Category Archives: networking

Meeting a Talent Booker? Ask the Right Questions.

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Hola Dave – When meeting a booker, agent, or manager for the first time, are there any important questions a comedian should ask? Should those questions be different depending on who you’re talking to? I’m attending a comedy festival that will be loaded with scouts, and I’d like to be prepared. – A

Who’s askin’?

Hey A – Great question. As I mentioned in my reply to A’s email, I’ve usually been sitting on the other side of the table – as the booker or agent. I’ve also worked with speakers, musicians, and variety acts, so I can tell you what typically happens during that first conversation.

If I couldn’t see a performer live, I’d watch a video. If the act looked promising, I’d review the promotional material – credits, recommendations, training, media appearances, and other experience. If everything suggested a good fit for a particular market, whether comedy clubs, colleges, or corporate events, I’d schedule a phone call or meeting.

That’s a pretty standard process.

During that conversation, I wanted to know where the comedian had performed, what types of venues they worked, and whether they were an opener, feature, or headliner. If we were in the same city, I’d arrange to see them perform live. If we were hundreds of miles apart, video became the deciding factor.

One thing many newer comedians don’t realize is how much this business runs on referrals. Bookers, agents, and producers constantly call each other asking, “Have you worked with this comic?” or “Do you know anything about this performer?”

Do Your Homework First

I’ve got questions!

Many of your questions can actually be answered before you ever introduce yourself.

If you haven’t heard of an agent or booker, research them online. Legitimate industry professionals usually have websites, client lists, social media, or production credits. Find out who they represent and what markets they work in.

Also, talk to other working comedians and speakers. Conversations about agents, bookers, and managers happen constantly. You’ll hear success stories, horror stories, and everything in between. I learned as much sitting around The Improv talking with comics as I ever did in an office.

The Best Question You Can Ask

If I could recommend asking only one question, it would be this:

“What markets do you specialize in?”

That answer tells you almost everything.

When I worked in New York and Los Angeles, most agents were focused on television, major comedy clubs, and entertainment opportunities. Later, when I moved to the Midwest, I discovered agencies I’d never even heard of that were incredibly successful booking colleges and corporate events.

When I became involved with the college market through NACA, I discovered many college agents had little interest in television or Hollywood. Their entire business was booking campuses nationwide, and they were excellent at it.

The lesson?

If your goal is television, you need someone who specializes in television.

If your goal is corporate events, colleges, cruise ships, or theaters, you need someone who has relationships in those markets.

Not every representative is built for every career path.

What Not to Ask

At a first meeting, avoid bringing up commissions, contract percentages, or deal terms unless they introduce the subject first.

If they’re interested in working with you, those conversations will happen naturally. That’s the time to accept, negotiate, or walk away – not during a casual meet-and-greet at a festival.

Remember, the first conversation is usually about getting acquainted. They’ll probably be asking far more questions than you are.

Answer honestly, present yourself professionally, and avoid overselling. Confidence is attractive. Desperation isn’t.

Ask Questions That Fit Your Career

The best questions are always personal to your goals.

Since I know the comedian who sent today’s question – and I also know “Hola” isn’t in my English dictionary – I suggested he ask whether they work in the Latino entertainment market. That’s a huge opportunity, and if that’s part of his career vision, it’s important to know whether a potential representative has the connections to help him succeed in both English and Spanish speaking markets.

The right agent isn’t simply someone who can book you.

It’s someone who can book your career.

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One More Story…

One of my closest friends in New York studied acting at the University of Miami. One of his classmates was a bilingual Cuban actor named Rocky Echevarria.

Early in his career, Rocky found success in Spanish language television. But his agent believed he could also break into mainstream American film and television, so they aggressively pursued English speaking roles.

Rocky eventually changed his professional name to Steven Bauer and landed the role of Manny opposite Al Pacino in Scarface.

Could another agent have helped him get there? Maybe.

But the important point is this: his representative had a vision that matched his long-term career goals – not just his current opportunities.

