Archive for the ‘New York’ Category

Breaking down gatekeeper blockades

June 16, 2017

Hi Dave – No, I’m not a comic. However, I’m a WGA screenwriter with a total focus on comedy screenplays. Can you tell me how to contact comedians’ agents without running into blockades? I mean the blockades typically set up by the gatekeepers of those agents. Best – HK

“Someone will get back with you. Yeah… right…”

Hey HK – The bigger the comedian (think celebrity) the bigger the agency blockade will be. When you make a call without prior personal contact or a great reference, plan some extra time for holding, transfers and a final request to leave a voice message and “Someone will get back with you.”

Does anyone really know who that “someone” is? I doubt it because they rarely call back without the prior contact or reference. And unless you left a voice message with a great pitch (offer) that includes the opportunity for a lot of potential $$$’s (yeah, I’m jaded) you’ll spend a long time sitting by the phone waiting for that return call.

HK and I traded a couple emails and I remembered a past FAQ And Answer article about dealing with gatekeepers (the person who answers phone calls and forms a human blockade to keep you from speaking directly to an agent or celebrity). Except the suggestions in that article are different from the answers you’re looking for since it concerned comedians getting past gatekeepers to book paying gigs.

This week’s question is about contacting comedians and agents that would be interested in a screenplay.

But the theory is the same. You have to be SEEN and involved in the SCENE.

I know through experience from working at the LA and NYC Improv clubs (talent coordinator) that a lot of valuable entertainment industry contacts are made by networking. It’s being part of the scene. Not only did I get to work with many great comedians, but I also met a lot of agents, managers, producers and writers just by being in the clubs during shows. They’d come in to watch the comics, and then socialize (network) in the restaurant or bar areas after the show. Sometimes they were there because the comedians they already represent were performing, or they were looking for new talent.

On the lookout

And believe me a good agent or manager is always on the lookout for new talent. Some of them may claim to have a full roster and not accepting new clients, but if a performer simply blows them away and the agent or manager sees a good career opportunity for both of them, it’s their job to pursue it. That’s good business sense.

Now, to get back to today’s specific question…

I’ve also seen this with producers and writers looking to interest comedians and agents in a particular project. For instance, when I worked in LA I remember getting a LOT of calls from television and film people looking for comics that fit a specific “type.” The casting call could be for male or female, tall or small, fat or thin, black or white – or for whatever the TV or film part called for. They wanted to know if any comedians fitting the desired “type” would be on the show that night or if we could put together a live showcase (audition) during a future show.

That’s why you can sometimes go to a comedy club in LA or NYC and see a number of comedians in a row who are similar in type and only do a few minutes (3-5 minutes is norm) of material. They’re showcasing (auditioning) for someone in the audience.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – July 22, 2017

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Meets 3 Saturdays from noon to 4 pm

Includes a performance at The Cleveland Improv

Wednesday – August 16 at 7:30 pm

Space limited to 10 people

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After the showcase you can usually find everyone – comics and business execs – networking in club’s restaurant or bar. Business cards are exchanged and meetings are scheduled for agents and comedians who are right for the project.

The ones selected for these meetings and potential projects should have no problem getting past any gatekeepers. They’ve made a personal contact.

My point is that the comedians were SEEN because they’ve worked hard at becoming part of the SCENE. They were known by the club bookers as someone who fits what the writer, producer or casting person is looking for. That’s why the comics were called in for the showcase. It’s rare (in fact I’ve never seen it happen) that a booker will call in a comedian he’s never seen perform and knows nothing about for an important industry showcase.

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It’s the same when you’re looking to hire talent or get them interested in a project such as a screenplay. Quit a few newcomers (amateurs) with stars in their eyes will jump at a chance to “be in a movie!” But the comedians who’ve been around for a while will not be so naïve. They understand it’s a business (at least they should). They might listen to a pitch if it’s from a reliable or known source (friends in the biz are always throwing ideas at each other) but if they’re really interested and have decent credits, they’ll probably have an agent you’ll end up pitching to before any deals are made.

Hang up and make the scene!

So basically in your case, I’d forget about battling the gatekeepers by cold calling and scope out the comedians in person who you think would right for your screenplay. Become a part of the SCENE by going to the clubs and checking out their live performances. You might even discover a comic you’ve never heard of and further discover he’d be perfect for your film. Don’t be too aggressive (as a talent booker, that’s what turned me off the most). But take an opportunity to network after the show. Be professional and don’t come off like a stalker (you know what I mean) when you tell the comic about your project.

