Posts Tagged ‘Comedy Clubs’

What should you wear on stage?

January 14, 2019

Hi Dave – I was wondering what to wear / how to dress on stage. I notice there are not very many women in comedy. The ones that are maybe my favorites – Wanda Sykes, Paula Poundstone, Whoopi Goldberg, Ellen DeGeneres, etc… I can’t help but notice, they dress like a man. Did you ever notice that?

So should I wear a tie? Of course I’m not going to wear a tie. I’m also too old to look hot in a tight pair of jeans. I have tight jeans, (lately all my clothes are a bit tight), but I don’t want to gross anyone out. I’m not fishing for compliments. I just wonder if I should dress up, dress down, look masculine, feminine, should I wear black, should I wear some color…? What I’m not going to be like is Phyllis Diller and dress crazy. Thanks – J.

The always fashionable Phyllis Diller!

Hey J. – I realize I’m talking with a woman of comedy and it’s not (the late and great) Phyllis Diller. And to make another point, I’ve never been known for my fashion sense. Keep in mind your question was not sent to Calvin Klein, which is the only name I know from the fashion design world. And that’s only because he designed my underwear – which is probably getting a little too personal for this FAQ and Answer session.

I also know there will be comedians and humorous speakers reading this who will think it’s not an important question. They’re wrong because it is. In fact I can’t remember doing a comedy workshop where this question wasn’t asked. It’s also been asked by working comedians I’ve booked for various gigs.

“What should I wear on stage?”

The answer depends on who you are on stage and where you are performing. You have to consider both to find the correct answer.

When I started out on the club scene in New York City, I don’t remember stage wear being an important issue. For everyone starting out, writing and stage experience were the biggest concerns (and still should be for any comedian). We didn’t hang around the NYC Improv wondering what the comedians should wear on stage. It looked to me like whatever you put on that day before walking outside was what you wore on stage that night.

But I also learned a lesson about what to wear on stage from another comedian I worked with at the NYC Improv. The look is best called successful and the advice came from one of the funniest comedians I know, Rondell Sheridan. In fact it was such good advice, he shared it in my book How To Be A Working Comic

“I think I only did stand-up three times before I passed the audition at The Improv,” he said. “I always had a good gift for ad-libbing, and a couple of things happened in the audience during my audition. Plus, I dressed up. None of the other comics dressed up for the audition. I sort of looked like I’d been doing this for a long time.”

This is a lesson in showbiz.

Murray Langston The Unknown Comic

Of course the number one factor is to be funny on stage. But your image can also influence an audience and talent bookers. If your material and who you are on stage – your comedy voice– says you’re successful, then what you wear should help convey that image. If you’re street – then dress street and not in a 3-piece suit (you punk!).

Whether you believe it or not, what you wear on stage also puts you into a category. In showbiz, they call it typecasting. I was surprised to go from a comedy scene in NYC where t-shirts, sports coats, jeans and sneakers were referred to as the comedy uniform, to Hollywood where there were actual lists in talent booking offices categorizing (typecasting) comedians because of what they wore on stage. The ones I remember distinctly were:

  • T-shirt comics
  • Sweater comics
  • Sport coat comics and…
  • Suit comics

I’m being serious about this. It’s the truth – and anyone who has ever been behind the closed doors of the booking industry knows it. In fact, you can check it out yourself by going online and watching reruns of the classic stand-up comedy shows that influenced many of today’s comedians like A&E’s An Evening at the Improv, Caroline’s Comedy Hour, Comedy On The Road and others.

When it came time to book these television shows, the producers knew it was always good to present a variety of comedians. This would attract a wider range of viewers. For instance, unless it was a theme for a particular episode, not everyone would be interested in watching a line-up of only prop comics or of only political comics.

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Performance at The Improv – Wednesday, January 30 at 7:30pm

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For information about upcoming Chicago & Cleveland workshops visit…

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The great thing about these shows was if viewers didn’t like one particular style of comedy, chances were they’d continue to watch because they might like the next one. It’s often the same when booking live shows. The headliners don’t want the comics before them doing the same act.

What you wear on stage should help define your comedy voice.

And to base this off what was just explained, not all television viewers will be interested in what successful comics wearing 3-piece suits have to say. Others would have no interest in a show featuring only comics in ripped jeans and t-shirts. Just like with music, comedy fans have different tastes. So to cast these shows, it made the job of deciding who would be scheduled on what episode a lot easier for talent bookers by referring to the lists.

This way audiences would see a variety of comics during each episode.

This is also true for auditions set up through comedy clubs. For example, when I was working at the Hollywood Improv I remember getting calls from casting directors for movies, sitcoms and talk/news programs like The Today Show looking for specific types. If they wanted to audition young guys in their 20’s for a role, we had a list of comics that fit that type. If they wanted to see political comics, we had a list for that also. We didn’t have to waste a lot of time going through our complete roster of comics.

We already had it narrowed down.

But getting back to today’s original question, here are some quick thoughts…

Dress for who you are on stage. If you’re upscale, dress the part. If you’re on the streets – look it. Don’t dress like a bank president if your material is about being broke. And if you’re not crazy, don’t dress like (the late and great) Phyllis Diller.

You need to give this some thought and make a personal decision about your image and how you want an audience to see and remember you. One of the greatest examples of stage clothes influencing an audience and actually enhancing the comedian’s material was when Steve Martin wore his white suit.

A Wild and Crazy Guy!

