Archive for the ‘Advice’ Category

Booking Holiday Parties Part 2 – The $$

September 10, 2018

Hey Dave – Last week you wrote about booking gigs for holiday parties. Good tips, like planning your promo, networking, and working clean. But you left us hanging about the money and how comics can charge more for holiday gigs. So what’s the pay-off, you handsome devil? – Dave

Hey Handsome Devil Wannabe…

Entertain us!

Okay, I’ll stop the BS. If you haven’t figured it out, I wrote the above question. I could’ve just continued from where we left off last week by announcing Part 2 in bold, italicized CAPS, but what good is it to call these articles FAQs and Answers if there’s no Q kicking it off?

Guess I’m a stickler for sticking with the format. So with that said…

PART 2:

Most experienced comedians will raise their corporate performing fees for holiday parties. Notice I said experienced. Rookie, open-mic comics (though I love you guys!) should not get into the private party (holiday gigs) market until you have an act that is audience-proven and worth the money businesses will pay for entertainment.

In other words – like a good business – you want satisfied customers. Word gets out that you were an asset (business term) to the party, it could lead to more work. If you do a crash and burn, take the money and run (hack comic term) performance, that word could also get out – and your next holiday gig might be working for the caterer.

Know what I mean?

Yes, there are (as always) exceptions. For example, your aunt’s boyfriend offers you twenty bucks to say something funny at his retirement roast. If you don’t live up to the (headline) billing your loving aunt was probably using to influence this decision, you might just get a few dirty looks from the boyfriend and the other witnesses. Do the same (bomb) at a big-money corporate holiday event and you might have a hard time getting paid.

As a talent booker I’ve felt the wrath of clients who thought a comic was so bad that they refused to pay – or have demanded a refund. Do you think I’d work with that comic again? No way. I’ve also known a few contacts in the business world that have actually picked up the phone and called me, other booking agents, businesses, etc… and warned them not to use a certain comic for ANYTHING.

Waiting for the funny

Believe me, bad reviews seem to travel a lot faster in his biz than good reviews.

So, let’s put it this way. If you’re just starting out as a comic and working your way through the open-mic circuit, chances are you’re not going to be headlining The Improv next weekend for big bucks. Use this same business sense when it comes to booking holiday parties. This is also true for humorous speakers still doing free gigs (your open-mic circuit) to put your presentation together.

Yeah, there are very small parties with very small budgets that experienced comedians wouldn’t even consider doing. Let’s say in the $200 or less range. If you’ve had success doing twenty CLEAN (G-rated) minutes and can throw in a few holiday references, then partner with another comic who can do the same. Offer the potential client a forty-minute two-comic holiday comedy show and split the money with your new partner.

Seriously. It will give you experience, corporate credits for your resume – and gas money.

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Fall 2018 Comedy Workshop at The Chicago Improv

Saturdays – September 29, October 6 & 13 (noon to 4 pm)

Showcase at The Improv – Wednesday, October 17 at 7:30pm

Workshop Marquee 150

Space limited to 11 people

For details and to register visit…

TheComedyBook.com

*

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You want to break into the market? Be smart about it. Don’t go in thinking you can stretch out your current fifteen minutes of material by working the crowd for forty minutes and get away with it. That’s why experienced headliners and strong features can clean up doing holiday parties. They already have the material and the stage experience.

Which brings us back to the beginning. You remember, right after that handsome devil reference…

Most experienced comedians will raise their performing fees for corporate holiday parties.

The holiday season is a short time of year to make a lot of money. Think about it. You may have to start promoting months in advance, but the season only lasts a few weeks in December. Parties can (and do) happen every night of the week, probably starting close to December 1st and going until Christmas Eve, but you have to realize there are only a few Friday and Saturday nights in those weeks when most of the parties take place.

The boss (the client who will hire you) will be spending big bucks on the party room (restaurant, hotel, conference center – wherever) and also on the food and booze. If he’s got half a heart and seasonal cheer, he might also be springing for bonus checks and even possibly gifts for all his employees.

So relying on what we know about today’s economy and that odds aren’t good Bill Gates is funding this holiday bash, a good guess is if the boss is hiring a comedian – chances are he won’t also be hiring a band, deejay, hypnotist, balloon artist, or Carrot Top.

For a lot of companies, it’s not in the annual holiday party budget anymore.

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So if the boss goes with hiring a comedian instead of another option – that comedian is the main entertainment attraction for the annual holiday party. This is the party everyone in the company will be talking about until next year’s annual holiday party.

If the comedian is a bust, the party would be a major bust, and the boss would have to live with that reputation for an entire year. No one will remember what finger sandwiches were served. But if they had to sit in a room and listen to a comic not make them laugh for almost an hour… well, that’s memorable.

Therefore, the boss needs to hire a good, experienced comic. And if the comedian has the experience to make the party a huge success, then he deserves to be paid well for the effort (and should know it).

