Archive for the ‘email’ Category

Playing the talent booking game

March 26, 2019

Hey Dave – You’ve been writing about promoting. I’m on Facebook, Twitter, LinkedIn and YouTube. How do I get bookers to look at my video? I send emails but don’t hear back and don’t know if they’re watching. Thanks – D.M.

Let’s Play!!

Hey D.M. – As you probably know from following these ramblings I post online, to get bookings you have to treat it like a business. BUT I’ve also learned from personal experience that it’s like a game and you have to play it. If I had to describe the booking game, I’d call it a cross between Tag and Hide and go Seek.

Let me explain…

Sometimes you have to break down and make a phone call. When you don’t have access to a talent booker’s personal messaging; emails, snail mail and online networking are not the only other resorts. Sometimes you need do it the old-fashion way by picking up the phone and start talking.

If you get a booker or agent on the line – that’s great! Use some of the concepts I’ve shared in past articles about using a conversational hook (short – just as an icebreaker) while being professional AND personable. Remember, you’re making a business call, but at the same time you’re in the entertainment biz and not an insurance agent or tax collector.

Then ask if they’ve received your email and if they’ve watched your video.

If not, and this is the secret cheat (if you want to compare it to playing video games) ask, “When is the best time for me to call you back?

Many talent bookers, agents, college student programmers, event planners – whatever – have certain hours during certain days when they accept phone calls. Ask when these hours are (by actually asking: “When is the best time for me to call you back?”). There’s no reason why they shouldn’t tell you. For instance: “Tuesdays between 2 and 4 pm” or give you a general idea: “Give me a couple weeks.

Secret Cheat!

Mark that date or “a couple weeks later” on your calendar.

If they give you a specific time of day, mark that down also. They might just come right out and tell you if mornings or afternoons are best. THEN – and this is the second secret cheat – after you hang up, send the talent booker a postcard. I’m not talking about a vacation postcard with a pretty landscape. I’m talking about the type of business postcards that I’ve described in my book How To Be A Working Comic and in past FAQs And Answers.

Use the type of postcard that promotes you as an entertainer.

** “Wait a minute! Postcards are so old school. Everything today is online and by email. I don’t even know where to find a post office!”(Note: I’m imagining this response from everyone reading this online).

Yes, that’s pretty much correct.

Especially for working comics that already have relationships with talent bookers. They’ve received approval to send in avails via email or text every few weeks and can get work.

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Spring 2019 Comedy Workshop at The Chicago Improv

Saturdays – May 4, 11 and 18 from noon to 4 pm

Performance at The Chicago Improv – Thursday, May 30

Workshop Marquee 150

Space limited

For details and to register visit…

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BUT I’ll go back to today’s question:

  • How do you contact them just to look at your video (for the first time) and…
  • How do you know if they’ve watched it (or even received it)?

The problems – mainly for performers unknown to the talent bookers – are spam filters. This happens with some of the clubs, but is especially true if you’re trying to break into the college and corporate markets. Many unsolicited emails with links (to videos or websites) won’t get past the school or business in-house email systems.

This eliminates all the unwanted non-school related or non-business related ads and other spam that would fill up their inboxes. You – as an unknown email sender – have a good chance of falling into that category. A good email program will let you know what addresses you are sending to are either blocked or rejected as undeliverable, but otherwise you have no idea.

You could be waiting for a response that may never come because your important email was weeded out by a spam filter. You haven’t been added to booker’s accepted (not blocked) contacts list.

* Also from experience, many comedians and speakers still rely on postcards to stay in touch. I don’t consider myself to be a talent booker anymore (very rare when I do), but I still receive postcards from performers looking for work. It’s a way to stay in touch without being a pain in the you-know-what.

So I’ll repeat because it’s very important. Send the talent booker a postcard with a brief note saying it was good talking with him/her and the date you will be calling again.

In reality, you probably won’t get the booker on the phone. In that case, always leave a short message that you were following up on your promotional material. If you’re making the effort to call, you might as well get something out of it, even if it’s just for the booker to hear your name. In your voice message say you’ll call again in about two weeks, then hang up and send a postcard.

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Repeat the process until you get an answer.

