Archive for the ‘Writing Comedy Material’ Category

The comedy police

February 27, 2017

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

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

Keystone Cops

There oughta be a law!

What a jerk.

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

JERK #1:

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

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

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

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

Bill talked about the comedy police.

"Hey, I've heard that joke!"

“Hey, I’ve heard that joke!”

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

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

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

I’ve seen it happen…

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

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

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 25, 2017

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Meets 3 Saturdays from noon – 4 pm

Evening performance at The Improv – Wednesday, April 12

Chicago Spring 2017 Dates TBA – Stay Tuned!

For details, reviews, photos and to register visit…

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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.

Personality separates you from the competition

February 18, 2017

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

bored-audience

Not connecting!

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

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

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

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

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

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Starts Saturday – March 25, 2017

Workshop Marquee 150

Meets 3 Saturdays from noon – 4 pm

Evening performance at The Improv – Wednesday, April 12

Chicago Spring 2017 Dates TBA – Stay Tuned!

For details, reviews, photos and to register visit…

TheComedyBook.com

*

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

As imitators, we couldn’t match their personalities.

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

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

  • I get no respect.

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

  • Take my wife… please!

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

The same can be said of humorous speakers.

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

This – they think – makes them a humorous speaker.

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

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

Your personality.

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

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

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

lucille-ball-candy

We love Lucy!

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

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

Here’s the bottom line.

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

Use your personality.

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

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

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

By using your personality.

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

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

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Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2017 – North Shore Publishing.

Seeking help for a “stuck” comedy career

September 4, 2016

Hi Dave – I’m not so sure stand-up is for me. I think I may be better suited for improv acting such as The Groundlings, Second City, etc… I’ve always been told I’m funny and animated, but am not so sure how to focus or direct it. I am interested in the profession / business and think I would enjoy it. However, I feel stuck! How do I know if stand-up is for me? What advice do you have as to getting in touch with my creativity and directing it in the right way / format? Any advice would be very helpful, welcomed and appreciated. Thanks so much. Best – C.H.

Just give it a try!

Hey C.H. – The only way to find out what you’re best suited for, whether it’s stand-up, improvisation or anything for that matter, is to try it. And since a lot of people like the controlled environment of having a safety net, take a class. Check out local improvisation groups and see if they offer classes. Most do. You might really take to it – or you might not.

I know a lot of stand-ups that do both. But most (in my opinion) seem to stick mainly with the one that best suits their creativity and style of humor. In other words, some comics enjoy working with a team while others enjoy flying solo.

Similar to a lot of other creative and professional interests it doesn’t hurt to take a class. A good coach can give you insights into the craft and business aspects. You would also get experience actually doing improvisation or stand-up and can make the decision yourself on whether you’re into it or not.

And if you like it, another plus is that a good class should take time off the learning curve you’d be dealing with if you just went out on your own. Here’s what I mean…

Improv Rules

The Rules

Without ever taking a class you could still audition for an improv group. Your natural talent might be great, but you don’t know the “rules” of improvisation or have had any practice doing some of the standard games. You might learn some of this through the audition experience, but someone else who is already familiar with improvisation would have an edge at the audition.

A class would have prepared you in advance.

The same can be said about stand-up and creative writing. Some comedians have a natural ability to go on stage and be funny. Others have no idea what it’s really like to perform in front of an audience or how to create a comedy set. I’ve seen aspiring comedians come at it from both directions and it can be great fun to watch, pure misery – or a little of both.

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For instance…

When I was running the once a month auditions at the NYC Improv all you had to do to get on stage was draw a lottery number. No experience necessary. Usually there would be about 100 aspiring comedians lined up hoping to pick one of the 15 audition spots. The lucky ones went on stage that night for three minutes.

The comedians with stage experience knew what they would do. It didn’t matter if they had taken a class or not because they had worked out a set in front of an audience prior to their big audition. But others had only thought about it and had never even tried stand-up comedy. They’d had no guidance, coaching or any audience response to learn if their material actually made people laugh. And in both cases it was always obvious.