Here’s another way to look at this. A hypothetical conversation from the comedian’s point of view:

Going with the best offer

“My fee for your secretary’s retirement banquet is $500. I’m really not busy that evening anyway and it beats sitting home waiting for the phone to ring. BUT if you want me to perform at your Christmas party, it’ll cost you $750. Why? (As the client is coughing and choking). Because four other businesses I’ve contacted are also having their parties that same night and I’m going with the best offer.”

With a good business plan, luck, ability to schmooze, and geographically desirable locations, two or three (or more) of those holiday business parties can be booked for the same night at staggered times. That’s $750 (or whatever fee you charge) times three or four…  equals… well, the total is staggering compared to what you might earn for one show that same night in a comedy club – which is why comedians love holiday parties.

But once again, a major word of warning:

This may all sound like easy money and temp you to jump into the holiday party pool headfirst (with no sunblock – a reference to last week’s Part 1 if you’ve paid attention). But keep in mind what I said earlier. The entertainment (comedian or humorous speaker) can make the party a success or a bust. You need experience and a proven act – and some holiday references and jokes wouldn’t hurt. And the material must be CLEAN. No X-rated or R-rated stuff for all the reasons mentioned in Part 1 of this article. The only exception would be if this was a request from the client and worked out in advance with his approval.

Also never forget – experience counts. Just like there are no short cuts from playing an open-mic one weekend to headlining at The Improv the next. It doesn’t happen unless your aunt’s boyfriend runs the club and is pretty secure in his job.

If a client is willing to pay big bucks, you have to be willing to put in the work first. If you have the stage experience and proven material, then go for it. If not, start writing now and getting on stage as often as possible with an eye on the future. As mentioned last week in Part 1, the promotion process for performers starts right about now. You know, while we’re still thinking more about sunblock than Santa Claus.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

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Booking Christmas and Holiday Parties

August 27, 2018

Hey Dave – What’s the deal with doing Christmas parties? I know some comics who booked a few last year and made good money. – T.R.

Let’s party!

Hey T.R. – Christmas / holiday parties are big business in the comedy biz. Corporate and humorous speakers (sometimes one in the same) can also score big during the festive season, but I don’t consider their bookings as seasonal as comedians in this market.

Why?

Because comedians are considered entertainment and holiday parties usually want entertainment. Speakers with a message – whether informative, entertaining or both – can often find gigs at meetings and conferences year-round. For instance, not too long ago I did a training seminar at a conference. With keynotes and seminars being delivered during breakfast, lunch and dinner meetings, and various workshops running concurrently over two days at this huge resort, there had to be at least 50 speakers involved.

I didn’t see any comedians.

So with that personal observation in mind, we’ll focus this FAQ and Answer on comedians and entertainers looking to book holiday parties. But I’m also pretty sure humorous speakers will be interested in some of this stuff.

The time to get in on this action is now.

Party time!

We’re hitting the end of summer and a lot of these holiday bashes are already in the planning stages. In fact, I’ve already gotten my first call for this holiday season, so the clock is ticking.

Most of these holiday parties are planned way in advance because the bosses (employers) have to rent party rooms or restaurants in advance for this once a year company-paid blow-out. They also know somewhere in the back of their minds the approximate date when they have to cough up holiday bonus checks for their employees, so that also goes into factoring when these parties will occur.

Once the party date has been confirmed, it’s circled on every employee’s calendar and they’re expecting the boss to show them a good time. Of course the smart employees won’t have too much of a good time, but for those who cut loose a little too much…

As the great Phyllis Diller once said:

I hate Christmas parties. You always have to wake up the next day and start looking for a new job.”

Booking holiday parties is similar to working in the corporate market. You may imagine employees overindulging in the eggnog and walking around wearing Santa hats with mistletoe pinned to the white fluffy ball at the top. But the boss is still in charge of the toy factory. With lawsuits about sexual harassment, discrimination, mental anguish, and whatever other reasons and insults that could cause the company to continue paying a future former employee for not working there anymore (and the lawyer fees) the boss is not going take any chances.

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Fall 2018 Comedy Workshop at The Chicago Improv

Saturdays – September 29, October 6 & 13 (noon to 4 pm)

Showcase at The Improv – Wednesday, October 17 at 7:30pm

Workshop Marquee 150

Space limited to 11 people

For details and to register visit…

TheComedyBook.com

*

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What I’m trying to say is that except for rare exceptions, company holiday parties have turned into family style events.

There may or may not be kids involved, but there’s usually an office prude or uptight spouse keeping an eye on everything. And the best way to avoid hassles is to stay politically correct. If you want to be offended by a comedian, go to a comedy club that bills the show, “For mature audiences only.”

If you want holiday laughs where no one has to wake up the next day and look for another job, hire a comedian that works clean.

Too much party!

