Archive for the ‘Talent Bookers’ 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.

Breaking down gatekeeper blockades

June 16, 2017

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

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

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

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

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

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

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

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

On the lookout

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

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

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

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

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Comedy Workshop at The Cleveland Improv

Starts Saturday – July 22, 2017

Workshop Marquee 150

Meets 3 Saturdays from noon to 4 pm

Includes a performance at The Cleveland Improv

Wednesday – August 16 at 7:30 pm

Space limited to 10 people

For details, reviews, photos and to register visit…

TheComedyBook.com

*

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

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

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

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

Hang up and make the scene!

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

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Only clean material? Know your audience

June 5, 2017

Hi Dave – I have one question. As a new comedian does my material have to be clean? – J.N.

Did you hear that?!

Hey J.N. – Your question will sound familiar to more than a few readers because it comes up quite often. But you know what? New comedians ask because it’s important. And there is no right or wrong answer.

Comedy is both a creative art and a business, but to be successful in this business as a creative artist there is one first goal:

Be funny.

How you get there is totally up to you. As one very famous comedian told me (and it’s in my book How To Be A Working Comic), “If you swear in real life, you’re going to swear on stage.” On the other hand, if these words aren’t already in your vocabulary, don’t add them simply because you think it’ll make you funny. That’s not who you really are and an audience will pick up on that.

There seems to be a market for everything, so whether to work clean or dirty is a personal decision. But since you brought up the question and I’ve never been known to give short answers, let’s look at your potential choice from another point of view. We’ll call it…

Your audience.

The deal is that everyone has to start at the beginning. Since you specifically said “new comedian,” that’s what we’ll focus on. Speakers already know they have to work clean. If they don’t, then they’re not speaking much – if at all.

Along with learning how to write and perform, you’ll also experience different audiences, different venues and different types of shows. For instance, many comedians love late night, beer-soaked crowds in loud comedy clubs. Others would rather perform for more sophisticated (and I’m using that term loosely) audiences at corporate events.

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Comedy Workshop at The Cleveland Improv

Summer 2017 Dates TBA

Workshop Marquee 150

Includes an evening performance at The Cleveland Improv

For details, reviews, photos and advance registration visit…

TheComedyBook.com

*

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Have you thought about that? I’m guessing it’s still too early in your career to even consider since your first step should be just getting experience on stage. But eventually it will become both a creative and business decision because different markets have different audiences and hire different types of entertainment.

What markets do you want to play?

Confusing?

These are questions every entertainer (not just comedians and humorous speakers) have to consider. As a creative artist with a unique way of expressing yourself, who is your audience? And as a business person (successful creative artist), how can you build an audience to support your creative endeavors?

When you’re just starting out it could be any demographic you can think of, from late night open-mics to charity fundraisers. And if you’re serious about this biz you need to understand the value of stage experience. You won’t become a working comic just sitting in your living room doing bits in front of your mirror or for the family dog. You must get in front of an audience and shape your material and delivery based on their response.

If they laugh it works. If they don’t, then you need to make some changes. An audience will tell you, which is why you want to get on stage as often as possible.

So… who is your audience?

Would they want clean or “adult” material? That will help determine what’s best for you.

I’ve worked with comedians who are Born Again Christians and I’ve worked with the most X-rated acts you’ve ever heard. It doesn’t bother me either way. I’m a coach and I’ll coach performers in whatever direction they want to go. And if you already know what direction that is, then find places to perform with audiences that will enjoy your material.

But regardless of what anyone else will tell you, there are also rules in the comedy biz. The rules are made by the people that hire comedians for specific audiences.

Should we allow that?!

For instance, you can’t perform X-rated material on network television shows such as The Tonight Show or Jimmy Kimmel Live. You can get away with a lot more than thirty years ago when Johnny Carson ruled late night, but these shows still have to deal with FCC (Federal Communications Commission) enforced  standards and censors.

On cable television and satellite radio, pretty much anything can be said. But it also depends on the show. I doubt The Howard Stern Show and The Disney Channel fight over guests from the same talent pool. But here are a few more questions to think about…

Would you rather appear on either The Howard Stern Show or The Disney Channel or someplace in-between? Who will appreciate (laugh at) your type of humor and material? What venues and markets do you eventually want to play?