The Bottom Line

Whenever you have the chance to meet an agent, manager, or talent booker, don’t focus on what they can do for you next week.

Find out where they work, who they represent, and whether their strengths align with the career you’re trying to build.

The right representative can open doors.

The wrong one may keep you knocking on the same doors for years.

Choose wisely – and don’t be afraid to ask the questions that matter.

Thanks for reading and as always – keep laughing!!

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Don’t send that video… yet

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Hey Dave – What’s a good way to promote myself as a comedian and my videos to talent bookers? Can I send them to a video posted on YouTube, Facebook, Instagram? – BT

Are you ready?

Hey BT – I’m not revealing any kind of marketing breakthrough by saying almost everything today is done online. Okay, in my opinion in-person showcases are always the best, but not always easy to schedule – especially if promoting yourself for gigs not within easy travel distance.

And believe it or not, there are still a few (very few) talent bookers that request hard copies of promotional packages. In my opinion it just means they’re out of touch with what’s going on. If they can’t get online and learn how to work with streaming video and website links, what kind of gigs are they getting for their clients?

I’m guessing Amish barn-raisers.

What used to be included in a hard-copy promotional package is what still needs to be included when you promote yourself online. And a dedicated website – rather than social media – is considered more professional and even required by some bookers I’ve worked with if you want to be considered for work.

But don’t be discouraged if you don’t have a big-time website with a lot of bells and whistles dedicated strictly to your comedy or speaking career. One or two pages with the necessities (video, photo, resume, bio) will do the trick until you hit headline or television star status and can hire a publicist to do the work for you.

Are you sure?

Here’s some insider advice:

Great promotional material might get you noticed, but talent and experience are what gets you hired. Basically, it’s still all about writing and performing. That part of the job never ends. But when you’re ready to take the next step in your career, you’ve got to let people know – and that’s when professional looking promotional material and marketing techniques come into play.

Notice one of the words used above – professional. Here’s one of the most important lines from my book Comedy FAQs And Answers:

“They may call it amateur night – but no one is looking to hire an amateur.”

Sharing your videos with friends is easy on YouTube, Facebook, and others. Millions of people do it every day. Just send a message asking them to watch your video and include a link. But when it comes to promoting yourself to get professional bookings, you need to realize that your video and website are important marketing tools.

Go back the word I used earlier – professional.

Once you have a professional looking video and a professional looking website, then you can start contacting bookers to look at it. This is done through networking (meaning you know someone that can recommend you or put you in contact with the booker), researching, (going to the booker or club’s website and finding the required way to submit promotional material or request a showcase), and/or (and I hate this one, even though I’m good at it) cold calling. With the cold call you basically want to get the correct information on how to submit your material to a booker and then follow it.

Now this is not going sound too friendly or supportive, but I have to say it…

To the writer of this question – and don’t get angry because no one else reading this knows who you are – I’ve watched the YouTube link you sent. Here’s some good advice. Do NOT promote it to comedy talent bookers. It comes off as being very amateur and could damage your chances of being seen later when you’ve gained enough on-stage credits and experience to be taken seriously for paid gigs.

No booker has time or interest in watching really bad amateur videos. Take my advice on this one. Plus, it could come back to haunt you.

I remember a very influential comedy booker when I was working in New York City. I saw a comedian who was very funny and mentioned that he should check him out. I was surprised to be told he had seen the comedian a few years earlier when he was just starting his career. Based on that early impression, the booker said the comic was terrible and he had no interest in hiring or even showcasing him.

Here’s my advice.

Don’t worry about promoting yourself for work until you’re truly ready to be hired. Seriously. Be honest with yourself. If you’re doing open-mics or smaller shows and honestly feel you’re just as good or better than others getting paid gigs (listen to your audio recordings – audiences won’t lie), then make the leap. If not, don’t rush it. The best comics and people hiring comics all know it takes time, dedication, and experience. There are no short cuts.

