Archive for the ‘Open mic’ Category

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

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Meets 3 Saturdays from noon – 4 pm

Evening performance at The Improv – Wednesday, April 12

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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

Copyright 2017 – North Shore Publishing.

Corporate comedy open mics

December 4, 2016

Hey Dave – Last week you talked about ‘what is corporate comedy material.’ I would also like to learn about getting into doing comedy and humorous keynotes at corporate events. – E.M.

Hey E.M. – Okay, let’s pick up where we left off. I talked about the type of material comedians need to develop to get hired as entertainers at corporate events. But how and where do you develop an act for this market? Using material rated G and PG (max!) and jokes relating to the business world don’t always go over with the usual crowd at late night, beer-soaked open mics.

Not your audience

But that doesn’t matter because they’re not your audience anyway.

The business owners and event planners that would hire you to speak at a corporate function or conference are the networkers you’ll find at morning, afternoon and evening business or association meetings. Instead of late night bars, put your efforts into finding stage time at morning Rotary breakfasts, Knights of Columbus luncheons, and College Club dinners (to mention just three of many possibilities). Almost every city and town has business and social organizations and need speakers or entertainers.

The usual length of your program would be anywhere from five to twenty minutes between the entrée and desert.

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The idea is to grab these opportunities and use them like open-mics. And like open-mics, don’t expect any pay. The key word to obtaining these spots is “FREE.” Offer to do a FREE five minutes of CLEAN comedy before the meeting’s featured speaker and it’s very unlikely you’ll hear the other key word that is so frequent in the comedy biz: “NO.”

In my personal experiences using this method in putting together a corporate program, my FREE offer was only turned down once. And it happened with a Rotary guy in the Midwest who was about 90 years old and didn’t think his membership would want to hear from anyone unless they were selling insurance, fertilizer or both. When I explained my talk was about humor and creativity, he sounded like he wanted to have me arrested for being anti-American. I simply thanked him for his time, called a different Rotary Club, mentioned FREE and was invited to speak at their next meeting.

As you continue to write and test – successfully – corporate material, move into doing longer sets at these types of meetings. As mentioned above, featured programs usually last about 20 minutes. And again from experience, I’ve found the people who volunteer and are involved in planning can be open to offering a variety of programs.

boring

Can’t have the same program every week!

After all, you can’t have insurance, fertilizer or a combo of both every week.

After doing this a number of times and eating a number of FREE breakfasts, lunches and dinners (they always feed you) I had put together a corporate program. The next step was to network and do some promoting – and then I started getting paid bookings. There’s no way this would’ve happened if I had tried to develop the material doing late night open-mic bars.

So if you’re interested in the corporate market, I just gave you a great way to get the ball rolling. And it was FREE advice. When you can make an audience laugh and keep them interested during an early morning breakfast meeting, you’ve got a good chance to break into the corporate market.

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 2016 – North Shore Publishing.

What is corporate material?

November 20, 2016

Hi Dave – You’ve talked about working in the corporate market as a comedian or humorous speaker. What is considered corporate material and what is not? – B.E.

Hey B.E. – You know what? I’ve never been asked that question in such a general way. Usually it’s more specific, such as a comedian or speaker asking if a certain joke or material they’re planning to perform is appropriate for a corporate show.

Work Clean

Work Clean

But for right now – as a general answer to your general question – my experiences as both a booking agent and corporate speaker is to work clean. I’ve said that many times before, but I wouldn’t continue to say it if it wasn’t true.

Recently I’ve been following a debate on one of the popular social networks over whether or not the F-Bomb will soon be acceptable at corporate functions. If you ask me, the people spreading that opinion are a little more than F-Bombed themselves.

It’s not happening now and it won’t anytime soon.

Oh yeah, as always in showbiz there might be an isolated instance here or there for an edgy company (think MTV or Comedy Central) but if you want to work regularly in the corporate market, then you work clean.

That means no F-Bombs or any bits where F-Bomb is the focused activity. Got that?

Okay, so now that we know you must work clean in the corporate market let’s get back to the real topic of your question. What type of material are they looking for?

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Wednesday, December 7 at 7:30 pm

For info on upcoming Chicago and Cleveland workshops visit…

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A lot depends on the corporate function. It’s all about the theme

I’ve found through experience that stand-up comedians get booked more often for holiday parties and special events, like a retirement banquet or an awards ceremony. And yes, there are exceptions. But when I get calls from businesses looking for comedians those are the most often mentioned.

If you’re a comedian, it’s important to know the theme of the event.

Christmas Party

Guess the theme and win!

