Archive for the ‘Networking’ Category

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.

—————————————————————————-

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.

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Is local television worth promoting?

June 4, 2018

Hi Dave – I recently passed the audition at a local comedy club. The booker said he probably wouldn’t have anything for me for the first year or two other than a last minute fall-out. I don’t mind because we all come in “at the very bottom of the list.” Then I got a letter from a local television station to help out on camera during an auction. They always ask if I’m doing any shows locally, so I’ve learned to contact another local club to see about getting an MC week or a one night feature spot. That way I get the word out on TV and everybody wins.

This time I emailed the new booker to see if he has anything available right after the TV appearance. I wondered later if something like this (local television) even matters to a booker, or if they may look at it and say, “That’s not really TV… why are you bothering me?” You’ve been on the other side of this equation – what do you think? – DG

Hey DG – First of all congrats on passing the audition. And second – another congrats on sending in longest question (so far) for FAQs And Answers. You warned me at the beginning of your email you’ll “try to be brief, but that’s never been my strong suit.” You were right… ha!!!

So after editing down your ten pages to the few paragraphs above (okay – I’ll stop with the jokes since it was only five pages) you’ve asked a very good question. You also have the correct game plan.

Make the most of every opportunity.

Is it you?

I think it’s a great you sent the new booker an email with the local TV info. It may work – you never know unless you try. But even if it doesn’t result in an immediate MC week or guest spot, it keeps your name in front of him for a good reason:

It shows you’re out there doing something.

Everybody should know marketing, networking and promoting are important if you want to work in this biz. You don’t want to be a pain in the you-know-what by sending emails to a booker every day or constantly calling. But you also can’t afford to be invisible to the point that they don’t even know who you are. It’s best if you fall somewhere in the middle.

For instance, when you’re on the roster of performers it’s pretty common for the booker to ask you send in your avails at least once a month. Avails are the dates you’re available for work. This is how you stay in touch with someone you’re already working with – without being a pain or the risk of being forgotten (invisible).

Excuse for a postcard

If you’re not on the roster and want to be, an email every few weeks or once a month as a reminder to watch your promo video or schedule a live showcase is not too much or too little. And for anyone that thinks postcards are old school – I still get them from comics and speakers looking for gigs. Sometimes it’s good to mix it up a little during the staying in touch game.

A lot of these messages are just simply, “Hello, how are you? I’m just staying in touch. Keep me in mind for work, etc…

That’s fine – again, you don’t want to be invisible. BUT when you share news about something you’re doing career-wise, it carries a little more weight than just asking about a booker’s health.

If you pass the audition at a great comedy club you want other bookers to know you’re working. Same thing if you win a contest, schedule a big corporate or college show, perform at a benefit – or appear on local television. These are achievements and a good excuse to stay in touch.

You’re marketing, networking and promoting that you’re doing something besides sitting home sending emails and writing postcards.

—————————————————————————-

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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And yes the business puts emphasis on TV because it’s exposure to a potential audience (paying customers). The bigger the show – the bigger the exposure. This is free advertising for wherever you’re playing next. If a comic does a great set on a nationally broadcast late night television show and the host announces where that comic is performing over the next week or two, it’s worth more than any amount of local newspaper ads the club might be paying for promotion.

Television builds an audience

Local television can’t be considered too trivial if it’s broadcast in the same market as the club. Whenever headliners appear at major clubs, part of their job is to promote their shows in that market. Usually it’s written in the contract.

They’re up at 6 am and driven to most of the local morning drive-time radio shows. After that they’re driven to the television studios to appear on local morning and early afternoon talk shows. When they’re finished getting the word out to more potential audience members the comic can catch a nap, have something to eat – and then hit the stage. Hopefully with all the PR work they’ve sold some tickets while they were sleeping and eating.

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If a comic that is MC’ing, featuring or doing a guest set has a chance to drum up some business by appearing on a local TV show, it’s another free advertising opportunity for the club. Whether they take advantage of this is totally up to the booker – and also if he truly feels you’re ready to play the club. Since you’ve already passed the audition and on the club comedian roster, he obviously feels you’re ready. A local TV spot with an opportunity to plug the show is as good an excuse as any to stay in touch. It’ll pull more weight than a simple, “Hello, how are you?” in an email or on a postcard.

