Posts Tagged ‘auditions’

Parlay comedy experience into getting noticed

March 26, 2018

Hi Dave – I’m in a big city, have gotten invites and done showcases (not at comedy clubs), have a professionally shot ten minute set, ordered business cards, and am set to headline a C-level club three hours from my city. My question is this, are there ways to parlay this experience into getting noticed by agents or bookers or NACA? If so how? I know networking is the best way and I’ve made some friends, but I’m horrendously shy when not on stage. Thank you so much – ER

You can’t be shy!

Hey ER – I’m going to have to make an assumption here. It sounds to me like you might still be a bit new in the comedy business. I don’t mean that as a bad thing and please don’t think I’m about to write off your question due to lack of experience. That’s not what’s happening here. I’m just trying to figure out where this FAQ and Answer is going to be based on what you’ve told me…

You’re in a big city and have done showcases and have a ten minute video, but not at comedy clubs. So I’ll have to guess we’re talking about performing experience at schools (high school talent shows or some college gigs) or if you’re out of that age group it’s probably through local events, private parties or associations (Rotary Clubs, etc.…).

But you haven’t done any showcases at comedy clubs.

Especially in a big city, that’s where these guys – agents, bookers and talent managers – find most of the comics they work with. From my experiences in NYC and LA they would hang around on weeknights to watch the newer comedians. They didn’t have to do that on Fridays and Saturdays because those shows would feature more established comedians that already had agents, managers and full schedules.

In other words, there was no reason for them to hit a top LA club on Saturday night to see Dave Chappelle or Amy Schumer. Those guys already have representation to take care of their bookings. Agents and managers looking for new talent can take the weekend off and start back to work Monday night checking out local showcases.

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

Workshop also meets Sundays – April 22 & 29 from noon to 4 pm

Includes an evening performance at The Funny Bone on Monday, April 30

For information, reviews, photos and to register visit…

TheComedyBook.com

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If you’re already scheduled to headline a comedy club outside the city and have a professional promotional video, it’s a good idea to start showcasing at the better clubs to be seen. If you’re not in NYC or LA where they have showcase clubs (lots of acts doing short sets on the same night) then contact the better clubs in your area and ask about auditioning or submitting your video. But keep in mind you’ll still need to keep building other performance credits if you want most agents and bookers to take you seriously.

Even if the first contact you make is through your website with video link, the general opinion is that they’ll want to see you perform live before putting you up for any bookings. This is especially true in the competitive college market.

Go ahead and look!

BUT if you have experience and a good video – BUT not personal contacts through showcasing opportunities, you can check out agency websites for submission policies. Most of them will spell out exactly what they need from comedians they might want to work with.

BUT again, a lot of it will be based on experience. They’ll want to know what clubs you’ve played, corporate shows or benefits. And to repeat myself – this is especially true in the competitive college market.

For anyone not familiar with NACA, it stands for National Association for Campus Activities. There’s also another group called APCA or Association for the Promotion of Campus Activities. I talk about working with both in my book Comedy FAQs And Answers: How The Stand-Up Biz Really Works. You can also do a Google search for NACA and APCA to find out more about what they do.

To work in the college market the agents will want to know if you have an act that works for college audiences.  Some will represent new talent based on videos and previous college performing credits, but keep in mind some will also charge you $$’s in advance for various doing business costs, such as submission fees to even be considered for a showcase at NACA and APCA conferences. Again, this is all in my book, so let’s cut to the chase…

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A lot of it is based on experience. Dave Chappelle and Amy Schumer can book as many college shows as they want because they’re known. For newer comedians it’s tough to book college shows without a college agent. AND it’s tough to get a good college agent without any college performing credits.

Talk about a Catch-22 – that’s a big one. There’s a way to do it – and again, I’ve talked about it in the book. But to get back to today’s specific question, it comes down to getting experience on stage and being seen by the right people.

The best thing to do is parlay your upcoming out of town gig at a smaller club (don’t ever call it a “C-club” in front of the owner or booker if you want to play there again) into more shows. Ask for a return engagement or the best way to send in your avails. Use marketing techniques (sorry, I don’t want to keep plugging my books, but that’s why I wrote them) to announce this new credit to other clubs and bookers.

Don’t be too pushy!

Do your best to get over being horrendously shy in this business. You never want to come off as too pushy, but smart marketing and promotion will help these bookers find you. The good ones – the busy ones – are always looking to discover new talent. They can’t keep running the same acts through the same clubs over and over and over…

Also keep in mind there are good smaller agencies near just about every big city. They may not book the mega-rooms in NYC and LA that will get you seen for Comedy Central or late night television, but they can get you work. They might book a string of one-night gigs and will take a chance on comics based on a good video and some credits.

Usually they’ll send a comic out as an opening act and get feedback from the club owners or managers. If the reviews are good, they’ll continue to book them. Your goal as a comic is to use this experience to get better and eventually work up to the feature and headliner spots.

You can do this at the same time with other booking agents and continue to build up performing credits. Again, I’ve been more specific about it in my books, but I at least hope this gives you a good start. Have a killer set at the C-club, network, promote and work to put you in a position to be seen.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2018 – North Shore Publishing.

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The silent treatment from talent bookers

March 11, 2018

Hi Dave – I’m a new comic – elderly- but enjoying it a lot. Last year I entered a competition and I got into the semi finals. It was quite exciting. This year they are having it again and I thought it would be fun to enter again to keep up the momentum and get back in shape. I have responded to the organizer over 3 times and did not get an answer. I now see they have posted the lineup and I am not to be found. I sent him another note and still no response. What do I do in a situation like this? Is it because he doesn’t like me or something? Or that I was too old? I think it’s terrible that I don’t get an answer. What would you do, or better yet, what should I do? Thanks for your help. – D.

