Category Archives: New York

Opener vs. Feature vs. Headliner

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Hey Dave – I was reading your newsletter today and I’m wondering… What’s the difference between a Headliner vs. a Feature Act? Thanks – DS

Only west of Manhattan!

Hey DS – Money. Next question?!

Okay… okay… sorry for trying to be funny. That’s actually a good question for comics starting out AND in certain areas of the comedy scene. And the above is only part of the answer. There’s more to it, so let me explain with a true confession.

When I worked in the comedy biz in NYC I didn’t know the difference either. In fact, there was never a reason to bring up the term feature act. The comics worked their way through the open-mics and auditioned for the major clubs in the city. You can Google for a list – but off the top of my head from those days we’re talking about The Original Improv, Comedy Cellar, Catch A Rising Star, The Comic Strip, Caroline’s, Dangerfield’s, The New York Comedy Club and Stand-Up NY.

I’m sorry if I forgot anyone…

I was manager of The Improv, which in NYC (like the others) was a showcase club.

Yes, most of our audiences were made up of locals and tourists (like the others) but comics knew it was an important place to be seen. On any given night there could be industry people such as agents, managers, producers, and casting directors watching. We also scheduled showcases (auditions) for The Tonight Show, Late Night with Letterman, HBO, MTV, The Today Show – and plenty of others.

As I said – it was a good place for comedians to be seen on stage.

Non-industry nights were Fridays and Saturdays. This means the audiences (two shows Friday and three on Saturday) were pretty much local comedy fans and tourists (we’ll call them out of town guests from now on). Instead of going to a movie, they could see a live show – without paying high prices for Broadway show tickets. So, the comics were booked in advance and mostly “A-Acts.” In other words, they were our headliners, some already famous from television and movies, and the industry people already knew who they were. These comedians already had agents, television credits and were not “new faces” waiting to be discovered.

Not a feature act

Let’s put it this way. You, me, and everyone on the planet knew who George Carlin was, so there was no reason for him to showcase for industry people. If you wanted to hire him, all you needed to do was call his agent and pitch the project you had in mind.

Make sense? Okay…

Tuesdays, Wednesdays, and Thursdays were the usual showcase nights. There would be several A-Acts doing 20 minute sets to guarantee good shows. But this is also when industry people and audiences would see the up-and-coming comics. They would be given anywhere from 5 to 10 minute sets and we could have as many as 10 to 15 comics go on stage in one night. Since we could stay open until 4 am the length of the show depended on how many people were still in the audience.

So, what I’m trying to say is in NYC (at that time anyway) we didn’t deal with or use the term feature acts. They were either A-Acts or newer comedians working their way toward becoming an A-Act.

The difference in terms happened when comics worked on the road – clubs outside of New York and Los Angeles. And since that wasn’t on my personal radar at the time, I never dealt with it.

It wasn’t until I got to Los Angeles and started working for Budd Friedman that I learned about bookings in the other Improv comedy clubs. The venue on Melrose Avenue was a showcase club like New York, but the other Improv clubs across the country did shows with only three comedians.

Only THREE comics?

Yeah – I was surprised too! My mindset was like the old New Yorker Magazine cover from 1976 – that is still a popular poster around Manhattan decades later. Basically, Manhattan residents could look west from 9th Avenue (BTW – The Improv was located just east of 9th Ave) and not really acknowledge anything until the Pacific Ocean.

Stuck up? Well, when everything you need is on one island it just becomes a way of life. But I regress…

Outside of NYC and LA, the clubs in other cities scheduled three comics – an opener (MC or host), feature (middle) and headliner (closer).

Every club I’ve ever managed or booked – including showcase clubs – has an MC (Master of Ceremonies is the proper showbiz term). That’s the comic who opens the show and warms up the audience. They’re also the ones required to make the announcements. You know – tell the audience about drink specials, future shows, and other “from the stage” advertisements.

Don’t forget – the “proper” term for showbiz is show BUSINESS.

The headliner closes the show. That’s the star act – the comic the club is advertising and the one most of the audience is paying to see.

So, who would be considered a feature act? You can guess – right? That’s the comic in the middle – between the opener and headliner. They do more time on stage than the opener – and less than the headliner.

And that takes us back to my first answer – money.