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.

Will lack of references hurt?

April 8, 2018

Hi Dave – I just took a look at the registration for an upcoming comedy festival. The form asks for any references. Does it hurt that I don’t have any? Can I put your name down to verify that I’ve at least completed a comedy workshop? Thanks for your thoughts. – L.P.

Here are my references!

Hey L.P. – References can be another word for networking – which is a key buzz word in almost every industry today. If you know the right people who can give you a good referral, it’s almost like having a free pass to be “seen.” But if you haven’t yet built up a list of right people, don’t let it stop you. You still need to put yourself out there (network) and make good contacts (references) along the way.

I subscribe to a lot of email newsletters and check out blogs on a variety of topics. Some are about the entertainment industry and business in general. Others are about training or help in researching different projects like publishing or making presentations. Google Alerts are great for that and for (hint, hint) writing comedy material.

My point is that I use this information to keep up with what’s happening with stuff I’m interested in and the world in general. And the one thing that’s hammered into my head every day is that a lot of people are looking for work. Not just comedians, but people looking for real jobs. And yes, being a working comedian or humorous speaker is a real job. But I’m talking about the real jobs (think 9-5) that real comedians try to avoid like hecklers and hack jokes.

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Comedy Workshop at The Chicago Improv

Begins Saturday – May 5, 2018

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 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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Everybody’s filling out registrations (job applications) and one of the sections will always ask for references.

One of the newsletters I subscribe to covered this topic last week. The question was from someone looking for a real job (9-5), but the advice also makes sense for comedians like you that might be registering for comedy festivals or looking to contact talent bookers, (avoiding a real job).

So I’ll pass it along here.

Here’s everyone and more!

You never mentioned making-up references, so I’ll commend your honesty and assume it never crossed your mind. That’s good. If you start putting down references you don’t have, sooner or later it will come back to haunt you. The comedy biz is actually a smaller world than you might think and there’s a good chance of having a lesser degree of separation between you and Jimmy Fallon than the more famous Six Degrees of Separation between you and actor Kevin Bacon.

If you don’t know the game I’m referring to, Google it.

If you start dropping names in a small world, sooner or later that “name” is going to find out and deny any knowledge of your existence. You might also run into a booker who is good friends with the “name” and can back you into a tight corner.

Either way, your reputation will take a hit as word spreads through the (smaller than you might think) comedy world.

Also never claim experience you don’t have.

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Your sister’s best friend might be a good friend with someone working at The Tonight Show who mentioned you once to Jimmy Fallon. Drop his name on your reference list and bookers will expect a set that Fallon would be proud to endorse. But if you’re barely out of the open-mic scene… Well, word will get out and when it comes to talent bookers with long memories, all you’ve achieved is locking in your career at the open-mic level until you get a real job of the 9-5 variety.

The best advice is “honesty is the best policy.”

A REALLY old saying!

There’s a reason why that’s an old saying – because it’s true. If you’re new in the comedy business, a good talent booker will see that watching your set. Experience is obvious. BUT there’s nothing to be ashamed of – everyone has to start somewhere. If you have potential, a good talent booker will recognize that also. You may not be ready for prime time, but you could make a good impression and be remembered in the future.

And as you grow as a comedian, that too will be evident and respected.

So to repeat myself, if you don’t have references now, don’t let it stop you. Fill out the registration and put down whatever you have – even if it’s just open-mics, benefit shows or even a comedy workshop. The talent booker might recognize potential from your video (which all festivals and bookers will require if you’re not available for a live showcase) and give you a shot. Believe it or not, a good talent booker enjoys discovering a “new face.”

If it doesn’t happen for you now, you might be remembered the next time you apply. If you show growth and experience in both writing and performing, that will definitely help the recognition factor. And by that time you might also have a few references from the right people, which can only be earned by putting yourself out there, doing great sets and networking.

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, 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.

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!

*

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.

