Archive for the ‘Speaker’ Category

How long do you go until you hit with a bit?

February 25, 2018

Hi Dave – At what point do you drop a bit? Is there a magic number or amount of time that you spend refining before you shelf a joke or bit? Thanks! W.K.

How many times for a joke to work?

Hey W.K. – I enjoy this type of question because it will always start a debate. In fact, it’s already started one – with myself. In other words, I have two answers…

The first falls back on my dedicated opinion that comedians and humorous speakers are creative artists. Writing and performing original material is an ongoing process. You create something and continue to develop it and make improvements.

Will it ever be perfect? Not really… at least for a creative artist.

Here’s what I mean. A lot of comics I’ve worked with have had killer sets. They come off stage knowing they’ve nailed it – the crowd laughed all the way through and both the performer and audience feel pretty good. But then the performer (artist) can usually find some fault. It could be delivering one line a different way or even using another facial expression that could’ve taken everything over the top.

Could it be called a perfect set? Maybe for the audience, but a creative artist will probably always feel there’s some room for improvement. It’s the curse of being creative.

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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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Interested in the next workshop at The Cleveland Improv?

Keep reading…

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Here’s another example…

I’ve heard too many interviews with recording artists who’ve had No. 1 songs, but can pick out moments (that listeners wouldn’t notice) where – if they could record the song again – they would do something different (in their mind, something better). The song may have hit No. 1, but they can see room for improvement.

Name that tune!

The artist doesn’t stop selling the music – because it’s still good. It’s just not perfect. They might continue to change and develop the songs in live performances, which is something that has driven fans of Bob Dylan crazy for decades. He never seems to play his songs the same as the recordings.

Okay – now back to your question about comedy bits.

Just because a bit doesn’t work, that’s no reason to think it will never work. If you think it has promise and you’re dedicated to working on it… well, there’s always the chance.

In that case you would keep working on a bit for as long as you believe it can be made funnier. It will never be perfect, because in the back of your creative mind you always think it can be better.

Okay – that was answer No. 1. Now I’ll share with you a different opinion that I’ve also heard from so many comedians that I can’t ignore it.

I also share this in my workshops as a method for putting together a comedy set that might someday get you hired. It doesn’t take away from your creativity, but it saves the audience – and also importantly the club booker – the agony of paying for performances where the comedian is continually working on improving the same not-yet-working bit.

By the way, that’s great for open-mics and what open-mics are for. But when customers are paying upwards of $20 for a ticket, a two-drink minimum and parking it makes good business sense to give them a show with proven material.

This different opinion also shares the name of another comedy writing theory:

The Rule of Three

The best known example of this in writing comedy concerns the actual structure of a joke or bit. For an explanation I saved you time and looked it up in Wikipedia. Here’s the scoop:

One of the best examples of the power of rule of three is in comedy, where it is also called a comic triple. Two is the smallest number of points needed to establish a pattern, and comedians exploit the way people’s minds perceive expected patterns to throw the audience off track (and make them laugh) with the third element. Example: “How do you get to my place? Go down to the corner, turn left, and get lost.”

Okay, okay… That sounds too much like textbook theory, which is something creative artists don’t worry about (at least too much). It also doesn’t pertain to your question, but it leads me to a different Rule of Three…

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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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I remember conversations about this at the NYC Improv. As I like to say, I don’t make this stuff up and this idea seemed to be a general opinion with a lot of the comics hanging around the bar waiting to go on stage.

The idea is to try a bit or a joke three times in front of three different audiences.

Three things can happen:

  1. The audience will laugh
  2. Some of the audience will laugh, but not all
  3. The audience won’t laugh

After doing this three times, you add up the score:

  1. If they laugh all three times, you keep the bit or joke in the act
  2. If you get some laughs, but not a lot – rework it and repeat the process
  3. If they don’t laugh, cut the bit from you act

Of course the first result is the goal, while the last one is pretty much a death sentence for the material.

The second should spark the creative mind to continue improving the bit or joke. But eventually you’ll need to make a decision. If it’s only going to be a mediocre piece of material no matter how many changes you make, file it for later or dump it for something new and funnier.

Who’s out?

If you want to work in this business, you need material that works in front of an audience.

