Archive for the ‘website’ 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.

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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!

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

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

Copyright 2018 – North Shore Publishing.

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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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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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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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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

Workshop Marquee 150

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

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

TheComedyBook.com

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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!

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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, 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.