If the comedian is interested he can get you past any agency gatekeeper with one phone call requesting his agent talk with you. If you meet the agent and he thinks the project is right for his comedian client, he’ll have his gatekeeper set up a meeting.

Sound too simple? It’s really not and I shouldn’t make it sound that way because there are a LOT of people in the entertainment industry who practice the art of schmoozing. I assume that’s where the phrase, “Let’s do lunch,” was developed. But remember one thing:

No one would be doing it if it didn’t work.

If you’re already a known name with a big number ($$$’s) gatekeepers are no problem – you’ll get through. For everyone else (assuming talent and experience are already a “given”) it’s all about networking and contacts. Be part of the SCENE and there’s always a chance you’ll not only be SEEN but also HEARD.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Best revenge – laughs and bookings

May 8, 2017

Hi Dave – I had a great set last night and one of the other comedians that went on after me tore into me. It got real personal and it really hurt. The people running the show asked me if I wanted to go back on to get revenge, but I did not. Did I handle it the right way? – N.R.

A BIG mouth!

Hey N.R. – Sounds like the first shot has been fired in a comedy war. But whether or not you want to get down into the comedy trenches (common comedy term – not mine) with this big mouth depends on a couple factors.

  • Your personality on stage – your comic voice
  • How you want to be seen on and off stage in this biz

Maybe I’m naive, but with 25+ years of experience working with comedians, I’ve found this biz to be very supportive. Sure there are some real pain-in-the-butt jerks, but I don’t know of any career path that’s immune from that syndrome.

Usually it’s based on jealousy and/or a power trip ego. And the funny part of it – and again, I’m talking from experience – I’ve found the more powerful someone is in the biz, the more supportive they are of new talent. This includes comedians, talent bookers and other behind the scenes people.

Hmmm…. I feel a sense of disbelief running through some minds with that last statement. I think my experiences on this topic would make an interesting and opinionated future FAQ and Answer. I’ll wrap my mind around it for awhile, but in the meantime…

What you have to decide is who you are on stage and how you want to be seen by others – your co-workers (other comedians) and the people who can hire you – in this biz.

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Comedy Workshop at The Chicago Improv

Starts Saturday – June 3, 2017

Workshop Marquee 150

Includes an evening performance at The Chicago Improv

Thursday – June 29th at 8 pm

For details, reviews, photos and to register visit…

TheComedyBook.com

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Comedians who are good friends can tear each up on stage. No problem. It’s like a sport and can be very funny. We used to do that at the NYC Improv – to the extent of taking a microphone into the men’s room and holding it over a flushing toilet when a friend’s joke bombed.

It was hysterical and the comic on stage could rip into us for the rest of his set. Not a problem – we loved it.

But when it’s mean – as it seems to be in your case – there’s no point in it. This comic’s attack on you is either based on jealousy or a power trip – or both.

“That was a cheap shot!”

This big mouth is trying to make himself look better at your expense. You can handle it two ways – and this is based on what decisions you made when I asked earlier.

If you are the type of comedian that can rip this guy apart verbally – then go for it. I can’t imagine another comedian taking a cheap shot at someone like Bobby Slayton (The Pit Bull of Comedy) and walking away with his or her ego still intact. Slayton would verbally slaughter him.

The same holds true for Lisa Lampanelli, Dave Attell, Chris Rock… you get the picture, right? These comics can hurl verbal hand grenades at anyone who dares mouth off at them first. I’ve seen them all in action and believe me, you don’t want to be on the wrong side of the insults.

Are you similar? If so – next time go for the throat.

But if that’s not who you are on stage (or in real life) and you’re not up for verbal comedic warfare, then you did the right thing. Let this blowhard blow his own horn and reputation with other comedians and bookers.

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Comics are not going to want to work with someone that has a reputation for taking cheap shots. And bookers want to deal with the least amount of problems as possible. Again from experience as a booker, I’ve known non-headline comedians (important factor because a headliner that brings in paying customers can pretty much do what he or she wants) that are very funny, but a pain to work with.

So guess what? We don’t work with them when it’s at all possible.

Just be funny!

Who needs the extra aggravation when the job itself can be aggravating sometimes? Like with any job, you go for the least resistance. And if someone else is just as funny and easier to work with – that’s who gets the gig.

The bottom line is that in an ideal world, all you should be concerned about is becoming a better comedian. If someone with the same career goal doesn’t like you, then you must be doing something right.