The feature act is paid more than the opener and less than the headliner. And there’s never a mix-up over that because it’s in the contracts, which is another matter I don’t remember dealing with in showcase clubs. In NYC you showed up, did your set, got cab fare and a sandwich – and thanked the club when you taped a special for Comedy Central.

Thanks for reading and as always – keep laughing!!

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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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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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Space is limited and pre-registration is required

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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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Should You Self-Publish or Find a Literary Agent? The Real Business of Writing a Book

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Hi Dave – Which way do you lean when it comes to publishing a book? Should I try to get a NYC literary agent and a traditional publisher, or just self-publish? My blog is basically a manuscript in progress, but it’s already been reviewed – and rejected – by several agents through AgentQuery.com. One agent even sent me a personalized note saying it was great material, just not his style… but still worth publishing. As George Carlin once said: “A definite no… yeah.” Thanks! – C.B.

Is that a yes or a no?

Hey C.B. – If you had asked me that question when my first book came out through a New York publisher, I would have given you a long speech about why you should never self-publish.

Today? I’m right in the middle.

I’ve done both – traditional publishing and self-publishing – and there are advantages and disadvantages to each. Honestly, there’s no reason you can’t do both.

This topic comes up all the time with speakers and comedians because writing is part of the business. Whether it’s material for the stage, speeches, articles, or eventually a book, creative people write.

And let’s face it – most people believe the old saying:

Everyone has at least one book in them.

Writing it is one challenge.

Getting it published, read, and actually making money from it? That’s a whole different story.

So let’s get to your real question:

Literary Agent or Self-Publish?

First, let’s clear something up.

A “NYC agent” does not guarantee anything.

Your literary agent can be in New York, Los Angeles, Atlanta, London, or anywhere else. Publishing is largely handled online now, along with book fairs, networking events, and industry connections. Geography matters far less than relationships.

Case in point – my literary agent is based in Atlanta, and she landed me two book deals with New York publishers.

Before that, I lived in Manhattan for 14 years and ran one of the most famous comedy clubs in the world. I had contacts in television, film, and nightlife – but not publishing.

Without a literary agent, I would have never gotten past the gatekeepers.

My agent handled the submissions, made the calls, worked her contacts, and got the deals.

That’s the real value.

It’s Who They Know

What’s your story?

A literary agent’s success doesn’t depend on where they live.

It depends on who they know.

Their job is to get your work into the right hands – the editors and publishers who can actually say yes.

But first, you need the product.

That means the manuscript.

If you’re already famous, your agent can probably sell an idea or outline. If Taylor Swift calls her agent with a book idea, she gets a deal.

You and I?

We’d better have the full manuscript ready.

Traditional Publishing = Prestige

In my opinion, getting a real publisher to release your book is still the gold standard.

It’s harder. It takes longer. It can feel nearly impossible for an unknown author.

But it can happen – I’m proof.

And yes, it feels good knowing professionals in publishing believe in your work enough to invest real money and time.

There’s also still a stigma around self-publishing.

Sorry if that bruises a few egos, but it’s true.

Ask an author, “Who published your book?”

Saying the name of a recognized publishing house sounds a lot stronger than saying, “Well… I did.”

But Speakers and Comedians Need to Think Differently

Now let me shift this toward the people I usually write for – speakers and comedians.

Because honestly…

Who cares who published your book if the book helps you make money?

Professional speakers and comedians understand something called:

BOR Sales

(Back Of the Room)

Books. T-shirts. Audio programs. Videos. Merchandise.

If it isn’t nailed down backstage, someone is probably trying to sell it.

And smart performers should.

That’s where self-publishing becomes incredibly valuable.

Self-Publishing Can Pay Fast

Traditional publishing is prestigious.

Self-publishing is practical.

A publisher may give you an advance – which is great.

But self-publishing lets you create inventory for BOR sales.

You can literally open a box of books in the morning, do a speaking engagement or comedy show that night, and go home counting cash.

That’s real business.

I’m a big fan of Kindle Direct Publishing (KDP) for both paperbacks and eBooks. Costs have come down significantly.

But remember this:

You can’t autograph an eBook.

After a strong performance, audiences want more information – or a souvenir.

A signed physical book gives them both.

That’s why printed books still matter.

Don’t Go Cheap

If you self-publish, invest in quality.

Too many people look for the cheapest possible printer and end up with a cheap-looking book.

