Category Archives: Comedy FAQs And Answers

Business card – got one?

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Hi Dave – I’ve decided to order business cards. I was wondering what information I should include. I was thinking phone number, email, and website. Is there anything else I need, or any reason not to include my address? – K.S.

Could use more info…

Hey K.S. – Great decision. I’m always surprised how many comedians or performers still don’t have business cards. Maybe they think it’s a relic from the past—like mailing out DVDs instead of sending a link—but a business card is still an important promotional tool.

How is anyone supposed to know you’re out there and available for gigs if you don’t promote yourself? Unless you’re already a known comic, have a Comedy Central special, or a big-time agent pushing for you, you need to be prepared to handle the business side of your career.

Of course, the first step in any business is to be so good on stage that people want to see you again. That comes from writing, performing, then repeating the process countless times. But once you’re ready to move forward, promotion becomes a major part of your plan. It helps you take advantage of opportunities that can lead to showcases and paying gigs.

Promotion gets your foot in the door. Talent, hard work, and dedication are what get you hired. As I say in my book Comedy FAQs and Answers:

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

Memorize that—it’s true.

Now, your question wasn’t about showcases or all the ways to promote yourself, so let’s talk specifically about business cards.

I write a lot about networking and being part of your local comedy scene because you never know who you’ll meet—someone who could genuinely help your career. But are you prepared when that moment happens?

My latest

Back when I worked at The Improv, comedians would often ask how to get an audition or how to submit a video. Then, instead of handing over a business card, they’d say, “Let me give you my email,” and expect a manager to write it down—or they’d start searching for a bar napkin to scribble on.

Were they nuts? That’s not how you make a professional impression. And in my head, every time someone did that, I’d think: “Amateur…”

Even worse, some comics would just give their name and say, “I’ll send you my link,” or “Keep me in mind for showcases.”

Sorry, but I’m terrible with names. Honestly, there’s a woman interrupting me right now while I’m trying to write this. Her name escapes me… I should remember it—we’re married.

Get the idea?

People like talent bookers, event planners, and club managers deal with a lot of names. Make it easy for them to remember you and contact you. Business cards aren’t outdated or uncool. They’re a simple, effective professional tool.

So to finally answer your question:

Your business card should include:

  • Your name
  • What you do (comedian, speaker, etc.)
  • Your best contact info
    • Phone
    • Email
    • Website (with video and promo materials)

If you have a blog, newsletter, or podcast that supports your career and is actually interesting, you can include that link too.

Electronic business cards—QR codes, NFC cards, or files you can Airdrop—are also becoming popular. They’re great to have, but not everyone uses them yet. For someone just getting started, keep it simple and carry regular business cards.

A smart move is to design your card so it stands out. A photo or logo works, but if you (or a designer friend) can create something genuinely unique, memorable, or just plain cool, people are far more likely to keep it instead of losing it in a drawer.

On the flip side!

Try out a few designs on any inexpensive business card site—there are plenty—and don’t leave the house without at least a few cards on you. You can update or redesign them any time since they’re cheap and sometimes even free.

If you’re serious about building a career, you have to take promoting and networking seriously. When you meet someone new or stumble into an opportunity, a business card clearly communicates who you are and how to reach you. There’s nothing amateur about that.

One important warning:

Never put your home address on your business card or any promotional material. You don’t know where that card may end up, and the last thing you want is some wacko showing up at your door. Yes, this has happened—to both male and female performers.

A business card isn’t an outdated relic. It’s a simple, professional way to help people find you—and hire you.

Thanks for reading and as always – keep laughing!!

Winter 2026 Standup Comedy Workshop at The Cleveland Funny Bone:

Saturdays – January 10, 17 and 24 from noon to 4 pm.

Performance at The Funny Bone – Thursday, January 29 at 7:30 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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The Comedy Police Force

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Hey Dave – I was at an open-mic last week. A comic went on stage and “called out” another comic who had gone before him for stealing jokes. He did this from the stage. Afterwards, he couldn’t prove it – and no one else remembered hearing those jokes anywhere else. We think he was wrong and handled it wrong. Any thoughts? – D

Comedy police out for joke-stealers!

Hey D – I always have thoughts. And when they’re about comics stealing material, they’re never good ones.

What a jerk.

Wait… let me rethink that. We might have two jerks here. Allow me to think out loud – or at least in loud writing.

JERK #1

This honor goes to the comic who “called out” the other one from the stage.

First of all, he admitted afterward that he had no proof. Maybe he thought he was being edgy—sometimes that works—but not when it’s at the expense of another comic who’s just trying to improve at an open-mic. That’s what these nights are for: getting better.

