Posts Tagged ‘Comedy Clubs’

Writing an email (cover letter) that talent bookers will read

June 17, 2018

Dave – What’s up. I have a quick question. You’ve helped me in the past with the structure of my Bio and Resume by looking in your book, How To Be A Working Comic. My question now is, I’m trying to come up with a structured letter or email to send to bookers or comedy clubs to get booked. Something where I would also have a link to a page with me performing so they wouldn’t have to stop and pop in a DVD – unless they wanted one. Would your book have something like that or could you point me in the right direction? I would really appreciate it… man! – K.B. PS – We all love your emails and words of wisdom! So keep’em coming!

Hey K.B.

First of all I’ll start with the “last of all” in your message. Thanks. I just want to help you guys get on stage.

Hello it’s me? I can do better…

What you’re talking about is a cover letter. It’s an introduction to you and a request to check out your video and performance credits for work. Just about everyone uses email instead of mailing a “letter,” but we both know we’re talking about the same thing.

Writing the cover letter (like the bio) can be almost as creative as your comedy material. Not everyone will agree with me on that, but I used to get a lot of cover letters with promo packages when I was booking A&E’s An Evening At The Improv and believe me, with so much competition to be noticed, the creative ones would catch my attention.

If I had to read something, it might as well be informative AND fun.

You’re a comedian, so I would expect you to be a funny person. I would also expect to be entertained – at least a little bit. Just don’t make your cover letter an entire comedy monologue. The only exception would be if it is really, REALLY funny. Otherwise, save your best bits for your promo video and on stage showcase.

Does this ever end?

You don’t want to make your cover letter too long and wordy. You should be able to introduce yourself (that’s what it’s for) and say everything you want the reader to do (the purpose behind a cover letter) in just two or three short paragraphs.

If you have another comedian or booker as a reference, mention it somewhere toward the beginning. Then tell the booker you’ve heard nothing but GREAT things about his club and you would abandon your entire family and all worldly possessions to perform there.

Okay, maybe not in those desperate words – mainly because you don’t want to come off as too desperate.

—————————————————————————-

Comedy Workshop at The Cleveland Improv

June 2018 is SOLD OUT!

Showcase performance is Wednesday, June 20th!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons from noon to 4 pm

Includes an evening performance at The Improv

Summer / Fall 2018 Dates for Cleveland & Chicago TBA

For information, reviews and photos visit…

TheComedyBook.com

*

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But it never hurts to send out a bit of good will and a compliment or two (great crowds, best comics, beautiful club, professional staff – pick one). Use your common sense on how you might kiss-up to the boss without sounding like a kiss-up. The showbiz term for it is schmoozing.

Mention a couple of your most impressive credits. Did you win a contest? Have you played another major club? Headline a benefit show? Perform at colleges? Again, just a few – don’t go overboard.

If you don’t have a direct reference or connection with the booker to use at the beginning, you might still have a good recommendation. Comedians and speakers that perform for local organizations, benefits and/or colleges – wherever (and yeah, sometimes for free) should always ask for a letter (email) of recommendation. If you don’t – you should. Then take a line or two from one or two of those and put it in the body of your letter:

“Jenny Comic was very funny and helped to make our fundraiser a success.” – (credit quote to person and organization).

Then come right out and ask the booker to watch your promo video. Say it – don’t hint at it. ”Attached is a link to my video – or included is a DVD… please watch it… I’m sure you’ll enjoy it… I want to play your club…”  (As always, use your own words).

If you’re doing this by email include a working link to your website that contains your video or a link for your video. If you’re sending a snail mail letter, highlight your website link in the body of your letter AND include a promo package with a DVD. As I’ve mentioned earlier and in past FAQs, just about everything today is done online and that’s the main reason How To Be A Working Comic was updated to include online promoting. But what is now found on websites is the same material outlined in earlier editions of the book and what you would find in an effective “hard-copy” promotional package.