Bad idea.

A poor-quality book kills sales.

People will smile, shake your hand, compliment your performance – and walk away without buying.

In publishing, like comedy:

You get what you pay for.

——————–

Next online comedy writing group starts Wednesday, May 6, 2026

Mondays are SOLD OUT!

For details, reviews and to register visit OnlineWorkshops

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So What Should You Do?

My answer is:

Yes – try for both.

Pursue a literary agent and traditional publishing.

Absolutely.

But while you’re waiting – and yes, it can take years – also explore self-publishing, especially if you’re already performing regularly.

Because here’s the reality:

Most aspiring authors hear “no” far more than “yes.”

Can your ego handle that?

Self-publishing gives you immediate control.

Traditional publishing gives you long-term credibility.

Both can work.

Final Thought

If you truly have a book in you, get it out.

Look for literary agents.

Research submission guidelines.

Study agency websites.

Do the work.

But if you’re already a working speaker or comedian, also think seriously about self-publishing for BOR sales.

Key phrase there:

Already working.

Because if you’re not performing in front of audiences, promoting your book becomes much harder.

Otherwise, you’re just another unknown author competing online with thousands of others.

And trust me – I’ve heard plenty of horror stories from self-published authors with boxes of unsold books stacked in their basements.

Books don’t sell themselves.

Promotion matters.

That’s why every movie star on the planet hits the talk show circuit when a new film comes out.

It’s marketing.

And for speakers and comedians, your best marketing opportunity happens right after a great show – when the audience is excited, engaged, and standing right in front of you.

That’s when books sell.

That’s BOR.

And that’s why publishing – whether traditional or self-published – isn’t just about writing.

It’s about business.

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

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

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Space limited – for details and to register visit COMEDYWORKSHOPS.

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Laughs and Bookings – the best revenge

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Hey Dave – I had a great set last night, but one of the comedians who went on after me tore into me. It got really personal, and it honestly hurt. The people running the show asked if I wanted to go back on and get revenge, but I declined. Did I handle it the right way? – N.R.

Best revenge!

Hey N.R. – It sounds like the opening shot in a potential comedy war. Whether you want to crawl into the comedy trenches (a common comedy term — not mine) with this loudmouth depends on two things:

• Your onstage personality — your comic voice
• How you want to be seen onstage and offstage in this business

Maybe I’m naive, but after a few decades working with comedians, I’ve found this business to be far more supportive than people think. Sure, there are jerks — real pains in the butt — but I don’t know any career path that’s immune from that.

When this kind of behavior happens, it’s usually fueled by jealousy, ego, or a power trip. And here’s the irony: in my experience, the more power someone actually has in the business, the more supportive they tend to be of newer talent. That goes for comedians, bookers, and behind-the-scenes decision-makers.

Disbelief?

(I can practically feel the disbelief from some readers right now. This may turn into a future FAQ — I’ll let that thought marinate.)

For now, here’s the real issue:

Who are you onstage, and how do you want to be perceived by the people you work with — other comics and the people who hire them?

Comedians who are genuine friends tear into each other onstage all the time. That can be hilarious. At the NYC Improv, we could run a microphone into the men’s room and hold it over a flushing toilet when a friend’s joke bombed. The comic onstage ripped into us for the rest of the set, and everyone loved it.

  • That’s playful.
  • That’s earned.
  • That’s mutual.

What you experienced sounds different.

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When it’s mean-spirited, there’s no upside. An unprovoked attack is almost always about making him look better at your expense — jealousy, ego, or both.

There are two ways to handle this, and the right choice depends on who you are.

If you’re the kind of comedian who can verbally dismantle someone — truly dismantle them — then by all means, go for it. A skilled insult comic doesn’t absorb cheap shots; they return them with interest. Think Nikki Glaser, Marc Maron, Wanda Sykes, Dave Attell, Jeff Ross. An insult comic worth their weight can turn a heckler — or a fellow comic — into roadkill.

If that’s you, next time: aim for the throat.

But if that’s not your voice — onstage or in life — then you absolutely did the right thing by walking away.

Let this guy burn his own reputation. Comics don’t want to work with someone known for cheap shots. And bookers? They want the least amount of drama possible. Speaking from experience as a booker, I’ve passed on very funny non-headliners simply because they were a pain to deal with.