The silent treatment from talent bookers

March 11, 2018

Hi Dave – I’m a new comic – elderly- but enjoying it a lot. Last year I entered a competition and I got into the semi finals. It was quite exciting. This year they are having it again and I thought it would be fun to enter again to keep up the momentum and get back in shape. I have responded to the organizer over 3 times and did not get an answer. I now see they have posted the lineup and I am not to be found. I sent him another note and still no response. What do I do in a situation like this? Is it because he doesn’t like me or something? Or that I was too old? I think it’s terrible that I don’t get an answer. What would you do, or better yet, what should I do? Thanks for your help. – D.

Silent treatment

Hey D. – Okay, I’ll plan to hear from some of my talent booker friends (and maybe some non-friends) about this, but what the heck. I’ll go with my thoughts and let the chips fall where they may. And by the way, “chips” is a more polite word than I was tempted to use…

To simply state it, I think this person is unprofessional and rude.

When I hear about comedians and humorous speakers that have worked with an “organizer” in the past and are not receiving any kind of response at all is wrong. Of course this treatment will send all kinds of questions and doubts through a performer’s mind. In your case you reached the semi finals in one of his past contests, so he has to know who you are. But his silence is causing you to think he doesn’t like you or maybe you’re too old.

I’ve seen comics completely stress themselves out because they’ve worked hard at what they do and have followed submission policies, rules or whatever you want to call it from “organizers” to make contact. And for their efforts they receive nothing but silence in return.

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Now, I’m assuming that when you use the term “organizer” you’re probably talking about a smaller local event or festival. Like newer comedians this person could be bound for bigger things, or this might be the height of his career booking talent. If he continues in this crazy biz, let’s hope he learns to be more “professional” in dealing with performers.

For instance…

Busy Treatment

It’s important you understand many of the BIG talent agencies and BIG club bookers are very busy. I know because I’ve done it. They can’t possibly answer or reply to every unsolicited phone call or email. There aren’t enough hours in the workday – seriously.

When I worked with A&E’s An Evening At The Improv we received a constant flow of comedian submissions. I watched them all – that was part of the job – but couldn’t possibly call everyone. But I kept notes while watching and could at least give a response to the comics when they contacted me. It may not have always been what they wanted to hear, but it wasn’t fair to just brush them off with a silent treatment.

And you know what? I still maintain that a lot of the bookers and agents I knew at that time in NYC and LA did the same. Even the ones that were HUGE had assistants that would deliver the good or bad news about bookings. In fact, I’m sure that’s how I learned the policy because I considered them to be professionals and that’s what they did.

If a performer has done the work, they deserve some kind of response.

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Starts Saturday – March 24, 2018

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Also meets Saturdays – April 7 & 14 (skips Easter Weekend)

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*And let me say one important thing here. Almost all the business today is done online. A lot of bookers and agencies don’t even have phone numbers on their websites. It can all be done through email and links to websites and videos. Many of the larger agencies even have submission forms to fill out online – without revealing their email address. Yes, it can be very frustrating for comedians and speakers that want to make immediate contact, but these forms are also programmed to send an automated response that the agency has received your submission and will contact you if they’re interested.

At least it’s a response. In my book, that’s a lot better than silence.

I know an extremely busy and important talent booker in the Midwest who can’t possibly answer every call and email he gets from comics that want to work for him. He doesn’t have a submission form on a website, but there’s information on what he needs to consider a comic for possible bookings. After he receives the submission and if the comic is not ready to work in his clubs, they receive a pre-written (form letter) email giving them the bad news. Again – at least it’s a response.

If he decides to work with a new comedian – and even for those that have worked for him in the past – he’ll ask them to stay in touch once a month by emailing their avails (the dates you’re available for bookings). Again, he can’t possibly send everyone an individual email because he works with too many comics. But he’s professional enough to have an auto response email sent to each comic he has worked with or might work with saying he’s received their avails and will contact them if anything is available.

And on top of all that he has set times each week when he’ll accept phone calls. It’s on the website. If you call during “off hours” and don’t get a response, well that’s your fault. Read the instructions and follow them.