Then promote your career as if you deserve to be called a working comic. This includes a headshot, resume with on-stage credits, a short bio (so they know something about you) and reliable contact email and phone number. You can have all that stuff on a website and in any design or format you want that makes it easy for talent bookers to review.

But the most important part of a promotional package is your video. Don’t put out something that makes you look like an amateur just to have a video to submit. Think of the first impression you’re making and that there might be a good chance the talent booker will remember it. For a long time.

They may call it amateur night – but no one is looking to hire an amateur.

Thanks for reading and as always – keep laughing!!

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Why Do Talent Bookers Organize Showcases?

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Hey Dave – You’ve talked about showcasing in the last few newsletters. What’s the motivation for a talent booker to organize these showcases? What’s the benefit to the booker and the club? — MB

Hey MB – The simple answer is this: showcases exist to find talent.

Whether it’s a comedy club talent booker, casting director, television producer, event planner, or speaker bureau, they all have the same goal – to see performers in action before hiring them.

Yes, they watch videos. Everyone does.

But if you’re in a major entertainment market like Los Angeles or New York, there are far more opportunities to watch performers live. And live tells you things that a video never can.

Think about your favorite band. Watching them on YouTube is one experience. Seeing them perform in concert is something completely different. The same is true for comedians and speakers.

What Talent Bookers Are Really Looking For

When I worked for The Improv in Los Angeles and New York, I regularly received calls from casting directors looking for very specific performers. Sometimes it was for a sitcom, movie, documentary, commercial, or a one-time appearance on a late-night television show.

One of the most competitive showcases we hosted was for The Tonight Show.

The producers weren’t simply looking for funny comedians. They were looking for comics who were funny and experienced enough to handle the pressure of national television. They wanted performers who could walk on stage, deliver under the lights, and not freeze in front of the cameras.

If you had only five minutes of material and were hoping to hit the lottery, this wasn’t your audition.

Why Three Minutes Is Enough

Rather than spending weeks reviewing hundreds of submissions, producers could schedule one showcase and watch a carefully selected group of comedians perform live.

Most comics were given about three minutes.

That may sound short, but experienced talent bookers can learn a tremendous amount in three minutes. They can evaluate stage presence, confidence, originality, audience connection, professionalism, and, of course, whether the performer consistently gets laughs.

I used the same system as Talent Coordinator for A&E’s An Evening at the Improv.

After reviewing stacks of audition videos, I’d invite about ten comedians to perform at a Monday night showcase. Each comic did three minutes, so the entire showcase lasted only about half an hour.

There was never a quota for how many comics we’d book.

One week we might discover four or five performers ready for television. The following week, none.

That’s simply the nature of scouting talent.

A Real-World Example

One evening at the New York Improv, I received a call from The Today Show.

It was an election year, and the producers wanted a comedian who performed political material.

Instead of launching a nationwide search, I contacted ten comedians from our roster who specialized in political comedy and scheduled a showcase.

Each comic performed three minutes.

The producers came to the club, watched everyone in one evening, and selected the performer they wanted.

It saved them from reviewing hundreds of videos and scheduling countless auditions. They made one trip, saw everyone under identical conditions, and left with exactly what they needed.

That’s the real value of a showcase.

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Why Agents and Managers Love Showcases

Showcases aren’t just organized by talent bookers.

Agents and managers often book showcase time at clubs like The Improv and fill the lineup with comedians from their own roster.

Then they invite casting directors, producers, network executives, talent buyers—and in the case of managers, talent agents they hope will represent their clients.

Yes, organizing these events takes work.

But it’s far more efficient than emailing promotional packages, making dozens of phone calls, and trying to schedule individual meetings.

Everyone who matters is in the same room at the same time.

A successful showcase becomes part audition, part networking event, and part business meeting.

What’s the Benefit for the Club?

Hosting industry showcases brings prestige – and business.

Imagine owning a comedy club that’s regularly visited by producers from major television shows, film studios, streaming platforms, and talent agencies.

Where do ambitious comedians want to perform?