The creative artist will always continue to develop new material. The working comic or humorous speaker will have material that has already been proven to work in front of an audience – and that’s what they will be paid to deliver. So if the bit or the joke is not working, then follow a similar Rule of Three from the game of baseball theory:

Three strikes and you’re out.

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.

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Promotional videos need an audience

February 12, 2018

Dave – Does the promotional video have to be in front of a live audience? Most open-mics are restricted to 5 minutes and my bits are longer. Also, many open-mics are poor venues to make quality video. – ET

Hopefully more than this!

Hey ET – If you’re promoting for a live performance gig you need to show the talent booker what you can do in front of a live audience. Maybe if you’re sending in your “reel” for an acting gig – commercials, TV or film – I doubt it would matter. Then again, since we’re dealing with comedians and humorous speakers and not actors (well, not necessarily) the answers to your questions – in order – are:

  1. Yes
  2. Tough
  3. Figure out another option

Okay, I know the last two sound kind of harsh, but I’ll explain my reasoning in a moment. But for right now I’ll fall back on a standard reasoning that this is a business. Yes, it is a creative business that survives on talent and continues by discovering new talent that is different, innovative and sometimes not afraid to push down a few established barriers. But when it comes to the business of promoting, there are some established thoughts I don’t think are going to change anytime in the near future.

One is submitting a promo video filmed in front of a live audience.

When you want to be considered for a performance gig – you need to show the talent booker a performance in front of an audience. They want to see how you work on stage and an audience reaction before they’ll take a chance on you. There’s no other way outside of a live showcase to do that.

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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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Interested in the next workshop at The Cleveland Improv?

Keep reading…

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Think of it like test-driving a new car. A buyer wants to know how it runs on the highway, rather than just taking the seller’s word on it. It’s the same thing with live performers. A good talent booker wants to know what he’s buying before putting the comic (or speaker, or musician…) on stage in front of a “live” audience. If the audience enjoys the show they might come back for another (clubs like returning customers), but if it’s a bomb they might just go to a movie or another club next time.

It’s pretty much impossible to get an accurate feel for a comedian or speaker without an audience. Yeah, I know the television show Last Comic Standing used to have comics perform in front of only three judges in the first round, but those three people were still an audience. I’m sure most comics know what I’m talking about from doing open-mics in front of only two or three people. They’ve learned that you still need to perform for them.

I remember getting videos for A&E’s An Evening at the Improv from aspiring comedians that were filmed in their living rooms, basements and bedrooms, and even outside. No audience – just them in front of a camera. Honestly, they were laughable because they came off as amateurs that really had no performing experience (an experienced comic would know better). And as I’ve been known to say…

They may call it amateur night, but no one wants to hire (pay for) an amateur.

So don’t even consider sending a promo video for a performance gig that was not filmed in front of an audience. The talent booker will be wondering why you couldn’t get on stage anywhere and had to do it this way.

Now as far as a time limit of say… five minutes. Again, it’s the business.

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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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Talent bookers get a LOT of video submissions and simply don’t have the time to watch a string of comics doing… well, a LOT of time. Usually most of them know within the first 30 seconds if the comedian has the experience and material to maybe be hired. It’ll show right away. Most also know how to fast forward and stop at random places to see if the comic is getting laughs from an audience. I’ve sat and watched promo videos with more than a few very influential talent bookers in NYC and LA and have seen this happen. So whatever the length of the video, it should be your best and filmed in front of a live audience.

But saying five minutes is not enough time for your long bits could hurt you BIG TIME when you’re just starting out. An important part of the club business is keeping comics “within their time.”

Headliners – the acts audiences are paying to see – have the most flexibility when it comes to time. I’ve seen many do an hour or more if there’s only one show that night and the audience is really having fun. But the opener and feature need to “stick to their time” so the headliner doesn’t go on too late in the show or in front of a burned-out audience.

Sometimes an opener can be given 15 minutes. But other nights, especially when there are two or three shows and maybe a guest set thrown in, the manager might tell the opener to do 5 minutes or less.

Can you do that?

If they manager says, “Do five minutes” and you go over your time because your bits are too long, chances are you won’t work that club again. I also remember a former member of my workshop calling me to say he’d had his best set ever during a contest at The Improv but was disqualified. Why? Because comics were given five minutes – and he had done five minutes and TEN seconds.

I’m not kidding. Again – it’s the business.

So if most open-mics only give you five minutes and your bits are longer, then you need to find other clubs that will give you more stage time. You don’t want to break their rules if you want to be invited back.