Again this is all better than silence. I’ve talked with quite a few comedians that work for him and they’re very happy with this method. In fact, I’ll even say some are “relieved” they hear something. They like knowing their emails are not being sent out into some cyberspace black hole never to be seen or acknowledged by someone they hope to consider a future business partner.

Silent Treatment Duo!

Which brings us back to the “organizer” that has not answered (according to D’s message, which by the way I’m responding to – ha!) four emails… Well, I don’t consider that to be very professional on his part. Mainly because unlike the example I used above about agents and bookers receiving too many unsolicited submissions, this person has worked with D in the past.

As always, there could be other factors involved. As I’ve advised in these articles and the sections in my books about marketing, you never want to be a pain in the you-know-what. I’ll assume you’ve read those and know what I mean.

But even if the organizer (booker, agent, etc.) doesn’t like you or doesn’t want to work with you – and you’ve already had some type of working relationship in the past – you deserve an answer.

I also consider it to be the job requirement. Good will, reputation, contacts and networking count for a lot in this biz. Someday when you become a headliner and the “organizer” wants to book you, you’ll remember the silent treatment. Your fee might be a little higher for this guy than someone else. And don’t laugh. I’ve seen it happen.

One last word.

To make it in this crazy business you have to develop a thick skin. You’ll probably hear “no” a lot more than you’ll hear “yes” – especially when starting out. And there will be times you’ll just hear the sounds of silence (and I don’t mean by Simon and Garfunkle). Yes, I think in many cases it can be considered unprofessional and rude, but the bad news is that sometimes it’s just a part of the business.

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, 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.

Personal request from headliner to open shows

January 15, 2018

Hey Dave – After a recent showcase the headliner came up to me and asked if I’d be willing to open for him on his upcoming shows. What’s the best way to approach being a featured comic or host at this (major) club? I have the manager’s email and a video of the showcase set as a sample of what I can do. I also have a website with my headshot and resume and can burn the video on DVD and post on YouTube. Sincerely – L.S.

You’ve got this!

Hey L.S. – That’s great news! As I say in way too many articles, that’s your Golden Ticket. A personal recommendation from a headlining comic is ALWAYS better than trying to do it all on your own through blind mailings and emails, or hanging out at the club (topics we’ve talked about in past newsletters).

Of course I’d never discourage comics or humorous speakers from promoting themselves with good business methods (website, video, postcards, etc.). But when you have someone that actually works in the club as a headliner putting in the good word for you, it’s always easier to at least be seen (given a showcase).

And if you already have a track record – meaning decent performing credits – you might just end up with a paid booking. I’ve seen that happen a lot, meaning a good headliner will have his own opening and feature acts on the road with him. Clubs book the “package” – which makes the talent booker’s life a bit easier.

My advice is to stay in touch with the headliner about this. Ask him exactly what he has in mind. For instance, would it just be for his upcoming shows at this (major) club? Does he want you to go on the road and open for a string of clubs for x-number of weeks?

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Upcoming 2018 Chicago & Cleveland workshop dates TBA

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By the way, you should be able to find out what he has on the schedule by checking out his website. Most comics keep their online calendars updated not only for talent bookers, but also their fans. I always talk a lot about promoting and there are more than a few (smart!) comics who buy advertisements on Facebook and LinkedIn (there’s more about that technique in the updated version of How To Be A Working Comic) aimed at the cities / areas they’re playing a week or two in advance. Clubs love it when comics help to promote their own shows. And since (smart!) comics also attach their websites to these ads to help build audience interest through their videos and credits, you can check out their touring schedule.

Making the call!

Preferably you’ll want the headliner to personally contact the club booker or manager requesting you open his shows. He can tell them to expect your call or email, or just call you back to say it’s a done deal and fill you in on the details. Either way, he has to be the one to do this.

The headliner (or his agent) needs to personally mention this to the club booker. That’s what will cut through all the red tape. All it takes is one phone call from the comedian or his agent.

That’s important because otherwise the booker might not believe you if you’re the only one calling to set this up. And I don’t mean to single out just YOU – it’s like that with all comics they don’t know. You’d be surprised how many comics “drop names” but don’t actually have that comic’s recommendation. I’ve had that happen to me in the past and it never works in the “name dropper’s” favor.