That club.

And when the best comedians want your stage, audiences follow.

That’s why clubs compete just as hard to host industry showcases as comedians compete to perform in them.

Showcases Aren’t Just for Comedians

The same principle applies to humorous speakers.

When I worked as an agent booking college entertainment through the National Association for Campus Activities (NACA), showcases were the primary way speakers and comedians landed college bookings.

At regional NACA conferences, colleges sent student activities representatives to watch live showcases over several days.

Comedians, motivational speakers, musicians, hypnotists, and other entertainers each performed approximately twenty-minute sets.

After seeing them live, the student delegates selected who they wanted to bring to their campuses during the upcoming school year.

If you wanted college bookings, you had to be seen.

The Bottom Line

Whether you’re pursuing comedy clubs, television, corporate events, or speaking engagements, showcases remain one of the most efficient ways for buyers to discover talent.

For talent bookers, it’s an organized way to evaluate performers.

For clubs, it’s an opportunity to build reputation and attract top acts.

And for comedians and speakers, it’s a chance to perform in front of the people who can actually hire you.

When you’re ready, there are few opportunities more valuable than getting on the right showcase stage.

Thanks for reading and as always – keep laughing!!

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The Comedy Business Secret: Let Clients Sell You

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Hey Dave – You had an article a while back about using quotes from clients as promotion on websites. I’ve been doing sets for some local businesses and clubs and the people who hire me say they like what I do. Can I just take what they say and post it on my website, or do I need it in writing? How do I get these quotes? I want to move into doing better paying corporate shows. Thanks – H.P.

Great idea!!

Hey H.P. — You have a good memory. I ran an FAQ a while back about using “Blurbs and Letters of Recommendation.” Since I only keep these ramblings online for about six months before hitting delete, it’s gone into the comedy workshop archives. But because I’m such a generous and caring individual (please try not to laugh too hard), here’s the updated version…

The original article talked about what makes a strong recommendation letter, email, text or DM from a client. At its best, it’s more than a compliment — it’s advertising. It tells future clients what you brought to the event and why they should hire you for their next one. Then you pull a line or two from that recommendation — the “blurb” — and post it on your website or promo material, just like those glowing quotes you see on book covers.

And now that we’re caught up, let’s continue…

Most comedians and speakers already know that getting a recommendation isn’t always automatic. A client may absolutely love your performance, promise to send you a testimonial, and then… disappear into real life. It usually doesn’t mean they didn’t like you. It means work, family, meetings, deadlines and everything else shoved your recommendation to the bottom of the pile.

Or they simply forgot.

What are friends for?

I also think a lot of people view writing a recommendation the same way comedians view helping friends move furniture. They know they should do it… but they keep hoping it somehow goes away on its own.

That’s where this next tip comes in. I learned it years ago from successful speakers and comedians and believe me — it works far more often than it doesn’t.

Always bring a self-addressed stamped envelope to your gigs.

Seriously. I’m not joking.

When the client is praising you after the show — “You were great!” “The audience loved you!” “Best event we’ve had in years!” — don’t just smile, say thanks, and head for the parking lot. Ask for the recommendation right there while the excitement is fresh. When they say yes — and they usually will — hand them the envelope and say, “I’m making this easy for you.”

Before I started doing this, recommendations were hit-or-miss. Once clients had that envelope in their hands, the follow-through rate went way up. Part of it is convenience. Part of it may be guilt. Either way, the system works.

And there’s another bonus.

Some clients may send a formal letter on company or school letterhead that you can scan and post on your website. Others may decide typing an email is easier. Either one works in your favor.

It also helps to send a thank-you email, card or note after the performance — something you should be doing anyway. If you haven’t received the recommendation yet, that follow-up gives you another opportunity to remind them.

And yes — you really should get recommendations in writing.

A verbal compliment is wonderful, but if you’re posting someone’s quote, name, company or photo online, it’s smart business to have written permission. An email is perfectly acceptable. Think of it the same way publishers use written permission for quotes and endorsements on books.