Silent treatment

Hey D. – Okay, I’ll plan to hear from some of my talent booker friends (and maybe some non-friends) about this, but what the heck. I’ll go with my thoughts and let the chips fall where they may. And by the way, “chips” is a more polite word than I was tempted to use…

To simply state it, I think this person is unprofessional and rude.

When I hear about comedians and humorous speakers that have worked with an “organizer” in the past and are not receiving any kind of response at all is wrong. Of course this treatment will send all kinds of questions and doubts through a performer’s mind. In your case you reached the semi finals in one of his past contests, so he has to know who you are. But his silence is causing you to think he doesn’t like you or maybe you’re too old.

I’ve seen comics completely stress themselves out because they’ve worked hard at what they do and have followed submission policies, rules or whatever you want to call it from “organizers” to make contact. And for their efforts they receive nothing but silence in return.

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

Workshop also meets Sundays – April 22 & 29 from noon to 4 pm

Includes an evening performance at The Funny Bone on Monday, April 30

For information, reviews, photos and to register visit…

TheComedyBook.com

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Now, I’m assuming that when you use the term “organizer” you’re probably talking about a smaller local event or festival. Like newer comedians this person could be bound for bigger things, or this might be the height of his career booking talent. If he continues in this crazy biz, let’s hope he learns to be more “professional” in dealing with performers.

For instance…

Busy Treatment

It’s important you understand many of the BIG talent agencies and BIG club bookers are very busy. I know because I’ve done it. They can’t possibly answer or reply to every unsolicited phone call or email. There aren’t enough hours in the workday – seriously.

When I worked with A&E’s An Evening At The Improv we received a constant flow of comedian submissions. I watched them all – that was part of the job – but couldn’t possibly call everyone. But I kept notes while watching and could at least give a response to the comics when they contacted me. It may not have always been what they wanted to hear, but it wasn’t fair to just brush them off with a silent treatment.

And you know what? I still maintain that a lot of the bookers and agents I knew at that time in NYC and LA did the same. Even the ones that were HUGE had assistants that would deliver the good or bad news about bookings. In fact, I’m sure that’s how I learned the policy because I considered them to be professionals and that’s what they did.

If a performer has done the work, they deserve some kind of response.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

Workshop Marquee 150

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

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

TheComedyBook.com

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*And let me say one important thing here. Almost all the business today is done online. A lot of bookers and agencies don’t even have phone numbers on their websites. It can all be done through email and links to websites and videos. Many of the larger agencies even have submission forms to fill out online – without revealing their email address. Yes, it can be very frustrating for comedians and speakers that want to make immediate contact, but these forms are also programmed to send an automated response that the agency has received your submission and will contact you if they’re interested.

At least it’s a response. In my book, that’s a lot better than silence.

I know an extremely busy and important talent booker in the Midwest who can’t possibly answer every call and email he gets from comics that want to work for him. He doesn’t have a submission form on a website, but there’s information on what he needs to consider a comic for possible bookings. After he receives the submission and if the comic is not ready to work in his clubs, they receive a pre-written (form letter) email giving them the bad news. Again – at least it’s a response.

If he decides to work with a new comedian – and even for those that have worked for him in the past – he’ll ask them to stay in touch once a month by emailing their avails (the dates you’re available for bookings). Again, he can’t possibly send everyone an individual email because he works with too many comics. But he’s professional enough to have an auto response email sent to each comic he has worked with or might work with saying he’s received their avails and will contact them if anything is available.

And on top of all that he has set times each week when he’ll accept phone calls. It’s on the website. If you call during “off hours” and don’t get a response, well that’s your fault. Read the instructions and follow them.

Again this is all better than silence. I’ve talked with quite a few comedians that work for him and they’re very happy with this method. In fact, I’ll even say some are “relieved” they hear something. They like knowing their emails are not being sent out into some cyberspace black hole never to be seen or acknowledged by someone they hope to consider a future business partner.

Silent Treatment Duo!

Which brings us back to the “organizer” that has not answered (according to D’s message, which by the way I’m responding to – ha!) four emails… Well, I don’t consider that to be very professional on his part. Mainly because unlike the example I used above about agents and bookers receiving too many unsolicited submissions, this person has worked with D in the past.

As always, there could be other factors involved. As I’ve advised in these articles and the sections in my books about marketing, you never want to be a pain in the you-know-what. I’ll assume you’ve read those and know what I mean.

But even if the organizer (booker, agent, etc.) doesn’t like you or doesn’t want to work with you – and you’ve already had some type of working relationship in the past – you deserve an answer.

I also consider it to be the job requirement. Good will, reputation, contacts and networking count for a lot in this biz. Someday when you become a headliner and the “organizer” wants to book you, you’ll remember the silent treatment. Your fee might be a little higher for this guy than someone else. And don’t laugh. I’ve seen it happen.

One last word.

To make it in this crazy business you have to develop a thick skin. You’ll probably hear “no” a lot more than you’ll hear “yes” – especially when starting out. And there will be times you’ll just hear the sounds of silence (and I don’t mean by Simon and Garfunkle). Yes, I think in many cases it can be considered unprofessional and rude, but the bad news is that sometimes it’s just a part of the business.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

Copyright 2018 – North Shore Publishing.