I’m sure there are more than a few club bookers who can relate to that last statement. And I’ve also read some recent online posts from a few comics who’ve tried it – and ended up regretting it.

If for some reason the headliner doesn’t follow through on this or just suggests you make the contact, then go to Plan B. Send an email to the club booker that the headliner talked with you about being the opening act for his upcoming shows. Ask for the “correct way” for you to submit a video and promo. Hopefully the booker will request you send a link to your website and video.

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If you don’t hear back from the club booker wait a couple weeks and send a reminder. The goal is to stay in touch without being a pain in the you-know-what. Know what I mean?

I’ve talked about how to promote and market your career via emails, postcards and phone calls in past FAQs And Answers so no need to repeat it all here. There are also marketing suggestions in How To Be A Working Comic. And yes – that was another blatant book plug.

Did I mention I’m into marketing and promoting? Ha!

But again, if the headliner puts in a personal request for you to open his shows, chances are everything should work in your favor. This is your Golden Ticket – so use it.

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 Clubsprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

Getting an MC gig at an “A-List” comedy club

December 11, 2017

Hey Dave – My goal for 2018 is to host a show at one of the top clubs (like The Improv). I have video that I can submit and if nothing else, it will be good to get some feedback and be told what I have to do to get work there. In saying that, do you know how to go about submitting videos to the clubs and what should accompany it, i.e. bio, pics, etc? If you know who the contacts for the club may be or how to find that info that would be great as well. Thanks for your continued support in the comedy scene and I hope you are well. Talk to you soon – CC

Checking the list

Hey CC – Thanks for the support and well wishes. In answer to both I can say I’m trying my best…

And another thanks for your question since it gives me a chance to combine two recent articles into a (hopefully) working answer. Make sense? Again, I’ll try my best…

Usually with the major clubs, the headliners and most features (middle acts) are booked through a corporate office. They have a talent coordinator who books all the clubs in their chain. Opening acts are mostly local or within driving distance and are booked by the club’s in house manager. The opening acts don’t get flown in or put up in five star hotels, if you know what I mean.

When you’re going for an opening (host / MC) spot at an “A-Room” (pick the top club in your area) it’s about the total package. Yeah, of course you have to be a good comic with experience. But you also have to show that in your submission to even be considered. These bookers are not going to hire someone who’s not ready to play their club. The audiences pay for and expect a professional comedy show. And even though the openers won’t have the television and/or film credits the headliners or some features have, audiences are also not paying big $$’s to watch an amateur night.

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January 2018 Comedy Workshop

At The Cleveland Improv

SOLD OUT!!

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Workshops meet for 3 Saturday afternoons

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Please use the contact form below to receive an email if space opens!

Spring 2018 Chicago workshop dates TBA

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Know what I mean? You should have experience and a list of credits from playing smaller clubs first, before you approach the “big guys.”

I was on a panel at a comedy festival a few years ago with the manager of a major club and an owner of another. One of them – in a very polite way – talked about the smaller clubs being like the minor leagues. He was comparing it to baseball. Get your experience there first to prove you can do it before trying to move up to the major leagues.

Assuming you’ve done that – here’s a game plan for your question.

Last week I talked about doing “face time” (networking) in comedy clubs. Before that the topic was promotional material. Now it’s time to combine…

Make the call

I suggest calling the club and asking the proper way to submit a video for a showcase (audition). The people answering the phones will know – because this is a question they get all the time from comedians. Follow what they say.

Based on the two major clubs in my area, there can be two different scenarios. One is doing face time. For instance, one of the clubs has a bringer showcase once a month. Bringer meaning you have to bring x-amount of paying audiences members to get stage time. I won’t discuss the pros and cons of that now, cuz I’ve also done that in past FAQs And Answers. Let’s just agree it is what it is – and the only way you’ll be seen on stage at this particular club.

Play the game (pay the admission for your friends if you have to) and get on stage. At least you’ll be seen by someone connected with the club. Afterward do some face time and network with whomever is in charge of the show. Ask them what your next step is (you asked about getting feedback so this is your opportunity) or how to be considered as an opening act during one of their regular shows.

