Posts Tagged ‘college market’

Promo video length for club, corporate and college gigs

October 8, 2018

Hey Dave – I’m real serious about doing stand-up comedy and I wanted some info on making my audition tape. How long should it be? Are bookers looking for something specific? If u can help me out please write back – B.T. / The Future of Comedy

Hey B.T. – The future of your comedy career relies a lot on your past. This means the work you’ve already done as a writer and performer, and then using a past (but recent) performance to make an attention-grabbing and (most of all) FUNNY audition tape. BUT we don’t want to live TOO much in the past, so let’s start talking about this in terms of online videos (and occasionally DVDs).

Goodbye gone!

I don’t know anyone that’s using “tape” anymore.

Okay, I know that’s just a technicality. But I want to make sure we’re all using same terms and are on the same page… uh, screen here in 2018.

When I talk about relying on the past, I’m talking about how long your video should be. That hasn’t changed since the word “tape” was common and should be three to seven minutes long. That gives talent bookers a decent sample of what you do on stage.

Most talent bookers are pretty busy. You wouldn’t believe how many videos they’re asked to view every day. Since there are only so many minutes in a day they can’t sit around and watch an hour, half hour or even twenty minutes of performance time from each comedian. That’s why many I’ve talked with only watch the beginning or hit the fast forward button and stop at random places.

When I booked the TV show A&E’s An Evening at the Improv, I would watch anywhere from twenty to thirty videos at one sitting.

No lie.

Only 5 more minutes…

I couldn’t take (because of time – not interest) more than five minutes with each one. So the comedian had to come on strong from the beginning and prove he or she was already a working comic and ready for television. If it was obvious they weren’t, I’d stop the video and move on to the next one.

And here’s something else I’ve learned from many of these same contacts and personal experience: a good talent booker will usually know within thirty seconds into a comedian’s act if he wants to hire that comedian. Experience and talent will be obvious (or should be) right from the beginning of the set for anyone that has been in the talent booking business for a while. Performers might try to fake it, but experienced people in the biz can usually tell right away.

Now, if they watch three to seven minutes and are interested but not sold on hiring, they can contact the comedian and request more. That’s when you can send something longer (usually fifteen to twenty minutes).

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I once worked with a club booker that (seriously) said he wanted to see a full one-hour video before he would hire an act. I thought that was a bit extreme, but if that’s the way he does business, well… it’s his club and it’s his time. I never met another booker who had that much time to watch videos.

It also depends what market you want to get into.

I’m talking mainly about clubs and television with the above advice. If you want to work in the corporate market as a comedian or humorous speaker, your video will be much different. That should be a production – rather than just an example of your live performance.

Very entertaining!

This means corporate videos can be edited showing not only segments of your act, but also audience comments, your credits scrolling across the screen – or any other techniques that make the comedian or speaker look professional and in demand.

Again, short and dynamic is best. The corporate videos I’ve been sent or have edited for myself and other speakers are usually five to seven minutes in length.

The college market also plays out differently. When you’re involved in NACA (National Association for Campus Activities) and APCA (Association for the Promotion of Campus Activities) the college booking organizations I talk about in the book Comedy FAQs And Answers, they only want three- minute videos as submissions for showcases. BUT the catch is if the college students on the Activities Board like that three minutes and want to see more, you should have at least two additional three minute segments with the online submission or DVD so they can continue to watch until they:

  • Give you a live showcase (explained in the book).
  • Keep you in mind as a maybe.
  • Move on to the next comedian.

And finally, what’s very different than in the days of using video “tape” is the method of delivery. Everyone now can watch online videos or will request DVDs.

In 2018, everyone in the business has the technology to watch promotional video online. If not, then they’re in the wrong business.

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YouTube is still the most popular, but I know there are also other sites that can allow bookers to watch your video immediately. The key is to have it available to them either embedded into your website or linked to YouTube.

Also the three minute – or shorter – video is becoming more popular for submissions outside the college market. You can go online to view examples, but quite a few comedians have short (two to three minute) segments of their sets embedded in in their websites. We know attention spans have grown shorter and this method allows talent bookers to get a quick “taste” of a performance with an immediate opportunity to watch more – another quick segment – if they want.

* Last bit of advice about this.

I recently talked to a club booker who said he expects comedians to have a website. It’s more professional. He won’t even go on Facebook or other social media sites to watch videos. If the comedian doesn’t have a website, then he feels that comedian is not professional enough to work in that club.

I’m just passing that thought along because I know you’re interested…

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; 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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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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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.