Here are two from the “no guidance” category that I’ll never forget…

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One woman went on stage with a role of paper. This was the type of roll you’d put in a cash register to print out receipts. She had written jokes on the roll and would simply read them into the microphone. When they received no response from the audience (and none did except groans) she would rip that joke off the roll, toss it on the stage and say, “Well, that didn’t work.” It was misery to watch, but funny to talk about later.

An older guy showed up for his audition with a female mannequin dressed in sexy lingerie. I’m not kidding. He took the mannequin on stage, sat her on a stool and completely ignored it… or her… or whatever you want to call it… while he told a few unfunny jokes. He never referred to the mannequin once. When he was greeted with nothing but weird silence, he put the mannequin under his arm, walked off stage and headed towards Times Square – never to be seen again on the comedy scene. Once again there were plenty of laughs when he was out of hearing range.

Mathew

“Where’ya from?”

Would they have done this if they had gone through a class or workshop? Well, you never know. But if they’d had any type of advice or guidance from someone that knows about the business or at least had some prior stage experience they probably would have made better choices about what to do for an important audition.

If you’re “stuck” or unsure about what’s right for you but have a desire to try, then take a class or a workshop to find out. A good one will help you tap into your creativity and give you decent insights into writing, performing and the business. It should also give you a push (kick in the butt) in the right direction to give it a prepared shot. Then you’ll know if it’s right for you. The bottom line is that it can’t hurt.

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 newslettervisit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

Different performances for different audiences

August 21, 2016

Hey Dave – Last week you talked about personalizing material for corporate shows. So when comedians talk about “knowing your audience,” does that mean you should have entirely different acts for different audiences? – S.A.

Hey S.A. – That depends on a few things such as the material, how it’s delivered and the audience. A lot of comedians are experts at “crossing over” and playing to a wide range of audiences. Others have a niche – an audience demographic they focus on – and know better than to perform where they probably will not be welcome or appreciated.

For two extreme examples…

  • An x-rated comedian is not going to do church shows. On the other hand…
  • A Christian comedian probably won’t be included in an adults only x-rated comedy show.
shocked-crowd

A lesson to be learned

That’s pretty much a no-brainer in the biz. Comedians should know that. If they don’t, then they’re setting themselves up for a hard-learned career lesson. But it’s also important to realize…

Comics have to stay true to themselves and “who they are.”

Many have no interest changing who they are on stage – their comedy voice – just to play in front of an audience that won’t relate to them or laugh at their material. But on the the flip side, others know a few simple changes in their material and delivery can open the possibility for more bookings.

How you want to play it depends on you. I’m just telling you there are ways.

Experienced comedians and speakers often customize their shows. There are a couple benefits in doing this:

  • It could lead to more paid bookings and…
  • It could lead to charging a higher fee for your performance.

Let’s tackle that second one first. I know the term higher fee has the ability to raise the interest of some readers. Especially in the higher paying corporate market when an event planner might contact you to discuss a corporate show booking.

You could have a set fee just for your regular performance. BUT if they would like you to customize it for a specific audience – say a group of financial investors, gourmet chefs, flight attendants or whatever – you could customize the material toward that audience for a higher fee.

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I wrote about this in the last Comedy FAQ And Answer, but I’ll repeat the important stuff…

The selling feature is that it will take extra work on your part in researching who they are (your audience), writing new material, or making specific changes – customizing – what you already bring to a corporate show. But you explain to the event planner that it’s worth the extra money because your performance would be specifically for their group. For instance, you would actually use the name of the company in your performance, what they specialize in, their clients or competitors, where employees hang out after work, the city where they’re located, and even mention the names of a few key people in the company.

What you come up with and can offer in a customized performance is up to you.