If you’re too young to remember, look him up on YouTube – or check out the cover of his book, Born Standing Up (which I highly recommend reading). He’s wearing a white suit… looks expensive… looks classy… BUT he’s wearing bunny ears or has a fake arrow sticking through his head. Then he’s acting like a “wild and crazy guy” and the perception works because audiences believe he is crazy because he’s so dressed up, but obviously not normal.

Many comedians and speakers fashioned a look their audiences would remember. Rodney Dangerfield – uncomfortable in a jacket, white shirt and skinny red tie. Drew Carey – white shirt, skinny tie and glasses. Kat Williams – pimp (I’ll say no more). Early Robin Williams – suspenders. Early Margaret Cho – Valley Girl. Later Margaret Cho – hip, rebellious. Dave Chappelle – street. Larry The Cable Guy – redneck. Pee Wee Herman…

Well, you should have a mental image by now for all these performers and others. What they wore on stage helped create that image. Again, the number one factor is that they are all funny. The look enhanced their comedy material and their comedy voice.

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Another consideration is where you are performing.

I’ll make this fast: If you’re doing a black tie event or a corporate gig, don’t show up in ripped jeans and a t-shirt. If you’re performing at a NASCAR rally – call Larry and ask to borrow one of his Cable Guy shirts.

Just like your comedy material and promotional material, it’s a good idea to put some thought into what you wear on stage. Remember, it’s show-BUSINESS. And in the business world, packaging (a recognizable image) promotes sales (getting paid bookings).

And finally, to address one of your other questions, I never really thought about the female comedians you named all dressing like men. As I mentioned, I’m no Calvin Klein and my fashion sense is pretty limited. If it fits the comedian’s image, then it’s fine with me.

But I’d also like to point out Amy Schumer, Rita Rudner, Loni Love, Sarah Silverman and… well, I could also make a long list of women that don’t dress like men. Does it make a difference from an audience point of view? Not that I’ve noticed. If the clothes fit the material and the performer – who they are on stage and where they are performing – it works.

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 2019 – North Shore Publishing.

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Freedom of speech comes with a price

January 1, 2019

Dave – What are the implications of mocking a device or its creator? For instance, I’ve made comments in my act about a medical device that could be construed as less than savory, yet funny. But the backers of this device are my current employers and have been known to be surly regarding their investments. I know of one nurse who wrote a novel about her experiences and was summarily fired. Not that I fear such action, but… well… I still have a mortgage. – M

What did you say?

Hey M – Any topic is pretty much fair game in comedy. But you’ll have to make your own decision about this one since it involves your current employer. I believe in and support freedom of speech. But in practical real-world situations (your mortgage would qualify as one of those) you have to consider the consequences. If you think the material will come back and bite you in the you-know-what and cause you to lose your job, then it’s best to keep your mouth shut.

I like to point out that knowing your audience makes a difference in how far you can go with free speech. If you’re making a living as a comedian and talking about your personal life, then making fun of your former employer (former husband, former wife, former co-workers – you get the picture) is no big deal.

They’re all fair game when it comes to sharing humor.

But to be on the safe side, it’s probably a good idea not to mention them by name. I’ve seen that scenario come back to bite a few comics in the you-know-what.

It also helps that you don’t have to deal with these former associates after your performances. But that’s not a rule written in stone. I’ve watched comics on stage use their current family members, employers and co-workers as the source of comedy material. It depends on the relationships and in many cases these “victims” enjoy being part of the show.

Freedom of speech is the center of the comedy universe.  The topics can include whatever is on your creative mind. How far you take it… well, it depends…

There are comedians who are family friendly and others billed as “for adults only.” And no one can tell you one style is better than the other. It depends on personal taste. And the comics making a living either as clean or dirty can do it because they know their audience.

But on the flip side of this comedy creative universe is the comedy business. What you say can sometimes affect your career. Here are some thoughts…

When I scheduled comedians for the television show A&E’s An Evening At The Improv, we gave the performers some guidelines on material. These were strictly for business reasons such as ratings and legalities.

First of all, demographics showed that our largest viewing audience was in the Bible Belt. Therefore, we couldn’t let the comedians make fun of God or religion. If they did, a lot of fans in these areas would stop watching the show. Advertisers would stop buying commercial time because the consumers they were aiming for wouldn’t be watching their commercials anymore. And since that’s how the show made money – everyone involved would risk losing his or her job.

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Comedy Workshop at The Cleveland Improv

Starting Saturday – January 12, 2019

SOLD OUT!!!

Performance at The Improv – Wednesday, January 30 at 7:30pm

Workshop Marquee 150

For information about upcoming Chicago workshops visit…

TheComedyBook.com

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Secondly, the producers of the show didn’t want to be sued if a comedian badmouthed a product – like the medical device you mentioned in today’s question. For example, comedians couldn’t say McDonald’s sucked or Taco Bell gave them heartburn. Those companies could come down hard with a team of lawyers to protect their reputations.

Comedians were warned before show tapings not to practice their freedom of speech when it came to these specific topics. Of course some ignored the warnings. But it didn’t matter because they didn’t have any control over the final outcome – it was all business related. That’s why you can watch episodes where certain comics are only on for four or five minutes instead of the standard seven-minute set.

They didn’t follow the “rules” and the forbidden material was cut out before the show was broadcast.

It’s also important to note saying the F-bomb on network television is still forbidden. You can say it at certain times on certain cable shows and all day long on others, but not on the major networks. So as a comedian, you have to play by the rules if you want to sit on a chair next to Jimmy Fallon, Jimmy Kimmel or Seth Myers.