Now… let’s deal with the chronic procrastinators.

Years ago, I heard a highly successful humorous speaker at a National Speakers Association meeting share this strategy. I tried it myself, and it worked beautifully.

If you still haven’t received a recommendation about a week after the gig, call the client. Thank them again for hiring you and ask for feedback about the event. If they start complimenting your performance — which hopefully they will — bring up the recommendation again.

And if they say, “I’ve just been really busy…” here’s the magic line:

“Would it help if I wrote something up for you?”

Again — I’m not making this up.

Tell them you’ll draft something simple they can edit however they want. Explain that recommendations help with future bookings and that event planners and agencies often want to see testimonials before hiring talent.

You’ll practically hear the sigh of relief on the other end of the phone.

You just volunteered to do their homework for them.

Send the draft by email or regular mail. They can approve it, tweak it, put it on company letterhead, sign it, and send it back in the SASE you thoughtfully provided in the first place.

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Most working comics and speakers probably think this is basic stuff. But newer performers often haven’t considered any of it. I’ve mentioned these ideas in workshops and watched eyes light up around the room. These are simple techniques — and they work.

One reader also suggested something that’s become even more valuable today: video testimonials.

Excellent idea.

Whenever possible, record your performance (with the client’s permission first). If people are praising you afterward, ask if they’d mind saying a few words on camera.

Seriously. Again — I’m not joking.

A short video testimonial from a happy client can be gold for your website or promo reel. It’s always more convincing when someone else is telling the world how great you are instead of you trying to convince them yourself.

Thanks for reading and as always – keep laughing!!

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Business Advice for Comedians: How Much Personal Information Is Too Much?

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Hey Dave – I took your workshop about a year ago. During the business session you mentioned not putting your home address on promotional material. Another comic told me the opposite — that if I’m serious about this business, I should put my address on my website, promo materials, and anything else I send out so bookers can find me easily. What do you think? — E.H.

I can see you!

Hey E.H. — I think you might want to hang out with different comics.

Yes, it’s smart business to make it easy for talent bookers to contact you. But there’s a big difference between being accessible and being too personal.

When you’re promoting your business — which in this case is you — you absolutely want buyers (the people who hire you) to know how to reach you. But it’s also important to remember one thing:

You have no control over who sees your promotional material.

Anything you post online — or even send through the Postal Service — can potentially be seen by anyone. That means not only bookers can find you… but everyone else can too.

And yes, I have a story about that. I’ll get to it in a moment.

First, a little context.

Business methods for comedians and humorous speakers have changed a lot over the years. In my workshops I used to bring in stacks of promotional packages created by major public relations firms for big-name comedians. They were impressive — glossy photos, printed bios, press clippings, and resumes all packaged in designer folders.

Agents and bookers would spread them across their desks and review them like portfolios.

But those days are mostly gone.

Today almost everything is digital. Instead of printed folders, you have websites, email attachments, and online video clips. It’s faster, cheaper, and easier for everyone involved.

But one thing hasn’t changed:

You still don’t know who might end up seeing your information.

You’re looking at me?

If you list your home address on promotional material, you’re not just giving it to talent buyers. You’re giving it to anyone who stumbles across your website or your materials.

And that brings us to the story.

But first, think about this…

The only time someone in this business truly needs your address is when they’re sending you a contract or payment. Sometimes that happens electronically today, but many event planners and bookers still use good old-fashioned snail mail.

If someone wants to know where you’re located for booking purposes, simply list the nearest major city.

For example:

  • New York
  • Los Angeles
  • Cleveland
  • Chicago
  • Tampa

That’s all they need to know to determine whether a booking is realistic.

If they decide to hire you and need to send paperwork or payment, then you can provide a mailing address.

Better yet, since you’re running a business, think like a business.

Use a business address.

If you don’t have an office, a P.O. Box works perfectly and keeps your home address private.

The same goes for phone numbers.