And again, time limits are important to remember if you want to get hired in most clubs. If you can’t stick to five minutes and that’s what they’re looking for, then turn down the gig. It won’t work in your favor.

Not every open-mic is a poor venue to make a quality video (your comment above) and if these are the only places you’re performing, it’s probably time to expand your horizons if you want to start getting paid work. Actually some of the more popular open-mics I’ve seen in various cities would be cool settings for a promo video. They may not have “IMPROV” or another club logo on the back wall, but a stage, microphone and spotlight, and an attentive audience will usually do the trick.

This would be better!

The deal is that you want a real audience to make a decent promo video. A room full of open-mic comics who’ve probably heard your set a dozen times and are trying to figure out what they’re going to do on stage when you’re finished won’t be your best audience.

So this is where you figure out another option.

When you’re going to do a promotional video – promote the gig. Seriously. Invite friends, family, co-workers and anyone else you can get in the club. I’ve seen comics in NYC standing on the sidewalk handing out flyers not because it was a bringer show, but because they wanted an audience for their promo video.

Another option is to get a few other comics involved that also want new promo videos. Again, I learned this trick in NYC. Five or six comics would plan to do their videos on the same night and PACK the club with just about everyone they knew.

Once the scene was set – all they had to do was be funny (not an option – ha!) and film it.

At the end of the night they had new promo videos filmed in front of a “live” audience that (from what I remember) got them work from talent bookers. Then when they were booked in better clubs, they got better videos – and the cycle continues for anyone who wants to be a working comic.

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.

Shake things up in 2018

January 1, 2018

Hi Dave – I’m one of those people who will always wonder, “What if?” I’ve fallen behind in my stage fright quotient and will definitely tackle those fears and hit the stage once I get a solid five minutes (of comedy material). I may sink, swim or neither, but it’s time to shake things up. I was just watching what I consider to be the underrated Stardust Memories with one of my favorite lines: “You wanna help mankind? Tell funnier jokes.” Much obliged – P.J.

Hey P.J. – I like your attitude. It’s a new year, which for many people can signal a new change or a new direction in life. Personally I don’t see why changes can’t be made anytime you feel you’re ready and it’s needed, but the New Year’s Countdown and ball dropping in New York’s Times Square can be like a starter’s pistol going off. For some, it’s time to start running in a new direction.

Three, two, one… Happy New Year!

Wait a minute… another year? “What if…?”

How often have you thought that? We’d all like to swim rather than sink, but to do neither sounds like a step backwards to me. So I’m going to kick-start 2018 with a bit of a challenge:

Let’s shake things up.

Since you’ve read this far AND if you’ve read any past FAQ’s And Answers I’m assuming you have a sense of humor AND a flair for creativity (and that’s a creative word: flair). You’re either a comedian or a humorous speaker – or both – or aspiring to be one or the other – or both.

Shake it up!

How do you stand out from everyone else? What separates you from the pack? Maybe it’s time to shake things up and take a risk.

Taking a risk can mean different things to different people. If you’ve never been on stage for whatever reason (stage fright quotient?) but it’s burning a BIG “What If?” in your brain – do it now. If you’re waiting until the ball drops next year, you risk losing this year. Go to an open-mic, take a class, form a writing group – whatever, there are tons of options. There are also plenty of good books on the market (and not just mine – search around) on how to write, perform and find work in this crazy biz.

Let’s shake things up.

If you’re already on stage doing comedy or speaking and your career is not where you think it should be – make a change. Take a risk. Try something different. It could be different topics, different energy, different venues or even a different location. You never know until you try.

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January 2018 Comedy Workshop

At The Cleveland Improv

SOLD OUT!!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

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

Spring 2018 Chicago workshop dates TBA

For information, reviews, photos visit…

TheComedyBook.com

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One of my favorite stories in my book Comedy FAQs And Answers: How The Stand-Up Biz Really Works is from comedian Christopher Titus.

He described himself early in his career as being the “happy-go-lucky comic.” He was funny, but there was nothing that separated him from any other observational comic.

Then his manager challenged him to take a risk. He suggested he be real on stage.

Titus was one person (happy-go-lucky) on stage, but off stage he had a dark, edgy – risky – style of humor. Accepting the challenge, he wrote a bit about stabbing his boss with a letter opener. It worked BIG time. This change in his comedy voice separated him from the pack, made him an in-demand headliner and also star of his own television sitcom, Titus.