But on stage in a comedy club, comedians can say those things. You can make fun of companies, religion or whatever you want as long as – and this is the business side talking – you bring in paying customers. Most club owners support the art and creativity of stand-up, but are still in it to make a living.

You call these jokes?

Now in your case, as a beginning comedian who still needs a regular paycheck until your career takes off, you have to protect yourself. How far will your employers let you go before they get offended and fire you?

I’ve had more than a few comedians in my workshops that were police officers. I always found it interesting because some felt they had to use a stage name and never mentioned police work during their sets because they were worried their superiors would crack down on them. Others didn’t care and talked about being a cop and what they did on the job.

It’s a personal decision that I couldn’t make for them because I couldn’t predict the repercussions.

So in your case you need to figure out what or if there will be any fall-out or flack from your bosses if you do this material on stage. You want freedom of speech, but you also have a mortgage.

One last thought. Even “stars” have to be careful in certain situations. Without mentioning names (but if you’re really into the comedy biz I’m sure you can think of a couple), they’ve made headlines practicing free speech on stage by making horrendous remarks about race or sexual preferences. It probably wouldn’t have been that intense or newsworthy if they hadn’t been well known from starring on television and in movies. In some cases there were a lot of protests and the comics eventually had to publicly apologize to salvage their careers.

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I happened to see one of these (no names!) comedians a couple weeks after one of these newsworthy episodes at a popular comedy club. He confronted the situation right away and admitted to the audience he got in a lot of trouble for what he said. He promised he wouldn’t talk about it and was finished with the subject. But as a comedian – he then told the audience he was going to pick on a different group instead and launched into that material.

Some audience members laughed while others didn’t.

But he was practicing the art of free speech and made a choice about how far he would go regardless of what the consequences might be. That’s a personal decision and you have a right to make it. But just make sure you have both your artistic and business thinking caps on when you make 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 Clubs; private coaching by Skype or phone, and to receive our bi-weekly newsletter visit www.TheComedyBook.com

Copyright 2019 – North Shore Publishing.

Bombing on stage

December 19, 2018

Hey Dave – I entered a local comedy contest tonight and did virtually the same set that I did during a showcase that went very well at The Improv. Tonight I think it kind’a bombed. I had it recorded and did not get the same good laughs. I remember you saying that audiences are different. But as good as The Improv felt, tonight felt pretty bad. I would love to get your feedback… Thanks – MB

Now THIS is bombing!

Hey MB – If a television network ever comes up with another reality series about being a comedian, you’re eligible to move into the house. Welcome to the real world of comedy. Don’t feel bad. Seriously – don’t. Not every single set or every club will be a great experience.

It’s a learning process.

I’m not sure where the contest was, but you mentioned your showcase at The Improv. That’s a real comedy club – as opposed to most local open-mic rooms. Newer comedians in my workshops experience this when they actually get to rehearse and perform on stage at The Improv. Again, this is a real comedy club. The comics are prepared and psyched to perform and already know the audience will be supportive.

And the reason it’s a supportive audience is because when you go to The Improv – or other real clubs like The Funny Bone, Gotham, Zanies, The Laugh Factory and others (I know I’m missing most of them, but you get the point) you’re in a real comedy club.

That’s why the audience is there – to see and laugh at comedians during a comedy show.

Learn what NOT to do!

It’s not like some open-mic rooms where a bartender shuts off the television and announces, “Now time for a little comedy” to a group of beered-up sports fans wondering what funny person is responsible for turning off the game.

When you’re just starting in comedy and going out to open-mics, you never know what you are going to encounter. Compared to doing a workshop or any type of training in a real comedy club, it’s going to seem strange and very different. The audiences – as they are in most live venues – are unpredictable. And the important thing to remember when you’re just getting started is that you’re still very new at doing comedy.

You deserve a lot credit just by going up on stage. It takes nerve and a lot of people can’t do it. They only think and dream about it, but never take that first step.

And BTW every single comedian I know has bombed BIG TIME – and usually at least a number of times – at some point in their career.

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Comedy Workshop at The Cleveland Improv

Starting Saturday – January 12, 2019

SOLD OUT!!!

Also meets Saturdays – January 19 and 26 (noon to 4 pm)

Performance at The Improv – Wednesday, January 30 at 7:30pm

Workshop Marquee 150

For information about upcoming Chicago workshops visit…

TheComedyBook.com

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That’s how the business works. It’s a learning process of many successes and failures in an effort to get it right – or as close to right as you can get as a creative artist. The “star” comedians I’ve talked with about this can look back and have tremendously funny stories about bombing. They will also tell you it’s how they learned to write, perform and make it in this crazy biz. So keep in mind that you’re not the only one to have gone through a bad set.

You’re not alone. In fact, you’re in very good company.

But you don’t have to take my word for it. There’s a great book I recommend for comedians called I Killed: True Stories of the Road from America’s Top Comics. It’s by Ritch Shydner and Mark Schiff, who are talented, experienced and funny comedians. It includes stories of bombing by Jerry Seinfeld, Jay Leno, Chris Rock and dozens more. It’s very funny and very true. You’ll also have a good understanding of the learning process and realize what you went through – bombing at a local comedy contest – is nothing to lose sleep over. Some of the comedians in this book were so bad in the beginning they were lucky to get out of the clubs alive. But it didn’t stop them from pursuing their dreams.

You’re goal as a beginner is to keep getting on stage.

