Archive for the ‘Speaker’ Category

Stick to your time on stage

August 1, 2017

Hey Dave – Without revealing my secret identity, I heard you talking not too long ago and know you were pretty upset with a comedian who went over his time and was on stage too long. It’s probably safe to say he overstayed his welcome. Care to elaborate? – G.

Hey G – What are you a secret agent with a secret identity listening to my not-so-private conversations? Oh well, I guess it could be worse. Instead of a sleazy private eye snooping on me, you could be a self-centered comedian (or speaker) who goes over his allotted time on stage.

Want to kill a potentially great relationship with a comedy club or make sure you’re never invited back for a return gig at a college or corporate event?

Go ahead – ignore it!

When you’re given the light (the signal) to end your set and leave the stage – ignore it. Go ahead and do another 5, 10, 15 minutes, half an hour… an hour… Everyone will surely love and worship your amazing and boundless talent that you’re compelled to share so unselfishly for however long your ego needs to be stroked on stage.

And in case you don’t recognize sarcasm in the written word, insert a capitalized “NOT!” after that last sentence. In a creative profession that thrives on having no rules (being original and unique is a big plus) going over your time on stage breaks a big business rule – and is a big minus.

As always there are exceptions that depend on your status within the industry and everyone starting out in the business needs to realize that. There are special events where more time on stage is a benefit. For instance, fundraising efforts that are planned in advance to set records for time on stage. I remember reading about a comedian who did forty hours of stand-up years ago and raised at TON of money for a hospital. That’s truly awesome, but not what we’re talking about today.

Another exception is having your own hit television show or enough name recognition to sell out theaters and arenas. That’s like being the favorite child or grandchild. You get special privileges.

When you’re a major star and selling out arenas, theaters or (sometimes) a club and charging big $$’s for tickets, fans expect a “concert” experience and more than just a half hour or hour show by the headliner. It’s like seeing Bruce Springsteen, Paul McCartney, or U2 perform three hour concerts. Their fans are into it, paid money to see that particular artist, and these acts have the material to entertain for that length of time. But until you’re working within that stratosphere of popularity, stick to your time on stage.

Reasons why? As always, I’m glad you asked…

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Comedy Workshop at The Cleveland Improv

Showcase performance on Wednesday, August 16th at 7:30 pm

Workshop Marquee 150

Fall 2017 Chicago and Cleveland workshop dates TBA

For information, reviews, photos and advance registration visit…

TheComedyBook.com

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It’s a business, which is a fact I emphasize in many of these FAQ’s and Answers. Some club owners are in the entertainment biz because they enjoy it and like to nurture and promote new talent. Others are only in it to make money. But the bottom line for both is if they don’t make money (and yes, this includes the nurturing types) they go out of business. When a club goes out of business, comedians have one less place to work.

Clubs earn money selling tickets, selling food and drinks, and keeping expenses (rent, utilities, inventory, payroll, etc…) under control. The comedian you reminded me of in this week’s question – and I won’t mention his name – actually told club management (me at that time!) after the show that he was doing the club a favor by going more than an HOUR over his scheduled time on stage. He pretty much wanted a “thank you” for giving the serving, kitchen and bar staff more time to sell food and drinks.

That consideration for the club deserves a bigger laugh than any he received on stage. After all, Dumb and Dumber was a popular movie and now in my opinion this comic is the live version. Good thinking! (Again – this is written sarcasm so please add a big “NOT!”).

You know why? Because the business doesn’t work that way…

Shows at this particular club (a world famous comedy club, I might add) are timed. Staff arrives at a certain time, the doors open at a certain time, the show starts at a certain time and the comedians – opening act, feature act and headlining act – are given set times. The headliners, of course, are the privileged members of the family, but most know how the business works.

It’s a profit deal!

As Steve Martin said in The Jerk:

I get it… It’s a profit deal!

The behind the scenes business – kitchen crew, servers, food-runners, bars, box office, security, management – revolve around the show schedule. For instance, the box office closes when the headliner goes on so customers won’t complain about getting ripped-off by buying a ticket after the show has started. So that profit opportunity is ended when the headliner walks on stage.

Are you following me so far? Good, because I’m not done yet…

A sad fact about the nightclub biz is that some people like to skip out on their checks. In other words, if they can sneak out without paying they’re getting a free night out. The truth in most cases is that the servers – the waiters and waitresses – are stuck with these checks and have to pay for these uncollected profits out of their own pockets. They foot the bill and end up paying for these jerks (and I’m not referring again to a Steve Martin movie) to have a fun night out.

Not fair – is it?

This is why comedy clubs have “check spots.” Experienced comedians know exactly what I’m talking about. It’s when the checks are put on the tables to be paid by the customers. The show doesn’t (or shouldn’t) end until all the checks are paid – by the customers. That makes it difficult for deadbeat customers to blend in and sneak out with customers who have already paid. It’s a sad truth about the nightclub business.

So based on the time allotted for the show, last call is given when there is still enough time during the headlining comedian’s set to give customers their checks and collect the money. No more drinks or food are served after last call because the checks are closed. When the show ends and the final comedian has walked off the stage, customers can head to the bar or another club if they want to continue drinking and eating.

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This means the final two profit opportunities for the club has ended – food and drinks.

But what about keeping expenses under control? When the staff has finished serving and collecting checks, they have to hang around and wait for the show to end and the customers to leave. They’ve also lost any opportunity to make additional tips because the checks are “closed” and they can’t start new ones for thirsty customers because no one knows for sure when the show will end.

In the case of the comedian referred to above, that meant the staff sat around for over an hour – on the clock and getting paid by the club owner – before they could prepare the room for the next show or  finish their shifts, shut down the club and leave.

Doesn’t make great business sense for a good business plan – does it?

I’m sure you can imagine the chaos this can cause for clubs that have two or three shows on a weekend night. If the first show runs even 10 or 15 minutes late because a comic goes over his time, the audiences coming in for the later shows don’t know this. They’re on time and lined-up to enter the showroom, while the earlier audience is still inside. When that audience is leaving the new audience is trying to get in and…

Well, I’ll refer to another Steve Martin quote that also works from the management point of view:

Comedy isn’t pretty.