Yes, cell phones make it easy to stay reachable, but think twice before posting your personal number online. Unless you have a phone dedicated strictly to business, anyone can find it.

And that includes:

  • Annoying strangers
  • Former acquaintances
  • People who want to “pitch” you something
  • Or the occasional wacko who just wants someone to bother

A simple “Contact” form on your website works much better. Interested bookers can email you directly, and you keep control of your personal information.

Separate business and personal email accounts as well.

For example, my business email is:

dave@thecomedybook.com

I’m happy to share that publicly because it’s for business. My family and close friends use a different address.

And now… the story I promised.

Years ago, the owner of a well-known comedy club suggested I check out a young, up-and-coming female comedian who was looking for management. I watched her perform and immediately knew she had serious potential.

Over the years she proved that prediction correct. Today she’s a national headliner you’d recognize from television and movies.

But early in her career, she learned a difficult lesson.

She wanted to make sure every booker in North America could reach her, so she printed her home address and personal phone number on all her promotional materials.

And it worked.

She landed a week at a great comedy club a few hours from home — a big step forward in her career.

But here’s what happened next.

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__________

The club displayed her promotional photo outside with the headliners. She was very attractive, and the photo caught people’s attention.

At the end of the week, after paying her, the club owner tossed her promotional packet into the trash. Not because she wasn’t funny — she was — but because bookers rarely keep those materials. They simply don’t have the space.

A few days later she received a phone call from someone claiming to be a talent booker who had her promo material.

You probably see where this is going.

He wasn’t a booker.

He was a comic who had been hanging around the club, saw her photo in the trash, and took the promotional packet — complete with her home address and phone number.

The calls started out normal.

Then they got strange.

Then they got scary.

He became a full-blown stalker.

She had to destroy all her promotional materials and have them reprinted with new contact information. Back then that was expensive because headshots and printing costs weren’t cheap.

But the worst part?

She had to move.

Imagine hearing someone say, “I know where you live.”

That might sound dramatic in a movie, but in real life it’s terrifying.

She eventually relocated and had some very large friends help make sure the stalker wasn’t around when she moved.

The lesson is simple:

You are running a business.

Treat it like one.

Keep your personal life and personal contact information separate from your professional materials.

Because once something is out there — online or in print — you never know who’s going to find it.

Thanks for reading and as always – keep laughing!!

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Comedy Festival Submission Tips

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Hey Dave – I have submitted to a few comedy festivals each year over the past few years. It can get pretty costly, so I limit myself to only three or four a year. Other than the general submission of filling out the forms and sending in a link to a video, are there some tips to getting noticed and accepted into these festivals? Thanks and I always look forward to receiving your weekly letters. – RT

Enter the unknown

Hey RT – Here’s one thing I love about the comedy industry:

The unknown.

Ask ten comics or industry people how to get into festivals and you’ll get ten different answers. I’ve spent plenty of late nights in clubs and NYC diners listening to debates about trends, formulas, and “what works.” Then – WHAM – someone breaks all the rules and changes the conversation.

Think about when audiences first saw George Carlin doing the Hippie Dippy Weatherman… then a few years later delivering “Seven Words You Can Never Say on Television.” That shift didn’t just surprise audiences — it reshaped comedy itself.

That unpredictability is what makes comedy exciting… and sometimes maddening.

So what does that mean for festival submissions?

Carlin Before

Every festival is different. Some are major showcases featuring established names and carefully selected “up-and-coming” talent. Others spotlight local performers or serve as a celebration of a city’s comedy scene. Some have themes. If it’s a “Women in Comedy” festival, guys won’t make the lineup. If it’s a clean comedy event, explicit material won’t help your chances.

And beyond all of that — there’s taste. The people reviewing submissions have their own preferences, their own goals for the show, and their own vision of what fits. Unless you’re in that room, you simply can’t predict what they’re looking for at that moment.

That’s the unknown factor.