I’ve scheduled comedians to perform at corporate Christmas parties where the client wanted at least some mention of the holiday season. The comic can talk about his marriage, kids, sports, news events – whatever – for a lot of his act, then throw in some holiday jokes and the client is ecstatic. Other times the client might complain that he specifically wanted holiday jokes and doesn’t give an F-Bomb about the other material.

I’ve also booked comedians for retirement banquets. The comics don’t even know the person the company is retiring and feeding, but they know the audience wants laughs. The comics for this type of event are usually good at roasting and ad-libbing. But as usual, most companies will demand a clean show.

So it’s always good to know the theme and work that into the act. One way to do that is to talk with the client before the engagement to see what type of material they’re looking for. Again, for comedians it can be most anything because they’re considered entertainment. No business lessons, training or message is required. The job is to make the corporate audience laugh in a way that doesn’t embarrass the CEO or other head honchos (that means clean comedy).

Humorous speakers are different.

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They already have a topic that fits into the corporate market. For instance, they may talk about stress relief, communications, networking, tech training, or even proper office attire. Believe me, there are a lot of different topics that can work within the themes of a lot of different corporate events. Humorous speakers with a message can be hired to deliver keynotes, do breakout sessions, and half-day (or full-day) training seminars. With a humorous delivery they’re entertaining and delivering information (infotainment) at the same time.

The material – the speaker’s topic – will be based on their expertise.

For instance, if you’re an expert in communications – that’s what your material will consist of. If you’re an expert in technology, finance, marketing, selling – whatever – that’s what you will talk about.

That should help you determine what is corporate material for a comedian and/or a humorous speaker. As I mentioned earlier that was a pretty general question – but I hope my general answer helped. Now it’s up to you.

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 2016 – North Shore Publishing.

Finding stage time

November 4, 2016

Hey Dave – I have performed terribly at three open-mics in Kentucky. Could you point me in the direction of a “lower-end” establishment in Ohio? I’m looking for a place that does not require you to bring five friends. I don’t know five people. Thanks, J.

Open MicHey J. – Thanks for thinking of me when it comes to “lower end” establishments. Maybe I should start calling this the Blue Collar Column – NOT! But instead of worrying about how to get a “higher end” reputation, I’ll share some thoughts about how to get stage time at open-mics whether you’re in Kentucky, Ohio, or wherever.

But before we get into that, let’s talk about having to bring friends if you want to perform…

Usually if an open-mic (or showcase) night is not offered by a legit comedy club, they tend to be here one minute and gone the next. And to make a general statement, open-mics are usually in bars or nightclubs. Yeah, I know there are open-mics in churches and other places, but I’m talking in broad and wide and general terms right now.

If a “lower end” establishment runs a profitable comedy open-mic (attracts paying customers) chances are it’ll keep going. If not, then the owner needs to find something else that will bring in money, like investing in a giant screen TV for football season.

That’s why there are so many pay-to-play or bringer clubs where you have to bring x-amount of paying customers if you want to get on stage. This is a business deal. Comics get valuable stage experience to work on improving their performances and material so they can eventually move on to paying gigs in “higher end” comedy clubs.

From management’s point of view, that’s what they’re “giving” you.

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November 2016 Comedy Workshop

At The Cleveland Improv

Is SOLD OUT!

Workshop Marquee 150

Workshop showcase performance at The Improv

Wednesday, December 7 at 7:30 pm

For info on upcoming Chicago and Cleveland workshops visit…

TheComedyBook.com

*

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The trade-off is that the performing comics need to bring in paying customers. Making money is what keeps these clubs in business. From management’s point of view that’s what comics are “giving” them.

By the way, this is proof I didn’t sleep through all my college economics classes.

I can go into some of my stories about open-mics in NYC that always had an audience and comics simply signed up and performed. For the most part, it’s not like that anymore. Now you need x-amount of friends who are willing to drop a few bucks for a cover charge and a couple drinks to help further your career.

There’s some good advice on how to beat the bringer system in my book Comedy FAQs And Answers from my good pal and NYC comedy coach, Chris Murphy. I’d share it with you now, but my NYC publisher wouldn’t be too happy. You can check it out for free at your local library, or drop a few bucks on Amazon.com (it’s in paperback, Kindle, Nook and iBook).

Searching

Searching

And now that Introduction to Economics 101 is over, let’s get back to your original question – finding open-mics. After all, that’s the direction you want to be pointed in…

As mentioned, open-mics come and go. I used to hand out a long list in my comedy workshops to help everyone find stage time. And since I’ve done these in different states, it was quite a long list. I’d call the major comedy clubs to see what they had going, but for the local open-mic scene I’d rely on info from the current workshop members and add that to the list. But by the time I started the next workshop, that list was already outdated. The open-mics that were hot only a few weeks earlier had stopped and the comics had found new places to perform.