This might take some time (remember you’re playing The Talent Booking Game) but it will keep your name and face (postcard headshot/photo) passing in front of the booker on a regular basis without being an annoying pain in the butt. That’s the most important part of this game plan. You don’t want to be in their face every day (annoying). You just want to drop a reminder on a regular basis.

You want personal experience to back this up? Okay…

When I was talent coordinator for A&E’s An Evening at the Improv I’d receive literally hundreds of promotional packages with videos (this was before online promo really took off… and suddenly I’m feeling old…). These packages would pile up on my desk and I’d plan out “sittings” where I’d watch about 30 at a time.

No lie.

Television Appearances!

The comedians who played the above game were not a pain in the butt. They also were not forgotten or lost in the pile of videos. I would get these regular reminders and eventually dig through the pile to find their promo material. I was tired of being embarrassed when they’d call a couple of weeks later and I still hadn’t seen their video. It made me feel like I wasn’t doing my job, even though it seemed I never stopped watching videos. I just hadn’t seen theirs.

Now, this by no means guaranteed them a showcase or a spot on the television show. Sometimes it worked out in their favor, but sometimes they just weren’t ready. But at least they had put in the work and had been seen.

I also remember talking about this years ago at a comedy festival with a manager friend out of Los Angeles who has successfully taken his company into the big time by producing television shows and movies. How did he discover new talent? His advice was to be a player. If you weren’t seen in person on a comedy club stage where he scouted talent on a regular basis, you played the game without being annoying.

So as I like to say, this is nothing I’ve made up.

I’ve learned this from personal experience and talking with people that are successful in this crazy business. Play it correctly and eventually you should get at least some type of response. Of course that response could be good, bad or indifferent depending on where you are as a comedian or speaker, but that’s a different game we’ll play some other time.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2019 – North Shore Publishing.

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Contacting talent bookers

November 6, 2018

Hi Dave – Do you have any tips for contacting club bookers? When I was leaving a recent showcase, the bar manager said they would like to have me back. He gave me his card as well as the card for the person who books the room. I emailed the talent booker and she hasn’t responded. Should I call her if I don’t hear from her or should I try emailing again? I don’t want to be annoying, but if performing there again is an opportunity I would really love to do it again. Thanks! – K.

Expecting your call

Hey K. – That’s great news because you have an “in” – the bar manager. As I’ve mentioned in quite a few past FAQ’s and Answers a personal recommendation from someone who either works with or works for a talent booker is like having a Golden Ticket.

It beats the heck out of cold calling or blind emails. Now you just need to make the Golden Ticket work for you.

The best scenario is for the bar manager to take you by the arm and march you into the talent booker’s office and give a personal introduction. This of course would be followed by, “Put her on the schedule – she’s funny!

But in this case you’re working with a (Golden) business card. It’s not a slam dunk, but you’re still in a better position than when you first walked in the club for your showcase.

You’ve already taken the first step by sending an email. But you haven’t heard back. So to make use of a sports reference in honor of… well, sports – this means one thing:

Let the game begin!

Talent bookers for busy clubs are busy people. Their first priority is to book the shows. For showcase clubs in NYC and LA this could mean anywhere from 10 to 15 performers per night. This is also true for club showcase nights in many other cities like Cleveland, San Francisco, Detroit, etc…

But since you’ve already done a showcase, we won’t go that route. Let’s talk about actually getting booked in a club for a paying gig. Now I have your attention – right?

Other than showcases with multiple comedians doing short sets, most clubs (especially outside of NYC and LA) use three acts:

  • Opener / MC
  • Feature / Middle Act
  • Headliner / Closer

Each week the booker schedules the three performance slots. That’s normally 52 weeks a year. They have regulars that can play the club a couple or few times a year, but they need to use a variety so audiences will return and not see the same comics over and over.

When you add it up – that’s 156 performance spots per year just for a 3-act club.

Can we do lunch?

The bookers not only have to deal with the talent needed for those spots, but in most cases with a headliner and in many cases with a feature, they’re also dealing with agents and managers. There are negotiations, contracts, travel arrangements, accommodations, publicity – and the always expected but unknown until it happens at the last minute emergencies. That could include any one of the performers cancelling for any number of reasons including a missed flight, illness, weather (the list could go on and on) and another comic needs to be scheduled immediately.