Closed doors

I don’t need to tell you what the management and staff are saying behind the back of the comedian that went past his time and stayed on stage too long. I’ll just let you know it isn’t pretty.

The same holds true for corporate and college performers. These business people and students are usually on a schedule. It could be a training seminar, class, lunch, dinner, cocktail hour / social time – whatever. The contracts I’ve seen for these types of gigs are very strict in their performance times. Go short (leave the stage before completing the time you’re contracted for) and the clients won’t want to pay you. Go long and they won’t even think of booking you for a return engagement since you’ve disrupted the event schedule.

Of course there are other reasons why you must stick to your time on stage. The No. 1 reason for beginning comics and speakers is to prove to talent bookers and club management you understand how important this is and won’t cause a potential nightmare in the future. But in an effort not to take longer than expected when you started reading, I’ll stick to my time and sign off. I think you get the idea.

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

Copyright 2017 – North Shore Publishing.

Don’t reveal too much in your promo material

July 17, 2017

Hey Dave – I took your workshop about a year ago. When you did the session about business you talked about not putting your home address on your promotional material. Another comic told me I should put my address on my website, promo material and DVD’s if I’m serious about doing this. He said to give bookers every way possible to find me to hire me. What do you think?- E.H.

Hey E.H. – I think you need to hang out with different comics. Of course it’s good business sense to give talent bookers the best and easiest ways to contact you, but let’s not get too personal. When you’re promoting your business – which is you when you’re a comedian or humorous speaker – you have to network and let buyers (in our case meaning the people hiring you) know how to find you.

Never know who’s paying attention…

But it’s also important to realize it’s pretty much impossible to pick and choose who will end up viewing your promo material.

Everything you post online or even post through the Postal Service (sometimes I embarrass myself with this word play) is fair game for just about anyone to see. So not only will talent bookers have a way to find you – so will everyone else.

As usual, I have a story about this. And I’ll share it with you – in a moment…

First of all, business methods have changed a LOT over the past few years for both comedians and humorous speakers. It wasn’t that long ago during my comedy workshops that I’d bring in a stack of promotional packages developed by big-name public relations firms for big-name comedians such as Ray Romano, George Carlin, Ellen DeGeneres, Dave Chappelle and others. These were great examples of how professional promotional packages should look, but you really don’t see these much anymore because just about everything today is done online.

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Comedy Workshop at The Cleveland Improv

Starting Saturday July 22, 2017 – SOLD OUT!

Workshop Marquee 150

Workshop performance at The Improv

Wednesday – August 16 at 7:30 pm

Fall 2017 Chicago and Cleveland dates TBA

For information, reviews, photos and advance registration visit…

TheComedyBook.com

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In the “old days” these were hard copies (paper and photos) displayed in designer folders or even plain two-pocket versions (like you “old timers” probably used in school) that agents, managers and talent bookers could actually hold in their hands or spread out on their desks to read. Just the memory of sorting through stacks of folders and photos is making me feel ancient…

BUT now with this information online, I haven’t received a hard copy promo package in… well, since everyone realized it was cheaper, faster and easier to have all this information on a website or attached to an email. It’s all online, easy to view, and the modern way of doing business.

BUT just like in the old days, you never know who will find this information. If you include a home address or home phone number, any wacko can find you. That’s why I suggest never sharing too much personal information on your promotional material.

Don’t worry, I’m getting to the story…

Posting a letter

BUT first, think about this. The only time someone in this business really needs your address is when they’re sending you a contract or payment. Yes, the more convenient way is to also do this online – but many of us are still working with event planners and talent bookers who keep the Postal Service in business with snail mail. If they want to know where you’re located to see if a specific booking is do-able for both of you – give them the nearest city. Could be New York, Cleveland, Chicago, Los Angeles, etc… That’s all they need to know. When they’re sending contracts or a check, then give them an address.

BUT since you’re a business (correct?) I suggest having a business address. And if you need to, think about this. If you work with an agent, they have your contracts and payments sent to their business and not their home address. You need to think the same way. And unless you have a separate business office, use a Post Office Box instead of your home address.

I know with cell phones it’s always convenient to give out that number for important contacts and potential bookings. That’s why answering services for performers are going out of business because no one is far from their phone anymore. But think twice before you share that number online. Unless its a phone dedicated strictly for business, anyone can find your personal number online and make a call. And I’m not just talking about past annoying ex-friends, employers or relationships, but also the wacko looking online for someone to talk to – and annoy.

Besides, it’s much easier for someone to contact you (for bookings and not always annoyances) by clicking an email link through your website. Websites and other online marketing tools should all include your email. And since it’s easy to have separate business and personal email addresses, keep your business and personal emails separate.

For instance, mine is dave@thecomedybook.com. I can tell you that because it’s for business. You don’t really think my family uses that address to contact me – do you? They have my personal email address – and you don’t.

And now to wrap this all up, here’s the story I promised. It will give you a good reason why this all makes good business sense. And as some comedians and humorous speakers like to say, this is a true story…

I received a call from the owner of a well known comedy club who suggested I look at a young, up-and-coming female comedian who needed a manager. I met with her, watched her set at the club that night and knew she was really talented and had potential to make it big.

In the years since, that prediction came true. You would know her as a national headliner and from television and movies if I mentioned her name. But even if she said it was okay, I wouldn’t. She went through enough grief from being too personal on her promo material during the early stages of her career and I don’t want to focus attention on her again in that light.

As I said, you never know what wackos are reading…

Anyway, she wanted to make sure every booker in North America could easily find her, so her home address and home (pre-cell) phone number were plastered all over her (hard copy) promotional material. It worked and she was booked for a week at a great comedy club only a few hours drive from where she lived. It was a big career break and she was psyched. But she was about to learn how much she really didn’t know about this crazy business.

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Oh, and I need to mention one other thing. She is very attractive and her promotional pictures (head shots) proved that. The club had her photo on display with the headliner’s outside the club – and you don’t usually see that happen for an opening act.