Speaking of clean, a lot of the comedians who are cleaning-up dollar-wise with holiday parties start their booking efforts in late summer and early fall. Seriously. I can go into my files as a booking agent and see contract signing dates in August and September for Christmas parties. The performances were signed, sealed and deposits were paid while I was still trying to get my kids to put on sun block before they’d go outside.

The process of promoting yourself for these shows is the same as I’ve written about for the corporate market. Only now you want to aim it for the Christmas / Holiday season. Put it right on your emails and postcards, and mention it if you’re calling businesses:

You are available for office holiday parties – and work clean.

Your promotions can start now. Do a mailing to your regular contact list (you should have one if you’ve been reading these articles) and follow up with phone calls. If you don’t have the proper contact person, ask who is in charge of the company party. That person is probably looking just as hard for entertainment as you are for gigs.

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With the right promotion and networking skills (again – business techniques you should already have if you’re been reading these articles) you can make their life easier by hiring you as the entertainment. This will give them more time to choose the table ornaments and who should not be seated next to each other to avoid company infighting.

It’s all about finding leads, networking and promoting.

I know comedians and speakers who have promo photos taken wearing Santa suits or with other holiday themes. Their websites and online networking are advertising their skills at entertaining for holiday parties.

In the entertainment biz, the holiday season has already started.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Hiring a comedy writer

August 13, 2018

Hello Dave – Here’s a question: You advise us to get writing or keep writing. How do you feel about hiring a pro writer? And how would I go about it? Your pal – CA

There’s gotta be an easier way.

Hey CA – Hiring someone to write for you depends on your (comic or speaker or performer) career level. If you’re just starting out it doesn’t make any sense – to me anyway – to hire someone else to write your material. What’s the point? If you want to memorize another writer’s script and repeat it – become an actor. If you want to be a comedian or a speaker – then there has to be something YOU want to say.

It’s all about sharing YOUR humor, YOUR thoughts, YOUR ideas, YOUR observations, or anything else YOU want to tell an audience.

To me (again) it’s a creative art AND a talent. That should be the stimulus to get into this crazy biz. Otherwise get a head shot, memorize someone else’s lines and start auditioning for acting gigs.

Here’s a story…

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Fall 2018 Comedy Workshop at The Chicago Improv

Saturdays – September 29, October 6 & 13 (noon to 4 pm)

Showcase at The Improv – Wednesday, October 17 at 7:30pm

Workshop Marquee 150

Space limited to 11 people

For details and to register visit…

TheComedyBook.com

*

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Years ago I had a guy take my comedy workshop. The first day everyone takes a turn on stage to talk about ideas for writing a comedy set. When it was his turn, he did an “act.” Five minutes of prepared stand-up comedy. But it didn’t seem realto me. It was just telling jokes that really didn’t pertain to who he was or what could possibly be going on in his life that would even interest him.

Let me explain what I mean…

I love funny jokes and great joke tellers. I’ve also been fortunate to work with a few of the best. For instance, Rodney Dangerfieldmade regular guest appearances when I was at both the NYC and LA Improv comedy clubs. He would tell jokes (of course) but the jokes fit who he was:

  • No respect
  • Nervous
  • Underdog
  • … well, Rodney!

My wife said she wanted to make love in the backseat of our car. She wanted me to drive. I get no respect.” – Rodney Dangerfield

Get it? I can think of dozens of great joke tellers I used to watch on TV when I was a kid. What made them great was that their jokes fit their personalities. Think Bob Hope, Jack Benny, Redd Foxx, Phyllis Dillerand Jackie Masonif you need a history lesson.

Their jokes worked because the jokes fit the comedian’s on stage personality.

Okay – back to the guy in my workshop. He did his comedy act, but nothing fit who he was. It was just some guy telling jokes anyone else could tell. Plus I’d heard a few of them before, which is never good when you’re striving to stand out in a creative business.

When he finished I asked who had written his material. He swore he did. When I said some of it sounded familiar and quizzed him more about his writing techniques, he finally admitted he got the jokes from a writer he found online – and had paid $50 for them. I told him there were undoubtedly a number of other aspiring comics who had also paid for the same jokes.

He really wanted to be a comedian. The problem was that he really only wanted to be a famouscomedian and was willing to pay for a shortcut.

That’s not how it works.

Since he had never actually done stand-up anywhere, he had no stage experience. He hadn’t even given himself the opportunity to find out who he was on stage.

Comics call that your comedy voice.

To find your voice it takes on stage experience – and lots of it. Since he hadn’t discovered his yet, how could he expect to find anyone who could write material specifically for him? That writer would have no idea except to peddle him jokes almost anyone else could do.

I told the guy in my workshop he had to start writing. That’s the first step and the key to becoming a comedian or speaker – or even a writer for someone else. There are plenty of styles such as joke telling or story telling, along with techniques, structures and different creative ways creativepeople write. He needed to find out what ways worked best for him and what subjects interested him enough to write about.