If someone else is just as funny — and easier to work with — that’s who gets the gig. Every time.

In a perfect world, your only focus should be becoming a better comedian. If someone chasing the same goal doesn’t like you, you’re probably doing something right.

Want revenge?
Get more laughs.
That leads to more bookings.

Use this moment as fuel. If your work ethic and focus pay off, maybe someday this loudmouth will be parking cars outside a comedy club, ripping into his coworkers — while you’re inside headlining.

Make it happen.

Thanks for reading and as always – keep laughing!!

SPECIAL EVENT – ORLANDO, FLORIDA!

Standup Comedy Workshop at The Orlando Funny Bone:

Saturdays – February 7, 14 and 28 from noon to 4 pm.

Performance at The Funny Bone – Wednesday, March 4 at 7 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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Comedy Blues and Creative Highs

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Hey Dave – I have a confession to make and was wondering if this is normal or not and if so, how to deal with it? Is there such a thing as having the blues in comedy? I guess you could call it the Comedy Blues. I mean, I’ve been told “no” before and had terrible sets in the past. But I strongly feel it has made me the keen comedian I am today. But still, if I may… help! – A.

An instrument for creativity

Hey A. – Congratulations. You’re a creative artist.

And what you’re feeling? It comes with the territory.

A career in the arts—comedy, speaking, acting, music, writing—often means riding an emotional roller coaster. Big highs. Big lows. That’s one reason so many people wish they could do it, but don’t. Standing on stage, getting laughs, meeting fans, and getting paid is a great gig. From the audience, it looks glamorous. What they don’t see is the rejection, the waiting, the self-doubt, and the work.

The people who truly pursue it usually don’t feel like they have a choice. They have to do it.

This may sound more motivational than instructional today but stay with me.

Let’s talk music for a second. Some great songs are about incredible highs. Others are about lows—the blues. Blues songs exist because nothing worth having comes easy. They’re about loss, frustration, and struggle.

Now translate that to comedy.

Creative words from a creative artist

If you’re serious about being a comedian (or humorous speaker), you want things to happen now. But progress is slow. Opportunities are unpredictable. Yes, there are huge highs—your first paid gig, passing an audition, winning a contest. But there are also long stretches where nothing clicks, nothing moves, and doors stay closed.

Here’s the truth: every working comic will tell you that you’ll hear “no” far more than “yes,” especially early on.

That’s not a flaw in the system. That is the system.

If you want to stay in this business long enough to build a career, you need to develop thick skin. There’s no shortcut around it.

Think of it like sports. The best relief pitchers in baseball blow saves. What separates them from the ones who spiral or disappear is their ability to shake it off and throw the next pitch with confidence. That mindset has to be learned—or developed quickly—if you want to survive in a competitive field.

Comedy is exactly that: a creative art inside a competitive business.

You put your work—and yourself—out there to be judged by bookers, producers, and audiences. Some will love it. Some won’t. The goal isn’t avoiding highs and lows. The goal is not letting either one define you.

I remember working in New York and hearing brand-new comics say they planned to have a sitcom within a year. I heard it more than once. Meanwhile, the comics hanging around the NY Improv—Ray Romano, Larry David, Dave Attell (to mention only three)—had been grinding for years. They didn’t get everything they auditioned for. They just didn’t quit when someone said “no.”

Unrealistic expectations create massive lows.

Understanding the process creates resilience.

That process has a name: paying your dues. Some people drop out because they can’t take the lows. Others continue because they’re wired to create—whether success comes quickly or not. Continuing doesn’t guarantee success. Talent, business skills, relationships, and luck all matter. But quitting guarantees nothing.

So, what do you do with the Comedy Blues?

Sometimes you step back and regroup. Sometimes you put your head down and keep going. For many creative artists, there isn’t really a choice.

One final thought: consider using those feelings in your writing.

You don’t need to talk about the Comedy Blues—but bringing real emotion into your material adds honesty and depth. Audiences can spot fake instantly. They can also sense when someone is telling the truth, even through jokes.

Most strong comics and speakers draw from experience. They’ve ridden the roller coaster. They’ve paid their dues.

Remember—this is a creative art.
And being a creative artist has never been easy.

But for those who feel called to it?
It’s the only ride worth taking.

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 – Wednesday, January 28 at 7:30 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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