When she finished her week’s booking on Sunday night, the club owner took her into the office and paid her. Then he threw her promo material in the garbage can. When she asked why he said it had nothing to do with her performances. She was funny and he planned to bring her back. But he also knew it’s important for performers to keep their promo updated and next time she was booked she should send him a new resume, bio and head shot. Most bookers did this because they just didn’t have the file, desk or floor space to keep everything they received.

A few days later the comedian received a call from another “booker” who said he had her promo material. You know where I’m going with this… right?

Turns out it wasn’t really a booker, but a wacko comedian who had been hanging around the club. He had seen her photo on display and then in the garbage – with her home phone and address on it – and taken it. After a few more calls it started to get weird and then scary when he became a full-blown stalker.

Hello it’s me!

Our female comedian was learning a tough lesson the hard way and not only had to destroy all her promotional material (back in the days when copying head shots was expensive), but had to order everything printed again with a separate business phone and email as the only contact information.

Today it would mean changing the contact info on all your websites and online marketing which doesn’t always work the way you think it will. Web pages seem to have an everlasting life. I can Google and find pages about myself and my business that were posted years ago and extremely outdated. In fact I just did and found a newspaper review I wrote about a Paul McCartney concert back in 2003. I don’t even remember writing it – and it was like reading for the first time. Since I don’t write for that newspaper anymore, the contact email no longer works. But if they’d had used my home address with the article…

Now back to the story, because we’re not done yet…

The worst part was that she actually had to move. Imagine how you’d feel when someone wacko and scary can honestly say, “I know where you live.” If it’s not said on a Hollywood movie set, it’s no way to live every single day. She found a new apartment and had some BIG guys not only help her move, but also make sure a certain wacko wasn’t hanging around when they did it.

The lesson is an old one. You have a business, so treat it that way. Keep your personal life and contact information out of it. You never know who’s going to find it.

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

Copyright 2017 – North Shore Publishing.

Money – how much should you ask for?

July 4, 2017

Hi Dave – The talent booker for a comedy club sent me the following: “How long is your routine and how much would you want to come to (city) to do a show?” I do 45 minutes to an hour, but on the money question I have no idea how to answer them. Obviously, I’d want enough to cover airfare. Between you and me, I’d stay with my grandmother who lives near the city. Any ideas? Thanks! – B.K.

Hey B.K. – I know the club you’re referring to. They’ve been in business for a long time and have a good reputation. And since you didn’t mention this being an offer for a one-time gig – like a holiday party, private or corporate show – I’ll assume it’s for a weekend worth of shows at the club.

Let’s negotiate…

It’s really a tough call for me because I don’t know what the club manager / owner pays his acts. It’s not an “A” room like The Improv and too many others to mention (think of the top clubs in your area), so a good guess is his price will be lower than what comics are paid in those clubs. But honestly, I don’t know that for a fact.

The bottom line is the talent booker asked you a wide open question – putting you on the spot. Between us (and readers) the guy asking you is playing his strength off your weakness. He books a club that operates every single weekend – and has for years. He knows the going rate for openers, features and headliners.

He has to because he’s been paying them.

So for him to ask YOU this question means he’s hoping you’ll come in lower than someone else just because you want to “get in” with the club.

And the fact of the matter is he’s probably right. Comedians that have yet to really establish themselves will hesitate to quote a high price. They want to work at the club, but don’t want to ruin their chances by asking for too much. The thought is that later they can negotiate a higher price when they’re a proven audience attraction.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – July 22, 2017

Workshop Marquee 150

Includes a performance at The Cleveland Improv

Wednesday – August 16 at 7:30 pm

Space limited to 10 people

For details, reviews, photos and to register visit…

TheComedyBook.com

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This is part of the continual game played between bookers and newer talent. Entertainers – in our case comedians and speakers – riding high on popularity with solid credits and drawing large audiences can pretty much name their price as long as the club can still make a profit.

For example, years ago when I was booking talent for The Great Lakes Comedy Festival I contacted talent reps for two HUGE television stars (think top-rated sitcoms) for two theater shows. Hey – sometimes it’s “think BIG or go home,” right? I’ve known both comedians personally, but when it comes to business you always deal with agents and managers.

The fee I was quoted for each was even HUGER than expected and completely out of the price range for a small, start-up comedy festival. And one of the requests included use of a private jet to fly in before the gig and leave immediately after. It was part of “the fee” and not negotiable.

When your career reaches the stratosphere – that’s how you can do business.

In the case of a newer comedian or speaker, you need to have the business sense (no fear!) to ask for more information. The first question:

“How many shows do you want me to do?”

If it’s a series of shows – for instance, five shows over a weekend – ask what they pay per show. Headliners at small local clubs (think Holiday Inn on a weekend) can get anywhere from $100 and up per show. Even the major clubs have different pay rates depending on the night. For instance, they might bring in a cost-cutting headliner for a Thursday night and pay HUGE bucks for the star headliner on Friday and Saturday. It depends on the club reputation and size of audiences.

The next question:

“What do you usually pay your first-time headliners or first-time features, (or openers if that’s what you’re going for)?”

Also, do you know anyone who has played this club? Are you on good enough terms that you can contact the comedian and ask what he or she was paid? If so – do it. Comedians don’t have a union, so at least in my opinion you need to find a way to work together. Otherwise the club bookers will always have the upper hand.

* But don’t “push” this last question. Many business people (and that’s what you are as a paid performer) are very private about their earnings. Basically, it’s nobody else’s business. So please note the stipulation above: “Are you on good enough terms?” If you are and it won’t damage a friendship, then ask.

Instead of throwing an open question at you – again, hoping you play low ball – the booker should make an offer. He should come right out and say, “This is what we pay our headliners and/or features and/or openers.” And then ask if you want to work the club. Of course that’s in a perfect world and we don’t happen to live in one…

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But as far as asking, “How much would you want?” That’s what they say in the corporate and college booking worlds. And when you’re working in those markets, you should already have a price. You throw that back at them and leave room to negotiate travel, accommodations, food, merchandise and other $$$ stuff.

There are also other factors, especially in doing club gigs.

