Archive for the ‘event planner’ Category

Promo video length for club, corporate and college gigs

October 8, 2018

Hey Dave – I’m real serious about doing stand-up comedy and I wanted some info on making my audition tape. How long should it be? Are bookers looking for something specific? If u can help me out please write back – B.T. / The Future of Comedy

Hey B.T. – The future of your comedy career relies a lot on your past. This means the work you’ve already done as a writer and performer, and then using a past (but recent) performance to make an attention-grabbing and (most of all) FUNNY audition tape. BUT we don’t want to live TOO much in the past, so let’s start talking about this in terms of online videos (and occasionally DVDs).

Goodbye gone!

I don’t know anyone that’s using “tape” anymore.

Okay, I know that’s just a technicality. But I want to make sure we’re all using same terms and are on the same page… uh, screen here in 2018.

When I talk about relying on the past, I’m talking about how long your video should be. That hasn’t changed since the word “tape” was common and should be three to seven minutes long. That gives talent bookers a decent sample of what you do on stage.

Most talent bookers are pretty busy. You wouldn’t believe how many videos they’re asked to view every day. Since there are only so many minutes in a day they can’t sit around and watch an hour, half hour or even twenty minutes of performance time from each comedian. That’s why many I’ve talked with only watch the beginning or hit the fast forward button and stop at random places.

When I booked the TV show A&E’s An Evening at the Improv, I would watch anywhere from twenty to thirty videos at one sitting.

No lie.

Only 5 more minutes…

I couldn’t take (because of time – not interest) more than five minutes with each one. So the comedian had to come on strong from the beginning and prove he or she was already a working comic and ready for television. If it was obvious they weren’t, I’d stop the video and move on to the next one.

And here’s something else I’ve learned from many of these same contacts and personal experience: a good talent booker will usually know within thirty seconds into a comedian’s act if he wants to hire that comedian. Experience and talent will be obvious (or should be) right from the beginning of the set for anyone that has been in the talent booking business for a while. Performers might try to fake it, but experienced people in the biz can usually tell right away.

Now, if they watch three to seven minutes and are interested but not sold on hiring, they can contact the comedian and request more. That’s when you can send something longer (usually fifteen to twenty minutes).

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Fall 2018 Comedy Workshop at The Cleveland Improv

Starts Saturday, November 10th 

Perform at The Improv – Wednesday, December 5 at 7:30pm

Workshop Marquee 150

Meets 3 Saturdays from noon to 4 pm (skips Thanksgiving Weekend)

Space is limited

For details, reviews, videos, photos and to register visit…

TheComedyBook.com

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I once worked with a club booker that (seriously) said he wanted to see a full one-hour video before he would hire an act. I thought that was a bit extreme, but if that’s the way he does business, well… it’s his club and it’s his time. I never met another booker who had that much time to watch videos.

It also depends what market you want to get into.

I’m talking mainly about clubs and television with the above advice. If you want to work in the corporate market as a comedian or humorous speaker, your video will be much different. That should be a production – rather than just an example of your live performance.

Very entertaining!

This means corporate videos can be edited showing not only segments of your act, but also audience comments, your credits scrolling across the screen – or any other techniques that make the comedian or speaker look professional and in demand.

Again, short and dynamic is best. The corporate videos I’ve been sent or have edited for myself and other speakers are usually five to seven minutes in length.

The college market also plays out differently. When you’re involved in NACA (National Association for Campus Activities) and APCA (Association for the Promotion of Campus Activities) the college booking organizations I talk about in the book Comedy FAQs And Answers, they only want three- minute videos as submissions for showcases. BUT the catch is if the college students on the Activities Board like that three minutes and want to see more, you should have at least two additional three minute segments with the online submission or DVD so they can continue to watch until they:

  • Give you a live showcase (explained in the book).
  • Keep you in mind as a maybe.
  • Move on to the next comedian.

And finally, what’s very different than in the days of using video “tape” is the method of delivery. Everyone now can watch online videos or will request DVDs.

In 2018, everyone in the business has the technology to watch promotional video online. If not, then they’re in the wrong business.

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YouTube is still the most popular, but I know there are also other sites that can allow bookers to watch your video immediately. The key is to have it available to them either embedded into your website or linked to YouTube.

Also the three minute – or shorter – video is becoming more popular for submissions outside the college market. You can go online to view examples, but quite a few comedians have short (two to three minute) segments of their sets embedded in in their websites. We know attention spans have grown shorter and this method allows talent bookers to get a quick “taste” of a performance with an immediate opportunity to watch more – another quick segment – if they want.

* Last bit of advice about this.

I recently talked to a club booker who said he expects comedians to have a website. It’s more professional. He won’t even go on Facebook or other social media sites to watch videos. If the comedian doesn’t have a website, then he feels that comedian is not professional enough to work in that club.

I’m just passing that thought along because I know you’re interested…

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2018 – North Shore Publishing.

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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.

You’ll never work in this town again

May 6, 2018

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

Get there on time!

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

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

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

It’s your career and it’s a job.

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

Case in point…

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

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

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

Remember that.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – June 2, 2018

Includes evening performance on Wednesday, June 20th

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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

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

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

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

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

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

That was the last time we spoke.

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Another example? Okay…

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

Find my GPS!

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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.