Author Archive: DSchwensen

Advice on how to start out as a talent booker

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Hi Dave – I am moving in the next few months to pursue a career as a comedy booker. I am entry level right now with nothing but passion and probably an unhealthy dose of optimism. I can’t seem to find any information anywhere about where or how to start out or even how much money bookers make. What is your advice? Thanks for your time – SR

Hey SR,

On the job experience!

Thanks for reaching out — becoming a comedy talent booker can be a fun and rewarding career. That said, like anything in showbiz, it comes with plenty of surprises and challenges.

How Much Can You Make?

The short answer: it depends. Your income as a comedy booker is determined by the market you’re in, the venues you work with, and your ability to create consistent opportunities.

When I started out – MANY years ago – I booked a small “tour” of Sunday–Wednesday shows at bars in different towns. Each club paid $300 per show, which covered the comics’ fees, accommodations, and a meal. I paid the headliner $200, the opener $50, and kept $50 for myself per show. That worked out to $200/week in booking fees — not a living wage, but a great starting point.

If I had scaled to five tours per week, I could’ve earned $1,000 a week — and that’s how a lot of small booking agencies begin.

Building a Career

To turn this into a full-time job, you’ll need to build relationships with multiple venues and create a steady stream of shows. Strong networking skills are absolutely essential.

Take your time

You might also explore booking for college or corporate gigs, which are often more lucrative than club shows. Breaking into those markets usually requires experience or a foot in the door with an established agency. Internships or assistant positions are great ways to learn the ropes and make connections.

Watch Out for Pitfalls

Keep your business practices honest, and word will spread for the right reasons.

Avoiding the “Double-Dipping” Mistake

One of the fastest ways to damage your reputation as a talent booker is by getting caught double-dipping. I didn’t even know what that meant until a comedian I managed — and a good friend — pointed out I was doing it.

Here’s what happened: I was booking a small club tour and scheduled one of my clients to perform. As his manager, I earned 10% of his income from bookings. At the same time, each venue was paying me $50 per show as the booker. That meant I was unintentionally taking $20 of his fee — essentially pocketing part of his pay while also collecting my regular booking fee. He was only earning $180 for a $200 show.

I wasn’t doing this with any other comedians — just the one I managed. Still, it was a clear conflict. I was being paid twice for the same work: once as a booker, and again as a manager. That’s double-dipping.

When he brought it up, I had a “duh” moment. I corrected it right away — kept my booking fee but made sure he received the full $200 per show. After all, as his manager, I was supposed to be helping his career and earnings grow, not quietly cutting into them.

Unfortunately, not everyone in this industry operates with the same awareness or integrity. Some bookers still double-dip — often at the expense of newer comics eager for any paying gig. But here’s the truth: word travels fast. When those comics start drawing bigger crowds and commanding higher fees, the double-dipping booker is the last person they’ll work with again.

Take it from someone who learned from experience — stay transparent. And when in doubt, always put your performers first.

How to Get Started

Start small. Book a fundraiser or a one-off event. Get involved in your local scene, understand what types of acts work where, and learn who’s performing and what kind of material they do. Don’t be afraid to ask to be paid — even if it’s modest at first.

If you’re lacking in experience, connections or anything else that might hold you back, search out talent agencies and event planners and see if there are any jobs or internships available. It would be starting at the bottom – just like going at it on your own – but the learning process could be the launching pad you’re looking for.

Thanks for reading and as always – keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Going solo or as a comedy duo

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Hi Dave – I sometimes attend open mics with my boyfriend, he goes up every once in a while. Anyway, we were approached by a few people asking if we could do a duo performance.  For some reason, I cannot find anything on couples, other than same sex (Penn &Teller, or Kenan & Peele). Out of curiosity, have you seen this? If so, what does that look like? Also, would you recommend it? Thanks in advance – J.

Hey Dave – Is it easier to be a single comic or have a partner go on stage with you? – B.H.

Mike Nichols and Elaine May

Hey J. and B.H. – Great timing—you’re both essentially asking the same question about working as a comedy team. It’s sort of… like… a comedy team!

To be honest, neither option is easy. As the old saying goes: If it were easy, everyone would do it. And since I’m already quoting, here’s one from my first book, How To Be A Working Comic:

Comedy is a serious business—with a lot of laughs.

The key word there is business. When you’re performing with a partner, you’re not just sharing the stage—you’re entering a business partnership. That means co-writing, co-performing, and sharing responsibilities like booking gigs, doing publicity, scheduling travel, and often splitting hotel rooms (and every other expense) on the road.