For all the extra work and research you put into preparing the customized gig, you ask for a higher fee. A lot of comedians and speakers do this. If the client responds by saying your fee is now too high for their budget, you have room to negotiate. Explain they can still book you for the event at your regular (lower) fee and you will do your regular act, which is what they called you about in the first place.

Customizing your material means to personalize it toward the audience. But it also doesn’t mean you need a completely different act. It’s all about knowing your audience.

Here’s an example…

A very good friend of mine in the comedy biz – and I won’t mention his name here, but as a hint he’s interviewed in my book How To Be A Working Comic – is a master at this. He has decades worth of material and can do a different act every night if he wants to.

laughing audience

Earning the BIG bucks!

But he also has a definite comedy voice.

He probably doesn’t know anything about investment bankers, gourmet chefs or flight attendants, but put him in front of an audience of investment bankers, gourmet chefs or flight attendants at an event and he’ll make them laugh.

That’s what he gets paid big bucks for.

This comedian can do an adult midnight show in a comedy club and be as raunchy as any x-rated comedian in the biz. A lot of his material is about growing up with a large family in an inner city and all the characters in his life. His language can be filled with “F-bombs” and other choice words and I’ve seen him – many times – bring down the house with the bluest (adult) comedy you can imagine.

But the next day (and he’s done this for years) he could be wearing a suit and tie and doing a clean, G-rated corporate show for a group of say… investment bankers, gourmet chefs or flight attendants. Since this is not a typical comedy club audience, the x-rated “F-bombs” are definitely not welcomed – or tolerated.

But the comedian’s job requirement is the same. He is being paid to make them laugh.

So what does he talk about?

The SAME topics he talked about at the late night, x-rated comedy club show the night before. His large family, growing up in an inner city and the characters in his life.

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But he customizes it based on the audience. He simply takes out the raunchy stuff. His punch lines and descriptions don’t rely on “F-bombs” and other choice words. The material and stories are just as funny without the added adult language and delivery.

He doesn’t have two completely different acts. He has two completely different audiences.

He knows his audience and plays to his audience.

Would this work for you? It depends on who YOU are on stage as well as WHO your audience is. Could your current set with a few changes work in front of very different audiences? If it does, then you don’t need two completely different acts. If it doesn’t, either write a separate act for clubs, corporate events or colleges (I know comics that do this) or find your niche and stick with it.

The choice is completely up to you as a creative artist. Some comedians could care less about the money and different markets because they’re more interested in the art of creating, performing and personal expression. Others find a good corporate booking helps fund the raunchy madness at a late night adult comedy show. How you want to play it is all up to you.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2016 – North Shore Publishing.

Personalize material for corporate gigs

August 8, 2016

Hi Dave – Can you give us a few examples of how to work event themes into your material for a corporate gig? What is the process like? – MD

Hey MD – Comedians and speakers that work corporate gigs on a regular basis will have their own ideas and techniques about this process. As always, I’ll throw the offer out for any of you that would like to contribute. Send suggestions to dave@thecomedybook.com or leave a comment below and I’ll share the best ones in an upcoming FAQs And Answers.

But in the meantime, since you asked…

When it comes to performing at corporate events, I’ve always felt it’s important to personalize your comedy act or presentation to the event and audience. Even the big stars will do this. A few years ago Jay Leno was the surprise performer for an corporate event my cousin attended in Florida. It was a big deal just to have Leno there, but when he mentioned the name of the company and a few of the CEO’s during his act it made the audience feel they were part of an even more special event. It’s fun when a comic of Leno’s stature cracks jokes at your city or a news event you’re following, but when he’s talking specifically about your business or someone sitting only a few tables away it becomes a memorable event.

AudienceEvent planners, CEO’s and employee-audiences love that stuff. It can make the company look good and the event a success. And a great way to make this happen is when comedians and speakers show they know their audience.

Comedians and speakers (and performers in general) call this personalizing or customizing their material. And even though they might be telling the same jokes or giving the same presentation as they did a thousand miles away the night before, they’ll insert references to the area, the event theme and/or the audience.