Don’t let this experience stop you. You need to feel comfortable in front of an audience and it takes time. I went through that process myself while putting together my corporate and college programs. I was trying to remember what to say and in a panic mode when the audience didn’t laugh or pay attention. There was a lot of sweat.

But you have to keep going on stage. Eventually – even slowly – you’ll start getting it together. You’ll feel more comfortable and that will improve your delivery, which will make your material work better.

Tape your shows and go over the audio and / or video.

It might be painful (I pretty much hated watching mine) but you have to do it. Look for something – anything – that worked (got laughs). That’s a keeper – even if it’s only one joke or bit. As the late Richard Jeni told me for my book, Comedy FAQs And Answers, any laugh you get is a brick to build on. Find out what made it work. Was it just funny? Did you deliver it in a way that made it funny? Was it the wording? Did you have a certain expression? Whatever it might be, build on that. Keep it in your set and come up with another laugh. That’s your second brick and how you build an act.

Write and rewrite. As a comedian, you’re an entertainer. How would you tell this to an audience in a way that would entertain them? This is how you develop your comedy voice.

It takes time.

And finally, if comedy were easy everyone would do it. Because it can be fun, exciting, and creative and – let’s face it – you’re in the spotlight. You’re the center of attention when you’re on stage. Some people crave attention. But for a real artist – a real comedian – it’s much more than that. It’s also a chance to express yourself and tell audiences about life, thoughts and opinions as you see it and experience it.

How cool is that?!

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I’m positive there were people in that audience wishing they had the nerve to get on stage and do what you were doing – even though you thought you were bombing.

Bombing on stage is a big part of the learning process. After figuring out what went right with your earlier set, figure out what went wrong with this one. Make changes and try to cut the chances of it happening again. It will (I promise you – ha!), but as you keep working at it the chances of bombing will go down. It takes experience.

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.

Acting credits on a comedy resume?

December 2, 2018

Hi Dave – Last week you wrote about what credits can go on a comedy resume. I’m just getting into comedy and my resume is more for acting. Although acting is something I would love to do, comedy is my passion. I’m not sure how to make a comedy resume because I haven’t done anything worthwhile so far in comedy other than some shows I set up for my school and a few open mic nights. Can I take some of my acting credits and put it onto the comedic resume? – C.

Hey C. – Of course talent bookers are looking for comedy credits. School shows and open-mics count (at the beginning) because it shows you have stage time and are getting experience. Once you start doing “real clubs” those credits can be taken off and never mentioned again – ha!

BUT – and I expect some debate about this – I also believe acting credits have a place on comedy resumes.

Basically, these credits show you have stage time and performing experience. These shouldn’t be at the top of your comedy resume, unless it’s all you have at the moment, but can be listed following any comedy credits you might already have. Even after open-mics and school shows, which take preference over acting credits in a comedy resume.

An exception would be if you were starring or co-starring in a hit television show or movie. In that case you won’t even need a resume. What the heck – you don’t even need much comedy experience. There are talent bookers who will schedule a celebrity knowing the club will be in for at least one big $$$ weekend – even if the celebrity is not funny. Audiences will pay at least once to see a celebrity. But after word hits the street he’s not funny, a second time through the club circuit can be a difficult sell for the club owner.

Not paying for this again!

Why? Because no repeat business and bad word of mouth is not good for business when you run a comedy club.

But since you’re already concerned with building a comedy resume at this early stage of the game, I’ll assume you’ll have stage experience and a funny act by the time your acting credits land you on the cover of People Magazine.

I’ve had comedians send me resumes that include credits from doing soap operas, local television, community theater, commercials, voiceovers and school talent shows. With a lack of comedy performing credits, it shows they are still involved in showbiz and have at least been on stage in front of an audience.

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Comedy Workshop at The Cleveland Improv

Starts Saturday – January 12, 2019

Also meets Saturdays – January 19 and 26 (noon to 4 pm)

Performance at The Improv – Wednesday, January 30 at 7:30pm

Workshop Marquee 150

For information about upcoming Chicago workshops visit…

TheComedyBook.com

*

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You would be surprised at the number of submissions I used to receive for A&E’s An Evening at the Improv with NO real credits at all. I’m talking about nothing! There were videos filmed in someone’s living room with NO audience and the “comic” was sitting in a chair talking into a camera and…

Well, I think you get the picture, but I’ll repeat myself again. NO audience! That’s a great way to prove you have NO experience at all as a performer. But they were still trying to get work as comedians.

I’m an active supporter in helping people achieve their goals, but I don’t know any comedy talent bookers that would hire someone for a paying gig without onstage (in front of an audience) experience. If all you have is a growing list of open mics, school shows, and acting credits – it’s a start.

And every booker knows you have to start somewhere.

It counts!

Listing your acting credits shows you have something going for you as far as showbiz experience. Based on resumes I’ve seen over the years from working comics, include them until you have enough real comedy credits to take their place.

There’s also more information about writing resumes and bios in my book How To Be A Working Comic: An Insider’s Business Guide To A Career In Stand-Up Comedy. I’m not trying to sell you a copy to make a big payday – I just wanted you to know. Your local library should have a copy or can find one for you.

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.

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Start collecting your comedy credits

November 19, 2018

Hey Dave – I’m trying to put together a resume for my comedy stuff. I’ve only been doing comedy for a few months and just a lot of open mics. Should I bother with a resume at this point? – Bob

Hey Bob – In all reality, since you’ve been doing comedy for only a few months, it wouldn’t be a good idea to throw yourself into the competition as a “professional comedian looking for work.” So there really is no point in having a resume – yet.