Now back to the cover letter… uh, email…

I’ll give you a call

At the end of your message thank the booker for his or her time and (here’s the secret) instead of saying something along the lines of “I hope to hear from you soon,” TELL him or her you’ll contact them within a certain time frame. Usually two weeks is good.  This follow-up can be done by email, but I suggest a phone call. There’s always a chance they will call you, but I wouldn’t hold my breath unless you have a solid gold reference from a major comedian or have already worked for a big-time talent booker.

The idea is to keep the door open for you to contact the booker again. AND you’ve mentioned this in advance.

Now, this is where today’s article could turn into a book chapter about “playing the game” when contacting talent bookers and building professional relationships. I’ve talked about that in past newsletters and will probably repeat myself in future ones. The focus behind today’s FAQ And Answer is to map out your cover letter.

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Remember, you work in the entertainment “business” and should treat it that way – as a “business.

Creativity can be a major plus in promotions, but you also need to be professional about it. Keep your email (cover letter) concise and to the point. Talent bookers receive a lot of submissions and don’t have time to read through pages and pages of sample comedy routines, “how you’re going to change the face of comedy,” or “how you’ve been funny since birth.”

Tell them what you’ve done, throw in a recommendation (if you have one or two) and that you would like to work for them. Then make it easy to find and watch your promo video. That sounds like a “working” cover letter to me.

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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Is local television worth promoting?

June 4, 2018

Hi Dave – I recently passed the audition at a local comedy club. The booker said he probably wouldn’t have anything for me for the first year or two other than a last minute fall-out. I don’t mind because we all come in “at the very bottom of the list.” Then I got a letter from a local television station to help out on camera during an auction. They always ask if I’m doing any shows locally, so I’ve learned to contact another local club to see about getting an MC week or a one night feature spot. That way I get the word out on TV and everybody wins.

This time I emailed the new booker to see if he has anything available right after the TV appearance. I wondered later if something like this (local television) even matters to a booker, or if they may look at it and say, “That’s not really TV… why are you bothering me?” You’ve been on the other side of this equation – what do you think? – DG

Hey DG – First of all congrats on passing the audition. And second – another congrats on sending in longest question (so far) for FAQs And Answers. You warned me at the beginning of your email you’ll “try to be brief, but that’s never been my strong suit.” You were right… ha!!!

So after editing down your ten pages to the few paragraphs above (okay – I’ll stop with the jokes since it was only five pages) you’ve asked a very good question. You also have the correct game plan.

Make the most of every opportunity.

Is it you?

I think it’s a great you sent the new booker an email with the local TV info. It may work – you never know unless you try. But even if it doesn’t result in an immediate MC week or guest spot, it keeps your name in front of him for a good reason:

It shows you’re out there doing something.

Everybody should know marketing, networking and promoting are important if you want to work in this biz. You don’t want to be a pain in the you-know-what by sending emails to a booker every day or constantly calling. But you also can’t afford to be invisible to the point that they don’t even know who you are. It’s best if you fall somewhere in the middle.

For instance, when you’re on the roster of performers it’s pretty common for the booker to ask you send in your avails at least once a month. Avails are the dates you’re available for work. This is how you stay in touch with someone you’re already working with – without being a pain or the risk of being forgotten (invisible).

Excuse for a postcard

If you’re not on the roster and want to be, an email every few weeks or once a month as a reminder to watch your promo video or schedule a live showcase is not too much or too little. And for anyone that thinks postcards are old school – I still get them from comics and speakers looking for gigs. Sometimes it’s good to mix it up a little during the staying in touch game.

A lot of these messages are just simply, “Hello, how are you? I’m just staying in touch. Keep me in mind for work, etc…

That’s fine – again, you don’t want to be invisible. BUT when you share news about something you’re doing career-wise, it carries a little more weight than just asking about a booker’s health.

If you pass the audition at a great comedy club you want other bookers to know you’re working. Same thing if you win a contest, schedule a big corporate or college show, perform at a benefit – or appear on local television. These are achievements and a good excuse to stay in touch.

You’re marketing, networking and promoting that you’re doing something besides sitting home sending emails and writing postcards.

—————————————————————————-

Comedy Workshop at The Cleveland Improv

June 2018 is SOLD OUT!

