Category Archives: Los Angeles

Emailing Talent Agents: Bold Move or Waste of Time?

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

Who’s next?

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

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

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

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

So, about emailing agents with your materials:

My expectations were too high!

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

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

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

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

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

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

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

Thanks for reading – and keep laughing!

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

 

 

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

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

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

For details, reviews, photos and registration visit ComedyWorkshop

Getting a guest set at a comedy club

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Hey Dave – Hope all is well in Comedy Land—a strange, twisted, but always entertaining place! I wanted to reach out for some advice. I’m really interested in performing at [Comedy Club] and doing a guest set so the booker can see my material. What’s the best way to get in front of him? I just want to make sure he knows who I am. I have some video clips I can send, but I’d love to hear your take on the most effective approach. Any guidance would be greatly appreciated. Thanks – JW

Comedy Land!

Hey JW – First off, fantastic job describing Comedy Land! You didn’t just outline a place—you brought its inhabitants to life. It’s clear we all share a lot in common.

You mentioned a well-known comedy club, but my suggestion applies universally to most clubs.

I’ve been fortunate to work with three major comedy clubs throughout my career. In fact, I’ll proudly say I’m the only person in comedy history to have managed and booked talent for The New York Improv, served as the talent coordinator for The Hollywood Improv, and managed The Cleveland Improv. That’s coast to coast to coast—from the Atlantic to the Pacific to Lake Erie.

And since the NYC Improv no longer exists, I’ll hold that record forever. Looks like my spot in Comedy Land is permanent – ha!

Over the years, I’ve been involved in auditions, showcases, and guest sets at all three clubs. Based on that experience, there are several ways comedians can get noticed by club bookers: contests, workshops, pre-scheduled audition showcases, and email submissions are standard approaches.

La La Land!

There’s also a reason comedians have always hung out at comedy clubs—it’s an opportunity to meet bookers in person. Whether it’s to ask for a showcase or simply be available as “stand-by” talent, networking in this setting has been a tried-and-true method since the dawn of stand-up.

At the NYC Improv, this presented a great chance for newer comedians.

We’d pre-schedule performers until midnight, but if the audience wanted more, the show would continue until 4 a.m. Those late hours provided valuable stage time for newer comics who hadn’t received earlier spots. As the manager, I’d often go through the bar area and invite comedians hanging out to perform short sets.

In Los Angeles, while comedians still frequented clubs, we relied more on video submissions and promo packages (now digital) to find talent for showcases. Back then, there was also a New Faces Workshop at the Santa Monica Improv, which helped new comedians improve their craft and provided opportunities for Monday evening showcases. This could lead to more substantial roles at the Melrose Avenue club.

Focus is on group comedy writing & discussions about the comedy / entertainment business

Next round of workshops meet Mondays – February 17, 24, March 3 and 1o, 2025

Space is limited. For details, reviews, photos and to register visit:

Online Comedy Workshops

For regional clubs like The Cleveland Improv, local comedians often fill opening and MC spots. To break in, it’s crucial to attend showcases or workshops to be seen in person. While YouTube submissions and email pitches can be effective, being there in person gives you an edge.

So, what’s the best way to get noticed by a comedy club booker?

Get a referral from a comedian who already works at the club.

As I’ve said before, that’s your Golden Ticket.

If you’ve worked with a headliner or feature act who regularly performs at a club you’re targeting—and they genuinely like your act—ask them to refer you to the club booker or manager (sometimes they’re different people).

Ask if they’d be willing to request a guest set for you, which serves as an audition. This is the single best way to get seen. You bypass the uncertainty of email submissions, long open-mic audition nights, or waiting endlessly to pull a lucky lottery number for a spot. A referral is your “in.”

Networking with your fellow comedians is key. However, this doesn’t mean brown-nosing or pestering them. Comedians and bookers deal with enough of that. Instead, focus on honing your craft and gaining enough experience to be genuinely ready for top-tier clubs like The Improv or The Funny Bone.

Remember, you can’t fast-track your way into the big leagues just because you know the right people.

Even if a referring comic is your close friend, they won’t risk their reputation by vouching for someone who isn’t ready. Most working comedians have spent years building their careers, and they’re not going to jeopardize it for someone unprepared.

That’s why experience and stage time are invaluable. They’ll not only sharpen your skills but also connect you with comedians working the clubs you want to play. For example, I visited your website and noticed you have two upcoming shows this month featuring performers who are regulars at The Improv. One of them even works at the Hollywood Improv.

If you deliver outstanding sets and the comics are impressed, this is your chance to ask for a referral. They may say yes or no, but you shouldn’t let the opportunity slip by.

In summary:

Personal references can open doors. In Comedy Land, talent, experience, and networking are the keys to getting that Golden Ticket. Keep working, stay prepared, and seize opportunities as they come.

Thanks for reading – and keep laughing!

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

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.

The Tampa Funny Bone – Tampa, Florida

Saturdays – February 8, 15 and 22 from 12:30 to 4:30 pm

Includes a performance at The Funny Bone:

Wednesday – February 26

Space limited – pre-registration is required

For details, reviews, photos and to register visit ComedyWorkshops

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