(And of course, this assumes the first comic didn’t actually steal material.)

The accuser should’ve talked to him privately, not trashed him in front of an audience. Unless a comic is known for stealing, the professional move is to speak offstage, one-on-one.

Bill Engvall talked about this in my book Comedy FAQs and Answers. He called it the comedy police.

Mention it!

When you think someone’s stealing, mention it—but privately. Comics should police each other, keep each other honest. If the warned comic keeps doing the same bit after being told, then there might be consequences.

But sometimes it’s not theft – it’s coincidence.

I once knew two comics, one in New York and one in Los Angeles, who independently wrote the same joke. They didn’t know each other and had never worked the same clubs. But the LA comic did the joke on the television show, A&E’s An Evening at the Improv.

(I know, because I was the talent coordinator standing off – camera when it happened.)

After the taping, I called the NY comic – both are still friends of mine – and told him what happened. He immediately said, “Well, I can’t do that joke anymore.” He wasn’t mad, because he knew they’d both written it honestly. But now that it had aired nationally, the other guy “owned” it.

That’s just how the business works.

So yes, a comic can accidentally do something too similar to someone else’s bit. The right way to handle that is quietly and respectfully – not grandstanding from the stage.

If you’ve got proof, talk privately. If he keeps doing it, then you can call him out.

JERK #2

Now let’s talk about the other jerk – the one who really does steal.

Back in New York, when I was starting out, there was an open-mic comic who ran a popular show. He was a nice guy, gave people stage time, and claimed to be a headliner in Florida.

That didn’t quite add up.

Turned out, he was going to Florida and doing the best material he’d stolen from comics performing at his open-mic.

Say what?!

The reaction from the NY comedy scene was swift and brutal. Nobody played his open-mic anymore, and no one else would give him stage time. Word got around, and eventually, he left for Florida to “pursue his career.” I later heard he was parking cars. Can’t confirm that – but it fits.

A few years later, when I was talent coordinator for An Evening at the Improv, he called my office trying to play the “old friend” card for an audition. Short story – he didn’t get one.

Chalk another up for the comedy police.

The Bottom Line

So, to answer your question, yeah – the comic who called the other one out from the stage was wrong. If he thought there was a problem, he should’ve handled it privately. Maybe the other comic didn’t even realize it. But if there’s proof, he needs to stop doing the joke.

And if he really is stealing? The comedy police will take care of it.

Comedy is a small world. Word gets around fast.

If it’s obvious someone’s stealing and they keep doing it, they’ll be blacklisted before long. Odds are better they’ll be parking cars at a comedy club before they ever “own” anyone else’s material on television.

Thanks for reading and as always – keep laughing!

Next online comedy workshop groups start

Monday, October 27 and Wednesday, October 29, 2025

Space is limited – for details, reviews and registration visit OnlineWorkshops

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Bomb Alert! An Onstage Survival Guide

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Hi Dave – What should you do if no one is laughing or if you realize that you are starting to bomb? – A.B.

Hey A.B. – Duck and cover.

On stage excitement!

Okay, that’s probably not the answer you were looking for. So, here’s another one that I’ve seen actually work.

But first, a quick definition.

Some readers may not know exactly what bombing means. It’s when you’re on stage doing your best to entertain — whether you’re a comedian or a humorous speaker — and absolutely nothing is working. The audience isn’t laughing, you start to panic, you begin to sweat, and you’re convinced everyone in the room hates you.

That’s Bombing 101.

And if you ever get used to it, you’re in the wrong business. I don’t know a single comedian who hasn’t gone through it. And if one claims they haven’t, they’re just playing a joke on you.

The dedicated comics never let bombing stop them. But the smart ones use it as a learning experience – usually discovering what not to do next time.

In my book Comedy FAQs and Answers, I talked with comedian George Wallace about this. Early in his career, he performed under the stage name The Reverend George Wallace and used a phone book as his “Bible.” The bit killed in New York City – until his first road gig in upstate New York.

The audience hated it.

He was booked for an hour, and he did an hour, but it was a mega-ton bomb. Driving home, he felt so bad he actually thought about steering off a bridge.

But that night became a turning point. He swore he’d never let that happen again. He rethought everything about his act and his stage persona. The “Reverend” was gone — so was the phone book. He decided that if he was having fun on stage, the audience would too.

And if the audience is having fun, you’re not bombing.

If you’ve ever seen George Wallace perform, you know what I mean. The man is practically immune to bombing.

How to Turn It Around – In Real Time

So, what should you do when it’s happening to you?

Here’s a proven technique I’ve seen big-name comics use to turn a tough crowd around: talk TO and WITH the audience.