Showcase performance is Wednesday, June 20th!

Workshop Marquee 150

Workshops meet for 3 Saturday afternoons from noon to 4 pm

Includes an evening performance at The Improv

Summer / Fall 2018 Dates for Cleveland & Chicago TBA

For information, reviews and photos visit…

TheComedyBook.com

*

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And yes the business puts emphasis on TV because it’s exposure to a potential audience (paying customers). The bigger the show – the bigger the exposure. This is free advertising for wherever you’re playing next. If a comic does a great set on a nationally broadcast late night television show and the host announces where that comic is performing over the next week or two, it’s worth more than any amount of local newspaper ads the club might be paying for promotion.

Television builds an audience

Local television can’t be considered too trivial if it’s broadcast in the same market as the club. Whenever headliners appear at major clubs, part of their job is to promote their shows in that market. Usually it’s written in the contract.

They’re up at 6 am and driven to most of the local morning drive-time radio shows. After that they’re driven to the television studios to appear on local morning and early afternoon talk shows. When they’re finished getting the word out to more potential audience members the comic can catch a nap, have something to eat – and then hit the stage. Hopefully with all the PR work they’ve sold some tickets while they were sleeping and eating.

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If a comic that is MC’ing, featuring or doing a guest set has a chance to drum up some business by appearing on a local TV show, it’s another free advertising opportunity for the club. Whether they take advantage of this is totally up to the booker – and also if he truly feels you’re ready to play the club. Since you’ve already passed the audition and on the club comedian roster, he obviously feels you’re ready. A local TV spot with an opportunity to plug the show is as good an excuse as any to stay in touch. It’ll pull more weight than a simple, “Hello, how are you?” in an email or on a postcard.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

You’ll never work in this town again

May 6, 2018

Hi Dave – I’m fairly new to this newsletter, so I don’t know if you’ve addressed this topic but I think it could be a good one. How to prepare yourself in the event of a car breakdown and what to do when it does. I was driving to a gig last night and it happened… with not a town in sight. I drove the car onto an exit, ended up following the ramp around and saw a gas station in the distance. It just so happened that a couple cops pulled in after me and I told them what was going on. One of them worked on cars and luckily he fixed it up. I have no idea what I would have done otherwise! – J.N.

Get there on time!

Hey J.N. – Nope, we haven’t talked about this topic, so thanks for asking. I don’t have any solutions about what to do in your particular automotive case, so I’m glad to hear you have a police officer for a fairy godfather. As long as you made it TO the gig, what happened during your efforts in getting there could be potential comedy material.

But since you brought it up, let’s talk about the importance of getting TO gigs…

Unless you’re near death, someone near and dear to you is near death, or you have this important stipulation – “Due to an act of God” – written into your contract (and you should) you never miss a paid performance. What the heck – I’ll say it – you also don’t want to miss an un-paid performance if you’ve promised a booker, club owner or event organizer you’ll be there. Either way the talent booker is planning on having you perform and if you’re a no-show, it could be a definite bridge-burner when it comes to future gigs through that booker (and other talent bookers that hear about your unreliable reputation).

It’s your career and it’s a job.

So before you leave, make sure your car has gas and is tuned-up, your flight’s not over-booked (and if so, arrive early so you’re not the passenger getting bumped), or have an updated public transportation schedule. Unless you can show a photo of you in a hospital or standing next to your totaled doublewide house trailer after a tornado, you’d better show up and be ready to perform. If not, don’t expect a second chance re-booking from the same person.

Case in point…

When I was the talent coordinator at The Los Angeles Improv, one of my favorite NYC comedians was flying out for a television audition. She’ll remain nameless because she’s quite famous and I consider her to be a friend in this business and would never write anything to make you think less of her. She called and I told her to come to the club and do a set. Then I mentioned this the person in charge of the showroom (also nameless because I like to hang onto my friends) and he said no way. He liked her, but she had stood him up a few years earlier by canceling an important benefit performance at the last minute.

And without a near death photo or evidence of a destroyed doublewide, she had committed the worse sin in the business. So instead of watching my friend on stage at The Improv, we met for lunch at a deli near The Laugh Factory.