Want revenge? The best way to get back at this person is to get more laughs, which will lead to more bookings.

So use this as an incentive to focus:

If your hard work and dedication pay off, maybe someday this loud mouth will be parking cars at a comedy club and ripping into his new co-workers while you’re inside headlining. Make it happen.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Singin’ the (comedy) blues

April 24, 2017

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

Taking your emotions for a ride!

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

It’s not easy.

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

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

You got the blues?

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

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

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

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

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

It comes with the creative territory.

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Comedy Workshop at The Chicago Improv

Starts Saturday – June 3, 2017

Workshop Marquee 150

Includes an evening performance at The Chicago Improv

Thursday – June 29th at 8 pm

For details, reviews, photos and to register visit…

TheComedyBook.com

*

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

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

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

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

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

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

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

Will sing for laughs.

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

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

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

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

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

Finally, here’s another creative thought…

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Publishing a book – NYC agent or do-it-yourself?

April 9, 2017

Hi Dave – Which way do you lean when it comes to publishing a book? Should I get a NYC agent to find a publisher, or self-publish? My blog is essentially a manuscript in progress, which has already been reviewed and rejected by several agents, (via agentquery.com). One actually snail-mailed me an upbeat, albeit, mixed personalized response saying it’s great material but not his style – yet worth publishing. As George Carlin once said: “A definite no yeah.” Thanks for your time! – C.B.

The process begins…

Hey C.B. – Where do I lean when it comes to publishing a book? If you had asked me that question when my first book came out (NYC publisher) you would’ve gotten an ear full of advice NOT to self-publish. But today I’m not leaning one way or the other. I’ve done both and that puts me right in the middle.

  • There are advantages and disadvantages, but there’s no reason why you can’t do both.

This is a topic that comes up lot with both speakers and comedians. These are creative people and one common talent needed to be successful in either or both careers is writing. And one thing I’ll say right now is that I’m sure a lot of us believe in the old saying:

  • Everyone feels they have at least one book in him / her.

It’s one thing to get it written and another getting it published and read (make money from it). The entire process is… well, a book in itself. So right now I’ll just direct my answer to your question:

A NYC agent or self-publish?

First of all let’s clarify. A NYC agent doesn’t guarantee anything. You could have a literary agent in Los Angeles, London, Tokyo or anywhere else. It really doesn’t matter because almost everything they do today is online – just like this newsletter. There are also book fairs that agents attend where scheduled personal schmoozing with publishers from around the world takes place so location is not important.

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Chicago & Cleveland Dates TBA

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And if anyone thinks I’m wrong about that, here’s something to ponder…

My literary agent is based in Atlanta and she scored two book deals for me with NYC publishers. Before that, I lived in Manhattan for 13 years and ran the most famous comedy club in the universe. I had contacts in television, films and nightclubs – but not publishing. As an unpublished wannabe author I would’ve never gotten past the gatekeepers (receptionists) in either publishing house.

But my agent, who is hundreds of miles away, put together the submissions; made the calls (schmoozed) to publishers she’s connected with in the biz (networking), and got the NYC deals.

But to start this process as a first-time author you need to have the product, which is a written book. If you already have a track record or reputation as a published writer or celebrity, an agent could work with you off an idea or outline.

I hope Kim likes this…

Put it this way. If Kim Kardashian picked up a phone and called her agent with a lame book idea, she’d have a publishing deal.

You or me?

We’d better be prepared to submit a completed manuscript if requested. After that, how successful a literary agent is does not matter where he or she is located or whether you truly deserve a book deal or not. It depends mostly on his or her contacts – the ability they have to get your creative work into the right hands.

It’s who they know.

In my view, having a literary agent score you a deal with a real publishing company is a lot more desirable than self-publishing. It’s not easy and some will say it’s pretty much impossible anymore for an unknown. But it can happen (I’m proof). And it’s great for the ego knowing real professionals running real publishing companies believe in your work enough to invest real time and money.

There is also still a stigma about self-publishing. Sorry if I bruised a few egos with that statement, but it’s true. Ask an author, “Who published your book?” They’ll sound a lot more confident and legit when they name a known publishing house rather than answering, “I did…

But now to deviate from the topic for the speakers and comedians these articles are written for…

Who cares about who your publisher is when having a book can increase your income?

To make a living from being a comedian or speaker you have to start thinking like comedians and speakers who know how to make money. They sell books, DVDs, CDs, T-shirts and anything else that’s not nailed down in their dressing room after their shows.

