Open Mics for Corporate Comedians

Hey Dave – Last week you talked about ‘what is corporate comedy material.’ I would also like to learn about getting into doing comedy and humorous keynotes at corporate events. – E.M.

Not a late-night open mic audience!

Hey E.M. – Let’s pick up where we left off. Last time, I talked about the kind of material comedians need to develop to get hired for corporate events. But the bigger question is: how and where do you develop that kind of act?

Here’s the challenge: the type of material you’ll need—G to PG (max) and often with a business-related angle—doesn’t always work in the usual late-night, beer-soaked open mics. But that doesn’t matter, because those crowds aren’t your audience anyway.

Your real audience consists of business owners and event planners, and you’ll find them at morning, afternoon, and evening business or association meetings. Instead of bars at midnight, look for stage time at Rotary breakfasts, Knights of Columbus luncheons, and College Club dinners—just to name a few. Almost every town has groups like these, and they’re always looking for speakers or entertainers.

Bonus incentive!

These slots usually run anywhere from five to twenty minutes—often slotted between the entrée and dessert.

Here’s the key: treat these meetings like open mics. Don’t expect to get paid (at least not at first). The magic word for getting these spots is FREE. Offer to do a clean five-minute comedy set before their featured speaker, and you’re far less likely to hear the other magic word in comedy: NO.

In my own experience, I was almost never turned down. The only exception was a 90-year-old Rotary member in the Midwest who thought his club wasn’t interested in anything except insurance, fertilizer—or both. When I explained I spoke on humor and creativity, he sounded ready to have me arrested for being anti-American. I politely thanked him, called another Rotary club, said the word FREE, and got booked right away.

As you continue writing and testing material that works in this environment, aim for longer sets—up to the typical 20-minute featured program. From my experience, most organizers welcome a variety of speakers. After all, you can’t have insurance, fertilizer, or a combo of both every single week.

After doing these enough times—and enjoying more than my fair share of free breakfasts, lunches, and dinners—I had built a solid corporate program. From there, it was a matter of networking and promoting, and before long, I was booking paid gigs. That never would’ve happened if I had tried to shape my corporate act at late-night open mics.

So, if you’re serious about the corporate market, this is a proven way to get started. And, by the way, the advice is FREE. If you can make an audience laugh at 7:30 in the morning over scrambled eggs and coffee, you’ve got a real shot at making it in the corporate comedy and keynote world.

Thanks for reading and as always – keep laughing!

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Looking for stage time

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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Corporate Comedy: Think big but start small

Hi Dave – I just joined your email list. I do humor and did my first two stand-up open mics… rough crowd. Someone threw a cup of ice at one of the other comedians. My goal: to get some gigs entertaining at travel conferences. I have a bunch of funny travel stories. Any idea who I approach? A booking agent? I’m new to this, so any thoughts are appreciated. – R.R.

Traveling for work!

Hey R.R. – Only one cup of ice and you call that a rough crowd? Welcome to open mics. No wonder you’re aiming for conferences and corporate gigs. At those, the worst you’ll get is an icy stare if you’re not funny.

Here’s the thing: two open mics is a start, but you’ll need a lot more stage time to develop timing, delivery, and the ability to dodge both ice cubes and awkward silence. That only comes from performing – over and over.

Since you want to specialize in funny travel stories, focus now on two things:

  1. Writing – Create material that you find interesting. If it doesn’t grab you, it won’t grab the audience.
  2. Short sets – Start with five minutes. Think of it like writing a book: one chapter at a time. Use “color” – vivid descriptions – to take the audience on the trip with you. And make it funny.

Once you’ve got that five minutes, try it live:

  • Don’t avoid traditional open-mics, but search out stage opportunities with “real” audiences (and not just other comedians waiting their turns to go on stage).
  • Offer to speak for free at local business groups, networking breakfasts, luncheons, or special interest clubs. These are the “open mics” of the corporate world.

Work for free?

Why free?

Because you’re practicing, and they’re doing you the favor by giving you an audience. Keep it squeaky clean – G-rated – because in the corporate market, that’s the only way in.

When that first five minutes works, write another. Soon you’ll have ten… then fifteen… then a full conference-ready set.

Now – about booking agents.

Don’t call them yet. They need proven, audience-tested acts. You’ll know you’re ready when free gigs turn into paid ones – when people in the audience hand you their card and say, “Are you available for our event?” That’s when you start quoting fees and agents start calling you.