Think of it this way…

Paul McCartney (I’m a classic rocker) is on tour this summer. He’s doing pretty much the same set (song list) for every show. He needs to do this because of the stage lighting design, special effects, video displays and other techno stuff that is designed and rehearsed in advance. The crew needs to know what song he’ll be playing and where he’ll be on stage when they set off the explosions for Live And Let Die or any fireworks during the final encore. It’s the same with other large arena acts.

To continue this thought, it’s like a speaker with a specific power point display or a comedian with a killer closing bit. They HAVE to do it for their program to be successful and what corporate clients pay big bucks for. BUT it can be tweaked to make the audience feel this particular program is special for them.

Example:

If McCartney is playing The Staples Center in Los Angeles you can bet he’ll shout something close to, “Hello Los Angeles – we’re rockin’ tonight!

The next week he might be at Madison Square Garden in New York City. Would he welcome Los Angeles again that night? No – he would personalize it for his audience.

Hello New York City – we’re rockin’ tonight!

Get it? That’s a very simple example, but demonstrates how personalizing your material works.

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Another example:

I’ve booked a lot of comedians from New York and Los Angeles to do shows near Cleveland. Unless they’re from the area or have spent a lot of time there, they don’t know a heck of a lot about Cleveland. But the experienced ones will usually look for ways to relate to their audience. A popular question the comedians ask…

What’s a suburb of Cleveland that the locals makes fun of?

No offense to any residents, but I tell them Parma (don’t ask if you don’t know). Then during their show, the comic will reference Parma and the crowd will feel he really KNOWS them!

But you know what? They know nothing else about Parma except the name. Next week when they’re in another location, they’ll ask someone else the same question and substitute that area suburb into the same joke.

It’s called personalizing your performance for that particular audience. And it works – BIG time!! Audiences, talent bookers and event planners LOVE it!

survey saysHere’s what I do for corporate bookings…

Enclosed with the contract sent to the client or event planner (snail mail or as email attachments) is a one or two-page questionnaire. The best way to learn about an event and audience is to ask. Based on the answers, I’ll ask the comic or speaker to work some of the shared info into their presentation.

Some of the questions I’ll ask…

  • Is there a theme for the event? If so – what is the theme?
  • Is there anything you’d like me to know about your city or event location?
  • Who are some key people in the company?
  • Will there be anyone in the audience you would like me to focus on as an audience participation volunteer or for special recognition?
  • What are products and/or services of the company?
  • If there a friendly-rival company I can mention – or not mention? Can I use (politically correct) humor at the expense of this rival company?
  • What are some favorite local hang-outs for employees?

Of course the list can go on and on, depending on how deep you want to get into personalizing your program.

Now, you might remember that in addition to personalizing, I also used the term customizing at the beginning of this article. This is an extra added attraction many speakers and comedians offer – usually for an additional fee.

In other words, they can ask for more money when they do more work.

Customizing involves finding out EXACTLY what the client wants you to talk about AND creating a comedy act or speaker presentation based on that specific information. Again, the final program is usually based on the type of performance that got the comic or speaker hired in the first place.

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Example:

If you talk about communications, no client is going to hire you to customize a program on accounting. Same with comedy. If you’re Carrot Top, they’re not going to tell you to leave your props home.

When it comes to Paul McCartney, stadium audiences will pay big bucks to see him. But he’d better play more than a couple Beatles and Wings songs or a majority will leave disappointed (and feel ripped-off).

But customizing does involve more work in learning more about the client, company and audience, and then actually creating material and using it during your performance. In my experience, customizing has involved interviewing (phone and/or email) the event planner, the client and other key people from the company. On the lesser hand, to only personalize an existing program I’ve never done more than ask for them to return the completed questionnaire with the contract.

Other thoughts? We’d love to hear what you do…

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 newslettervisit www.TheComedyBook.com

Copyright 2016 – North Shore Publishing.

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Showcase performance at The Improv

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