Category Archives: money

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.

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

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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Talent Agents vs. Talent Bookers

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Hey Dave – You’ve been referring to talent agents and talent bookers. What’s the difference? – Big G

Let’s make a deal.

Hey Big G – Good question! Even if it were a lousy question, I’d tell you it was great because… well, let’s just call it self-preservation. Nobody calls me “Big Dave.” Seriously though, how BIG are you?

Let’s clear this up: talent agents and talent bookers have distinct roles. Here’s the scoop:

Talent Agents: A talent agent works with a select group of performers—let’s say comedians in this case. The agent operates within an agency, and their primary job is to get work for their performers. Think of the agent and comedian as business partners. Here’s the process:

  1. A talent agent’s job is to secure gigs for the comedian.
  2. Event planners, club managers, or anyone needing a comedian reach out to the agent.
  3. The agent handles all the details—where, when, how much—and often manages contracts and payment. Agents take a commission and pass the rest on to the comedian.

Sign on the dotted line.

This usually requires an exclusive contract between agent and comedian. Agents rarely “free-lance” (work without a signed agreement). When they do, it’s typically to test the waters—can they work well together, and can the comedian book gigs that justify the agent’s effort? It’s like dating before committing to a serious relationship.

Free-lancing was more common back in the day (veteran comics, correct me if I’m wrong). But as the industry—and money—has grown, so has the need for exclusivity. Agents want to protect their investment, i.e., the time and effort spent building a comedian’s career. Without a contract, a comedian might land a bigger gig elsewhere and leave the agent behind. This isn’t exactly an industry known for its honor system, so contracts are now the norm.

Pro tip: Signing with an agent is a big decision. Choose one who shares your career goals. Don’t rush into a partnership just because you’re eager to “make it.” And always ensure there’s a time limit in your contract, so you’re not stuck with an agent who isn’t delivering.

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Talent Bookers: A talent booker, on the other hand, is the person who hires you for work. For example:

  1. The individual scheduling acts for your local comedy club is the booker for that club.
  2. Bookers don’t find work for you at rival clubs or venues—that’s your agent’s job.
  3. On a larger scale, national chains like The Funny Bone or The Improv may have centralized booking agencies for all their locations.

It’s worth noting that some bookers also act as agents, which can muddy the waters. Generally, though, bookers focus on filling specific slots for their venues, while agents focus on building your career.

In short, your agent finds the work, negotiates the terms, and handles the paperwork. Your booker ensures you have a spot to perform. They’re like two sides of the same coin, but their goals and responsibilities differ.

Want even more detail? Check out my book How To Be A Working Comic. Yes, that’s a shameless plug, but hey, I’ve got a literary agent to keep happy too!

Thanks for reading – and keep laughing!

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Back of the room sales at corporate events

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Hi Dave – Your recent discussions about corporate comedy and speaking raises a question about back-of-room (BOR) sales. Merchandise sales are common in comedy shows and speaking engagements open to the public. But what about corporate gigs where the company is paying you? Is that something most companies accept, or is it generally frowned upon? At the very least, I would think we should focus very little on our products during the presentation itself (30 seconds max). How do you handle this? Thanks! DG

At the back of the room!

Hey DG – Like just about everything else in the speaking and comedy biz, it depends.

BOR sales of merchandise is so common today that I’m always surprised when the speaker – or comedy headliner AND feature act AND opening act – isn’t camped behind a table full of merch (show-biz slang) and selling everything that isn’t nailed down after the show.

It’s a big source of income. In fact, it’s not even looked at anymore as extra income. In some cases, BOR sales can add up to more money than what the comic or speaker is being paid by the talent booker just to do the gig.

For a big-time, big money example…

A few years ago, I was talking to a comedian friend (who will remain nameless because I’ll drop dollar amounts in this story, but as a hint she is in my book Comedy FAQs And Answers). She was in a panic going from a show in Florida to another in Cleveland because she had completely sold-out all her BOR merch. She needed her agent to send a shipment over-night so her money-making DVDs, CDs, T-Shirts, photos (to autograph for $$’s) and books would be available for fans to purchase after her Cleveland show.