Yeah, I know there are exceptions. For instance, you might have the “right contacts” after a couple months to score a gig hosting your frat brother’s bachelor party or have a friend of a friend ask you to do a few minutes at a local benefit show. But since you’re still in the very early stages of developing both your writing and performing style, you probably shouldn’t charge a fee for that. Be thankful for the on stage experience. If they want to be generous and throw you a few bucks, consider it a donation toward your career goal rather than a paycheck.

Don’t get me wrong because these gigs still count as valuable experience, which is what you need to get ahead in this business. But these very early performances don’t exactly grant you admission into the ranks of professional comedians.

Am I being a too blunt, cold-hearted or closed minded about this – classifying you as a “non-professional” without even seeing you perform?

Not really.

Don’t knock yet!

Every talent booker that wants to keep his job knows experience counts. You’ve only been in this for a few months. The comedians you see in the legit comedy clubs, on the college circuit, and doing corporate gigs have a LOT of experience and have paid a LOT of dues to get there. In fact, I doubt any of them would disagree when I say they’ve put in YEARS of work dealing with rejection, bad nights, bad breaks, hard knocks, hack jokes, idiot hecklers, and shows that make them feel (as George Wallace described in my book Comedy FAQs And Answers) like they want to drive off a bridge after the gig because they’ve bombed so bad.

But now that I’ve said all that and (hopefully not) deflated your ego or crushed your comedy dreams, there’s no reason why you can’t start building a resume NOW. In fact, I think it’s a pretty good idea.

You have to start somewhere when your goal is to score paid bookings. No booker is going to hire a comedian with no experience. As I also say in Comedy FAQs And Answers and have often repeated in these articles:

They may call it amateur night, but nobody’s looking to hire an amateur

Bookers know the deal about working your way up the comedy ladder. You have to start somewhere and it’s NEVER at the top, which would be headlining in a legitimate comedy club. Yeah, I’ve known a few “acts” (term used loosely in this case) that had rich, famous, or connected parents and thought they could buy their way into the exclusive professional comedians club.

In one case I saw firsthand, the act had daddy schmooze or practically buy the club to get his wanna’be famous son on stage. But it didn’t work. Junior may have had a joke writer, director and daddy’s agent, but he hadn’t paid his dues to become an experienced comic. He hadn’t developed his comedy voice – including timing, delivery and an ability to work with and off of an audience.

He was an actor acting like a comedian.

Once the novelty of booking an act with a famous parent wore off, there were more experienced comics that talent bookers knew were better at entertaining – and therefore, better in the long run for business.

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Fall 2018 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Showcase at The Improv is Wednesday, December 5 at 7:30pm

Workshop Marquee 150

For information about upcoming workshops visit…

TheComedyBook.com

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A club’s reputation depends on providing great shows. To stay in business it must be profitable (paying customers). Inexperience doesn’t sell unless it’s billed as “amateur night” or “open-mic night.” And even then many clubs can only make those nights work (profitable) by making them “bringer shows.”

Wow, isn’t it amazing how I can go off on a tangent by just trying to answer a simple question? If you’ve stayed with me so far, let me get back on track…

YES…

If you want to become a professional working comic, now is a good time to start putting together your resume. And in case you’re not sure what goes into a comedy resume, it’s a list of your performing credits as a comedian.

In the beginning of your career it can include:

A list of your comedy performances and the venues.

If you haven’t played any true comedy clubs, list open-mics. Talent bookers from out of the area may not have heard of any of them, but that doesn’t matter. This list shows you have at least some stage experience.

When you’re starting out in the business you’re only looking for a showcase (audition) or a gig as an opening act in a comedy club. You don’t need to have headlined or even featured (middle act) at The Improv or other known clubs to be considered as an opening act. You need to be funny AND show the talent booker you have enough stage experience so you won’t suffer a meltdown when you walk on stage in front of a live audience. If you’re funny and show enough stage presence to pass the audition, but all you have are open-mic credits – then that’s what you’ll list on your resume as experience.

List them under the header Clubs or Open-mics.

If you have plenty of open-mics and have also done shows outside of these clubs – list them under separate headers. You can have one titled Benefit Shows or Special Events.

You can also add any comedy workshops or seminars you’ve attended. If it includes a comedy club performance, put that on your resume. But be honest! Add the disclaimer that it was a workshop or seminar performance. It still shows experience – and in this case, “guided” experience from a coach. That can be more influential to a talent booker than flying blind through a string of late night, unheard of open-mics.

You can list these under Workshops and/or Training.

Do you have special talents you use on stage? This could be anything that helps you get laughs from an audience including singing, doing accents, playing guitar, balancing stuff, juggling stuff, riding a unicycle, setting yourself on fire – whatever. If it’s in your act it’s a Special Talent or Special Skill and can be on your resume.

This will also give bookers a better idea of what you do on stage.

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Now here’s the deal. This is how you start and build a comedy resume. BUT you want to keep replacing lesser credits with “known” credits. For instance, it’s great to have Johnny’s Yuk-A-Torium and five or six other open-mics on your resume to show experience. But do your best to eventually replace them with credits from legitimate comedy clubs, (The Improv, Zanies, Funny Bone, etc.). But until you get on those stages, use whatever you have, open-mics, benefit shows, frat parties, to show you have experience and have not just been doing stand-up in your living room in front of a video camera.

And yeah – someone once sent me an audition tape for A&E’s An Evening At The Improv direct from his living room. Did he get the show? Nope. It was obvious to me he had no on stage experience.