So instead of handing out a road map that sometimes led nowhere (a club that ditched comedy for a big screen TV) there’s a better way. It’s called research and networking.

If you have an eye on a certain area, in your case Ohio, do a Google search for comedy clubs. It’s easy – I do it all the time to see what’s going on and who’s appearing in other cities. If they have an open-mic it’ll be listed on their website. Remember, they’re in business and it’s always good business sense to promote whatever they have going on.

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Also, there’s always a phone number. Again, it’s good business sense.

From my experience, rarely will the club owner or manager answer the phone. That’s why they have people working in the box office, telemarketers and other staff. I only mention this because a lot of comics worry about making a lasting bad first impression on the person who ultimately controls who performs and who is banished to comedy hell for bothering them with annoying phone calls. I’ve also learned a lot of people who answer phones in comedy clubs are also aspiring comics.

Hey – if you want to be a plumber, you work with plumbers. If you wanna be a doctor, you intern with doctors. If you wanna be a comedian…

Make sense? And there’s no way you can argue with me about that. Too many of the former door-guys I worked with at the NYC Improv have gone onto successful comedy careers. They got firsthand experience on how this business works by being involved in the comedy scene.

Hint: Read that last sentence again. It’s a road map to where we’re going with this…

Even if you’re not ready to perform at a legit comedy club’s open-mic (trust me, you’ll need a lot more than three times on stage to even think about it) ask the person who answers the phone if they know of any open-mics in the area. Even if they say no, it won’t make a lasting bad first impression on anyone who can give you stage time. It’ll just make you do another Google search and find another club to call.

When you find even ONE “lower end” establishment, call and ask if they’re doing open-mics. Word of warning: I remember two comedians from my workshop that followed through on the fist step, but skipped the second. They didn’t find out the open-mic was history and now a sports bar until after a four hour one-way drive. Even worse, the two comics I’m talking about didn’t like either of the teams on the big screen TV.

If the open-mic is in business – go there.

The deal is, once you find one open-mic you’ll meet other comedians and can start learning about the area comedy scene. It’s called networking. Be supportive and watch the other comics. Do your time on stage and get to know these people. After all, you share the same interest – comedy.

Don’t be a user and don’t be annoying. Both are good ways to keep the number of friends on your list under five. Ask if they know of any other open-mics and make a point to be there. If you know of open-mics in your area, share the info.

Be part of the scene!

Be part of the scene!

It’s all about becoming a part of that particular comedy scene.

I know it sounds simple. But you know what? It usually is if you’re serious about doing this. I’ve been waaay involved in the comedy scenes in three major cities and I’ve seen how this works. I don’t just make this stuff up during television commercial breaks.

Comics can be very supportive of each other and it’s a tough business to go at it alone. It can be good to walk into a new club and see a few familiar faces. Ride share with other comics or start a writing group. There are all kinds of ways to get involved and that’s what you need to do.

And yeah, to off-set any emails I might receive about that positive outlook, you’ll also run into others who are complete jerks. But you know what? You’ll find that in any business. Just deal with their negativity the best you can and focus on where you want to go as a comic and how to get there.

Okay, that might have been long-winded, but here’s the business deal.

Once you get involved in a local comedy scene you’ll get to know the other comics. You’ll learn about other open-mics and that’s how you’ll know where to go for stage time. But remember to be supportive. If you can help someone get on stage, there’s a better chance they’ll help you. Simple? From what I’ve seen, it usually is.

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 2016 – North Shore Publishing.

Booking conference gigs: think big and start small

October 17, 2016

Hi Dave – I just joined your email list. I do humor and did my first two stand-up open mics… rough crowd. Someone threw a cup of ice at one of the other comedians. My goal: to get some gigs entertaining at travel conferences. I have a bunch of funny travel stories. Any idea who I approach? A booking agent? I’m new to this, so any thoughts are appreciated. – R.R.

Open mic night

Open mic night

Hey R.R. – Only one cup of ice and you call it a rough crowd? Welcome to the world of open mics. No wonder you want to perform at conference / corporate gigs. They’re usually better behaved and the most they’d throw at you are icy stares if you’re not funny.

What you really need to concentrate on is getting more experience performing in front of an audience. Two stand-up open mics are a great start, but you need a LOT more. It’s key for working not only on your material, but also timing and delivery – and avoiding icy stares.

That can only be learned through on stage experience.