Here’s the biggest sticking point for most comedy duos:

You have to split the profits.

Key and Peele

Solo comics keep 100% of their pay. Teams split it. And since early-stage comedians often don’t make much to begin with, that’s a major hurdle.

I always tell new comics that getting started usually costs money—gas, food, hotels (or sleeping in your car), all before you even make it to the MC level at paying clubs. It takes time to work up to better gigs: features, headliners, corporate shows, cruises, and colleges. It’s like going through an unpaid apprenticeship.

Now imagine splitting those already-scarce earnings with a partner. And don’t assume clubs will pay a team twice as much just because there are two of you—trust me, they won’t.

(Let me pause while I stop laughing at that idea…)

Okay, I’m back. Clubs care about what you bring in: audiences and laughs. They pay based on your draw. If a top comic sells out a 500-seat club at $100 a ticket, he gets paid accordingly. If he brings a partner, that doesn’t mean the venue can charge more—the room is still 500 seats. So now they’re splitting a fee that would’ve gone to one person. It’s just not a smart financial move unless both partners are equally indispensable to the act and brand.

And that’s why you don’t see many comedy teams anymore—it’s simply not cost-effective for most.

That said, if you and your partner can write well together, perform well together, travel well together, and handle business and money well together—you’ve got a shot. But make no mistake: it’s hard work. And no, it’s not easy.

If it were, everyone would be doing it.

Here’s a basic outline to help you and your partner shape a duo comedy act—from structure and material ideas to performance dynamics and logistics:

  1. Define Your Dynamic
  • What’s your on-stage relationship?
    • Romantic couple?
    • Friends?
    • Opposites (the “straight man” vs. the wildcard)?
  • Establish clear roles—balanced or contrasting energy makes the act easier to follow and more engaging.

Examples:

  • Burns & Allen: Classic straight man / comic
  • Cheech & Chong: Equal partnership, alternating punchlines
  • The Smothers Brothers: Brotherly banter with one constantly “off-track”
  1. Develop Signature Material

Focus on:

  • Relatable experiences: Couples’ arguments, dating mishaps, living together, family issues.
  • Shared storytelling: One leads, the other interjects or challenges the story.
  • Tag-team punchlines: Build setups that allow a rhythm of back-and-forth.
  • Act-outs or impressions: You can play multiple characters or role-play real-life scenarios.

Example Themes:

  • Jealousy over who’s funnier
  • Miscommunication in a relationship
  • Trying to agree on what to order for dinner
  • Navigating an awkward double date
  1. Write With Performance in Mind
  • Pace: Make room for overlap—interruptions, miscommunication, callbacks.
  • Stage presence: Use physical space to your advantage. Move around each other, not just stand side by side.
  • Timing: Duo comedy thrives on rhythm. Rehearse like musicians.

Spring 2025 online workshops start Monday, May 19 and Wednesday, May 21

Space is limited

For details, reviews and to register visit OnlineWorkshops

  1. Rehearse Interactions, Not Just Jokes
  • Practice improvising small moments (banter, reacting to laughs, flubs, or each other).
  • Build chemistry: How you talk to each other matters as much as the joke itself.
  1. Prepare for Solo Bits (Just in Case)
  • Sometimes one of you might do a solo spot or fill time. It’s wise for both to have individual material just in case.
  1. Logistics
  • Billing: Create a memorable team name (or go with your names: “Jack & Jill,” “Amy & Rob”).
  • Social media & promotion: Shared accounts? Website? Demo reel?
  • Agreements: Set boundaries now—who writes what, how you split money, who handles booking, etc.
  1. Keep Growing
  • Record your sets and refine.
  • Test new bits regularly.
  • Watch other comedy duos and analyze their timing and structure.

Thanks for reading and as always – keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Setting Your Fee: Why Show Length Shouldn’t Change Your Price

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Hey Dave – I’m a juggler from the NJ area. A few years ago, I purchased your “Corporate Comedian” book. A great read! When it comes to pricing, you mentioned charging per person as a way to arrive at a fee. You felt $5 per person is reasonable. I was thinking about using this formula to price my 30–45-minute shows. I also offer a 15–20-minute show. Since it’s shorter than my full-length show, do you think I should stick with the $5 per person formula or lower it a bit to say $2 or $3 per person. Any insight would be greatly appreciated. Thanks so much! – Bill

Ring it up!

Hey Bill – Thanks for reaching out and for the kind words about the book. You’re officially my new best friend!