Now I’m not saying to write material about stabbing your boss with a letter opener. If you look back at the above paragraph, it’s been done. Copying someone else’s material is not going to get you anywhere in this creative business. In fact, it would be a step backwards. And it probably wouldn’t be a good idea to go in a more edgy direction if that is NOT where your true humor is based. Some comics like more family-oriented material or working in the corporate (clean) market.

Go for it!

All I’m saying… suggesting… (motivating?)… is to make this YOUR year. Accept the challenge and shake things up.

If you’re waiting to start, take that important first step and get on stage. If you’re looking for help in preparing for that first step, are too nervous, or have a full-blown case of stage fright, take a workshop and let someone with experience help you ease your way into it. If you’re already performing, remember the famous line from Stardust Memories (a Woody Allen film if you need to know):

“You wanna help mankind? Tell funnier jokes.”

Have a productive, successful and laugh-filled 2018.

Your Pal – Dave

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2018 – North Shore Publishing.

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

November 13, 2017

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

What’s the question?

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

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

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

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

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

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

Meeting of the minds

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

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

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

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

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

Make sense?

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

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Fall 2017 Chicago and Cleveland Comedy Workshops

SOLD OUT!!!

Winter 2018 dates TBA

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons

Includes an evening performance at The Improv

For information, reviews, photos and advance registration visit…

TheComedyBook.com

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

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

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

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

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

Al and Rocky… uh, Steven

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

For details about upcoming comedy workshops at the Cleveland and Chicago Improv Comedy Clubs and (comedy soon!) The Omaha Funny Boneprivate coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2017 – North Shore Publishing.

Promoting your videos to talent bookers

October 30, 2017

Hey Dave – How can I promote my videos to talent bookers? What about on YouTube? – BT

Marketing Technique

Hey BT – I’m not revealing any kind of marketing breakthrough by saying almost everything today is done online. There are still a few agents and bookers that request hard copies of promotional packages, but in my opinion it just means they’re really out of touch with what’s going on. If they can’t get online and learn how to work with streaming video and website links, what kind of gigs are they getting for their clients?

I’m guessing Amish barn-raisers.

What used to be included in a hard-copy promotional package is what still needs to be included when you promote yourself online. If you want to know what’s required, pick up a copy of my book How To Be A Working Comic. All the marketing tools that were once in hard copy promo packs are now posted online. And a dedicated website is considered more professional and even required by some bookers I’ve worked with if you even want to be considered for work. And it’s not all that expensive if you look into some of the options like a website on WordPress or Wix.

But don’t be discouraged if you don’t have a big time website dedicated strictly to your comedy or speaking career. Facebook will still work with smaller bookers and LinkedIn is also a good network / marketing tool. But definitely go for a website when the money starts pouring in from smaller gigs.

Here’s some insider advice:

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Comedy Workshop at The Chicago Improv

Starting Saturday – November 4, 2017

SOLD OUT!!!

Includes performance on Thursday, November 30th!!

Workshop Marquee 150

Meets for 3 Saturday afternoons – skips Thanksgiving Weekend

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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Great promotional material might get you noticed, but talent and experience are what gets you hired. Basically it’s still all about writing and performing. That part of the job never ends. But when you’re ready to take the next step in your career, you’ve got to let people know – and that’s when professional looking promotional material and marketing techniques come into play.

Notice one of the words used above – professional. Here’s one of the most important lines from my second book Comedy FAQs And Answers:

“They may call it amateur night – but no one is looking to hire an amateur.”

Yeah… I’ll watch your video

Sharing your videos with friends is easy on YouTube. Millions of people do it every day. Just send them a message saying watch my video and include a link. But when it comes to promoting videos on YouTube to get professional bookings, you need to realize that video and your website have become important marketing tools.

Go back the word I used earlier – professional. Now memorize it.

Once you have a professional looking video and a professional looking website, then you can start contacting bookers to look at it. This is done through networking (meaning you know someone that can recommend you or put you in contact with the booker), researching (going to the booker’s or club’s website and finding the required way to submit promotional material or request a showcase), and/or (and I hate this one, even though I’m good at it) cold calling. With the cold call you basically want to get the correct information on the correct way to contact a booker and then follow it.

