audiences.

He knows his audience and plays to his audience.

Would this work for you? It depends on who YOU are on stage as well as WHO your audience is. Could your current set with a few changes work in front of very different audiences? If it does, then you don’t need two completely different acts. If it doesn’t, either write a separate act for clubs, corporate events or colleges (I know comics that do this) or find your niche and stick with it.

The choice is completely up to you as a creative artist. Some comedians could care less about the money and different markets because they’re more interested in the art of creating, performing and personal expression. Others find a good corporate booking helps fund the raunchy madness at a late night adult comedy show. How you want to play it is all up to you.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

For details about upcoming comedy workshops at the Chicago, Cleveland and Tampa Improv Comedy Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newslettervisit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.