Yes, the $5 per person guideline was shared with me early on when I started booking comedians and speakers for corporate events. It’s a good starting point for pricing but remember this is show business – and like any business, fees are often negotiable.

Here’s a quick story:

When I was active with the National Speakers Association (NSA), I had a friend who regularly booked $2,000 gigs through a bureau. However, if a local opportunity came up for less – sometimes a lot less – he’d still take it. He loved what he did and saw smaller gigs as a way to stay busy and make extra money. His agent wasn’t thrilled, but because they had a strong relationship, it worked out.

Bottom line: it depends.

In my opinion – based on years of working with performers and agents – your fee is your fee, no matter the length of the show. Whether you’re performing for 20 minutes or an hour, you still need to:

  • Prepare your act
  • Travel to the venue
  • Set up
  • Perform

I showed up so pay me.

Think of it like this: When I had a plumber out last year, they charged a $75 flat fee just to show up, whether the fix took five minutes or an hour.

Performers should think the same way.

I’ve had clients try to “lowball” me with, “We can’t afford your one-hour program. What would you charge for 30 minutes?” My response?

Same fee.

I’ve even joked that my program is free – but they still have to cover my travel fee (which just happens to match my quoted price).

So, my advice:

Stick with $5 per person for both your full-length and shorter shows. Of course, everything in showbiz is negotiable if you really want the gig, but don’t let clients undervalue your time and talent.

And one final tip:

If a client balks at your fee, ask them how much they’re spending on table centerpieces. Chances are those decorations cost more – but ask them which will be remembered longer: the centerpieces or your show?

You already know the answer.

Thanks for reading – and keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Dave Schwensen’s Spring 2025 Stand Up Comedy Workshop at The Cleveland Funny Bone…

SOLD OUT!!!

Stay tuned for Suumer 2025 dates. Until then – keep laughing!

Emailing Talent Agents: Bold Move or Waste of Time?

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Hey Dave – I just went to a (big) audition in LA but didn’t get in because there were too many people. Like you advised, I gave one of the judges a post card with my headshot and links to my website and videos. I’m not living in LA and it was a long way to travel for this. Do you think it could be useful for me to email website and video links directly to comedy agents in LA and hope they’ll work with me when I return? Thanks – D.

Who’s next?

Hey D – Sorry to hear you didn’t make it into the audition. I know the one you’re talking about, and since it involved TV, it was bound to draw a huge crowd. These types of auditions are often referred to as “cattle calls” in the industry – lines of performers hoping to be seen before the cut-off.

It’s frustrating. You travel a long way, wait in line, and sometimes don’t even get a shot. I had a comic once call me while standing in line for America’s Got Talent. They were only seeing the first 100 people. He was probably number 110 and didn’t get seen.

Even more frustrating? He watched some comics get ushered to the front of the line. Why? Because the casting team already knew them. They’d either seen them perform live or had relationships through agents. That familiarity makes all the difference – they’re more willing to set aside a specific time or let them skip the line entirely.

That’s how the business works, especially in cities like LA and NYC. Casting people and agents don’t just look for talent – they look for reliable, experienced talent they already trust to deliver.

So, about emailing agents with your materials:

My expectations were too high!

It’s not a bad idea, but temper your expectations. Blind emails and unsolicited promo links usually go ignored unless the agent has a reason to care. They want to see comedians live, multiple times, in different settings. They’re investing time and effort into someone’s career, and they need proof it’s worth it.

A link to your website or YouTube channel can serve as an introduction or a reminder if they’ve already seen you live. That’s why I advised you to bring a card or postcard with your info – something that might help with name-face recognition down the line.

But for agents to truly consider working with you, they need to see you on stage, ideally in their city, so they know you’re accessible for gigs and auditions.

If your long-term goal is to land an LA agent, the best thing you can do is get really good. Hone your act, build your credits, and when you’re ready, go to LA and start networking in person. Visit the clubs, hit the open mics, try to set up showcases. If you have any connections who can help you get stage time at bigger clubs, use them.

The promotional material you send is like a movie trailer – it builds interest. But eventually, people will want to see the full movie. That means performing live.

I’d also recommend reading the interviews with Drew Carey and Jeff Foxworthy in How to Be a Working Comic. Neither one got attention from their promo materials alone. It wasn’t until they were seen on stage in LA that the doors opened.

So yes – send your links. But don’t rely on them. Instead, think of them as part of your long-term strategy: build recognition, stay in touch, and be ready to show up when the opportunity calls.