Have I got a deal for you!

If I remember correctly, she was paid about 10 grand for the performance itself. What I do remember correctly is that she told me she made 22 grand selling merchandise after the Florida show!

Yeah, I’d be in a panic too.

Comics and speakers sell all kinds of stuff. Audience members can look at these items as souvenirs of a fun night and also a chance to get an autographed copy of something. And just in case the performer becomes famous the fan can make some money selling it on eBay. But that’s a totally different business proposition…

But you’re definitely correct it’s different when playing a corporate-paid gig. It can be done – and is quite often – but in my opinion, you need permission in advance from the person signing your check.

You don’t ever want to surprise a corporate client or event planner by setting up your mini store at an important training seminar or formal banquet without an agreement made in advance. In fact, I recommend you get the permission in writing and that it’s included in your signed contract. I use a contract rider that includes everything from BOR sales to the exact wording of my introduction and what type of microphone I prefer.

So even if they don’t remember giving you permission for BOR sales and ask you to start putting all your merch back into the trunk of your car, you’ll have proof of the prior agreement.

So how do I handle all this? Thank you for asking. As usual, it depends…

I do two separate corporate programs. One is based on my comedy workshops and communications course I designed for Cleveland State University. It has a 60-page workbook, but it’s not for BOR sales and I don’t pitch it during my program. The client has an option to purchase copies in advance for audience giveaways. If it’s a half or full day training seminar, it’s added into my fee so everyone in attendance will have one because we’ll use it during the program. Either way I’ll know how many are needed and can have them printed up in advance.

So, I won’t even make a 30 second pitch for BOR sales during this particular corporate-paid program. I’ll stay afterwards to talk and trade business cards because as you should already know, it’s all about networking. You never know who’s in the audience that might want to hire you for a future gig.

And when that happens, ask them in advance about BOR sales!

My second program is not for training purposes, but as entertainment. Since this is what comedians do in clubs, pay attention…

This is a pop culture program based on my books The Beatles At Shea Stadium and The Beatles In Cleveland. For this one it’s already in the contract that I do BOR sales. Like I mentioned above – and how most comedians and other entertainers should look at it – I consider this as part of my payment for doing the gig. It also helps in negotiating since BOR sales will allow me to come in for a lower fee than a no BOR sales training seminar. Book sales make up the difference.

Then again, that’s what I do and I’m only spelling it out because you asked. I’m in no-way a know-it-all about this and I’m sure there are working comics and speakers reading who will have more thoughts and personal experiences about this topic.

Care to share? We’d love to hear from you.

Thanks for reading – and keep laughing!

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Record for your own protection

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Hi Dave – I was talking with another comic about a court case from a few years ago. A customer in a comedy club sued the comic over his (adult) language. She claimed to be stressed and shocked and won the case. We record every set mainly so we can hear which jokes work and how well. Now it’s important to document what was actually said. This was a case of a comic being accused of using inappropriate language in a mandatory “clean” show. – BM

Disorder in the court!

Hey BM – I remember that case and wrote about it in a FAQs article when the verdict came down. A lot of people in the comedy biz were shocked over what happened. To borrow a phrase from an influential club booker who seems to repeat it every time we talk, comedy clubs are “The Last Bastion of Free Speech.” In other words, he feels as long as the comedian is funny it’s okay to have an opinion to say what he or she wants on stage and not worry about being politically correct.

But it’s not that simple.

It didn’t take a court case for most working comics to understand there are limits on language and topics depending on the venue, audience and event. For example, what you can expect to hear during a late night show in a comedy club vs. a corporate event will be different.

As you mentioned, it’s important to record all your sets. This is a great way to help you improve as a writer and performer. If your performance is funny the audience will laugh. If it sucks, you’ll hear crickets from the segments of the room where your family and friends are not sitting. You can develop your act off the response.