It’s called BOR (Back of the Room) sales and there’s a lot of money to be made from it. And for the self-publisher THAT’s how you make it really worthwhile.

Sign and return!

Having a real publisher release and distribute your book is prestigious and very cool. Plus they’ll pay you – up front. A good publisher will forward the author a $$ advance to finish the book. This comes out of future royalties, but it’s money in your pocket NOW.

Self-publishing will set you back $$’s to see your book in print. I’ve seen the costs actually go down the past few years and I’m a big fan of CreateSpace on Amazon.com. But you’ll still need to make an investment to have printed books available for BOR sales.

It’s like stocking a retail store. You buy the merchandise from a distributor and sell it.

And yeah, I’m quite aware of the low cost eBook market. All my books are also available in that format. But you can’t sell autographed eBooks in the BOR following speaking or comedy gigs. You can only hope your audience will still be excited enough about your book to go online later and buy it at a fraction of the price they would pay for a printed book.

If you’re already a working speaker or comedian, BOR products usually sell after a good performance. The audience either wants more information or a souvenir. A book about your topic – with your signature – gives them both.

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So here’s today’s answer:

Yes – of course you want someone else to publish your book and working with a NYC agent can help big-time. But that process can take years and no guarantee it’s going to happen. In fact, it relates well with another old showbiz saying – most aspiring authors are going to hear “no” more than “yes.”

Can your ego stand it?

Self-publishing is immediate. It’s possible to open a box of books in the morning, have an afternoon speaking or comedy gig in the evening – and spend your night counting $$’s from BOR sales. So even if you’re holding out for a real publishing deal, you should still explore self-publishing options.

But you have to consider the $$ investment to self-publish.

If you think you’ll shop around for a way too cheap it’s too good to be true printing company, remember one thing. You get what you pay for in the publishing biz. Show up with a cheap looking book and your loving audience (potential buyers) will smile, shake your hand, tell you how great you are – and move on to the next speaker or comedian to buy their souvenir.

Either way – published or self-published – if you have a book in you, you need to get it out. I’ll recommend going for a literary agent regardless of where they’re located to find a publisher who normally wouldn’t consider a book submission unless it came from an agent.

How do you do that?

The same way you find event planners and talent bookers. Go online and look around. Start by doing a Google search for Literary Agents – that will keep you busy for a while. Once you find them, research their guidelines for book submissions. The correct how-to info is always on the agency website.

But at the same time – and this is only if you’re already a working speaker or comedian – consider making an investment in printing costs and start making $$’s with BOR sales.

Key phrase from above statement: already a working speaker or comedian.

Author’s basement!

If you’re not getting out in front of an audience to promote your book, you’ll be competing with thousands of other unknown authors to get sales.

Yeah, I know there are success stories from authors only promoting online. But I also know horror stories of self-published authors with stacks of books sitting in their basements because no one ever knew about them and no book stores would order or sell them without a legit publisher and distributor.

Personal appearances can result in BOR sales.

That’s why every movie star on the planet hits the television talk show circuit when their new movie is coming out. It’s called promotions and marketing. If you put in the work to write a book and get published or self-published, you need to make potential customers know about it. And in the creative businesses of speaking and comedy, your best customers are your audiences after a great show.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

The comedy police

February 27, 2017

Hey Dave – I was at an open-mic last week. A comic went on stage and “called out” another comic who had gone on before him for stealing jokes. He did this from the stage. But afterwards he couldn’t prove it and no one else could remember hearing the jokes anywhere else before. We think he was wrong and he handled it wrong. Any thoughts? – D

Hey D – I always have thoughts. And when they’re thoughts about comics or speakers stealing material, they’re never good thoughts.

Keystone Cops

There oughta be a law!

What a jerk.

Wait… let me rethink. We might have two jerks here. Allow me to think out loud – or at least in LOUD writing.

JERK #1:

This honor goes to the comic who “called out” the other one from the stage. First of all, as he admitted later, he had no proof for doing this. Maybe he thought it was funny to be on the edge – which can sometimes be very funny. But in the situation you described, it’s not funny when it’s at the expense of someone who is also using an open-mic to become a better comic (the purpose of doing these).

Of course this is assuming the first comic actually didn’t steal any material.

The comic who accused the other should’ve talked with him off stage and not dissed him in front of an audience. A little courtesy is due, unless that comic is known for stealing material. In that case I’d say go ahead and trash him. I’m sure most comics will agree.