Here’s a good rule to remember – don’t try to move up the ladder too fast.

You’ll need a lot more than a few months to become an experienced act and ready for the best stages. But you can start keeping track of your performing credits now and have a decent list when you’re ready to start showcasing. The experience you get while putting together a decent list of comedy clubs for your resume will eventually help you break out of open-mics and into the world of paying gigs.

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.

Contacting talent bookers

November 6, 2018

Hi Dave – Do you have any tips for contacting club bookers? When I was leaving a recent showcase, the bar manager said they would like to have me back. He gave me his card as well as the card for the person who books the room. I emailed the talent booker and she hasn’t responded. Should I call her if I don’t hear from her or should I try emailing again? I don’t want to be annoying, but if performing there again is an opportunity I would really love to do it again. Thanks! – K.

Expecting your call

Hey K. – That’s great news because you have an “in” – the bar manager. As I’ve mentioned in quite a few past FAQ’s and Answers a personal recommendation from someone who either works with or works for a talent booker is like having a Golden Ticket.

It beats the heck out of cold calling or blind emails. Now you just need to make the Golden Ticket work for you.

The best scenario is for the bar manager to take you by the arm and march you into the talent booker’s office and give a personal introduction. This of course would be followed by, “Put her on the schedule – she’s funny!

But in this case you’re working with a (Golden) business card. It’s not a slam dunk, but you’re still in a better position than when you first walked in the club for your showcase.

You’ve already taken the first step by sending an email. But you haven’t heard back. So to make use of a sports reference in honor of… well, sports – this means one thing:

Let the game begin!

Talent bookers for busy clubs are busy people. Their first priority is to book the shows. For showcase clubs in NYC and LA this could mean anywhere from 10 to 15 performers per night. This is also true for club showcase nights in many other cities like Cleveland, San Francisco, Detroit, etc…

But since you’ve already done a showcase, we won’t go that route. Let’s talk about actually getting booked in a club for a paying gig. Now I have your attention – right?

Other than showcases with multiple comedians doing short sets, most clubs (especially outside of NYC and LA) use three acts:

  • Opener / MC
  • Feature / Middle Act
  • Headliner / Closer

Each week the booker schedules the three performance slots. That’s normally 52 weeks a year. They have regulars that can play the club a couple or few times a year, but they need to use a variety so audiences will return and not see the same comics over and over.

When you add it up – that’s 156 performance spots per year just for a 3-act club.

Can we do lunch?

The bookers not only have to deal with the talent needed for those spots, but in most cases with a headliner and in many cases with a feature, they’re also dealing with agents and managers. There are negotiations, contracts, travel arrangements, accommodations, publicity – and the always expected but unknown until it happens at the last minute emergencies. That could include any one of the performers cancelling for any number of reasons including a missed flight, illness, weather (the list could go on and on) and another comic needs to be scheduled immediately.

But that’s only part of it…

The booker is also fielding countless phone calls from comics wanting to return, newer comics wanting to play the club for the first time, and agents and managers who want to schedule their clients. On top of that there are TONS of emails, websites and promo videos to navigate through.

There could be much more than 156 performance spots bookers are dealing with. They could also be scheduling private parties, special events or other clubs. And if the booker is good at his / her job, they have to deal with it all.

I won’t even get into the job duties that might include attending meetings, “doing lunch”, or watching shows to see how the performers they’ve already booked are doing. My point is – from personal experience – there’s a lot going on behind the scenes that most performers don’t realize. Talent bookers can be very busy people.

But one thing that should be a positive for you as a newer comedian is that bookers are always looking for new talent. If not – they’re not very good at what they do. Your goal is to be one of their new talents.

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Fall 2018 Comedy Workshop at The Cleveland Improv

SOLD OUT!

Showcase at The Improv is Wednesday, December 5 at 7:30pm

Workshop Marquee 150

For information about upcoming workshops visit…

TheComedyBook.com

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The key – as you’ve already mentioned – is not to be annoying.

I remember talking with comedians who were so frustrated because a certain talent booker never got back with them that they decided to call every day. Their thought process was that the booker would eventually have to deal with them.

I’ve got news for you. Talent bookers don’t have to deal with them or anyone they don’t want to. Imagine someone calling you every day for a job. It’s called being annoying – a pain in the butt – and why so many bookers screen their calls or hire assistants as gatekeepers.

That method won’t work. That’s why you have to play the game. You need to stay in touch and let them know you exist, but you can’t be annoying.

There’s a game plan for that and I know it can work because it worked on me when I was booking comedians in Los Angeles (where I learned this “game”).

You’ve made the first phone call. I’m assuming you either reached the booker’s voice mail or assistant.

  • Always leave a message with your name and phone number.

That bit of advice has been – and still is – debated by comedians and speakers I’ve worked with. Some only want to talk with “a real live person” and won’t leave a message. But many others (like me) think that’s a wasted effort and phone call. The idea is to start building name recognition. You can’t do that by just hanging up.

  • Make it short and professional – get to the point:

Hi. This is (your name) and I showcased at (club name). The bar manager (name) gave me your card and suggested I contact you about a possible booking. I’m calling to find the best way to schedule an audition or send a link to my website video. You can reach me at (your phone number) and my website is (website). Thanks for your time and I look forward to hearing from you.

  • Then hang up.

Okay, put it into your own words. But that’s not a bad script. It succeeded in getting your name and contact info to the person you want to work for.

  • But don’t just wait. Take action – send a postcard.