Proof is on the recording

As you also mentioned, recording your set is a way to “document” what is said on stage. Based on the result of the court case, having proof of what you said can be just as important.

Some performers may not realize this, but did you know that some club owners or managers record the shows? It’s nothing new. Many clubs have a permanent camera installed and aimed toward the stage. Before that in “ancient times” (pre video cameras) quite a few had an audio recorder going.

I know. I’ve been around since the “ancient times” and saw this happening.

I’ve also seen this documentation (proof) used to show performers that what they advertised (promised) was not what they delivered. And in some cases, it justified the talent booker not paying the performer.

Example…

A few years ago I received a call from a booker to warn me about a certain comedian who was promoting himself as a clean (G-rated) act. He had scheduled the comic for a corporate show and was called-out by the client because the comic not only talked graphically about sex, but also dropped the F-bomb in the process.

Of course the comic protested. He said his material was not that dirty.

So the talent booker told him to prove it. Send the audio or video. The comic couldn’t because he didn’t record. So it came down to the client’s word vs. the comic’s word.

Can you guess who won?

Yeah, the angry and offended client with big corporate $$’s to spend on his next event.

The booker still hoped some of that money would be spent on one of his performers, so case closed. The client demanded and received a refund, so neither the talent booker or the comic was paid. And since the talent booker wasn’t used to getting yelled at by clients because the performers he works with are expected to understand the event and “know the audience,” he called other talent bookers to warn them of the potential nightmare that comes from working with that particular comic.

That’s how I heard about it.

So now getting back to the article you mentioned, I’m guessing the judge made a ruling based on whose lawyer sounded most convincing. I don’t remember reading about the comedian recording his set. If he had, it might (or might not) have saved him time, trouble, money and future work. It’s important for creative artists to have freedom of expression, but I’ll also add this from a business side of the creative entertainment business:

There are certain limits.

What do I mean by that stipulation?

A comedy club normally is for people ages 21 and over. If someone fits that demographic but is easily offended, then they need to follow the rule of “buyer beware.” If the show is announced for “mature audiences only” you can bet the comic on stage will practice his or her right of free speech at some point or another. If someone doesn’t like it – they should leave.

It’s similar to watching television. If I don’t like a show I’ll change the channel. But I won’t impose my beliefs on someone else who might enjoy it. As an example I’ll use all the violent murder and detective shows that I have no desire to watch. But they pull in high ratings, so who am I to prevent others from tuning in? Instead, I’ll just change the channel to The Voice or a rerun of Seinfeld. Those are the types of shows I enjoy watching.

But performers also need to be aware of the event and audience.

As mentioned above, a late night comedy club show will be different than a corporate event. Comedy clubs are where comedians can practice free speech, while corporate comics need to be funny using G-rated material.

To prove (document) my point, here’s an experience with someone that “did not know his audience” that I still find unforgettable and unforgivable…

Many years ago I took our then 5 year-old son to a very well known amusement park. It wasn’t Disney because they have standards about this stuff. But as we walked around all these rides and games meant for little kids, I saw a guy wearing a white t-shirt with the F-Bomb spelled out in all it’s four-letter glory in BIG bold black lettering as in “F(bomb) YOU!”

Sorry “Mr. Living-On-The-Edge”, but that was not the time or place for your political incorrectness. Performers who work in the comedy and speaking biz will understand. It’s called “knowing your audience “and the audience this idiot had was a bunch of 5-year-old kids with their parents.

This goes both ways.

Performers must know your audience. Audiences must realize where they are. If it’s a corporate show it’ll be clean. If it’s a comedy club, chances are something will be said that’s not appropriate for 5 year old kids or anyone easily offended.

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When you cross the line, that’s when the trouble – and bad-mouthing phone calls – can start. Your best defense is to always record your set and be sure it backs up what you’ve been hired to do.

Oh, and by the way – I reported the idiot wearing the “F-Bomb” t-shirt to administrators at the amusement park. I don’t know if they told him to change or to leave, but I hope they at least made part of his day a hassle. LOL!!!

Thanks for reading – and keep laughing!

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