But without proof and only working off a hunch, the more professional way is to take that person aside and talk with him – privately – about it. This is a topic in my book Comedy FAQs And Answers with Bill Engvall answering the question.

Bill talked about the comedy police.

"Hey, I've heard that joke!"

“Hey, I’ve heard that joke!”

Basically, when you think a comic is stealing material, mention it to him/her – off stage. In other words, honest comics will police each other. They’ll warn each other if another comic is doing the same joke or bit. But if the warned comic continues with it – then there could be repercussions.

I’ll give you an example of that in a moment, but in the meantime…

The comic may not even realize he/she is doing it and has actually written a joke too similar to a joke someone else is doing.

I’ve seen it happen…

Two comedians – one in NYC and the other in LA – wrote the same joke. They didn’t know each other and as far as I know from talking with both, had never even played the same clubs. But the one in LA was booked for an appearance on the television show A&E’s An Evening at the Improv and did the joke.

I know because I was standing off camera at the time.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 25, 2017

Workshop Marquee 150

Meets 3 Saturdays from noon – 4 pm

Evening performance at The Improv – Wednesday, April 12

Chicago Spring 2017 Dates TBA – Stay Tuned!

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After the taping I mentioned it to the other comic in NYC and he immediately told me he had to stop doing the joke. The comic who did it on television was now the owner because of the audience exposure. He never felt the other comic stole it from him because they weren’t in the same comedy circle. He felt bad because the joke was based on his appearance, but then again it worked that way for the other comic also.

The bottom line was that he understood how the business works. He could never do that joke again without a member of the comedy police calling him out on it.

So it’s possible a comedian might be doing material too similar to someone else and not realizes it. The best way to handle it is without grandstanding in front of an audience. Tell that comic after the show and give proof. If he continues – then everyone can trash him.

Just like the following…

JERK #2:

Navin R. Johnson

“The Jerk” not “a jerk.”

If a comic or speaker is stealing material and is caught, a wise move is for that comic or speaker to NOT do it again and to start writing. Otherwise they risk suffering the consequences.

Here’s what I mean…

There was an open-mic comic in NYC when I was starting out. He was a nice guy and it didn’t hurt his standing with us that he ran a popular open-mic where new comics could get stage time.

He wasn’t any better than any of the other comics just starting out. They were all working on creating material and trying to figure out how to deliver it on stage. Every once in awhile someone would come up with a good joke or bit – which would become a keeper in his or her set.

This guy was also developing his act, but every few weeks he’d travel to Florida where he told us he was a headliner. We knew his family lived there, but he always said he went for work and visiting his family just meant he had a place to stay for free.

But the headliner part of his story never seemed right.

If that was true, the Florida comedy scene must have been really hurting and a smart move would’ve been for all the other new comics to move there for headlining gigs. Of course I’ve learned from first hand experience that’s not true (and yes, that was a positive shout-out to all the comics I met at my Tampa workshops last year!). Other possibilities were that he had friends booking clubs or was delusional. We just couldn’t figure out which.

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Then a real headliner from NYC told us what was going on. He had just played a club in Florida and our “friend” was opening for him. He was doing the best bits he had stolen from the open-mic comics playing his open-mic club.

Say what?!

The reaction was worse than getting “called out” from on stage. Let’s just say no one would play his open-mic anymore (he lost it) and no one that ran an open-mic would give him stage time. Word spread around the NYC comedy scene and eventually I’d heard he had moved back to Florida to pursue his floundering comedy career. Actually I heard he was parking cars, but I have no proof to call him out on that.

But I do have this proof…

A few years later I was the talent coordinator for the TV show A&E’s An Evening at the Improv in LA. He called – out of the blue – and tried to play the friend card with me for an audition. To make a short story even shorter – he didn’t get the audition.

Stooges Police

We don’t need no stinkin’ badges!

Chalk another one up for the comedy police.

So I guess to answer your question, yeah – I think it was wrong for the guy (jerk #1) to call the other comic out from on stage. If he really thought there was an issue of stealing, he should’ve have talked with him in private. The other comic may not even have realized it, but if there’s proof he should stop.

If he did steal, a warning from a member of the comedy police should convince him not to do it again.

If you’re already part of your area comedy scene you already know what a small world it really is. If it’s obvious this comic is stealing and continues to do so, the word will get out and it’s doubtful anyone would ever want to work with this jerk. Odds are better he’ll be parking cars somewhere before he ever has a chance to “own” anyone else’s jokes on television.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

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