Bottom line:

  • Think big, start small.
  • Write, perform, adjust, repeat.
  • Build a proven act before chasing agents.

When the offers start rolling in, you’ll be ready to ask the magic question:

“Where, when, and how much are you gonna pay me?”

*

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

Comedy contests offer stage time

Hi Dave – I did an open mic and saw the club was hosting another round of their “Best Amateur Comedian” contest. I want to enter, but not sure I’m ready. What’s the deal with comedy contests overall? – L.P.

More stage time!

Hey L.P. – Here’s a big chunk of personal opinion. I like comedy contests in clubs for one simple reason – stage time. Otherwise, I’m not a big fan. Winners are usually decided by audience applause and the person who packs in the most friends (voters) will win. I’ve seen this happen over and over and can’t remember ever seeing the funniest comedian (another chunk of personal opinion) actually win one of these contests. Whoever can coax in the most paying customers will be awarded, “Funniest Comedian.”

Doesn’t seem fair – does it?

Of course, the club owners and management have no problem with this because they make money from paying customers. And you know what? I also have NO PROBLEM with that because it’s show BUSINESS and if the club doesn’t make money, then comedians have one less place to perform. That’s the business part that comedians and performers in general need to understand. So, from that point of view – I’m a BIG fan of comedy contests.

But since you’re a comedian, let’s stick with the comedian’s point of view…

There are other ways to decide contest winners. Similar to the format used on the various television talent shows there might be a panel of judges making the award-winning decision. I’m sure most comedians would deem that more of a fair competition when performing in front of a loaded audience, but then you need to impress the judges. Depending on what they personally enjoy (clean comedy, adult comedy, etc.…) this might compromise your comedy voice and material.

This is also true if you have to play by their rules.

But I still got on stage!

For instance, I’ve seen comedians disqualified from contests because they’ve accidentally dropped the F-Bomb (against the rules) or went 10 seconds over their allotted time – even though the only reason they couldn’t get through their set in the given amount of time was because of audience applause and laugh breaks. But you need to follow their specific contest rules and if you don’t – then you just blew it in front of the judges.

Again – doesn’t seem fair, does it? The losers will tell you that, while the winners will add the award to their resumes.

Here’s the real scoop about comedy contests.

A BIG name, BIG time comedy contest is a BIG deal and will open up BIG opportunities for the BIG winners.

Think BIG – like the winners of the almost-forgotten television show Last Comic Standing or contests associated with a major city or festival like Montreal, Boston, New York or San Francisco. Win one of those and you not only will be seen by many important entertainment industry movers and shakers, but you could even wind up with your own sitcom.

No BS – I’ve seen it happen.

Of course there are always two sides to everything. Some of the best comedians I’ve worked with and respect the most never won a local comedy contest. And you know what? I don’t think any of them really care. They were simply dedicated to being good comedians and losing a contest never stopped them from working toward their goal. They also would never have considered changing who they are on stage or what language they use, and instead develop material that the judges would approve of next time.

That’s not why they got into the biz in the first place.

I’ll also make an assumption and say that during the early days of their careers they might have entered a local contest or two. But I’m sure they only did it for the same reason I’ll tell you to do it – stage time. I remember a few comics at the NYC Improv going to other clubs for contests and not even staying to see who won. That wasn’t important – getting on stage was.

Any time you have an opportunity to get on stage and work on your act, grab it and use it to your advantage. As you should know, improving as a comedian (humorous speaker or performer in general) can only happen through performing experience. And you know what comedy contests offer?

STAGE TIME.

Yeah, they may also offer cash prizes and more stage time, so of course you want to win to reap those benefits. But if you don’t, there’s no reason to sweat it or feel bad.

By the way, that’s why I’m not a big fan of comedy contests. Not everyone starts out in the business with a thick skin. That has to be developed if you ever plan to be serious about a comedy career. Newer comedians might put too much weight behind a comedy contest and feel if they don’t win, they’re not talented. No – it just means you didn’t bring enough friends, didn’t cater to the judge’s sense of humor, or haven’t had enough stage experience. There are no short cuts – sorry.

But you still win because you get stage time. So, contests are good for that reason.

If you win the contest – that’s great! I hope it leads to more stage time. But if you don’t…

Like I’ve mentioned, a lot of top comedians never won a contest and never lost any sleep over it. They took advantage of the experience on stage and used it to become better comedians.

So go ahead – enter. Just know why you’re doing it.

For the experience. Not the trophy.

Thanks for reading and as always – keep laughing!

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

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