Being a no-show is worse than ignoring the light while on stage and going over your performance time.

Remember that.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – June 2, 2018

Includes evening performance on Wednesday, June 20th

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 10 people

For information, reviews, photos and to register visit…

TheComedyBook.com

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From the business side of the comedy biz, you don’t miss gigs for any reasons less than the ones mentioned above. It’s a business for both you and the club (or event) and you need to treat it that way. And in case you haven’t figured this out, all talent bookers want to work with professionals. If you don’t handle your career like a professional – then don’t bother contacting professional talent bookers.

Another case in point. In fact, here are a couple…

A number of years ago I was booking a club about an hour outside Cleveland. There was an aspiring comic that came through my comedy workshop who really had promise – decent material and good stage presence. She really just needed stage time to get better. I had given her a few MC gigs, she did well – and since this club was only running a two person show, it was a good chance for her to do a longer set.

So even though she didn’t have a lot of experience, I told the owner she would be great and we booked her for the paying gig. It wasn’t so great when the club owner called me about 15 minutes after the show was supposed to start and asked when she would arrive. I called the phone number I had for her – and never heard back. I worried that she was stuck on the highway, got lost or suffered a near death (or worse) experience.

The show went on with only one comedian, but I lost a chunk of my booking fee since half the talent never got there.

The next day she called and said she had gotten my message. She couldn’t call back because she had taken a waitress job and was working the night of the show. She had given us no warning and no previous calls asking, “Can you find someone else?” She just never showed up for the gig. BUT (if you can believe this) she then asked if I could re-schedule her for the same club when she had a day off.

That was the last time we spoke.

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Another example? Okay…

I was representing a comedian in the college market. He had successfully showcased through NACA (National Association for Campus Activities) and as a result I had scheduled him for a number of good paying gigs within driving distance of his home in Ohio. One was a Friday night at a campus in Pennsylvania. Not long before the show was scheduled to start, he called to say he was hopelessly lost.

Find my GPS!

I would think – and maybe this is just me (I say sarcastically), but if I was supposed to drive to a good paying gig, an updated phone, GPS, or even a road map would be a good business items to invest in. He told me he THOUGHT he knew ABOUT where the college was – so just headed in that direction hoping to see signs to help him find it.

He missed the show and again, I missed a booking fee. I also lost a hard earned business relationship with that college. Do you think I ever booked him again? Yeah, I’m laughing (sarcastically) that you would even consider that option…

So this week’s message is simple. Don’t miss a gig if you plan to work for that talent booker again in the future. And if you do, just hope he sees you on the television news explaining how the tornado interrupted your rendezvous with the aliens who’ve been visiting the trailer park – and were supposed to give you a lift to your comedy gig. If you’re lucky, he might buy that excuse – or find it entertaining enough to give you a rare second chance.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Adding music increases the pizzazz factor

April 23, 2018

Hi Dave – I added a little music to my act one time and had some success. I was thinking about doing it again and wondered if that would be cool. I’d have music playing when I walked on stage, the first part of the set would be jokes and then I’d end by doing a rap song. I have a CD with instrumental music and thought someone doing the sound could turn it on for me and I’d “rap” over it. Just wanted to get your take on it. Thanks! – M.D.

Working the room!

Hey M.D. – I don’t think it’s a secret that most comedians (and this goes for many speakers also) understand they’re involved in showbiz. With all the techno-stuff and special effects we see on television, in movies and during live concerts, a lot of entertainment today is not only about substance (quality of the performance), but also the presentation (the pizzazz!).

It all depends on the circumstances and the performer, but from my experiences I believe audiences expect some type of pizzazz (okay – last time I’ll use that term in this article) when they pay money for a show. This means we’re talking about lights, explosions, sound effects during rock concerts – and even music during a comedy show.

I imagine that right now the die-hard, old-guard comedians I worked with in NYC years ago are thinking I’ve gone crazy. More than a few would have stood in the back of the room making fun of “variety” acts that used “gimmicks” – which at that time would have included juggling, riding a unicycle, singing or rapping over music karaoke-style.