Comedians, speakers and any type of performer will need to consider his/her own track record. For instance, if a comedian consistently gets $1,000 per weekend – that’s his price. Options are plus airfare, hotel and food. The comedian tries to get his price up – and bookers try to get it down. It depends on the performer’s current popularity. If you were on TV starring in a Comedy Central special last week, you can ask for more than if your face hasn’t been seen on TV in over a decade.

In the case of a newer comedian or humorous speaker there are different considerations. Would you want to do this club as a chance to visit your grandmother? Would this club be a great credit on your resume? Are you going to make new contacts that will lead to more work?

All things you need to think about.

Your best bet is to be up front about it. Send back a message asking what they are offering. Mention you’ll most likely be happy to work within their budget, but let the booker make an offer. Then you can negotiate if necessary.

Hitchin’ a ride

For instance, he might pay you more if you don’t use a hotel room that the club would normally provide. You can stay with grandma. You might also use grandma’s car, so there’s a few more bucks you’re saving the booker that (maybe) can be passed along to you.

You also mentioned airfare. A lot of clubs today are not paying airfare – and they used to. So yes, the bottom line is that you need to cover your expenses. When you’re working a club for the first time, come up with a total you need for expenses. Then see what they offer you and if your expenses are covered. The amount of profit on top of that… well, since you’re a first-timer and weren’t on Comedy Central last week, your negotiation power might be limited.

In the end – if the club booker makes an offer – the decision is all yours. Is it worth it? Only you know for sure.

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 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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Comedy Workshop at The Improv

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.

Build your potential client contact list

March 27, 2017

Hi Dave – Speaking and comedy both sound like serious business. I’m dead serious about the value of comedy in business — way more serious than folks who don’t know how to laugh. How do I get those humorless folks to seriously see how silly it is to filter out fun from the expressions of ideas? How do I make it pay for me to show them how to make it pay for them? – R.W.

No grumpy people here!

Hey R.W. – Here’s something I’ve noticed about the humorous speaking biz. It seems the people who need us the most – and you know the ones I’m talking about, the humorless people – are the last ones to search us out. In fact, I’ll go out on a limb and say the event planners that schedule humorous speakers already understand the value of humor in the business world. And like us, they’re just trying to convince the other people who need it most to use it.

Anyone who knows anything about the value of humor in business and everyday life already know the positives. I won’t get into a long list, but here are a few of my favorites:

  • Less stress
  • Better teamwork
  • Increased productivity and attendance
  • Improved networking

These are topics a lot of serious business speakers and trainers already talk about because their audiences deal with these on a daily basis. It sounds like you’re doing the same with humor as a solution. The way I see it, it doesn’t matter if you’re going to work or cleaning your house. You’re more inclined to actually do it if you can include an element of fun.

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Okay, all that is just to show I agree with your point – and I’m sure many readers of this newsletter do also (the humorless people don’t subscribe). It is, as you so eloquently put it, silly to filter out fun from the expression of ideas. But as I see it, here’s your main question:

How do I make it pay for me to show them how to make it pay for them?

Your goal is to get this message to the humorless folks and get paid for it. But keep in mind they aren’t going to hire you to speak anymore than they would subscribe to this newsletter. They don’t understand the value of your message. That means you need to…

Networking

Network with event planners (people who can hire you) that already agree with your message.

The best way to do this is to show them what you can do. In other words – get out and speak. And the best places to do this are where both humorous and humorless business folks network – meetings.

I’ve talked about this in past FAQs and Answers and even shared some excellent suggestions from readers on where to showcase your program.

But for a simple instruction guide…

If you don’t have it already, create a short (20 minutes is probably max) presentation about your topic and volunteer (for free) to speak at various organizations in your area. This could include Rotary Clubs, associations, charities, alumni groups, or whatever else you find. If you’re having trouble putting together a working presentation, check out my book Comedy Workshop: Creating & Writing Comedy Material for Comedians & Humorous Speakers at Amazon.com.

Free gigs for humorous speakers are like comedy club showcases for comedians. You don’t get paid, but you get in front of people who can hire (and pay) you in the future. But that’s only the start. As I’ve also mentioned in previous FAQs And Answers you need to build a list of potential clients (buyers) through these free gigs and stay in touch with them.

It’s called networking.

Of course you should always take a stack of business cards to hand out after your presentation. This is a no-brainer and business common sense. Include your contact information and website and give a card to anyone who even looks at you sideways. Make it easy for them to find you.

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Comedy Workshop at The Improv

Chicago, Cleveland & Tampa Dates TBA

Workshop Marquee 150

Meets 3 Saturdays from noon – 4 pm

Includes evening performance at The Improv

For details, reviews, photos and to register visit…

TheComedyBook.com

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Except that’s never a guarantee they’ll contact you. It’s important to give them a reason for you to stay in touch on a regular basis, otherwise you’ll just be another pain in the you-know-what.

Start a blog or send out a weekly or monthly newsletter, (hey wait a minute – that’s how I got you to read this!). Make it informative and entertaining as an incentive for potential clients to at least check it out. Hopefully they’ll subscribe and you’ll become almost like an email family member (like we are right now – correct?).

Again, this makes it easy to find you in case they eventually want to hire you.

But simply handing out business cards can take a long time to build a decent list. You know what I mean – you hand out a bazillion cards and be lucky to hear from one or two people.

So here’s how to kick-start your contact list:

A great way to building potential clients and continue adding to your contact list is to have a prize drawing whenever you do one of these free programs. It’s up to you what the prize will be. It could be almost anything from a CD or printed transcript of your presentation to a plate of cookies. You could even offer a free or discounted presentation for their company. Use your imagination for this one and offer something you think most of your audience would want.

Here’s a personal example…

At the end of my programs, I announce a drawing to win a free autographed copy of one of my books. It doesn’t matter which book because even if the winner is not into the topic they’ll know someone who is and can give it as a gift. But to be in the drawing, they have to put a business card with an email address into a basket. The trade-off is that everyone who enters will be added to the mailing list to receive my corporate (not this one!) newsletter.

The happy winners!

BUT – and this is an important but – I make it clear they can easily unsubscribe through a link in the email. They just need to receive it once. If they like it, they’ll continue to receive it. If not just opt-out and they’ll never hear from me again. And that’s the honest truth.