Thanks for reading – and keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

 

 

Spring 2025 Stand-Up Comedy Workshop at The Cleveland Funny Bone

Saturdays – April 26, May 3 and May 10 from noon to 4 pm

Includes a performance at The Funny Bone on Wednesday, May 14

For details, reviews, photos and registration visit ComedyWorkshop

Recommendations: Letters and Blurbs

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Hey Dave – I remember you had an article about what goes into a good recommendation letter. I have a few from doing corporate shows and fundraisers. Since you’ve also pointed out that promo is now mostly online, I was wondering how to get these letters in front of talent bookers. It’s not like the old days when we could send paper copies with a promo package. Thoughts? – J.W.

Hey J.W. – The article you’re referring to covered what makes a strong recommendation letter. The goal is to share positive client feedback about your performance and how you contributed to an event’s success. Talent bookers and event planners want the same thing—successful events.

Key Elements of a Strong Recommendation Letter:

A great letter of recommendation should highlight:

✅ Great performance
✅ Lots of laughs
✅ Engaged the audience
✅ Easy to work with
✅ Positive audience feedback
✅ Went the extra mile to ensure success

All of these points reinforce your credibility and value as a performer.

Moving from Paper to Digital

Yes, the days of printing and mailing paper copies are over. That’s good for the trees and for streamlining your promotional material. Today, everything should be online—on your website, LinkedIn, Facebook, or other platforms.

The Power of Blurbs

What you need from a recommendation letter is a blurb—a short, compelling statement that captures your impact.

Example:

“J.W. was very funny, and our audience loved him. We look forward to working with him again.” – [Client Name / Company]

Blurbs function like the short reviews you see on book covers. Their purpose? To quickly build credibility and entice potential clients to learn more.

What We Can Learn from eBooks

Think of your promotional material like an eBook on Amazon:

  1. Grab Attention Immediately – Just like an eBook sample must hook readers in the first 10-20%, your promo needs immediate impact.
  2. Use the Best Quotes First – Publishers highlight the strongest reviews at the start of an eBook to entice buyers. You should do the same with your blurbs.
  3. Make it Easy to Scan – Place your best recommendations where bookers will see them first (e.g., homepage, social media profiles).

Where to Use Blurbs:

  • Website Homepage – A potential client’s first impression of you.
  • Social Media Bios – LinkedIn, Facebook, and Instagram.
  • Dedicated Reviews Page – A collection of client testimonials.
  • Email Signatures & Business Cards – A subtle yet powerful touch.

Final Thoughts

While you can talk yourself up all you want, nothing beats someone else talking you up. Strong blurbs and recommendations will establish trust, demonstrate experience, and make talent bookers more likely to hire you.

Next online group starts Wednesday April 9, 2025 (Mondays are sold-out)

Visit OnlineWorkshops for details, reviews and registration

 

Thanks for reading – and keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Customizing Material for Different Audiences

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Hey Dave – You’ve mentioned before about personalizing material for corporate shows. When comedians talk about “knowing your audience,” does that mean they need entirely different acts for different audiences? Thanks – S.A.

Know your audience!

Hey S.A. – Not necessarily. It depends on the material, delivery, and audience. Some comedians seamlessly “cross over,” appealing to diverse crowds. Others stick to a specific niche, knowing where they fit best and where they won’t be well-received.

For example:

  • An X-rated comedian won’t be booked for a church show.
  • A Christian comedian likely won’t perform at an adults-only, X-rated event.

That’s common sense in the industry. If a comedian doesn’t recognize this, they’re in for a tough career lesson. However, it’s also crucial to understand that…

Comedians Must Stay True to Their Voice

Some comics refuse to change their stage persona or material just to cater to an audience that doesn’t align with their style. Others, however, recognize that slight adjustments in material and delivery can open doors to more bookings.

It’s a personal choice. I’m just letting you know there are options.

Why Customize Material?

Someone call her designer!

Experienced comedians and speakers often tailor their performances for two key reasons:

  1. It can lead to more paid bookings.
  2. It can justify charging a higher fee.

Let’s focus on that second point. Higher fees tend to get a comedian’s attention, especially in the well-paying corporate market. Event planners may approach you for a booking, and you could charge one fee for your standard act. However, if they request a customized show tailored to their industry—whether it’s financial investors, gourmet chefs, or flight attendants—you can charge a higher fee.

Selling the Customization

The key selling point is that personalization requires extra effort. You’d need to research the company, modify your material, and incorporate industry-specific details into your set. This might include:

  • Mentioning the company’s name and industry.
  • Referencing their clients, competitors, or workplace culture.
  • Using inside jokes about employees or the city they’re based in.