Now this is not going sound too friendly or supportive, but I have to say it…

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To the writer of this question – and don’t get angry because no one else reading this knows who you are – I’ve watched the YouTube link you sent. Here’s some really good advice. Do NOT promote it to comedy bookers. It comes off as being very amateur and could damage your chances of being seen later when you’ve actually gained enough on stage credits and experience to be taken seriously by bookers.

No booker has time, desire, energy or interest in watching really bad amateur videos. Take my advice on this one. Plus it could come back to haunt you.

I remember a very influential comedy booker when I ran the NYC Improv. I saw a comedian who was GREAT and went to this booker with a GREAT recommendation to hire the act. I was SHOCKED to be told this booker had seen the SAME comedian FIVE years earlier when he was just starting his career. Based on that early impression, the booker said the comic was terrible and he had no interest in hiring or even showcasing him again.

Here’s my advice.

Promotional Technique

Don’t worry about promoting yourself for work until you’re truly ready to be a hired. Seriously. Be honest with yourself. If you’re doing open-mics or smaller shows and honestly feel you’re just as good or better than others getting paid gigs (listen to your audio recordings – they won’t lie), then make the leap. If not, don’t rush it. The best comics and people hiring comics all know it takes time, dedication and experience.

There are no short cuts.

Then promote your career as if you deserve to be called a working comic. This includes a headshot, resume with a decent amount of on stage credits, a short bio so they know something about you, and reliable contact email and phone number. You can have all that stuff on a website and in any design or format you want – as long as it’s easy for bookers to review.

BUT the most important part of a promotional package – online or hard copy – is your video. Don’t put out something that makes you look like an amateur just to have a video to submit. Think of the first impression you’re making on a booker and that he/she might remember it. For a long time.

They may call it amateur night – but no one is looking to hire an amateur.

Professional. Memorize the word and use it when promoting yourself as a working comic.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2017 – North Shore Publishing.

Don’t promise what you can’t deliver

October 15, 2017

Hey Dave – I need some advice, but think I already know the answer. I had a booker ask me if I can do an hour clean for corporate and 90 minutes for cruises. I have about 40 clean. I already screwed myself recently when someone asked if I can do an hour headlining and I said I was more comfortable featuring. I want to tell this person yes, but don’t want to disappoint and don’t want to hurt my standing with them. But I’m afraid if I say no, they won’t look at me again. What do you think? – D.

“I know! I know!”

Hey D. – I think it’s true you already know the answer because you’re a working comic. And I don’t need to overthink to know talent bookers, comedians and speakers working regularly in the entertainment biz also know the answer. But for those who are not at that point yet in their careers, this type of offer can cause them to question their own better judgment.

I’ve never met a performer that wanted to screw up a chance to get work through a legit talent booker. It’s how they both earn a living. One way to do it is to overestimate – or deliberately lie – about what they can offer the client (the buyer – like an event planner for a corporate show). If the booker says he has a comic that can do an hour of clean material, that’s exactly what the event planner assumes he’s paying for. If the comic claims that’s what he brings to the deal, it had better be true.

If that’s not what’s delivered, then everyone is screwed.

Okay, I understand some performers are great at crowd work. They may not have an actual hour’s worth of material, but they’re talented and experienced in talking with the audience and making it part of the act.  If that’s what you’re capable of doing for an hour and have proven it in the past, then yeah – do the gig.

If not, don’t overestimate and claim you can if you’ve never done it. A good paying or important (proving yourself to a legit booker) gig is not the time to try something new.

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Comedy Workshop at The Chicago Improv

Begins Saturday – November 4, 2017

Includes performance on Thursday, November 30th!!

Workshop Marquee 150

Meets for 3 Saturday afternoons – skips Thanksgiving Weekend

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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But for experienced working comics, I’m just preaching to the choir.

It’s true you don’t want to ruin a chance to work with a talent booker by turning down jobs. But then again, you don’t want to ruin chances for future work if you don’t deliver what you’ve promised. The best way to deal with both of these dilemmas is to tell them the truth.

A legit talent booker should respect your honesty.

Thanks!