So in addition to getting more performing experience, my suggestion for you right now would be to focus on writing. Specifically – since you mentioned it – writing funny travel stories. It’s a topic that interests you and what you want to share with an audience.

I mean, after all, you mentioned it…

This is true for anyone who writes, whether it’s comedy material, a speaker’s presentation, short stories, epic novels… and the list goes on and on. If you don’t find it interesting, chances are your audience won’t either.

There are many different writing techniques to help you get started, or if you’ve already started, how to organize your efforts into a working comedy set or presentation. I’ve shared more than a few in past FAQs And Answers and organized the best of those in my book Comedy Workshop: Creating & Writing Comedy Material (check out Amazon.com – it’s cheap… or as they say in the corporate world: inexpensive).

In the meantime, pick topics that you really want to talk about. In your case, travel stories.

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Comedy Workshop at The Cleveland Improv

Starts Saturday, November 12, 2016

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Meets 3 Saturdays (skip Thanksgiving Weekend)

Includes evening performance at The Improv on December 7th!

For details, reviews and to register visit…

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Start small.

What I mean by that is to work on coming up with a short five minute set or presentation. It’s like writing a book. You may have an outline for an entire novel, but you still have to write it one chapter at a time. To use an old saying to back me up:

big food

Thought I could do it…

Don’t bite off more than you chew.

Put together what you feel is a great five minute presentation. Fill it out. Use colors (my favorite term for great descriptions). If it’s about travel – take the audience there with you through colors and experiences. And since we’re also talking about humor, be creative and funny with your writing.

The next step is to try it out in front of an audience. If you’re a stand up comedian, hit all the open mic clubs in your area as many times as they’ll let you on stage. But since you’re looking to break into the corporate market as a comedian or humorous speaker, volunteer to do your short presentation at local business organizations and special interest groups during their breakfast, lunch, or dinner meetings.

For free.

Why free? Because it’s a practice session for you. Like open mics for comedians, these organizations are doing YOU the favor – not the other way around.

I’ve written a lot about this concept in past FAQs And Answers. It’s the open mic circuit for corporate entertainers and the best way to put together a presentation. But remember, keep it squeaky clean and G-rated (another concept I’ve shared a lot about in past articles).

That’s the ONLY way to work in this market. Don’t let anyone fool you into thinking otherwise.

Once your five minutes works on an audience (gets laughs), start writing another five minutes and trying it out in front of live audiences. Repeat the process. When that works, guess what?

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You’ll have TEN minutes of working material.

For talent agents booking corporate shows and event planners, the term conference means more than just a simple breakfast, lunch, or dinner meeting. It basically describes more of an event that can be spread out over time – for instance, a few days or an entire weekend – and can include keynotes, training seminars, break-out sessions, field trips, banquets, entertainment, awards ceremonies, and other programs that make up the entire conference.

And to have a successful conference, businesses, organizations and meeting planners want successful presentations from proven presenters. Make sense? It needs to if you want to work in the conference market.

When it comes to entertainment (comedians and humorous speakers), conferences usually schedule 45 minutes to an hour of performance time. Keynote speakers, break-out sessions and training seminars are different types of programs than what your question pertains to, so I’ll save writing that epic article for another time.

Event planners will call agents, watch videos and ask other event planners or clients for recommendations. They want a comedian or humorous speaker who has proven he/she can provide the entertainment or entertaining message they need for this particular conference.

Why?

  1. Because they paid good money and want their money’s worth and…
  2. If this conference gets good word-of-mouth, everyone and more will want to attend the next one. That reeks of success in the business world!

The best way to break in is to think big and start small.

trash shot

Trashing what doesn’t work

Focus on your material and get stage experience. Build your presentation or comedy set “chapter by chapter.” On stage experience will help develop your delivery style and timing while also helping you get rid of material that doesn’t work and concentrate on creating new material that does.

The only way to do this is through continued writing and performing. And the only way to know for sure if it works or not is from audience reaction. An audience will always tell you. It’s a process and hopefully this advice will take some time off the learning curve.

Finally, I wouldn’t think about contacting a booking agent or event planner until you’re truly confident you can deliver the goods. That means proven (audience tested) material from an experienced comedian or humorous speaker.

You’ll have a good idea you’re ready when your free gigs start leading to paying gigs. Someone in the audience might hand you a business card after a performance and ask if you’re available for their next meeting or conference. I’ve seen it happen – a lot. And when it does, just be prepared to ask…

Where, when and how much are you gonna pay me?

When it happens on a consistent basis, booking agents will be looking to work with you. Why? Because YOUR proven experience will help them attract paying clients. I’ve seen it happen – a lot.

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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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