But here’s a confession. I’m not crazy. It’s the evolution of the business. Let me explain…

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Comedy Workshop at The Chicago Improv

Spring 2018 – SOLD OUT!

Includes performance on Wednesday, May 23rd

Workshop Marquee 150

Meets for 3 Saturday afternoons from noon to 4 pm

Space limited to no more than 11 people

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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When I managed the NYC Improv back in the late 1980′s, I don’t remember comedians coming on stage accompanied by loud music. The MC introduced the comic and then he walked on stage and did his act. It was simple and to the point.

Around the same time, I would go to Madison Square Garden and watch the NBA New York Knicks, (actually I was only there when the Cleveland Cavaliers were in town). I don’t remember a big musical number with smoke machines, gyrating cheerleaders and dancing seven foot centers during pre-game introductions. They announced the teams, the players high-fived each other – and then started the game.

AND to really get carried away with this, I remember going to rock concerts when I was a teenager. An on-stage local deejay would introduce the band, the act would walk out, plug in their guitars, take time to tune their guitars, shout hello a few times into the microphones, and then start their first song. There were no opening films, explosions, special lights or anything like that. It was simple and to the point.

Warming up the NBA

Fast forward to 2018. Can you imagine an NBA pre-game not resembling a rock / rap concert? It’s the same with former teen idols that are now seventy-something year old rock stars in concert. Before they even leave the hotel and take a limo to the venue there are films, music, lights and other showbiz energizers to get the crowd hyped up and into the show.

The same is now true for a lot (not all but a lot) of comedy shows and speaker presentations. For proof, go to any legit comedy club located between NYC and Hollywood. Even the opening acts are asked what song they want blasting when they walk on stage.

In fact, I can’t remember the last time I watched a comedian – outside of one of my workshops – who didn’t use music to hype up the audience before grabbing the microphone and opening his show.

Wait… yes I do.

It was Dennis Miller and it has to be more than fifteen years ago. He was performing at a theater (following Rita Rudner) and was dressed as a janitor. The audience didn’t know it was Miller because he wore a hat and kept his head down as he was sweeping the stage at the end of intermission. His act started when he took off his hat and said hello – which was a pretty cool non-musical way to hype up an audience.

Otherwise, comedy clubs have turned into a mini NBA pre-game show.

So… should you use music / rap during your performance? If it fits your comedy voice (who you are on stage) then I don’t know why not. As I’ve just explained, it’s a great way to hype up an audience. And what I mean is that it can add energy and a real sense of fun into your performance.

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I remember a time when some of the musical comedians I worked with worried about being labeled “guitar acts.” The rumor was that they’d never get on The Tonight Show because producers only wanted “real stand-up comedians.” But I’ll tell’ya something – in the clubs, guitar acts (good ones with high energy) always had the crowds excited, involved in their shows and received the loudest ovations. They could always find work in clubs, corporate events, cruise ships and the college circuit.

Pizzazz sells (sorry I had to use the term again!)

Do I need to say more? Similar to creating and writing comedy material, you need to take your best ideas on stage. The audience will help you decide whether or not it works. You never know unless you try.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

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!

*

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.

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…

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Interested in the next workshop at The Cleveland Improv?

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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!

*

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.

Promotional videos need an audience

February 12, 2018

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

Hopefully more than this!

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

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

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

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

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

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Comedy Workshop at The Omaha Funny Bone

Starts Saturday – April 21, 2018

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

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

For information, reviews, photos and to register visit…

TheComedyBook.com

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Interested in the next workshop at The Cleveland Improv?

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

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

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

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

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

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

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Comedy Workshop at The Cleveland Improv

Starts Saturday – March 24, 2018

Workshop Marquee 150

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

Includes a performance at The Improv on Wednesday – April 18

For information, reviews, photos and to register visit…

TheComedyBook.com

*

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

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

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

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

Can you do that?

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

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

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

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

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

This would be better!

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

So this is where you figure out another option.

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

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

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

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

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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.