If he’s contacted you about work – that means he or she is interested in working with you. This shouldn’t be a “slam the door in your face” moment because you can’t deliver – right now – what’s being asked of you. Use this as an opportunity to stay in contact and hopefully work together in the future. I’ve booked dozens of corporate shows and they’re not always for an hour performance. In fact that’s almost too long for an event that might include cocktail hour, dinner and dancing after the show. Most of the corporate bookings I’ve gotten for comedians are between thirty and forty five minutes.

So always ask the best way for you to stay in touch with this booker in case he needs someone for a show of that length. And when you’re finally ready – experienced – to do an hour or ninety minutes, you can let them know that too.

I know this will sound cliché, but keep in mind you’re building a career. It takes time and it’s not a race. Putting together a solid (funny) act (clean) for corporate gigs and dinner shows on cruise ships (different than the late night adult shows performed by the same comics) is not an overnight process. The best comedians (and speakers) – in other words, working regularly – understand the hard work, dedication and on stage experience that’s necessary to find success in this competitive business.

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There are no shortcuts.

As a talent booker I know from past experience that a miserable experience is scheduling a comic for a show who doesn’t deliver what’s been promised. The client is unhappy and will call someone else in the future when looking for entertainment. And from the talent booker point of view? Well, let’s just say that comic won’t be on speed dial for gigs anytime soon.

And yeah – that’s how I earned that experience.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2017 – North Shore Publishing.

Showcase Motivation

October 1, 2017

Dave – You’ve talked about showcasing in the last few newsletters. What’s the motivation for a talent booker to organize these showcases? What is the benefit to the booker and the club? – MB

Hey MB – Since your email came in not long after the last FAQ And Answer was posted, I know you’re referring to my mention of comedy club showcases in Los Angeles (and NYC). Instead of repeating myself, if anyone missed it you can just scroll down to the next article to read.

The motivation to organize a showcase is to find (scout) talent. Talent bookers, casting directors, producers, event planners and anyone else looking to hire comedians or speakers can organize or attend live performances to see for themselves before hiring someone. They also watch videos, but when you’re in one of the big media markets – like LA or NYC – there are more (in my opinion) opportunities to see the performers in person.

And you know live is always better – right? If you don’t believe me, watch your favorite band on YouTube and then check them out in concert. There’s a big difference.

When I worked for The Improv in LA and NYC, I would get calls from casting directors looking for certain types. This could be for a movie, television show, documentary – or even a one-shot appearance on a late-night talk show.

For instance, when The Tonight Show set up a showcase, they were looking for comics who were (of course) funny and had the needed experience to do a high-profile (pressure is on!) show – which meant there was less of a chance they would freeze up or bomb when they hit the stage in front of the cameras. In other words, if you were relatively new to the biz and hoping to hit the lottery with the only five minutes of material you had, there was no need to apply.

—————————————————————————-

Comedy Workshop at The Chicago Improv

Begins Saturday – November 4, 2017

Includes performance on Thursday, November 30th!!

Workshop Marquee 150

Meets for 3 Saturday afternoons – skips Thanksgiving Weekend

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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By scheduling a showcase in the club, the talent bookers could watch a number of pre-selected comedians perform in front of a live audience and decide which ones were “ready” for the show. When I was there the comics were usually given about three minutes to prove their stuff.

I also did this with A&E’s An Evening At The Improv. I would watch tons of videos sent in advance, pick ten comics who “might” be ready to do the show, and schedule them for a Monday night showcase. Each would do three minutes on stage, which meant the showcase would be over in half an hour. There was never a set number of how many would be booked that night to do the television show because it was an almost weekly process. You might find four or five in one night – and none the next.

But the bottom line is that it was an efficient (for bookers) and fair (for comedians) way to audition performers.

This is also how it was done for sitcoms, movies and other casting projects. Once when I was at the New York Improv I got a call from The Today Show.

It was an election year and they wanted a comic that did political material. I already knew ten from our roster that would be great for the gig, so I called them and scheduled a showcase where they all came in on the same night and did three minutes of political stuff. The producers from The Today Show came to the club, watched the showcase and picked one. It made their job a lot easier than sending out a casting call and sitting through hundreds of videos and then scheduling auditions in their office.

So that would be the motivation for the talent booker.

For an agent or manager, they want their clients seen by the people who can give them work. They would schedule a showcase time, usually thirty minutes to an hour, with the club (in my case The Improv) and fill the spots from their roster of comedians. Then they would invite casting people, talent bookers, etc. to watch the showcase. If it were a manager promoting the showcase, they would also invite agents they wanted to represent their clients.