Everyone who wants to enter puts a business card in the basket. I draw one and that person leaves with a book. I leave the free gig with a basket full of contacts that could possibly turn into paying clients.

So there you go. How do you reach the people who need your message? Get out and preach the gospel – your ideas – in front of people who already get it. Go to where business people and event planners can see and hear you. Use these free gigs to build your contact list.

There are no guarantees they’ll hire you, but at least you’re giving them – and yourself – a chance. You gotta show them what you can do and stay in touch.

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 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.

Business card – got one?

March 12, 2017

Hi Dave – I’ve decided to order business cards. I was wondering exactly what information to include. I was thinking phone number, email, and website. I was wondering if there was anything else or if there was a reason not to include my address. – K.S.

Hey K.S. – Great decision. I’m always surprised at how many comedians or humorous speakers don’t have business cards. Maybe it seems like a relic from the past – like sending a videotape instead of a link to an online video – but it’s still an important promotional tool.

CoyoteHow is anyone going to know you’re out there and available for gigs if you don’t promote yourself? Unless you’re a known comedian, have a Comedy Central special or a big-time agent pushing for you, you need to be prepared to take care of business.

Of course the FIRST business step is to be such a great comic or speaker that people will want to see you. That comes through writing, performing, rinse and repeat. But once you’re ready to move forward in your career, promotion becomes a big part of the business plan. You need to be prepared to take advantage of opportunities that could lead to showcases or even paying gigs. Promotion can help get your foot in the door. Talent, hard work and dedication is what gets you hired.

Like I said in my book Comedy FAQs And Answers: They may call it amateur night, but nobody’s looking to hire an amateur.

Memorize that – because it’s true.

I’m not going to get into all the different methods and ways to promote yourself or even talk about showcases since that’s not what your question is about. Let’s talk business cards.

I write a lot about networking and being part of your area’s comedy scene. If you’re out there, you never know who you’re going to meet that could actually help your career. But are you always prepared to take advantage of it?

dave cardWhen I was at The Improv, comedians would talk with us about how to audition, or the best way to send in a promotional video. Then instead of leaving a business card, more than a few would say, “Let me give you my email address,” (or you can substitute “phone number” or “website” or “Facebook page“). They would expect one of the managers to write it down, or would ask for a bar napkin or scrap of paper to scribble out the info.

Were they nuts or what?? There’s no way we’d take someone like that seriously. Sorry but in the back of my head I was thinking, “Amateur…

Or worse yet, the comic would just give his name and say, “I’ll send you a link for my website” or “Keep me in mind when the club does a showcase.”

Sorry, but I suck at remembering names. In fact, right now I have this woman bugging me while I’m trying to write this. Oh man… what’s her name? I should remember since I’m married to her…

Get the idea?

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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!

For details, reviews, photos and to register visit…

TheComedyBook.com

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When someone like a talent booker, event planner or club manager deals with a LOT of comedians or speakers, give them the BEST and EASIEST way to remember who you are and how to get in touch with you. Business cards are not a relic from the past or uncool to hand out. In fact, it’s an important part of doing business – if you’re serious about it.

Another example…

A young comedian dropped off a DVD for possible work at the club. Instead of an unreadable name and phone number scribbled in marker on the DVD, he had a professional looking business card in the plastic cover. That didn’t mean he would get hired or even score a showcase – talent and experience will determine that – but it certainly gave the image of being serious about his career.

Remember – nobody wants to hire an amateur.

So to finally answer your question, a business card should include your name, what you do (comedian and/or speaker, etc…), the best way(s) to contact you, and where potential clients can see your video and promo material:

  • Phone
  • Email
  • Website
  • If you have a blog, newsletter or podcast that pertains to your career and is interesting, include the link

A smart idea is to design your business card to stand out from the competition.

template cardA photo of yourself or a logo will work. But if you (or a friend) have experience doing this, the idea is to have a business card that’s SO unique and interesting and basically SO cool – the people you give it to will actually keep it, rather than eventually tossing it away or losing it in a drawer.

I know that’s tough to do – and I’m always trying to come up with new designs that fit my definition of SO cool. But it’s always a goal.

If nothing else, go on a website that offers inexpensive business cards (there are plenty, but for a suggestion try VistaPrint), design one or two with different looks and never leave home without at least a few. You can always change or update the cards later since they’ve become very inexpensive (and sometimes free).

If you’re serious about this business you have to take promoting and networking seriously.

When you make a new contact or stumble into an opportunity, a business card makes it clear who you are and how they can get in touch with you. There’s nothing amateur about that.

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Word of warning (based on your above question):

Never put your home address on your business card or any promotional material. You don’t know who will wind up with this stuff and the last thing you need is some wacko stalking you. And yes, I’ve known this to happen with both male and female performers (so don’t be a sexist and think you’re immune).

Amateurish or a relic of the past?

Not when a business card can make it easy to find you and hire you. It’s called being a professional.

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.

Personality separates you from the competition

February 18, 2017

Hi Dave – I do a lot of presentations through my job. These are specific to the industry and I’d like to start speaking at related conferences. I’m not a stand-up comedian, but know the importance of humor in getting my message across to an audience. Many of my friends think I am funny in an I Love Lucy kind of way… Which I suppose comes naturally. However, I am not sure how to release that side of me when I am giving a humorous presentation. Thanks – DB

bored-audience

Not connecting!

Hey DB – When it comes to giving a presentation as a humorous speaker or doing a set as a comedian, you must connect with your audience. That’s the bottom line – period. If you don’t connect, they don’t listen.

What’s a great way to connect? By doing what comes naturally and showing off your personality. Let me explain…

Working comics know performing stand-up is more than telling jokes. Anyone can tell a joke, and some better than others. But to be a successful performer, you need to show who you are on stage.

Comics, agents, managers and talent bookers call it your comedy voice. For our purposes, we’ll call it your personality as a speaker.

The classic joke-tellers like Rodney Dangerfield and Henny Youngman (to mention only two) had GREAT personalities on stage. That’s what sold their material to an audience.

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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!