Opener vs. Feature vs. Headliner

January 28, 2018

Hey Dave – I was reading your newsletter today and I’m wondering… What’s the difference between a Headliner vs. a Feature Act? Thanks – DS

Who’s on stage?

Hey DS – Money. Next question?!

Okay… okay… sorry for trying to be funny. That’s actually a good question for comics starting out AND in certain areas of the comedy scene. And the above is only part of the answer. There’s more to it, so let me explain with a true confession.

When I worked in the comedy biz in NYC I didn’t know the difference either. In fact, there was never even a reason to bring up the term feature act. The comics worked their way through the open-mics and auditioned for the major clubs in the city. You can Google for a list – but off the top of my head from those days we’re talking about The Original Improv, Catch A Rising Star, The Comic Strip, Caroline’s, Dangerfields’, NY Comedy Club and Stand-Up NY.

I’m sorry if I forgot anyone…

Fab comedy fan outside NYC Improv Comedy Club

I was manager of The Improv, which in NYC (like the others) was a showcase club. Yes, most of our audiences were made up of locals and tourists (like the others) but comics knew it was an important place to be seen. On any given night there could be agents, managers, producers and casting directors watching. We also scheduled showcases (auditions) for The Tonight Show, The Letterman Show, HBO, MTV – and plenty of others.

As I said – it was a good place to be seen on stage.

Non-industry nights were Fridays and Saturdays. This means the audiences (2 shows Friday and 3 on Saturday) were pretty much local comedy fans and tourists. Instead of going to a movie, they could see a live show. So the comics were booked in advance and mostly “A-Acts.” In other words, they were our headliners and the industry people already knew who they were. They had agents, television credits, etc…

Let’s put it this way. You, me and everyone on the planet earth knows who Jay Leno is. So there’s no reason for him to showcase for industry exes. Just call his agent if you have a project in mind.

Make sense? Okay…

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Upcoming Spring 2018 Chicago & Cleveland workshop dates TBA

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Sunday through Thursday were showcase nights. There would be several A-Acts doing 20 minute sets to guarantee good shows. But this is also when industry exes and audiences would see the up-and-coming comics. They would be given anywhere from 5 to 10 minute sets and we could have as many as 10 to 15 comics go on stage in one night. Since we could stay open until 4 am the length of the show depended on how many people were still in the audience.

So what I’m trying to say is in NYC (at that time anyway) we didn’t deal with or use the term feature acts. They were either A-Acts or working their way toward becoming an A-Act.

The difference in terms happened when comics worked on the road – clubs outside of NYC. And since that wasn’t on my personal radar at the time, I never dealt with it.

It wasn’t until I got to Los Angeles and started working at The Improv that I learned about bookings in the other Improv comedy clubs. The venue on Melrose Avenue was a showcase club like NYC (and still a GREAT place to be seen), but the others Budd Friedman had across the country did shows with only three comedians.

Only THREE comics?

World View

Yeah – I was surprised too! My mindset was like the old New Yorker Magazine cover from 1976 – that was still a popular poster around Manhattan twenty years later (and probably still today). Basically, Manhattan residents could look west from 9th Avenue (BTW – The Improv was located just east of 9th Ave) and not really acknowledge anything until the Pacific Ocean.

Stuck up? Well, when everything you need is on one island it just becomes a way of life. But I regress…

Outside of NYC and LA, the clubs in other cities scheduled three comics – an opener (MC), feature (middle) and headliner (closer).

Every club I’ve ever managed or booked – including showcase clubs – has an MC. That’s the comic who opens the show and warms up the audience. They’re also the ones required to make the announcements. You know – tell the audience about drink specials, future shows, sponsors, etc…

The headliner closes the show. That’s the star act – the comic the club is advertising and the one most of the audience is paying to see.

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The feature act? You can guess – right? That’s the comic in the middle – between the opener and headliner. They do more time on stage than the opener – and less than the headliner.