It was a lot of work to make these showcases successful, but again it beat the heck out of sending press packages and making phone calls to set individual appointments. Everyone would be in the same place at the same time for a big schmooze-fest. In other words a good showcase is a prime networking and “doing business” opportunity.

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So what’s the benefit for the booker? Again – it was an efficient way to find talent.

What’s the benefit for the club? There was the prestige that comes from working with the top shows and more business.

Think about it. If you owned a comedy club and had big-time producers and casting agents from every major network, film studio and agency hanging around scouting talent, every comic will want to perform there. And when you have the best comics on your stage, you get the most business because that’s what audiences want to see – good (funny) comedians. That’s why it’s just as competitive between the clubs to host industry showcases as it is for the comedians who want to be on them.

Showcasing is also beneficial for (humorous) speakers.

When I was an agent in NACA (National Association for Campus Activities) showcasing was the best way to score bookings. I won’t get into all the details on how this works – it’s in my book Comedy FAQs And Answers if you’re interested.

But in a nutshell, colleges and universities would send a delegation of Student Activities members to an NACA Conference in their regional area. They would go to various showcases over a few days and watch speakers and comedians (and all kinds of other performers) perform twenty-minute sets. This is how they would choose which ones they would book for the upcoming school year.

If you wanted to be booked – you pretty much had to be seen.

That’s the purpose behind showcases. It’s an efficient and proven way to find talent and show your talent.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2017 – North Shore Publishing.

Showcases can be a ticking time bomb

September 12, 2017

Hey Dave – You sent out an article last month about how important it is to stay within the amount of time you’ve been given to perform on stage. My question is why are showcases so short? In most cases I don’t think you have enough time to prove how good you really are. – S.K.

Hey S.K. – In case anyone missed it or wants a reminder of the article you’re talking about, it’s still posted below: Stick to your time on stage (August 1, 2017). And now that we’re all on the same page…

Showcasing!

To clarify for anyone just getting into the comedy or speaking biz, showcase is another word for audition. A successful showcase can lead to work (auditioning for talent bookers, event planners, etc.) or representation (auditioning for a talent agent or manager).

Why use the word showcase? I don’t know… maybe it sounds more professional or less stressful, but it means exactly the same as audition.

I’ve been involved in a lot of showcases for comedy clubs, television shows, corporate events and college gigs. And here’s a behind-the-scenes truth about this business. The industry people – talent bookers, agents and managers – looking to hire or represent performers want to make the most of their on the job time. In other words, they don’t want to spend every night of the week going to a club and only seeing one performer showcasing each night. It makes much more sense (time management) to see a number of performances during one show.

They also don’t want to sit through ten, twenty or thirty minute sets when it’s obvious within the first three minutes the showcasing performer is not what they are looking to hire.

This is why industry showcases include numerous performers doing short sets. For instance…

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Comedy Workshop at The Cleveland Improv

Begins Saturday, October 7, 2017

Includes performance at The Improv on Wednesday, October 25

Workshop Marquee 150

Meets for 3 Saturday afternoons – limited to 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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When I was auditioning comedians for the television show A&E’s An Evening At The Improv, I would schedule showcases for Monday evenings at The Improv on Melrose Avenue in Los Angeles. I’d block out about 35 minutes to see ten comics do three minutes each. The extra five minutes would be a buffer for MC introductions and time for the acts to get on and off the stage. If everyone kept to their time – and it was more than just expected they would – then Mission Showcase would be accomplished.

Within that short period of time ten comedians would have an opportunity to book a television show.

And it wasn’t just me in the audience on Monday nights watching the showcase. There were talent bookers for The Tonight Show, HBO, MTV and other shows and networks checking out the new comics. They knew this was happening on Monday evenings and everyone could all get a lot of work done in a little over half an hour.

But it was never a surprise when some of the comics complained that three minutes was not enough time to showcase their talent. But you know what?

They were wrong.

Enough already!!

Three minutes is PLENTY of time for an experienced talent booker to know whether or not they want to hire the showcasing performer. In my case, if you couldn’t prove you were ready to perform on A&E’s An Evening at the Improv within three minutes (to be honest it was more like within 30 seconds) then you weren’t right for that particular show.

This was also true for the other talent bookers watching these showcases.