For details, reviews, photos and to register visit…

TheComedyBook.com

*

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They could do a series of basic (and clever) one, two or three line jokes that fans couldn’t wait to re-tell the next day around the water cooler or in school. The fans’ renditions might get laughs from their coworkers and friends, but rarely ever the same as the originals.

As imitators, we couldn’t match their personalities.

RodneyThat’s why Dangerfield and Youngman (and if you don’t know these guys, brush up on your comedy history) were paid big bucks to do their jokes on stage while the rest of us (the fans) got detentions for re-telling their jokes in school.

Dangerfield’s jokes worked because of his personality – who he was on stage (his comedy voice). He had a talent for putting himself down…

  • I get no respect.

HennyYoungman’s personality made him a natural at making wise-cracks (another talent most of us shared to earn school detentions)…

  • Take my wife… please!

Without showcasing their personalities, these legendary comics might never have stood out from the pack of other wise-cracking joke-tellers.

The same can be said of humorous speakers.

I always get a laugh at – as opposed to with – humorous speakers who call themselves humorous speakers just because they throw in a lame joke once in awhile during a presentation. I’m sure you know what I’m talking about. For the opening of their presentation they’ll repeat a joke they found on the internet or even worse, take an old joke and re-work it to make it seem as if it were a true story that pertains to their topic.

This – they think – makes them a humorous speaker.

I’m almost gagging as I write this since it reminds me of how I’ve seen speakers do this WAY too often. For some reason they hide their unique and fun(ny) “real” personalities (we all have one, though some are more outgoing than others), because they assume it’s the only way an audience will take them seriously as trainers and educators.

That’s fine if you’re strictly a no-frills, non-humorous speaker, trainer or educator. But if you’re billed as a humorous speaker and want to stand out from the competition it’s important to use your natural talent.

Your personality.

So… your friends say you’re similar to the legendary Lucille Ball? Then there must be some truth in their opinions. I assume you’re not trying to imitate Lucy, but you just somehow remind people of her. It’s part of your personality.

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As a humorous speaker you want to find a way to bring your personality onto the speaker’s platform with you. It’s who you are and what makes you an individual and unique when compared to others who speak on the same topic. That’s what helps separate you from the competition – the other humorous speakers who want to be hired for the same gig.

You don’t have to imitate Lucy. In fact I recommend you DON’T imitate Lucy. Unless you’re hired to play her as a character it would take the believability away from your message. But if you have a talent for making funny statements or even physical humor – which is probably why your friends compare you to Lucy – then use your talent in your delivery.

lucille-ball-candy

We love Lucy!

But before you plan on filling your mouth with chocolate candy or presenting from a scaffold on the side of a building, (I Love Lucy fans know exactly what I’m talking about), keep in mind Lucy’s style of physical comedy doesn’t necessarily mean slapstick comedy. You don’t have to overdo it to stand-out.

Keep it simple. It could just be a look or way you naturally use your hands. If it’s part of your personality, what good does it do to hide it? If you’re in the humor game, it’s all about not being a stiff, boring speaker. Use your natural personality to connect with an audience.

Here’s the bottom line.

You don’t need to tell jokes to be an effective humorous speaker. If you have a signature story, examples or descriptions relating to your topic that an audience could find funny – make them funny. Don’t be afraid to use facial expressions, hand gestures or movement. Don’t get stuck standing in one place showing a power point or simply reciting solutions to problems – or telling old jokes.

Use your personality.

It’s a natural talent that you use everyday. Think of the last time you were together with a group of friends. Maybe you were sitting around someone’s kitchen table and you wanted to tell your family or friends about something that happened to you that day. It could be as simple as your drive to work, but something interesting (and hopefully) funny happened.

  • How would you tell it in a way that would get the reaction you wanted?
  • How could you tell it in a way that would make your family or friends laugh?

Here’s a good tip. Think of the audience as a room full of friends. How would you deliver your message (the topic of your presentation) to them in a way that not only informs, but also entertains them?

By using your personality.

They’ll remember you over a boring speaker – or one trying to entertain with an old joke you’ve probably heard before – with the same message. That’s how you stand out from the competition.

It worked for Rodney, Henny and Lucy – and more than a few humorous speakers and working comics. There’s no reason why it can’t work for you also.

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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.

Does anyone send out DVDs anymore?

January 30, 2017

Hey Dave – Does anyone really send out DVD’s anymore? Do bookers even look at them? I think online is the way to go. – C.L.

Hey C.L. – The answer to your question was obvious to me when I was (pretend) shopping for a new computer. I wasn’t actually going to buy anything, but I wanted to see firsthand the new features I’m missing out on.

DVD hammer

Unloading a DVD

The techno-wizard I was soaking for information was in the middle of his sales pitch for a popular brand miniature laptop when I asked a question that stopped him cold:

“Where do you load in the DVD?”

To describe his response, imagine you just walked onstage. You’ve delivered your opening line and the audience responds with a silent stare. THAT’s what this guy did to me. On stage you start to sweat because no one laughed. One-on-one in a computer store I just hoped this guy DIDN’T laugh.

Mr. Wizard showed me a flash drive and said it takes the place of a DVD. If that gets too full or you start collecting too many, all your videos can be stored in a cloud.

The obvious joke right now is to say my head was in a cloud after this piece of information. According to him, DVD’s are old school – similar to how my kids describe my musical tastes.

No doubt there are talent bookers and event planners that are techno-savvy, but I also happen to know a few who make me seem like a computer genius. One even looks at his DVD player as an evil device that made his trusted VCR obsolete (really old school). I’m serious – no joke.

So that brings us back to your question. Does anyone send out DVD’s anymore?

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Winter 2017 Comedy Workshop

At The Cleveland Improv is SOLD OUT!

Workshop Marquee 150

Workshop showcase performance at The Improv

Wednesday, February 8th at 7:30 pm

For information and to register for future workshops visit…

TheComedyBook.com

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Not really – but sometimes…

From talking with comedians, bookers and personal experience, almost everything today is done online. You can really see a generation gap if someone requests a DVD (old school). It’s a lot easier to watch comedy sets online. I do it all the time – and you probably do also.

Of course nothing beats a live showcase. But if you can’t arrange that in person or through connections, a film of your set is the next best thing. And if you’re not online you’re not in the business.