Yeah, I know. Some performers think postcards are outdated. But are those performers working as much as they’d like to? If they are then maybe they have enough contacts with talent bookers already or have an agent or manager doing the dirty work. But I’ll tell’ya what. I’m not even booking clubs anymore and I still get postcards.

  • Postcards have your photo, name and contact info.

Send one after your first call and it can add to your name recognition. Put a personal note on the back – “I hope you received my call, etc…

Wait a couple weeks and call again. You aren’t being annoying – but you also are not disappearing. It continues to put your name in front of the talent booker.

  • Mix it up a little. Instead of following that call with another postcard, wait a week and send an email. Again – be short and to the point. Include a link to your website.

If you still don’t hear back wait a couple weeks and call again. Then repeat the process until you hear back or the talent booker answers the phone.  Either way they will have heard of you (name recognition). Then use your Golden Ticket – or plead your case – for an audition or booking.

  • If this is a local club, go to a show (or two, or three). Say hello to the bar manager again and ask if you can meet the talent booker. If there’s another opportunity to showcase – sign up and get on stage.

Of course there are no guarantees, but it’s a better game plan than being annoying or disappearing just because a busy person doesn’t return your first phone call or email.

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Give it a try. As mentioned, I’m sharing this method because it worked on me.

In fact, a few times I was almost embarrassed because the performers stayed in touch – without being annoying – and I started thinking that they were thinking I wasn’t doing my job very well. So when I realized after some well spread out phone messages, postcards and emails that they might be calling soon, I looked at their videos. When they called it was almost like an “Ah-ha!” moment for me.

YES!” I had watched their video!

Now, whether they got a paid booking, showcase or “no thanks” depended on their performance and experience. But at least they had built up name recognition and were given the opportunity – and that’s what this method is all about.

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.

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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Fall 2018 Comedy Workshop at The Cleveland Improv

Starts Saturday, November 10th 

Perform at The Improv – Wednesday, December 5 at 7:30pm

Workshop Marquee 150

Meets 3 Saturdays from noon to 4 pm (skips Thanksgiving Weekend)

Space is limited

For details, reviews, videos, photos and to register visit…

TheComedyBook.com

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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!

*

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.

Going for the “perfect” performance

September 24, 2018

Dave – I’m working to get the whole stage fright thing out of my system. (My first time on stage) I was so nervous because I didn’t know the material that well. The problem my friends and I noticed is I am too much of a perfectionist. I understand things won’t be perfect but for some reason I feel the need to make it perfect. – T.D.

Hey T.D. – A lot of comedians and speakers are perfectionists. They struggle over finding the right word or phrases. For instance in the comedy world, they always want to know what word is funnier than another.

Example: Cucumber or banana. This debate will go on forever…

That’s why they continue to write and test out material (words and phrases) during live performances. They record their sets and listen to audience reaction. When an audience laughs – it works. If they don’t laugh – then the comic needs to edit or rewrite the material and repeat the process until it does work. If it still doesn’t get a laugh from the audience, then the comic needs to discard that bit and write something else.

Of course there’s more to it than just that simple explanation. Stage experience, your comedy voice, delivery, timing and the make-up of the audience will also determine what works and what doesn’t during any performance. But even when everything is working in your favor, will it ever be perfect?

In a creative artist’s mind – probably not.

Should I question this?

You might debate this, but I believe that creative artists always think they can do better. It’s a creative person’s curse. It’s also what drives them to constantly do better work. The goal is perfection, but it’s like trying to find a needle in a haystack, (sorry, I had a drive that took me past miles of farm land this week and can’t shake it out of my mind). It’s a never-ending journey to a place impossible to reach.

Let’s put this into musical terms, as I tend to do when coaching comedians and speakers. And since I’m a “classic rocker,” stick with me while I use a classic example…

Sited as one of the greatest songs by The Beatles is A Day In The Life. It closed the legendary album Sgt. Pepper’s Lonely Hearts Club Band and is a true John Lennon & Paul McCartney composition. That duo is also sited as the top composers of their generation. So put it all together – and it’s the perfect song. Right? Well, it could have been better. Listen closely as the final chord fades out. Someone forgot to turn off the air conditioner in the recording studio and it’s heard in the background.

Perfect? Close, but not quite.

Comedians can walk off stage after an exceptional performance and say they “killed,” which is the comic’s term for having a great show. But I sincerely doubt many would say they could never do better. They could watch a video of their set and probably have no problem finding a gesture or a facial expression – or a line or phrase or whatever – that might have been done differently and gotten a better audience response.

It’s the creative curse. There’s always room for improvement.

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Fall 2018 Comedy Workshop at The Chicago Improv

SOLD OUT!

Showcase at The Improv – Thursday, October 25 at 7:30pm

Workshop Marquee 150

Space limited to 11 people

For details and to register for future workshops visit…

TheComedyBook.com

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So my point is not to worry about being perfect. Just do your best. Film and television actors – and musicians in a recording studio – get to do multiple takes and use editing in an effort to make the end result perfect. But just like with A Day In The Life, a creative artist will probably think they could have made it better.

In fact, the imperfect result could even be better than you’d planned. And in case you haven’t caught on, this is another excuse for me to share a great story…

In one of my comedy workshops at The Improv a number of years ago, an aspiring comic wanted to be “perfect” – his exact word. (And if T.S. is reading this – yeah, I’m talking about you!). He wrote and memorized his set word for word and went on stage prepared to deliver it that way. He was doing an okay job of it, but a few minutes into his set he forgot his material. He suddenly yelled, “Oh ****!” and THREW himself against the (fake) brick wall, fell over a stool and landed on the stage.