If a comedian couldn’t demonstrate what he can do on stage within the first three minutes, there was NO WAY a talent booker will hire him to do those same three minutes on a television show. Even if the comic suddenly became hysterically funny at the end of this showcase – the first three minutes will have lost viewers channel surfing for better entertainment.

It’s similar to auditioning for Last Comic Standing, America’s Got TalentAmerican Idol, The Voice or So You Think You Can Dance. Before anyone makes it to the televised episodes, thousands of hopefuls showcase in front of one, two or maybe three judges off-camera for (and trust me on this because I’ve been there) much less than three minutes. If performers can’t impress the judges within that time frame – they can forget about moving on in the competition.

Lesson?

If you think you have what it takes to get on any of those shows, don’t waste any time during your showcase. Bring your A Game and go for it asap.

It’s also important to realize this is your opportunity as a performer or humorous speaker (during speaking showcases) to make a good first impression with the industry people. It shows you’re professional by knowing the importance of sticking to a schedule – their schedule. If you don’t know what I’m talking about, read the August 1, 2017 article referred to above.

Another reason to stick to your showcasing time is consideration for your fellow comedians or speakers.

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It doesn’t matter if your showcase is done in front of a live audience, like we did at the Hollywood Improv, or just a few judges similar to first auditions for Last Comic Standing and American Idol. Anyone watching a lot of performers doing short performances will get burned-out faster than if they were watching one great performer during the same time frame.

For example, Jerry Seinfeld can do an hour set and leave the audience wanting more. He’s a seasoned professional entertainer. No one can argue that. But newcomers won’t have the experience or material to hold an audience that long. It takes time – stage time – and talent to reach that status. And if you are already there like Seinfeld – then you wouldn’t be showcasing anyway.

And no one can argue that either…

So one way to make these talent showcases fair (there’s a word you don’t often hear in showbiz) is to keep the talent bookers and audience from being burned-out for the later performers. It’s not fair to the performers at the end of the showcase.

Here’s another example…

During my comedy workshops ten aspiring comedians perform five minute sets during our evening graduation show. That’s 50 minutes – not including an MC warming up the crowd for ten minutes to kick things off and doing short introductions for each comic.

That brings our show to over an hour, which is getting into Seinfeld territory on stage.

The audience is fresh and excited in the beginning. And by keeping each comedian’s set short and funny, chances are the audience will not get burned-out by the end. There may be performers they don’t care as much for, but the next one will be on stage within a few minutes. The audience interest level can be held.

The goal for a good showcase is to leave the audience (or judges) wanting more.

At one workshop performance a few years ago, the FIRST comic in our show – for whatever reason – never took his eyes off the first few rows of tables. He kept his head down and never looked at the people seated in the back. He had been told to watch for my signal from the sound booth (back of the room) telling him his five minutes were almost up and to finish his performance.

Except he NEVER looked up. He kept his head down and didn’t stop talking.

He had a good five minutes – which is what he had created during our workshop. He had been prepared and did a good job. But when he finished his five minutes, he just kept rambling on. He didn’t stop talking.

Suddenly, it wasn’t funny.

Running on empty

In fact – it was the complete opposite. The audience lost interest. You could see them breaking up into small discussion groups at their tables, looking at the menus and trying to order drinks to ease their pain.

When he finally ran out of things to say, he left the stage. The audience had already checked out mentally and the comedian who was unfortunate enough to have the next spot had to work TWICE as hard to get the audience back (get them to pay attention). It was not an easy night for either comic, or even the next few that had to follow this showcase killing disaster.

The comic that went long found me at the back of the room. He had lost track of time and had no idea how many minutes he’d been on stage. So when he asked me how he did, I had to give him an honest answer:

You did ten freaking minutes!” I said.

Okay, I hope I didn’t sound as angry as that looks. But I was being honest. I took time to explain how what he had done affected the show. It really wasn’t fair to anyone that night – including him, especially since the first five minutes of his set was great. The additional time he did onstage (unprepared in advance) left an impression with the audience that he wasn’t very good after all.

To end this lesson on a positive note, he’s still doing comedy. And since talent bookers are hiring him, I know the lesson about sticking to his time on stage was learned.

So whether you’re showcasing or doing a paid gig, remember the importance of time. It’s a ticking time bomb – and we all know how comedians and speakers HATE to bomb!!

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2017 – North Shore Publishing.