I've got the time!

That was easy!

With comedy clubs, a great video can lead to a scheduled showcase or even a paid gig. And as I’m sure many of you know there are a lot of comedians hoping for one of those spots. With the amount of videos club bookers are asked to watch, it’s a good idea to make the process as easy as possible. And as you should also know, clicking an online link is a lot easier than loading and ejecting DVDs. It’s also faster which allows them to watch more comedian submissions.

When it comes to the corporate and college markets, I can’t remember the last time I had to make a DVD and send it to a client. Videos are now imbedded into websites or through links on YouTube or Vimeo. When an event planner or student activities booker is searching for entertainment they watch online videos. It’s immediate and they can also forward the link to any other decision makers. It really makes business practices from only few years ago seem like we were working in the Stone Age.

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But there will always be exceptions. I’ve heard of a few bookers who still require a hard copy promo package and DVD. I’m just mentioning that in case you run into any. If you have a good website it should be easy to burn a copy of your video onto a DVD, run off copies of your bio, resume and headshot, put it all in a two-pocket folder and send via snail mail.

Burning a DVD

A good argument for DVDs would come from comedians with television credits. Of course it’s impressive for bookers to see your set from an appearance on Comedy Central (or another network), but with copyrights and other legalities chances are they won’t let you post it online. The networks usually give comics a “personal copy” and they’re allowed to use it for “personal reasons.”

That would include burning it onto a DVD and sending to bookers for potential gigs. But don’t try selling it after your show unless you also want the credit of “bootlegger” on your resume.

So getting back to your question…

No – nobody sends out DVD’s anymore and…

YES – sometimes they do.

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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 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.

How to get letters of recommendation

January 15, 2017

Hey Dave – You had an article a while back about using quotes from clients as promotion on websites. I’ve been doing sets for some local businesses and clubs and the people who hire me say they like what I do. Can I just take what they say and post it on my website or do I need it in writing? How do I get these quotes? I want to move into doing better paying corporate shows. Thanks – H.P.

Hey H.P. – You have a good memory. I ran an FAQ and Answer last June about using “Blurbs and Letters of Recommendation.” Since I only keep these ramblings posted for six months before hitting delete, it’s no longer online. BUT because I’m a good guy (play along if you don’t actually know me) I’ll paste it at the bottom of this one in case anyone wants to check it out.

So we’ll consider this week’s FAQ and Answer a two-parter. Two for the price of… well, nothing. Geez, maybe I should move into a better paying market.

duck-soup-1

“I’ve had a perfectly wonderful evening, but this wasn’t it.”

As a brief synopsis, the earlier article talked about what you’d want a client to say about you and your performance in a good letter (or email) of recommendation. I pointed out that at best it would be an advertisement for what you contributed to the event – and an enticement for potential clients to hire you for future gigs. Then you would pull out a line or two (a “blurb“) to post on your website, similar to a short positive review you’d see on a book cover.

But I won’t repeat all that. The article is posted below so we’ll just continue from here…

As a lot of comedians and speakers know, a letter of recommendation is never a slam dunk. In other words a client may promise to send you one, but that doesn’t make it a guarantee. It doesn’t (always) mean they didn’t like you or your performance, it’s just sometimes they find work, life and other important stuff takes up their time.

They might just forget.

What I suspect is that writing a letter of recommendation – at least for some people – is like doing homework. They may look at writing as “work” or they really don’t know how to put their thoughts into words. They’re not writers like most comedians and speakers, and will put it off the extra work until… like… forever.

We’ll deal with those procrastinators in a moment. But first…

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January 2017 Comedy Workshop

At The Cleveland Improv is SOLD OUT!

Workshop Marquee 150

Workshop showcase performance at The Improv

Wednesday, February 8th at 7:30 pm

For information and to register for future workshops visit…

TheComedyBook.com

*

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To help jolt the memory of clients who might not realize the importance of a letter of recommendation to your career, here’s a tip I learned a long time ago from successful speakers and comedians.

And believe me – it works a LOT more than it doesn’t…

Always take a self-addressed, stamped envelope to all your gigs. When you’re talking with the client after your performance and they’re telling you how great you were, the audience loved it, yadda-yadda-yadda, come right out and ask for the letter. They’re already giving you a positive review, so just make it part of the conversation. And when they say yes – and they will if they’re heaping praise on you – hand them the envelope. Tell them you’re making it easy for them.

Sign here please!

Sign here please!

Seriously. I’m not joking.

Before I started doing this, it was always hit or miss on getting a letter. But once they have the SASE it apparently makes it easier for them to remember. I also suspect they would feel a bit guilty having that envelope and not following through on their promise. So for that reason alone, let’s call it the guilt factor.

It works more than it doesn’t.

It also helps if you send a thank you email, letter or postcard – depending on how you’ve been communicating with the client before the gig. It’s the follow-up that you should be doing anyway. If you haven’t received one by that time, use that opportunity to remind them about a letter of recommendation.

BTW – an email of recommendation is also acceptable. Just like using quotes and photos in a book, I feel it’s important to have something in writing from the person recommending you as proof of their permission. A verbal quote is fine, but they may forget, see their name on your website and… well, like any good business deal having something in writing is always best.

If you still don’t get the letter AND especially for those clients who really aren’t writers and plan to put this off forever, here’s another option. And again – I don’t make this stuff up. I was given this advice by a highly paid and constantly working humorous speaker at a meeting of The National Speakers Association (NSA). And the reason I’m telling you that is because I found making that reference worthy of being a “blurb” to back up this technique…

phone call

Make the call

If you haven’t received a letter a week after your performance, call the client. Since you’ve already worked for them, you should at least have a one phone call relationship where you can again thank them for the gig. You can also ask for any advice or feedback about your performance.

If they have good things to say – and they should if they said it after your performance – ask again about a letter. If the client apologizes and has excuses about being busy, etc… Offer to make their life easier. Ask if you can write the letter (or email) yourself and send it to them.

Again – I don’t make this stuff up. I’ve used this advice and it worked for me – and obviously for the guy that gave me the tip in the first place.