Who knows? They might offer you a gig based on your performance (best scenario), say you’re not ready (worst scenario), or ask you to send them a video for more review. That last one’s okay because you’re still in the game. It’s also what you’d have to do for the other club I’m thinking about anyway, so here’s how that’s gonna work…

Again, you might want to consider starting with some face time. Go to a show and keep an eye out for a manager. Another hint – from experience – do this on a “one-show night.” Fridays and Saturdays usually mean multiple shows in the major clubs and everything is more hectic. Go on a Wednesday, Thursday or Sunday and chances are better you’ll get a minute or two with the person in charge.

Then ask. What’s the best way to get a showcase or submit a video? And again from experience – because comics ask all the time – they’ll tell you. Follow what they say.

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If the club doesn’t offer a showcase night ask if they accept submissions via email and get the email address.

I also suggest you have a dedicated website for your comedy submissions. A certain comedy club I’ve worked for won’t even consider booking a comedian – including an opening act – without one. If you’re working off a Facebook page or other social media site, it doesn’t show them you are serious about your career if you haven’t taken that step as a professional. And if you’re not sure what to include on a website, just check out websites by “working” comedians or pick up a copy of my book How To Be A Working Comic.

Stand out from the crowd

Some comics might tell you this is not necessary since all the booker is interested in is your video. But here’s another hint from experience. To stand out from the crowd (and they get a lot of videos) you should make the extra effort. It makes you look more professional and that’s how you want them to see you.

Again – none of these top clubs are interested in hiring an amateur.

If they tell you to submit a video via email, send a link to your website that includes your video. Yeah, you can probably just email a link to your video on YouTube – if that’s really how you want to play this opportunity. But again, it won’t look as professional.

And for some of you, don’t let the idea of having a website throw you off your game. They’re easy and inexpensive. Check out WordPress and some of the others available for this.

Talent bookers will understand (they should) that you’re not a headliner or feature act because you’re asking for an opportunity to be an opening act (MC). They shouldn’t expect all the “bells and whistles” of a big-time headliner website. But since these are “A-Clubs” we’re talking about, they will expect you to be further along in your career than doing open-mics and using a Facebook page as your business site.

If you don’t get a response from your submission, stay in touch without being a pain in the you-know-what. An email or postcard every couple weeks should work.

But again, networking REALLY helps. If you’re part of your area comedy scene you probably know some of the comics who open at these clubs. If you see them at the open-mics or some of the other clubs – and they like your sets (important to know first!) – ask if they can throw in a good word for you with the booker. As I’ve written in the past, a personal recommendation from someone who already works at the club can be your Golden Ticket. That can either get you a showcase or have your video watched a lot faster than anything I just mentioned above.

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Doing face time in comedy clubs for bookings

November 26, 2017

Hey Dave – Isn’t “face-time” (not the kind associated with iPhones) one of the most important parts of getting work hosting in comedy clubs? What I mean is, doesn’t it make a big difference in someone’s chances of being MC for a weekend (or more) when they frequent the club, chat up the staff and tip well, and demonstrate a willingness to do grunt work? I think that is universal. Didn’t you have a story about the guy who showed up outside a club and swept the sidewalk every day until they hired him inside and he then moved up the ranks? – DM

Hey DM – This is not an easy question because there are a lot of buts, maybes and depends that will go into any answer – from anyone. I know from experience there are some comics and club owners who will agree with what I’m going to say, and others who will grab a broom and tell me to get out of the way.

Check me out!

But you know what? This is showbiz, which is an industry full of gimmicks. If you don’t believe me turn on the TV and the highest rated reality shows. You may not want to hang out in real life with bachelors, housewives and Kaitlin Jenner’s ex-family, but you have to admit they know how to bring attention to themselves.

So keeping that in mind, it’s not a bad idea to call attention to yourself by being seen around the clubs you want to play. To break into your local comedy scene you need to have the local talent bookers know who you are and that you’re a comic.

The goal is to score an audition.

I’ve never heard of the guy who swept the sidewalk outside a club everyday and was rewarded with a paid MC (hosting) gig.  It’s not a bad way to call attention to yourself, but if you really do end up with an audition it will only pay off if you have the talent and experience to back it up. Otherwise the only winner will be the club owner with a clean sidewalk.