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The next week he came in with the basis of an original comedy bit. I remember it was about playing in a pick-up baseball game when he was a little too old and a little too out of shape compared to guys on the other team. It was based on something that really happened to him and filled with his personal experiences, thoughts, opinions and descriptions of events.

Oh yeah – and it was funny. AND it was a story only HE could have written.

He realized he had wasted fifty bucks on words that didn’t mean anything to him. And he had replaced it with something he couldn’t wait to share with an audience.

So the point is – why would anyone want to get into a creative business without being creative?

** Important announcement:I’m not knocking actors (remember what I said above about memorizing someone else’s script). No way. That is also a very creative and demanding craft. I know because I’ve done it. I respect creativity in all forms and efforts. I’m just focusing today on the comedy and speaking biz.

What’s the set up?

That wasn’t as eloquently put as a Shakespearean monologue, but I hope you catch my drift.

And to complete this drift, it’s not a smart idea to hire someone to write for you until you both know who you areon stage. The creative artist doing the writing must knowthe person he/she is writing for.

What is your comedy voice?

When you get to be Jimmy Fallon, Jimmy Kimmel– or anyone else that burns up material at a breakneck speed – then you can hire writers. Good writers already know whothese personalities are and their style of humor. Good writers can write a Jimmy Fallon or Jimmy Kimmel joke. But writing for someone just starting out… Well, they’re just writing words.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

When should you start promoting your career?

July 30, 2018

Hey Dave – Last week I was in a comedy festival. It was a 13 hour drive, but it was a good chance for networking. I was talking with another act who said she’s too impatient about getting her comedy career going. I said that my problem is that I’m too patient. After finishing second at another comedy club’s contest and being accepted at the festival, I should be contacting clubs and bookers all over the area instead of waiting until I actually win a contest. Do you agree? – J.G.

Can you hear me now?

Hey J.G. – First of all, if I drive 13 hours for anything, I’m going to make sure somebody knows about it. That’s not exactly a Sunday afternoon drive for me (which is why every seasoned road comic is calling me a wimp right now), so I’d like a little recognition for the achievement. If my kids happened to be in the backseat, I’d expect an award.

How different people react to my successful lengthy trip depends on how they view such an effort. If I told a student driver about my journey, he may look at me as The Man. If I walked into a truck stop and made my announcement, I’d probably get more laughs than doing a clean act at a biker bar open mic.

Being accepted to perform at a respected comedy festival and finishing second in a club’s contest are worthy additions to the resume. Each step in your career is a great opportunity for promotion and it’s important to take advantage of it, which is an important subject we’re driving up to next.

Not quite ready.

But before we head down that road, the question of patience should be answered by common sense. You have to be honest with yourself to know when you’re ready for the next level of your career and not push yourself too fast into a position where you don’t have the experience or material to back it up. In other words, if you’re relatively new to comedy and just breaking into the MC role, it’s wise not to promote yourself to the top clubs as a headliner until you’re ready.

What you don’t want to do is sit back and wait for any word-of-mouth to find its way to the bookers. James Bond has a reputation that precedes him, but when finding work in the entertainment business you need to promote yourself. If you have the credits, chances are better the bookers will find out about it if YOU tell them.

You have to be honest with yourself as a comedian, (or humorous speaker).There are various steps to consider before you actively promote yourself for paying gigs…

Are you ready for paid gigs?

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Comedy Workshop at The Cleveland Improv

Starting Saturday – August 11, 2018 – is SOLD OUT!

Includes evening performance on Wednesday, September 5th

Workshop Marquee 150

For information about upcoming workshops visit…

TheComedyBook.com

*

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You absolutely must have experience and a comedy set or speaker program that has worked successfully during live performances. These can be open mics, benefit shows – whatever. Let’s put it this way. If someone is paying you to do 20 minutes – you’d better have a good 20 minutes or they’ll find someone else who does for the next booking.

Also understand where you fit into the business. 

Are you an opening act, feature or a headliner? New acts will always be considered openers until they prove themselves worthy of a better position in the show. Think about it. Even Jay Leno was an opener when he started out and worked his way up. He wasn’t given The Tonight Show after a few successful open mic performances.

But let’s say you know that already. You’ve worked hard at writing and performing and you honestly know you’re ready. That’s when it’s time to get the word out to talent bookers, event planners and anyone else who might hire you.

That’s when you need to start promoting – and it can be a full time job.

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Whenever you have an achievement (accepted to a comedy festival, runner up in a contest, a paid booking in another venue, etc.) make sure the bookers for the clubs where you want to work or the event planners for associations you want to work for KNOW about it. Send them your news via an email, a postcard, add it to your website and resume, and post it on the social networks you use for business (not the ones you use for family photos, your cats or wild escapades).

You may not get hired right away, but it could add to your name recognition in the future.

Only took 7 calls!

That’s the idea behind promoting – networking and marketing.

Businesses use branding and logos to keep their products in front of potential buyers and entertainers do the same with successful performances, personal contacts, online postings, emails and postcards.