Since this level of customization takes additional time and effort, you can justify a higher rate. If the client finds it too expensive, you can negotiate—offering your regular act at your standard fee while keeping customization as an added premium.

Customization vs. A Different Act

Personalizing your material means tailoring it to your audience, but it doesn’t mean writing an entirely different act. It’s about adaptability.

A comedian friend of mine (featured in my book How To Be A Working Comic) is a master at this. He has decades of material and could perform a different set every night. Yet, he maintains a consistent comedy voice.

He might not be an expert on investment banking, gourmet cooking, or airline crew life, but he can make an audience of bankers, chefs, or flight attendants laugh. That’s what he’s paid to do.

He seamlessly shifts between:

  • A raunchy, X-rated midnight comedy club set.
  • A clean, corporate-friendly performance the next day.

His topics—his upbringing, family, and personal experiences—remain the same. The difference? His language and delivery. At the comedy club, he may use explicit language and edgier jokes. At a corporate event, he removes the “F-bombs” and adjusts his tone, keeping the humor intact.

Finding Your Approach

Would this strategy work for you? It depends on your style and audience.

  • If minor tweaks make your material work across different settings, you don’t need entirely separate acts.
  • If your material isn’t adaptable, you might need distinct sets for clubs, corporate gigs, or colleges (many comics do this).
  • If you prefer sticking to one niche, that’s fine too.

Some comedians prioritize creative freedom over marketability. Others use well-paid corporate gigs to fund their passion for uncensored, late-night comedy. The choice is yours.

Thanks for reading – and keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

3 Lessons I Learned From a 30-Year Comedy Veteran – Dave Schwensen

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By Siddesh Pai – “I Help Comedians, Humor Keynote Speakers & Entrepreneurs Enhance Their Personal Brand Through Targeted Newsletters | Standup Comedian”

Readers: You can locate Siddesh Pai through the following link on LinkedIn. This is an interview we did earlier this year and I liked it enough to share it. Thanks Siddesh and keep laughing!!

https://www.linkedin.com/in/siddeshpai/

3 Lessons I Learned From a 30-Year Comedy Veteran – Dave Schwensen

Talking comedy

Dave has been working in comedy for three decades. But he wants to make one thing clear: he’s not a stand-up comedian. To me, it felt like a writer who doesn’t read. But that’s exactly what makes him different—he’s spent his career booking, coaching, and writing on the business of comedy. In our conversation, he dropped some serious wisdom on why treating comedy like a business is the key to making it a career.

1) Comedy Can’t Be Taught—But It Can Be Coached

“I don’t believe you can teach comedy. What I think is funny, you might not. My kids certainly don’t think I’m funny.” I can’t tell you the Three Stooges are funny if you don’t find slipping on a banana peel hilarious, there’s nothing he can do to change that. This is where coaching comes in. Every comedian has a different style, a different rhythm, and a different worldview. Dave helps comics refine that—polishing the delivery, cutting the fat from jokes, and shaping a strong act. Because at the end of the day, you can’t teach funny. But you can help someone be funnier.

2) No One Is Going to Hand You Stage Time – You Have to Create It

“You can’t teach timing, you can’t teach delivery, and you sure as hell can’t teach stage presence. You have to get up there and do it.” Most comedians think getting better means hitting open mics over and over. But Dave has a different take – go where the audience actually wants entertainment. Clubs are competitive. You’re performing for other comics, waiting for their turn. But business events, fundraisers, and community groups? They’re desperate for entertainment. Your first gigs might be free, but that’s how you build momentum. One day, you’re performing at a Rotary Club for free. The next, someone offers you $500 to do the same set. Stage time is currency. The more you get, the faster you grow.

3) They Call It Amateur Night, But No One Is Trying to Hire an Amateur

A lot of comedians treat stand-up like a passion project. But the ones who make a career out of it? They treat it like a business. – Networking Matters – Hanging out with comics at open mics isn’t enough. Get to know bookers, producers, and event organizers. These are the people who can actually get you paid work. – Market Yourself – Being funny isn’t enough if no one knows you exist. Build a brand, create content, and stay on people’s radar. Your name should pop up when someone’s looking for a comedian. – Be a Professional – Show up on time. Have a tight five. Be easy to work with. Give people your business card. Make yourself easy to book. The comedians who get booked aren’t just the funniest—they’re the ones who treat it like a business.

Thanks for reading – and keep laughing!

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For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com