Remind the client it’s important for future bookings or that talent agents and event planners really need recommendations to work with you. Say you’ll write something simple, will send it, (email or with a SASE), and they can edit or change it any way they’d like. Your request is that they email it back with their “okay” (endorsement) or copy it onto a page with company letterhead, sign and return (using your generously supplied SASE). You can usually hear them breathe a sigh of relief on the phone. They just got someone else – you – to do their homework for them.

Okay, most working comics and speakers are probably thinking this is elementary stuff. They know about this. So my excuse is that these tips are for the newbies that don’t. I’ve mentioned this to beginning comics in my workshops and can see eyes light up. Yeah, these are good ideas and they work.

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One generous reader also sent me an email about the importance today of having video letters of recommendation. Again – great idea!

Always consider filming your performance (ask client’s permission first). It could be for promotional purposes or just a way to review your set. If the client or audience members are giving you high praise after your program, ask if they would say it into the camera.

Seriously – again – I’m not joking. Along with a lot of other comics and speakers, I’ve done this and it works. Add their video endorsements to your promo reel. As I said in the earlier article pasted below, it’s always better when someone else is telling the world how great you are – rather than you having to talk yourself up.

And speaking of the earlier article, you can scroll down past all my shameless promotion and comments request below and start reading.

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.

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Now as promised…

241

Blurbs and Letters of Recommendation

First published June 16, 2016

Hey Dave – I remember you had an article about what goes into a good recommendation letter. I have a few from doing corporate shows and fundraisers. Since you’ve also pointed out that promo is online I was wondering how to get these letters in front of talent bookers. It’s not like the old days when we could make paper copies to send in with a promo package. Thoughts? – J.W.

Hey J.W. – The article you’re talking about was on what would go into a good letter of recommendation. The idea is to share a client’s positive review about your performance and what you contributed to the event. The idea is to show potential clients, event planners and talent bookers you have a track record – experience – at helping to make other events successful. And as we know, they also want their events to be successful.

Here are a few examples of feedback that work in a good letter of recommendation:

  • Great performance
  • Lots of laughs
  • Engaged the audience
  • Easy to work with
  • Great audience feedback
  • Went out of your way to make the event a success.

All that type of good word is… well, good word for you.

You still want to collect letters – or emails – of recommendation. But yeah, the days of printing up paper copies are pretty much ancient history. That’s good for the trees – and also good for streamlining your promotional material. Not to mention saving postal costs from the days when we had to send everything via snail mail.

Today everything goes on your website. And like a modern 15- 20 second television commercial (in the “old days” they could last a minute or even 90 seconds) you need to promote yourself and your services with the best attention-grabbing statements.

What you are looking for is one great sentence or a few short ones together that you can pull out and use on the homepage of your website, LinkedIn, Facebook or other one-page promo.

Something like…

“J.W. was very funny and our audience loved him. We look forward to working with him again.” – name of client / company / event, etc…

The idea is to use this sentence as a blurb, which is a short and positive review similar to what you see on the back of book covers. Or now that so many books are eBooks, these blurbs – recommendations from reviewers – usually follow the book cover image. These are enticements, which is another word for advertisements that will keep potential buyers interested in buying the book.

I know I’m getting off track (my track record?) but for an example of how a good blurb should be written go online to the Amazon.com and look for Kindle books.

You don’t need a Kindle reader to do this. Find any book and click the Look Inside feature. The following will work with almost any eBook…

When you click Look Inside a separate window will open and you’ll get a free sample of the book to read. It’s just like the “old days” of going to your local bookstore where you could pull a book off the shelf, do a quick look and decide if you want to buy it or not.

Ebooks do this online for the same reason. You can read a sample before you buy.

Okay, like I said I’m going off track (you were warned) but follow me on this. It’ll make sense at the end…

Unlike physical books with real paper pages, eBooks only offer the beginning of each book you want to sample. It’s usually only the first 10 or 20 percent. To see the rest, you have to buy it.

So publishers and advertisers (enticers) need to grab a reader’s attention right from the first page and hold it for that first 10% or 20%. There should be no wasted space.

So instead of being similar to a paper book that starts out with title pages, copyright pages, dedication pages, thank you pages, blank pages and other traditional book beginnings, it’s important for eBooks to entice readers right from the very start into purchasing the book. There is also no back cover for an ebook to display descriptions (advertisements) about what’s inside.

So immediately after the cover image you’ll see a short overview (enticement) of the book and the best reviews (advertisements). Since the publishers want to display as many good reviews as possible to convince you to buy it and only have 10% to 20% of an ebook to do that, they’ll only use the best statement(s) from reviews that were probably longer.

These are blurbs.

Following the blurbs the same will jump right into a Table of Contents (more enticements) and the beginning of the book. This gives potential buyers an immediate feel for what they’re buying. The copyright pages and all the rest of the legal stuff and personal comments (“Thanks mom and dad for your support!”) will appear at the end of the eBook. The legal stuff is needed to keep the government and tax man off your back, while the personal stuff keeps family and friends happy. But none of it helps to make a sale.

Now, to get back on track. I detailed these standard publishing techniques because…

You need to start thinking the same way. You’re selling your service just like publishers sell their eBooks. These online books are great FREE examples of how advertising (blurbs of recommendation) should look and work for you. Take a look at the short and attention grabbing one or two sentence reviews at the beginning of an eBook and you’ll understand what you should be looking for in a letter of recommendation. You’ll know what to pull out and use on your website and in your promo material for a blurb.

Get great blurbs (advertising) and put them where potential clients (buyers) will be sure to see them – near the beginning of your promo. It will entice them to read more about you. And if they like what they read, they’ll continue to read. And once they know more about the positives you can bring to their show or event you’ll have a better chance of nailing the job.

You can also check out websites for other comedians and speakers. Any of them that have great letters of recommendation will have the best blurbs posted online for potential clients to read. It’s also common to have a “Reviews” page linked to the home page with a list of blurbs.

Websites for working comics and speakers are loaded with them.

The deal is that you can talk yourself up all you want and great salesmen are skilled at that. But nothing beats someone else talking you up. That’s what a great review – blurbs and letters of recommendation – will accomplish.

Copyright 2016 – North Shore Publishing.