Seriously — I’ve seen it more times than I can count. When your material isn’t connecting, stop pushing it. Put the script aside for a moment and start engaging the people in front of you.

A Story from The Improv

When I was scheduling comics for the Hollywood Improv, one of our most reliable — and funniest – acts had a rare off night. His material was top-notch, but for whatever reason, the audience just wasn’t responding.

To my surprise, he did something I’d never seen him do. He took the microphone out of the stand, walked to the front of the stage, and started talking directly to the audience.

He kept it casual: “Where are you from?” “What do you do for a living?”

Simple questions that led to funny exchanges and real conversation.

Once the audience was relaxed and engaged, he stepped back, put the mic in the stand, and went back to his material. This time, they loved him. They got the jokes, laughed hard, and he walked off to huge applause.

Why It Worked

When I asked him about it later, he reminded me that most comedians start out as MCs – hosting shows, introducing acts, and learning how to warm up a crowd. The MC’s job is to get the audience laughing and involved.

And the best way to do that? Talk TO and WITH them.

It’s a skill every comic should learn early – one that can save you in a tough room. I saw comedians use this technique not only in Los Angeles, but also when I managed The Improv clubs in New York and Cleveland. It’s not luck or instinct – it’s a learned survival tool.

The Bottom Line

When you feel the energy dropping or your set slipping away, stop talking at the audience and start talking with them.

It’s the quickest way to rebuild the connection – and remind everyone, including yourself, that this is supposed to be fun.

And if that doesn’t work? Well, there’s always the old “duck and cover” method.

Thanks for reading and as always – keep laughing!

Next online comedy workshop groups start

Monday, October 27 and Wednesday, October 29, 2025

Space is limited – for details, reviews and registration visit OnlineWorkshops

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Looking for stage time

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Hey Dave – I have performed terribly at three open-mics in Kentucky. Could you point me in the direction of a “lower end” establishment in Ohio? I’m looking for a place that does not require you to bring five friends. I don’t know five people. Thanks, J.

Come’on in – please!!

Hey J – Thanks for thinking of me when it comes to “lower end” establishments. Maybe I should start calling this the Blue Collar Comedy Column – but let’s not go there. Instead of chasing a “higher end” reputation, let’s focus on what you really need: stage time.

First, about the whole bring-five-friends thing…

Open mics that aren’t at established comedy clubs tend to come and go quickly. Most are in bars, restaurants, or small venues. If the owner is making money on comedy night, it keeps going. If not, they swap the mic for a giant TV and start packing the place for football season.

That’s why you see so many “bringer” shows. It’s a simple business deal:

  • You bring paying customers.
  • They give you stage time to get experience and improve.

From their perspective, everybody wins.

Stage time!

Now, back when I started in this crazy business, we performed at open-mics in NYC that always had an audience – no bringer requirement. But times have changed. Today, getting stage time often means convincing friends to pay a cover and buy a couple drinks.

Chris Murphy, a comedy coach in NYC, shared some great tips on beating the bringer system in my book Comedy FAQs and Answers. Check your library or grab a copy online if you want the full story.

But let’s get back to your real question – where to find open-mics.

Here’s the deal: open-mic lists get outdated fast. I used to hand them out in my workshops, but by the next session, half the places had shut down or switched to karaoke. The smarter approach is:

  1. Research – Google comedy clubs in your area (Ohio in your case). Most legit clubs post open-mic info on their websites because it’s free promotion.
  2. Call – If there’s no info online, call the club. You’ll probably talk to a staffer, not the owner, so don’t worry about annoying the wrong person. Fun fact: many people answering phones at comedy clubs are aspiring comics themselves.

Even if the club doesn’t have an open mic, ask if they know of any. Comics tend to know where stage time is happening.

Once you find one open-mic, go there. Perform, hang out, and start talking to other comics. That’s networking – and it’s the real key to finding stage time. Comics share info, recommend each other, and build local comedy scenes together.

A few tips:

  • Be supportive. Watch other comics. Don’t just do your set and leave.
  • Share open-mic info when you find it.
  • Avoid being “that guy” who only takes and never gives back.

And yes, you’ll meet a few jerks along the way. Every business has them. Ignore the negativity and focus on improving and building connections.

The bottom line:
Once you are part of a local comedy scene, you’ll hear about open-mics before they’re even posted online. The more supportive you are, the more stage time opportunities will come your way.

Simple? From what I’ve seen, it usually is.

Thanks for reading and as always – keep laughing!

For details about September 2025 stand-up comedy workshop at The Cleveland Funny Bone check out this LINK!

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