As good salesmen say, you need to run a product (you as a comedian or speaker) past a client (booker) on the average of SEVEN times before they buy. So when is a good time to start building credits and promoting your comedy career? If you truly believe you’re ready – I’d say right now.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Getting laughs is an incentive for getting on stage

July 15, 2018

Hi Dave – I would love any input on public speaking. I am a very timid person and it shows in presentations I have had. Could you give me any advice? – J.P.

A bit shy?

Hey J.P. – When you say timid, I’ll go ahead and assume you’re talking about a lack of confidence on stage. You didn’t mention if it’s because of stage fright or just a case of being shy, but there are many ideas and techniques on how to overcome this and improve as a public speaker (or a comedian that might need a push to get onstage).

But right off the bat I’ll say one I’ve never subscribed to as a method to build confidence or overcome stage fright is picturing an audience in their underwear. I’m assuming once again, but when you’re on stage as a public speaker I would think you should be concentrating on what you’re saying – your message – and don’t need anything else to think about. Plus there are always going to be too many people in an audience that I wouldn’t want to see in their underwear.

Of course I’m sure a lot of speakers and comedians would have a different opinion if they were booking gigs every day for The Hawaiian Tropic Tanning Team. There are both girls AND guys teams – so pick whichever one works best for you.

So instead of suggesting the extra brain work that comes with underwear picturing, a great way to get over a lack of confidence is to do what the comics told me when I first got interested in this crazy business.

Use humor.

Addiction causing

You may be timid, shy or nervous when you first walk on stage. But as someone who has been around behind the scenes a LOT, I’ve seen a LOT of people in that tongue-tying, dry-mouthed, hand-shaking condition suddenly break out and come alive once they experience their first laugh from an audience. It’s a life-changing event, spiritual awakening, shot of adrenaline and the same feeling as love at first sight – all rolled up into one big sucker punch to the gut.

That’s why comedians and humorous speakers say getting laughs from an audience is addictive.

I’ve watched many people from my workshops make their stage debut in front of large audiences at The Improv comedy clubs. Some were full of confidence, some were faking confidence – and some were just flat out nervous and scared. Members of this last group would fit into the category of timid – and the main reason was because they lacked experience on stage. They had never done it before in front of an audience and didn’t know for sure what to expect.

—————————————————————————-

Comedy Workshop at The Cleveland Improv

Starting Saturday – August 11, 2018 – is SOLD OUT!

Includes evening performance on Wednesday, September 5th

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

(Skips Labor Day Weekend – September 1st)

Space limited to no more than 11 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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They needed that sucker punch to find out for themselves.

Nothing can truly change a lack of confidence until you have the overcoming experience for yourself. In this case, the experience of making an audience laugh. It’s powerful enough to make your first time onstage fun, memorable and… well, addictive.

Getting laughs can usually lure a timid person to try it again… and again… and again…

During my workshops I watch our shows from the back of the room. I can see if someone is going up on stage with a fearful look in their eyes. But as soon as they get that first laugh, it’s like a veil being lifted from their face.

The difference is like night and day – from black and white to color.

The same is true with speakers. Humor engages an audience and keeps them interested in what you’re saying. Even if you’re giving a political speech, a technical training seminar, a sermon, or anything that’s not a stand-up comedy act, a good speaker will mix up his delivery a bit. It can be subtle or BIG. They’ll go from soft to loud, or from high energy to almost standing completely still to make a point. Everyone’s different. Watch a (good) speaker on television or during a lecture and you’ll know what I mean.

Boring!

For a journey to the other side of this, think about the most boring teacher you’ve ever had. Would the class have been more interesting and would you have stayed awake longer if they had just added even a speck of entertainment value? I need a nap just remembering some of the boring monotone instructors we had to sit through in lecture hall… yawn…

Basically, it’s really tough to hold an audience’s attention by using only one emotion all the way through a presentation or performance. That is why even a lot of eulogies include funny memories about the deceased. Humor is one of the delivery techniques that engages the audience and can seriously offer an interesting change of pace – whether it’s during a boring lecture or sad eulogy.

The late (and great) George Carlin told me during an interview for my book Comedy FAQs And Answers that he used language (we were actually having a conversation about dirty words) to keep his audience’s attention. And when he had their attention it meant he was in control and could take them verbally anywhere he wanted. When Carlin performed, his audiences were practically sitting on the edge of their seats waiting to hear what he would (dare) say next.

Humor does this.

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Make someone laugh and they’ll want to see if you can do it again. And while they’re waiting, they’ll listen to what you have to say next.

That means you are in control.

And that makes it a confidence builder– get it?