That was so funny!

It was pure frustration and the funniest thing we had seen in that workshop. Myself and everyone else cracked up in laughter. It was a GREAT comedy performance!

We all tried to convince him that he had found his performing style. It was honest and real. It was comedy and funny. But he didn’t believe us. It was not his idea of the perfect set and he would never allow himself to do that in front of an audience – even though it happened during each of our following workshop sessions.

The night of our show at The Improv, I reassured each workshop member they would have a fun set. They had worked hard and were prepared. No worries. But when I got to T.S. – I told him that I hoped he would screw up and forget his material. He looked at me like I was nuts – “Are you serious?” He said there was no way. He had been practicing for days and would do the perfect set.

Do I need to continue with this? Okay…

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He went on stage – got a few minutes into his set and WHAM!!!! He forgot what he was going to say next. He threw himself against the wall, fell over the stool that was on stage and hit the floor in frustration. The best part was that it wasn’t an act. It was real. It was the highlight of our show and he earned the biggest laughs of the night. I thought it was perfect.

Afterward he admitted he’d had a great time and according to audience response, his set actually worked. But he also thought he could do better next time…

The bottom line is to be creative and have fun. Every opportunity you have on stage or on the speaker’s platform is an opportunity to grow as an artist. You want to experiment and take chances. Creative people need change, which is why comedians write new jokes and speakers spin off their messages into different programs for different audiences.

You can try to be perfect on stage, but don’t sweat it when you’re not – because nobody is. The idea is to just be better next time.

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.

When should you start promoting your career?

July 30, 2018

Hey Dave – Last week I was in a comedy festival. It was a 13 hour drive, but it was a good chance for networking. I was talking with another act who said she’s too impatient about getting her comedy career going. I said that my problem is that I’m too patient. After finishing second at another comedy club’s contest and being accepted at the festival, I should be contacting clubs and bookers all over the area instead of waiting until I actually win a contest. Do you agree? – J.G.

Can you hear me now?

Hey J.G. – First of all, if I drive 13 hours for anything, I’m going to make sure somebody knows about it. That’s not exactly a Sunday afternoon drive for me (which is why every seasoned road comic is calling me a wimp right now), so I’d like a little recognition for the achievement. If my kids happened to be in the backseat, I’d expect an award.

How different people react to my successful lengthy trip depends on how they view such an effort. If I told a student driver about my journey, he may look at me as The Man. If I walked into a truck stop and made my announcement, I’d probably get more laughs than doing a clean act at a biker bar open mic.

Being accepted to perform at a respected comedy festival and finishing second in a club’s contest are worthy additions to the resume. Each step in your career is a great opportunity for promotion and it’s important to take advantage of it, which is an important subject we’re driving up to next.

Not quite ready.

But before we head down that road, the question of patience should be answered by common sense. You have to be honest with yourself to know when you’re ready for the next level of your career and not push yourself too fast into a position where you don’t have the experience or material to back it up. In other words, if you’re relatively new to comedy and just breaking into the MC role, it’s wise not to promote yourself to the top clubs as a headliner until you’re ready.

What you don’t want to do is sit back and wait for any word-of-mouth to find its way to the bookers. James Bond has a reputation that precedes him, but when finding work in the entertainment business you need to promote yourself. If you have the credits, chances are better the bookers will find out about it if YOU tell them.

You have to be honest with yourself as a comedian, (or humorous speaker).There are various steps to consider before you actively promote yourself for paying gigs…

Are you ready for paid gigs?

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Comedy Workshop at The Cleveland Improv

Starting Saturday – August 11, 2018 – is SOLD OUT!

Includes evening performance on Wednesday, September 5th

Workshop Marquee 150

For information about upcoming workshops visit…

TheComedyBook.com

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You absolutely must have experience and a comedy set or speaker program that has worked successfully during live performances. These can be open mics, benefit shows – whatever. Let’s put it this way. If someone is paying you to do 20 minutes – you’d better have a good 20 minutes or they’ll find someone else who does for the next booking.

Also understand where you fit into the business. 

Are you an opening act, feature or a headliner? New acts will always be considered openers until they prove themselves worthy of a better position in the show. Think about it. Even Jay Leno was an opener when he started out and worked his way up. He wasn’t given The Tonight Show after a few successful open mic performances.

But let’s say you know that already. You’ve worked hard at writing and performing and you honestly know you’re ready. That’s when it’s time to get the word out to talent bookers, event planners and anyone else who might hire you.

That’s when you need to start promoting – and it can be a full time job.

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Whenever you have an achievement (accepted to a comedy festival, runner up in a contest, a paid booking in another venue, etc.) make sure the bookers for the clubs where you want to work or the event planners for associations you want to work for KNOW about it. Send them your news via an email, a postcard, add it to your website and resume, and post it on the social networks you use for business (not the ones you use for family photos, your cats or wild escapades).

You may not get hired right away, but it could add to your name recognition in the future.

Only took 7 calls!

That’s the idea behind promoting – networking and marketing.

Businesses use branding and logos to keep their products in front of potential buyers and entertainers do the same with successful performances, personal contacts, online postings, emails and postcards.

As good salesmen say, you need to run a product (you as a comedian or speaker) past a client (booker) on the average of SEVEN times before they buy. So when is a good time to start building credits and promoting your comedy career? If you truly believe you’re ready – I’d say right now.

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.

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.

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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!

*

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.