My first thought is that the time could be better spent getting stage experience somewhere else.

Earn a reputation as a good comic and then do some networking. It’s a lot easier to score a showcase when you have a track record and recommendations from other comics and bookers who’ve seen you on stage. When you have that going for you, there’s no need to bring a broom to the club.

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Comedy Workshop at The Cleveland Improv

Starts January 13, 2018

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

For information, reviews, photos and to register visit…

TheComedyBook.com

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Showbiz has always been about being different and standing out from the crowd. If you have the experience and truly believe you’re ready to play the club and sweeping the sidewalk gets you noticed by the booker, who am I to put it down?

That’s why a lot of new comics are willing to hand out flyers for stage time or line up friends and family for bringer shows. Sometimes you have go the extra mile to get ahead in this crazy biz.

But your real question is about “face time.” That was always (and still is) a major networking opportunity and how a lot of newer comedians got on stage when I worked in New York City and Los Angeles. But I have to emphasize they were already experienced comics and not someone who only thought keeping the sidewalk clean would be their best career move.

When comics were experienced and funny enough to start performing at a club like The Improv they still had to pass the audition. Working the door, bartending, or even sweeping the sidewalk could open the door, but didn’t guarantee future paid gigs.

You had to prove – on stage – you could do it.

Hanging out for a late night set

Even after someone passed the audition, there was no guarantee they’d get regular performing spots. They were on the club roster, which meant they were welcome to come in and “hang out at the bar” as a comic. Now if they wanted to sweep the sidewalk instead of sitting around – yeah, they’ll be noticed over the others. But if they hadn’t passed their audition, then chances are they’d still be sweeping when the show is ending.

But face time does count. For example…

During a week night at The New York Improv we would schedule enough comedians to get us through until around midnight. If there was still an audience at that time (in NYC we could keep the shows going until 4 am as long as we had people in the showroom) then we would look around to see what comics were “hanging out.” They would make up the rest of the show until either the audience left or we hit last call.

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That was doing face time and we already knew they were comedians.

If they wanted to grab a broom and sweep up… well, thanks. But that alone would not have earned a performance slot. Were they on the roster? If not, was there another comic who was a regular performer at the club recommending they be given an audition? That’s the only way they were going to get on stage that night.

Playing broom for club gigs

Now I already know some comics and club owners will disagree and have examples to prove me wrong. I even have a story in one of my books from a favorite club owner who might trade performing spots for work around the club. So I’m not saying it won’t work, I’m just saying…

A great way to kill a show is by putting on someone – anyone – who doesn’t have experience and isn’t funny. That’s why there are open mics and why established comedy clubs have auditions and already know who the comics are. Gimmicks like sweeping the sidewalk might get an audition, but the time could be better spent getting known as a good comedian – even if you have to perform somewhere else to make it happen. If you come in ready to knock everyone out with your talent, then you can get quality face time with the other comics “hanging out” instead of doing grunt work.

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

What would you ask a talent booker, agent or manager?

November 13, 2017

Hola Dave – When meeting a booker, agent or manager for the first time are there any important questions a comedian should ask? If so, should the questions be different between the three? I ask cause I will be attending a comedy festival and it turns out it will be loaded with scouts. Thank you señior – A

What’s the question?

Hey A – That’s a really good question and I want to throw it back to our readers before tossing in my thoughts. If you have suggestions about questions, please use the contact links below or send a comment through this site and I’ll share them in a future newsletter. Thanks!

As I mentioned in a direct reply to A’s email, I’ve mostly been on the other side – as the booker or agent – which means I was the guy who had questions for the comedians (I’ve also worked with speakers, musicians and variety acts). If I couldn’t watch a live showcase in a club, I would review a video and then if still interested, check out the promo – performing credits, letters of recommendation, training, etc…

If the performer looked like a good match for particular bookings – for instance, college shows or corporate events – I’d call or email and schedule a time to talk.