A great way to get over a lack of confidence (being timid or nervous) on stage is to use humor. Comedians go for as many laughs as possible. But as a humorous speaker (public speaker) go for a laugh. When you have their attention, follow it up by delivering your message. The combination of addictive laughter and an audience interested in what you’re saying should be the needed confidence boost to inspire you to do it again… and again… and again…

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Writing an email (cover letter) that talent bookers will read

June 17, 2018

Dave – What’s up. I have a quick question. You’ve helped me in the past with the structure of my Bio and Resume by looking in your book, How To Be A Working Comic. My question now is, I’m trying to come up with a structured letter or email to send to bookers or comedy clubs to get booked. Something where I would also have a link to a page with me performing so they wouldn’t have to stop and pop in a DVD – unless they wanted one. Would your book have something like that or could you point me in the right direction? I would really appreciate it… man! – K.B. PS – We all love your emails and words of wisdom! So keep’em coming!

Hey K.B.

First of all I’ll start with the “last of all” in your message. Thanks. I just want to help you guys get on stage.

Hello it’s me? I can do better…

What you’re talking about is a cover letter. It’s an introduction to you and a request to check out your video and performance credits for work. Just about everyone uses email instead of mailing a “letter,” but we both know we’re talking about the same thing.

Writing the cover letter (like the bio) can be almost as creative as your comedy material. Not everyone will agree with me on that, but I used to get a lot of cover letters with promo packages when I was booking A&E’s An Evening At The Improv and believe me, with so much competition to be noticed, the creative ones would catch my attention.

If I had to read something, it might as well be informative AND fun.

You’re a comedian, so I would expect you to be a funny person. I would also expect to be entertained – at least a little bit. Just don’t make your cover letter an entire comedy monologue. The only exception would be if it is really, REALLY funny. Otherwise, save your best bits for your promo video and on stage showcase.

Does this ever end?

You don’t want to make your cover letter too long and wordy. You should be able to introduce yourself (that’s what it’s for) and say everything you want the reader to do (the purpose behind a cover letter) in just two or three short paragraphs.

If you have another comedian or booker as a reference, mention it somewhere toward the beginning. Then tell the booker you’ve heard nothing but GREAT things about his club and you would abandon your entire family and all worldly possessions to perform there.

Okay, maybe not in those desperate words – mainly because you don’t want to come off as too desperate.

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Comedy Workshop at The Cleveland Improv

June 2018 is SOLD OUT!

Showcase performance is Wednesday, June 20th!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons from noon to 4 pm

Includes an evening performance at The Improv

Summer / Fall 2018 Dates for Cleveland & Chicago TBA

For information, reviews and photos visit…

TheComedyBook.com

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But it never hurts to send out a bit of good will and a compliment or two (great crowds, best comics, beautiful club, professional staff – pick one). Use your common sense on how you might kiss-up to the boss without sounding like a kiss-up. The showbiz term for it is schmoozing.

Mention a couple of your most impressive credits. Did you win a contest? Have you played another major club? Headline a benefit show? Perform at colleges? Again, just a few – don’t go overboard.

If you don’t have a direct reference or connection with the booker to use at the beginning, you might still have a good recommendation. Comedians and speakers that perform for local organizations, benefits and/or colleges – wherever (and yeah, sometimes for free) should always ask for a letter (email) of recommendation. If you don’t – you should. Then take a line or two from one or two of those and put it in the body of your letter:

“Jenny Comic was very funny and helped to make our fundraiser a success.” – (credit quote to person and organization).

Then come right out and ask the booker to watch your promo video. Say it – don’t hint at it. ”Attached is a link to my video – or included is a DVD… please watch it… I’m sure you’ll enjoy it… I want to play your club…”  (As always, use your own words).

If you’re doing this by email include a working link to your website that contains your video or a link for your video. If you’re sending a snail mail letter, highlight your website link in the body of your letter AND include a promo package with a DVD. As I’ve mentioned earlier and in past FAQs, just about everything today is done online and that’s the main reason How To Be A Working Comic was updated to include online promoting. But what is now found on websites is the same material outlined in earlier editions of the book and what you would find in an effective “hard-copy” promotional package.

Now back to the cover letter… uh, email…

I’ll give you a call

At the end of your message thank the booker for his or her time and (here’s the secret) instead of saying something along the lines of “I hope to hear from you soon,” TELL him or her you’ll contact them within a certain time frame. Usually two weeks is good.  This follow-up can be done by email, but I suggest a phone call. There’s always a chance they will call you, but I wouldn’t hold my breath unless you have a solid gold reference from a major comedian or have already worked for a big-time talent booker.

The idea is to keep the door open for you to contact the booker again. AND you’ve mentioned this in advance.

Now, this is where today’s article could turn into a book chapter about “playing the game” when contacting talent bookers and building professional relationships. I’ve talked about that in past newsletters and will probably repeat myself in future ones. The focus behind today’s FAQ And Answer is to map out your cover letter.

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Remember, you work in the entertainment “business” and should treat it that way – as a “business.

Creativity can be a major plus in promotions, but you also need to be professional about it. Keep your email (cover letter) concise and to the point. Talent bookers receive a lot of submissions and don’t have time to read through pages and pages of sample comedy routines, “how you’re going to change the face of comedy,” or “how you’ve been funny since birth.”