It all comes down to knowing your audience.

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You can work X-rated if you want, but just be smart enough not to go on stage with your X-rated material if the audience is filled with grandparents taking their grand-kids out for a fun(ny) night of live entertainment. On the flip side, don’t expect to do your best Disney material in a late night dive bar in front of a beer fueled crowd upset that the bartender turned off the televised cage match wrestling extravaganza for your comedy show.

Get the picture?

A lot of experienced comedians can play to both audiences. Why? Because they have the experience AND material that can be customized (cleaned up or dirtied down) depending on the audience. In other words, their punch lines don’t get laughs simply because they contain the F-Bomb or other words that will get them banned by the FCC from network television. They can go either way because the material is just as funny with or without them.

A great example of this are comics that work on cruise ships.

These comics need two different sets; family and adult. The family sets are performed during the before and after dinner shows. These are two separate shows since passengers are assigned one of two dinner times. One group is entertained earlier in a large theater while the other group eats – and then they change places. As it says, these shows are for families. Later that night the same comics will do adult shows for (as it says) the adults in one of the lounges or bars.

Did you hear that?!

These comics go from G-rated to X-rated within a couple hours.

Keep in mind I’m not asking anyone to change who they are on stage if it goes against who they want to be on stage. Yes, this is a business, but it’s also a creative business and a way to express your creativity.

If your niche is X-rated, go for it. It’s the same with clean comedians. Just don’t go for it in front of the wrong audience. It’s really common sense when you think about it.

So to finally answer your question as a “new comedian,” I would suggest you work on writing funny material. And I’ll repeat: funny material. I’m talking about material that will stand up on it’s own and will be just as funny to an audience with or without a few gratuitous F-bombs and other choice words or expressions.

Practice and develop your talent as a writer. How would you deliver your set during an afternoon Rotary Club luncheon as opposed to at a late night dive bar? Better still – ask yourself which venue you prefer.

Wait a minute! I almost forgot to mention something…

Just to make your decision interesting, keep in mind the people that hire comics for corporate events, holiday parties, retirements, banquets, etc… are the ones who attend business or social organization meetings. They ALWAYS pay comics, humorous speakers and entertainers waaaaay more than any beer soaked guy in a dive bar. That’s why corporate events are much more desirable for many working comics than a weekend gig at Billy Joe’s Yucks at the corner of Dive and Bar.

Then again, an uncensored Comedy Central Special or a becoming a favorite guest on The Howard Stern Show can take almost any comic’s career to a new level. But to get there, the comics had to be funny. Working clean wasn’t a rule they needed to follow.

So…? Is it better to work clean or dirty as a new comedian? You need to make that decision – and one of the best ways to find an answer is to know your audience.

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

Copyright 2017 – North Shore Publishing.

Best revenge – laughs and bookings

May 8, 2017

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

A BIG mouth!

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

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

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

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

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

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

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Comedy Workshop at The Chicago Improv

Starts Saturday – June 3, 2017

Workshop Marquee 150

Includes an evening performance at The Chicago Improv

Thursday – June 29th at 8 pm

For details, reviews, photos and to register visit…

TheComedyBook.com

*

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

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

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

“That was a cheap shot!”

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

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

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

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

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

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

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

Just be funny!

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

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

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

So use this as an incentive to focus:

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

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!

————————————————————————————-

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

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

Copyright 2017 – North Shore Publishing.

The comedy police

February 27, 2017

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

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

Keystone Cops

There oughta be a law!

What a jerk.

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

JERK #1:

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

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

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

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

Bill talked about the comedy police.

"Hey, I've heard that joke!"

“Hey, I’ve heard that joke!”

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

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

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

I’ve seen it happen…

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

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

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

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

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

Just like the following…

JERK #2:

Navin R. Johnson

“The Jerk” not “a jerk.”

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

Here’s what I mean…

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

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

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

But the headliner part of his story never seemed right.

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

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

Say what?!

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

But I do have this proof…

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

Stooges Police

We don’t need no stinkin’ badges!

Chalk another one up for the comedy police.

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

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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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!

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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.