And that takes us back to my first answer – money. The feature act is paid more than the opener and less than the headliner. And there’s never a mix-up over that cuz it’s in the contracts, which is another matter I don’t remember dealing with in showcase clubs. In NYC you showed up, did your set, got cab fare and a sandwich – and thanked the club when you got a special on Comedy Central.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Personal request from headliner to open shows

January 15, 2018

Hey Dave – After a recent showcase the headliner came up to me and asked if I’d be willing to open for him on his upcoming shows. What’s the best way to approach being a featured comic or host at this (major) club? I have the manager’s email and a video of the showcase set as a sample of what I can do. I also have a website with my headshot and resume and can burn the video on DVD and post on YouTube. Sincerely – L.S.

You’ve got this!

Hey L.S. – That’s great news! As I say in way too many articles, that’s your Golden Ticket. A personal recommendation from a headlining comic is ALWAYS better than trying to do it all on your own through blind mailings and emails, or hanging out at the club (topics we’ve talked about in past newsletters).

Of course I’d never discourage comics or humorous speakers from promoting themselves with good business methods (website, video, postcards, etc.). But when you have someone that actually works in the club as a headliner putting in the good word for you, it’s always easier to at least be seen (given a showcase).

And if you already have a track record – meaning decent performing credits – you might just end up with a paid booking. I’ve seen that happen a lot, meaning a good headliner will have his own opening and feature acts on the road with him. Clubs book the “package” – which makes the talent booker’s life a bit easier.

My advice is to stay in touch with the headliner about this. Ask him exactly what he has in mind. For instance, would it just be for his upcoming shows at this (major) club? Does he want you to go on the road and open for a string of clubs for x-number of weeks?

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By the way, you should be able to find out what he has on the schedule by checking out his website. Most comics keep their online calendars updated not only for talent bookers, but also their fans. I always talk a lot about promoting and there are more than a few (smart!) comics who buy advertisements on Facebook and LinkedIn (there’s more about that technique in the updated version of How To Be A Working Comic) aimed at the cities / areas they’re playing a week or two in advance. Clubs love it when comics help to promote their own shows. And since (smart!) comics also attach their websites to these ads to help build audience interest through their videos and credits, you can check out their touring schedule.

Making the call!

Preferably you’ll want the headliner to personally contact the club booker or manager requesting you open his shows. He can tell them to expect your call or email, or just call you back to say it’s a done deal and fill you in on the details. Either way, he has to be the one to do this.

The headliner (or his agent) needs to personally mention this to the club booker. That’s what will cut through all the red tape. All it takes is one phone call from the comedian or his agent.

That’s important because otherwise the booker might not believe you if you’re the only one calling to set this up. And I don’t mean to single out just YOU – it’s like that with all comics they don’t know. You’d be surprised how many comics “drop names” but don’t actually have that comic’s recommendation. I’ve had that happen to me in the past and it never works in the “name dropper’s” favor.

I’m sure there are more than a few club bookers who can relate to that last statement. And I’ve also read some recent online posts from a few comics who’ve tried it – and ended up regretting it.

If for some reason the headliner doesn’t follow through on this or just suggests you make the contact, then go to Plan B. Send an email to the club booker that the headliner talked with you about being the opening act for his upcoming shows. Ask for the “correct way” for you to submit a video and promo. Hopefully the booker will request you send a link to your website and video.

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If you don’t hear back from the club booker wait a couple weeks and send a reminder. The goal is to stay in touch without being a pain in the you-know-what. Know what I mean?

I’ve talked about how to promote and market your career via emails, postcards and phone calls in past FAQs And Answers so no need to repeat it all here. There are also marketing suggestions in How To Be A Working Comic. And yes – that was another blatant book plug.

Did I mention I’m into marketing and promoting? Ha!

But again, if the headliner puts in a personal request for you to open his shows, chances are everything should work in your favor. This is your Golden Ticket – so use it.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

*

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

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

Copyright 2018 – North Shore Publishing.