Connections can also play a role. Festival organizers often hear recommendations from agents, bookers, and comedians they trust. Just like agents keep tabs on who’s consistently working strong clubs, festival producers pay attention to buzz and reliability. You never know what background information may help – or hurt – a submission.

Carlin After

Now for the part you can control.

Treat comedy like a business.

Your goal is to be funny, original, reliable, and professional. Festival organizers want performers who help make their event successful. Even if a show features newer comics, no organizer wants an amateur-run experience for their audience.

Your submission video is the single most important tool you have.

Never submit a poor-quality video. Ever.

It no longer takes a big budget to get a clean recording with good audio. A basic camera on a tripod in the back of a club works — as long as the picture is clear and the sound is strong. Bookers want to hear you and the audience response. If they struggle to see or hear your set, they move on.

Also, don’t waste valuable seconds.

Start with material. Not introductions. Not stock lines. Not applause cues. If the first thing they see is you being funny, you’ve already helped your chances.

I recently reviewed a festival submission where the first thirty seconds were the MC’s introduction, followed by standard “Hello city!” and “Give yourselves a hand!” lines. That’s not what bookers are evaluating. They want to know one thing:

Are you funny?

Here’s the bottom line.

You can’t control taste, timing, or trends. But you can control professionalism. A strong video, focused material, and a business-minded approach show you’re serious about the work.

Even if you’re still developing – never present yourself as unprepared.

And remember… sometimes the unknown works in your favor.

Thanks for reading and as always – keep laughing!!

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Getting Past Gatekeepers

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Hi Dave – No, I’m not a comic. However, I’m a WGA screenwriter with a total focus on comedy screenplays. Can you tell me how to contact comedians’ agents about casting specific roles without running into blockades? I mean the blockades typically set up by the gatekeepers of those agents. Best – HK

Leave a message

Hey HK – The bigger the comedians (think celebrity) they represent, the bigger the agency blockade will be. When you make a call without prior personal contact or a great reference, plan some extra time on the phone for holding, transfers and a final request to leave a voice message and “Someone will get back with you.”

Does anyone really know who that “someone” is? I doubt it because they rarely call back without prior contact or reference. And unless you left a voice message with a great pitch (offer) that includes the opportunity for a lot of potential $$$’s (yeah, I’m jaded) you’ll spend a long time looking at your phone waiting for that return call.

Cold calling agents is usually a losing game.

That’s not cynicism. That’s how the business works.

But there is a reliable path forward — and it’s the same one that comedians use to get booked, discovered, and cast:

Be seen. Be present. Be part of the scene.

Come on in!

When I worked as a talent coordinator at the Improv clubs in Los Angeles and New York, I watched industry relationships form every night. Comics performed. Agents, managers, producers, and writers watched. After the show, everyone gathered, talked, and connected. Opportunities didn’t come from cold outreach — they came from proximity and familiarity.

Producers frequently contacted the clubs looking for specific “types” for TV and film roles. That’s why you sometimes see several comedians with similar looks or personas performing short sets in a row. They’re not just performing — they’re showcasing.

And once someone is seen in the right context, access changes instantly. Conversations happen. Meetings follow. Gatekeepers step aside.

Here’s the practical takeaway for writers looking to cast comedians:

Don’t start with the agent. Start with the comedian.

Go to the clubs. Watch performers live. Identify who truly fits your project — not just who’s famous. Introduce yourself professionally after the show. Be respectful. Be clear. Be human.

If a comedian is interested, they can open the door to their agent with one phone call. That personal connection does more than any cold pitch ever will.

Is networking easy?

No. The entertainment industry runs on relationships, persistence, and yes — a bit of schmoozing. There’s a reason “Let’s do lunch” became standard vocabulary.

But if it didn’t work, nobody would keep doing it.

For established names, access is automatic. For everyone else, access is earned through visibility and connection.

Be part of the scene.

That’s how you get seen.

And once you’re seen, you have a chance to be heard.

Thanks for reading and as always – keep laughing!!