This is pretty standard routine. When industry execs (agents, managers and bookers) are thinking about scheduling or representing a comedian for the first time they’ll want to find out who else the comic has worked for and in what types of venues and what position (opener, feature or headliner). If they’re located in the same city a live showcase can be arranged. But when you’re dealing with distance and regional bookings – for instance the agent is based in Chicago, the performer is in Atlanta and the gig is in Dallas – everyone has to rely on video.

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I also know bookers rely on personal recommendations from other comedians and industry people they’ve worked with and trust. I get calls and emails requesting info about comics I might know or have worked with – and do the same. In fact, I sent an email last week to a friend for any info about a comedian I don’t know, but had contacted me for work. So it does happen. It’s a wide-ranging network when you think about it.

But for you as a comic (or humorous speaker) a lot of your questions can be answered by also networking and researching. If you haven’t heard of the agent or booker, do a Google Search. They’re all on the internet with websites – if they’re legit. See what other comics they represent and what they’re doing (credits).

Meeting of the minds

Also network with other working comics and/or speakers. From my experiences, conversations about agents and bookers are pretty common. There are a lot of different opinions and experiences being shared – both good and bad. I always learned a lot about the biz and who’s doing what (good and bad) just by listening to the comics talking around the bar at The Improv.

If I were to suggest any questions, I would ask if there are any specific markets they specialize in. For instance, when I worked in NYC and LA most of the agents I came in contact with worked to get their clients on television and into the good clubs on the road. I know that sounds limited, but they were the two markets I was exposed to as a club booker in those cities.

BUT when I started working in the Midwest, I found agencies I had NEVER even heard of before that were HUGE in the college and corporate markets. I hadn’t encountered them before because my job had me totally focused on the NYC and LA comedy clubs and TV shows.

When I got involved as a college agent (NACA) I talked with the other agents and learned most really had no interest in the NYC and LA comedy scenes. Their bread and butter ($$’s) was booking shows for colleges throughout the country. It was a full time job and the specific market they chose to work in.

So if you wanted to be on television, you would need an agent that focused on that market. If you wanted to do colleges, you’d want a good college agent.

Make sense?

So if you have an opportunity to ask an agent, manager or talent booker any questions, I would suggest learning what markets they work in the most. The big ones can usually do it all. The smaller ones have to focus on where the $$’s are for them.

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One bit of advice for a first getting to know you meeting is not to ask about percentages and other contractual details – unless they bring it up first. They will if they’re interested in working with you. Then you can accept, decline or negotiate. But that’s not something you’ll have to deal with at a meet and greet session.

Otherwise, I can’t think of anything specific. The usual deal with meeting these industry people is that they’ll be asking the questions. So just answer honestly and promote yourself without being too aggressive (a pain in the butt – know what I mean?).

However if there is an opportunity to really ask questions, base them on who you are and your career goals.

For instance, since I’ve worked with the comedian who supplied today’s question and realize “Hola” is not in my English Language word finder, he should be interested in knowing if they book any shows or work with other comedians, production companies, etc… in the Latino market. You know as well as I do how HUGE that is. If he was to go with an agent or manager, he MUST (and this is my professional opinion) go with someone who can break him into that specific market as well as English speaking gigs.

And now it’s time for one of my stories…

Al and Rocky… uh, Steven

One of my best pals in NYC studied acting at The University of Miami. One of his classmates (and one of his best friends) is an actor named Rocky Echevarria, who is Cuban and bilingual. Right after graduating Rocky had a decent career working in Spanish speaking television shows, but his agent knew he was talented enough to also work in the English speaking market and put his focus in that direction. He changed his name to Steven Bauer and scored the part of Manny in the classic film Scarface with Al Pacino and earned an Academy Award nomination.

I’m not saying he couldn’t have done it with a different agent. But if had gone with an agent that only focused on the Latino market and Spanish speaking roles, my best pal (the guy at the beginning of this long story) might have had a better chance of being cast as Manny than Rocky (Steven) did. You never know.

The point is if you have an opportunity to really talk and ask questions with industry execs, find out specifically what they can offer you at this stage in your career and in the future. It could be a good fit – or it may not. But you’ll never know if you don’t ask.

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 and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

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