Tell them what you’ve done, throw in a recommendation (if you have one or two) and that you would like to work for them. Then make it easy to find and watch your promo video. That sounds like a “working” cover letter to me.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Musical misadventures in comedy

May 21, 2018

Hey Dave – You had a question a few weeks ago about adding music. I’m thinking about ending my comedy set by doing a rap song. Just the background music like karaoke would be on a CD and I’d do a funny rap over it. I’ve seen other comedians and even speakers do this and think it’s a great way to close with a big ending. Any thoughts? – MW

Hey MW – Yeah, I always have a few thoughts. The first leans toward the music side. I’m not a rapper; I’m a rocker. So if the rap wasn’t rocked out with Steven Tyler and Joe Perry (think Run-D.M.C. and Walk This Way WAY back in 1986) I probably haven’t voluntarily listened to it.

It’s all about the rap

Involuntarily… well, that’s another comedy bit. I’ve had two teenage sons living in my house and know what it’s like to have rap songs blasting louder than my Aerosmith rock anthems. So in other words, I know it’s popular enough to make me a dinosaur when it comes to musical tastes. But…

My second thought relies on the above descriptive term – popular. In showbiz terms that means it sells. It also means – and I’m working off a personal opinion here – that most anyone cool (dinosaur term) enough to go to a comedy club will be familiar with rap. This is opposed to say, a Gregorian Chant which is a musical term that makes even someone like me sound new school.

Okay, enough musical nonsense. My creative recess is over. Let’s get to the point.

Music can add energy and raise the showbiz factor in a performance. It’s like bringing the glitz of Las Vegas to your gig. And it also keeps to my theory (and I explain this to public speakers in my college course) that live shows today are competing against what has become common on television and in movies:

Keeping audiences with short attention spans interested in the program.

Short attention spans

There’s a reason why TV commercials have shrunk from one minute to about 15-20 seconds over the decades. Short attention spans. And to keep viewers from changing the channel, these commercials have to be entertaining or informative all the way through.

With that being said, it’s the same with live performances. You must entertain your audiences and hold their interest. And with modern audiences used to 20 second entertainment bursts on television, it’s like competing against a 20 second commercial.

The problem with a live performance is that the viewers can’t change the channel. That’s why comedians and speakers need to up their entertainment factor. In other words, a mediocre set isn’t going to result in too many return engagements.

Using today’s topic, music can be a great attention grabber.

In fact, it’s become the standard way in most comedy clubs to rev up audience excitement for the comedians. When I managed the NYC Improv back in the late 80′s and early 90′s, the MC would be introduced and the show would start. The MC would then introduce each comedian. There was no musical fanfare – just words.

Now that’s all different. Now its SHOWBIZ!!!

Comics request certain songs to be played after they are introduced and are walking onto the stage. It raises the excitement and audience attention factor. Music will do that.

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Comedy Workshop at The Cleveland Improv

Starting Saturday June 2, 2018 is SOLD OUT!

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 11 people

For information, reviews, photos and upcoming workshops visit…

TheComedyBook.com

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Now to your question about adding a rap song to your set…

Yeah – try it. Why not? It’s all about entertaining and if it’s funny and energetic, chances are it will be entertaining. BUT here are a few things to keep in mind.

Sometimes techno things (my term that includes playing background music while you sing or rap) don’t go as planned. Here are a few warnings…

  • Make sure you really practice the words you are rapping or singing over the music.

If you screw-up the lines, the background keeps going. You still have to make it work for the audience. Ad-lib or admit you messed up, but make it part of the performance. You don’t want to just die on stage or let the bit fizzle out. You’ll look like an amateur.

  • Make it easy on the tech / sound person at the venue.

Don’t hand him a CD with 20 tracks and ask him to play a particular one when you give the signal. Sure, most can do it – but remember they have other sound, lights or audience distractions going on in the club and they might cue up the wrong track. What are you going to do? Will it ruin the bit?

Here’s an example…

Rap Album of the Year?

A comic in one of my workshops decided to open with a rap song. Not to rap over it – but to do a funny dance as he walked on stage. Now, this is not an exaggeration. This really happened. The sound guy got the CD’s mixed up and played Over The Rainbow instead of the requested gangsta’ rap. He didn’t know it was a mistake, so it continued to play.

The comic was shocked but went with it and danced to Judy Garland instead of… well, probably Lil Wayne. It turned out to be funnier than the original concept. But the reason it worked – and he just didn’t stand there looking duh – was because he had been warned this could happen. I gave him the warning, which leads me to another story…

Sometimes at the NYC Improv (not always and especially not during weekend shows) we used to screw-up audio cues on purpose. It could be very funny (at least for us – the staff and other comedians) and would throw the unexpected at the comic on stage. It was always fun to see how they would react.

So keep that one in mind. It could happen – even sometimes on purpose!