TAMPA, FLORIDA

Standup Comedy Workshop at The Tampa Funny Bone:

Saturdays – March 14, 21 and 28 from 12:30 to 4:30 pm.

Performance at The Funny Bone – Wednesday, April 1 at 7 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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Build Potential Clients Contact List

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Hi Dave – Speaking and comedy both sound like serious business. I’m dead serious about the value of comedy in business — way more serious than folks who don’t know how to laugh. How do I get those humorless folks to seriously see how silly it is to filter out fun from the expressions of ideas? How do I make it pay for me to show them how to make it pay for them? – R.W.

Seeking Humor Benefits

Hey R.W. — Here’s something I’ve noticed about the humorous speaking business: the people who need us the most are usually the last ones looking for us.

You know exactly who I mean—the humorless folks.

In fact, I’ll go out on a limb and say this: event planners who book humorous speakers already understand the value of humor in business. They get it. Just like we do. Their real challenge is convincing the other people—the ones who need it most—to embrace it.

Anyone who understands the value of humor in business (and in life) already knows the benefits. I won’t list them all, but here are a few favorites:

  • Less stress
  • Better teamwork
  • Increased productivity and attendance
  • Stronger networking and relationships

These are the same issues serious business speakers and trainers talk about every day. You’re doing the same thing, except you’re offering humor as part of the solution.

Humor works!

And honestly, it doesn’t matter whether you’re going to work or cleaning your house—you’re far more likely to do it if there’s an element of fun involved.

So yes, I agree with you completely. It is silly to filter fun out of the expression of ideas. And I’m confident many readers of this newsletter agree too (the humorless folks don’t subscribe).

Which brings us to the real question you asked:

How do I make it pay for me to show them how to make it pay for them?

You want to reach the humorless crowd—and get paid to do it. The problem is, they’re not going to hire you any more than they’re going to sign up for this newsletter. They don’t yet understand the value of your message.

That means you need to focus on the people who do understand it.

Network with event planners and decision-makers who already agree with you.

And the best way to do that is simple: show them what you can do.

In other words—get out and speak.

The best places for this are where both humorous and humorless businesspeople gather:

Meetings.

I’ve talked about this before in past FAQs, and readers have shared some great ideas on places to showcase a program. But here’s a simple starter plan:

Create a short presentation—20 minutes max—on your topic, and volunteer to speak for free at organizations in your area. Rotary clubs, associations, charities, alumni groups, chambers, nonprofits—anything that puts you in front of businesspeople.

If putting together a solid presentation feels overwhelming, I cover this in detail in my book How To Be A Working Corporate Comedian.

Think of free gigs the same way comedians think of showcases. You don’t get paid—but you get in front of people who can pay you later.

But that’s only step one.

You also need to build a list of potential clients and stay in touch with them.

That’s called networking.

Yes, bring a stack of business cards and hand them out after your presentation. That’s basic business sense. Make it easy for people to find you.

But handing out cards alone is a slow game. You can give out a hundred cards and hear from one—or none.

So, here’s how to kick-start your contact list:

Do a prize drawing at every free program.

The prize can be almost anything—a printed transcript of your talk, a plate of cookies, a discounted presentation, even a free one. Use your imagination and offer something your audience would actually want.

Here’s what I do.

At the end of my programs, I announce a drawing for a free autographed copy of one of my books. To enter, people drop a business card—with an email address—into a basket. In return, they’re added to my corporate e-newsletter list.

And this part is important: I make it clear they can unsubscribe easily after receiving it once. No tricks. No pressure.

One person leaves with a book.
I leave with a basket full of contacts who might become paying clients.

That’s a win.

So how do you reach the people who need your message?

You preach the gospel—your ideas—in front of people who already believe. You go where businesspeople and event planners can see and hear you. You use free gigs to build relationships, grow your list, and stay visible.

There are no guarantees they’ll hire you, but at least you’re giving them – and yourself – a chance. You need to show them what you can do and stay in touch.

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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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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Click on the banner below to sign up for Dave’s free newsletter.

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