Doing face time in comedy clubs for bookings

November 26, 2017

Hey Dave – Isn’t “face-time” (not the kind associated with iPhones) one of the most important parts of getting work hosting in comedy clubs? What I mean is, doesn’t it make a big difference in someone’s chances of being MC for a weekend (or more) when they frequent the club, chat up the staff and tip well, and demonstrate a willingness to do grunt work? I think that is universal. Didn’t you have a story about the guy who showed up outside a club and swept the sidewalk every day until they hired him inside and he then moved up the ranks? – DM

Hey DM – This is not an easy question because there are a lot of buts, maybes and depends that will go into any answer – from anyone. I know from experience there are some comics and club owners who will agree with what I’m going to say, and others who will grab a broom and tell me to get out of the way.

Check me out!

But you know what? This is showbiz, which is an industry full of gimmicks. If you don’t believe me turn on the TV and the highest rated reality shows. You may not want to hang out in real life with bachelors, housewives and Kaitlin Jenner’s ex-family, but you have to admit they know how to bring attention to themselves.

So keeping that in mind, it’s not a bad idea to call attention to yourself by being seen around the clubs you want to play. To break into your local comedy scene you need to have the local talent bookers know who you are and that you’re a comic.

The goal is to score an audition.

I’ve never heard of the guy who swept the sidewalk outside a club everyday and was rewarded with a paid MC (hosting) gig.  It’s not a bad way to call attention to yourself, but if you really do end up with an audition it will only pay off if you have the talent and experience to back it up. Otherwise the only winner will be the club owner with a clean sidewalk.

My first thought is that the time could be better spent getting stage experience somewhere else.

Earn a reputation as a good comic and then do some networking. It’s a lot easier to score a showcase when you have a track record and recommendations from other comics and bookers who’ve seen you on stage. When you have that going for you, there’s no need to bring a broom to the club.

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Showbiz has always been about being different and standing out from the crowd. If you have the experience and truly believe you’re ready to play the club and sweeping the sidewalk gets you noticed by the booker, who am I to put it down?

That’s why a lot of new comics are willing to hand out flyers for stage time or line up friends and family for bringer shows. Sometimes you have go the extra mile to get ahead in this crazy biz.

But your real question is about “face time.” That was always (and still is) a major networking opportunity and how a lot of newer comedians got on stage when I worked in New York City and Los Angeles. But I have to emphasize they were already experienced comics and not someone who only thought keeping the sidewalk clean would be their best career move.

When comics were experienced and funny enough to start performing at a club like The Improv they still had to pass the audition. Working the door, bartending, or even sweeping the sidewalk could open the door, but didn’t guarantee future paid gigs.

You had to prove – on stage – you could do it.

Hanging out for a late night set

Even after someone passed the audition, there was no guarantee they’d get regular performing spots. They were on the club roster, which meant they were welcome to come in and “hang out at the bar” as a comic. Now if they wanted to sweep the sidewalk instead of sitting around – yeah, they’ll be noticed over the others. But if they hadn’t passed their audition, then chances are they’d still be sweeping when the show is ending.

But face time does count. For example…

During a week night at The New York Improv we would schedule enough comedians to get us through until around midnight. If there was still an audience at that time (in NYC we could keep the shows going until 4 am as long as we had people in the showroom) then we would look around to see what comics were “hanging out.” They would make up the rest of the show until either the audience left or we hit last call.

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That was doing face time and we already knew they were comedians.

If they wanted to grab a broom and sweep up… well, thanks. But that alone would not have earned a performance slot. Were they on the roster? If not, was there another comic who was a regular performer at the club recommending they be given an audition? That’s the only way they were going to get on stage that night.

Playing broom for club gigs

Now I already know some comics and club owners will disagree and have examples to prove me wrong. I even have a story in one of my books from a favorite club owner who might trade performing spots for work around the club. So I’m not saying it won’t work, I’m just saying…

A great way to kill a show is by putting on someone – anyone – who doesn’t have experience and isn’t funny. That’s why there are open mics and why established comedy clubs have auditions and already know who the comics are. Gimmicks like sweeping the sidewalk might get an audition, but the time could be better spent getting known as a good comedian – even if you have to perform somewhere else to make it happen. If you come in ready to knock everyone out with your talent, then you can get quality face time with the other comics “hanging out” instead of doing grunt work.

Have a comment? Please use the form below.

Thanks for reading and as always – keep laughing!

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

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

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