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The lesson is to just have the ONE song you want to use be the ONLY song on the ONE CD you give to the sound person. That lessens the odds for a screw-up (or great joke at your expense) on their part.

  • And finally – sometimes the tech thing just doesn’t work.

The CD player might be broken or already set up for the headliner (if you’re not closing the show). If it’s still your big closer, be prepared to do it a cappella (just your soulful voice and no backing music). It doesn’t matter if the equipment is working or not – the show must go on.

So the bottom line is to give it a shot. It’s showbiz, so go for it. But be prepared for the best and the worst. When you start adding effects to your stage performance, you’re no longer the only one in control of your act.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

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.

—————————————————————————-

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!

*

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.

Adding music increases the pizzazz factor

April 23, 2018

Hi Dave – I added a little music to my act one time and had some success. I was thinking about doing it again and wondered if that would be cool. I’d have music playing when I walked on stage, the first part of the set would be jokes and then I’d end by doing a rap song. I have a CD with instrumental music and thought someone doing the sound could turn it on for me and I’d “rap” over it. Just wanted to get your take on it. Thanks! – M.D.

Working the room!

Hey M.D. – I don’t think it’s a secret that most comedians (and this goes for many speakers also) understand they’re involved in showbiz. With all the techno-stuff and special effects we see on television, in movies and during live concerts, a lot of entertainment today is not only about substance (quality of the performance), but also the presentation (the pizzazz!).

It all depends on the circumstances and the performer, but from my experiences I believe audiences expect some type of pizzazz (okay – last time I’ll use that term in this article) when they pay money for a show. This means we’re talking about lights, explosions, sound effects during rock concerts – and even music during a comedy show.

I imagine that right now the die-hard, old-guard comedians I worked with in NYC years ago are thinking I’ve gone crazy. More than a few would have stood in the back of the room making fun of “variety” acts that used “gimmicks” – which at that time would have included juggling, riding a unicycle, singing or rapping over music karaoke-style.

But here’s a confession. I’m not crazy. It’s the evolution of the business. Let me explain…

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Comedy Workshop at The Chicago Improv

Spring 2018 – SOLD OUT!

Includes performance on Wednesday, May 23rd

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 11 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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When I managed the NYC Improv back in the late 1980′s, I don’t remember comedians coming on stage accompanied by loud music. The MC introduced the comic and then he walked on stage and did his act. It was simple and to the point.

Around the same time, I would go to Madison Square Garden and watch the NBA New York Knicks, (actually I was only there when the Cleveland Cavaliers were in town). I don’t remember a big musical number with smoke machines, gyrating cheerleaders and dancing seven foot centers during pre-game introductions. They announced the teams, the players high-fived each other – and then started the game.

AND to really get carried away with this, I remember going to rock concerts when I was a teenager. An on-stage local deejay would introduce the band, the act would walk out, plug in their guitars, take time to tune their guitars, shout hello a few times into the microphones, and then start their first song. There were no opening films, explosions, special lights or anything like that. It was simple and to the point.

Warming up the NBA

Fast forward to 2018. Can you imagine an NBA pre-game not resembling a rock / rap concert? It’s the same with former teen idols that are now seventy-something year old rock stars in concert. Before they even leave the hotel and take a limo to the venue there are films, music, lights and other showbiz energizers to get the crowd hyped up and into the show.

The same is now true for a lot (not all but a lot) of comedy shows and speaker presentations. For proof, go to any legit comedy club located between NYC and Hollywood. Even the opening acts are asked what song they want blasting when they walk on stage.

In fact, I can’t remember the last time I watched a comedian – outside of one of my workshops – who didn’t use music to hype up the audience before grabbing the microphone and opening his show.

Wait… yes I do.

It was Dennis Miller and it has to be more than fifteen years ago. He was performing at a theater (following Rita Rudner) and was dressed as a janitor. The audience didn’t know it was Miller because he wore a hat and kept his head down as he was sweeping the stage at the end of intermission. His act started when he took off his hat and said hello – which was a pretty cool non-musical way to hype up an audience.

Otherwise, comedy clubs have turned into a mini NBA pre-game show.

So… should you use music / rap during your performance? If it fits your comedy voice (who you are on stage) then I don’t know why not. As I’ve just explained, it’s a great way to hype up an audience. And what I mean is that it can add energy and a real sense of fun into your performance.

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I remember a time when some of the musical comedians I worked with worried about being labeled “guitar acts.” The rumor was that they’d never get on The Tonight Show because producers only wanted “real stand-up comedians.” But I’ll tell’ya something – in the clubs, guitar acts (good ones with high energy) always had the crowds excited, involved in their shows and received the loudest ovations. They could always find work in clubs, corporate events, cruise ships and the college circuit.

Pizzazz sells (sorry I had to use the term again!)

Do I need to say more? Similar to creating and writing comedy material, you need to take your best ideas on stage. The audience will help you decide whether or not it works. You never know unless you try.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

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.