But that’s only part of it…

The booker is also fielding countless phone calls from comics wanting to return, newer comics wanting to play the club for the first time, and agents and managers who want to schedule their clients. On top of that there are TONS of emails, websites and promo videos to navigate through.

There could be much more than 156 performance spots bookers are dealing with. They could also be scheduling private parties, special events or other clubs. And if the booker is good at his / her job, they have to deal with it all.

I won’t even get into the job duties that might include attending meetings, “doing lunch”, or watching shows to see how the performers they’ve already booked are doing. My point is – from personal experience – there’s a lot going on behind the scenes that most performers don’t realize. Talent bookers can be very busy people.

But one thing that should be a positive for you as a newer comedian is that bookers are always looking for new talent. If not – they’re not very good at what they do. Your goal is to be one of their new talents.

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Fall 2018 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Showcase at The Improv is Wednesday, December 5 at 7:30pm

Workshop Marquee 150

For information about upcoming workshops visit…

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The key – as you’ve already mentioned – is not to be annoying.

I remember talking with comedians who were so frustrated because a certain talent booker never got back with them that they decided to call every day. Their thought process was that the booker would eventually have to deal with them.

I’ve got news for you. Talent bookers don’t have to deal with them or anyone they don’t want to. Imagine someone calling you every day for a job. It’s called being annoying – a pain in the butt – and why so many bookers screen their calls or hire assistants as gatekeepers.

That method won’t work. That’s why you have to play the game. You need to stay in touch and let them know you exist, but you can’t be annoying.

There’s a game plan for that and I know it can work because it worked on me when I was booking comedians in Los Angeles (where I learned this “game”).

You’ve made the first phone call. I’m assuming you either reached the booker’s voice mail or assistant.

  • Always leave a message with your name and phone number.

That bit of advice has been – and still is – debated by comedians and speakers I’ve worked with. Some only want to talk with “a real live person” and won’t leave a message. But many others (like me) think that’s a wasted effort and phone call. The idea is to start building name recognition. You can’t do that by just hanging up.

  • Make it short and professional – get to the point:

Hi. This is (your name) and I showcased at (club name). The bar manager (name) gave me your card and suggested I contact you about a possible booking. I’m calling to find the best way to schedule an audition or send a link to my website video. You can reach me at (your phone number) and my website is (website). Thanks for your time and I look forward to hearing from you.

  • Then hang up.

Okay, put it into your own words. But that’s not a bad script. It succeeded in getting your name and contact info to the person you want to work for.

  • But don’t just wait. Take action – send a postcard.

Yeah, I know. Some performers think postcards are outdated. But are those performers working as much as they’d like to? If they are then maybe they have enough contacts with talent bookers already or have an agent or manager doing the dirty work. But I’ll tell’ya what. I’m not even booking clubs anymore and I still get postcards.

  • Postcards have your photo, name and contact info.

Send one after your first call and it can add to your name recognition. Put a personal note on the back – “I hope you received my call, etc…

Wait a couple weeks and call again. You aren’t being annoying – but you also are not disappearing. It continues to put your name in front of the talent booker.

  • Mix it up a little. Instead of following that call with another postcard, wait a week and send an email. Again – be short and to the point. Include a link to your website.

If you still don’t hear back wait a couple weeks and call again. Then repeat the process until you hear back or the talent booker answers the phone.  Either way they will have heard of you (name recognition). Then use your Golden Ticket – or plead your case – for an audition or booking.

  • If this is a local club, go to a show (or two, or three). Say hello to the bar manager again and ask if you can meet the talent booker. If there’s another opportunity to showcase – sign up and get on stage.

Of course there are no guarantees, but it’s a better game plan than being annoying or disappearing just because a busy person doesn’t return your first phone call or email.

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Give it a try. As mentioned, I’m sharing this method because it worked on me.

In fact, a few times I was almost embarrassed because the performers stayed in touch – without being annoying – and I started thinking that they were thinking I wasn’t doing my job very well. So when I realized after some well spread out phone messages, postcards and emails that they might be calling soon, I looked at their videos. When they called it was almost like an “Ah-ha!” moment for me.

YES!” I had watched their video!

Now, whether they got a paid booking, showcase or “no thanks” depended on their performance and experience. But at least they had built up name recognition and were given the opportunity – and that’s what this method is all about.

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.