Category Archives: management

When a Headliner Recommends You

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Hey Dave – After a recent showcase, the headliner came up to me and asked if I’d be willing to open for him on his upcoming shows. What’s the best way to approach being a featured comic or host at this major club? I have the manager’s email and a video of my showcase set as a sample of what I can do. I also have a website with my headshot and resume, and I can post the video on YouTube. Sincerely – L.S.

Handing out Golden Tickets!

Hey L.S. – That’s great news! As I’ve said in way too many articles, that’s your Golden Ticket.

A personal recommendation from a headlining comic is always better than trying to do everything yourself through cold calls, blind emails, or simply hanging around the club hoping someone notices you. Those methods can work, but when a comedian who already works at the club is willing to put in a good word for you, you have something much more valuable: an established comic opening the door for you.

That doesn’t mean you should stop promoting yourself. Quite the opposite. Every comedian should have the basic promotional tools in place—a professional website, current headshots, a resume or list of credits, and a good performance video. Those things make it easier for a talent booker to check you out when someone recommends you.

And if you already have a track record—with solid performing credits—you might not have to settle for a showcase. You could end up with a paid booking.

Your next booking?

I’ve seen this happen many times. A headliner will have his or her own opening and feature acts on the road, and the clubs will book the entire “package.” It makes life easier for everyone, including the talent booker.

Stay in Touch With the Headliner

My first piece of advice is simple: stay in touch with the headliner and find out exactly what he has in mind.

Ask questions. Is he talking about having you open his upcoming shows at this particular club? Does he want you to feature for him on a series of dates? Is he considering taking you on the road to open for him at several clubs over the next few weeks or months?

Don’t assume you know what he meant. Get the details.

You can also do a little homework yourself. Check the headliner’s website and social-media pages to see where he’s scheduled to perform. Many working comedians keep their online calendars updated for both fans and talent bookers.

And pay attention to how they promote themselves.

Some smart comics advertise on platforms such as Facebook and LinkedIn in the cities and areas where they’re scheduled to perform. They may start promoting a show a week or two in advance, while also directing potential fans to their websites, videos, and other material.

Clubs love it when comedians help promote their shows. And from your perspective, those promotions can also help you build an audience and establish yourself as a working professional.

There’s more about that strategy in the updated version of How To Be A Working Comic—and, yes, that was a blatant book plug.

Let the Headliner Make the Call

Preferably, the headliner should personally contact the club booker or manager and recommend you for the shows.

He can tell the booker, “I’d like L.S. to open for me,” and then tell you to expect a call or email. Or he can simply make the arrangements and get back to you with the details.

Either way, the important thing is that the headliner—or his agent—personally communicates the recommendation to the club.

That one phone call or email can cut through a lot of red tape.

Why?

Because otherwise, the booker may not know whether the headliner actually recommended you or whether you’re simply using his name to get through the door.

And I’m not singling you out. This happens with every comedian a booker doesn’t know.

You’d be surprised how many comics “drop names” without actually having that comic’s recommendation. I’ve had it happen to me, and it never works in the name-dropper’s favor.

There are plenty of club bookers who can relate to that experience. And I’ve seen comedians post online about situations where they assumed a headliner had recommended them—only to discover that the headliner had never actually contacted the club.

Don’t be that comedian.

If the Headliner Says, “You Contact Them”

What if the headliner doesn’t follow through—or simply says, “Just contact the booker and tell him I recommended you?”

That’s Plan B.

Send the club booker a brief, professional email explaining that you recently spoke with the headliner about opening for him at the upcoming shows.

Then ask for the correct procedure for submitting your promotional material.

Don’t immediately send a huge attachment package with your life story, 14-minute video, six headshots, and a resume that dates back to high school.

Keep it simple.

If the booker asks for your website and video, send the links. If they want a specific performance clip, send that. Give the booker exactly what was requested and make it easy to watch your material.

Your showcase video may be perfect because it demonstrates what you can do in front of an audience. Your website can then provide additional information, including your headshot, credits, upcoming appearances, and other performance material.

And if you don’t hear back?

Wait about a week to ten days and follow up.

The goal is to stay on the booker’s radar without becoming a pain in the you-know-what.

Know what I mean?

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Use Your Golden Ticket

I’ve written plenty about promoting and marketing your comedy career through emails, postcards, phone calls, websites, social media, and other methods, so I won’t repeat all of that here. There are also plenty of marketing suggestions in Comedy FAQs And Answers and How To Be A Working Comic.

Did I mention I’m into marketing and promotion?

Ha!

But the bigger lesson here is that self-promotion works best when it’s supported by a personal recommendation.

You can have a great video, a terrific website, an impressive resume, and a professional headshot. Those tools are important. But when a headliner who already works at the club says, “I want this comic to open for me,” you suddenly have something you can’t create with a Facebook ad or cold email.

You have credibility.

That’s your Golden Ticket.

Use it.

Thanks for reading and as always – keep laughing!!

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Scoring an MC spot at an “A-List” comedy club

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Hey Dave – My goal is to host a show at one of the top clubs. I have video that I can submit and if nothing else, it will be good to get some feedback and be told what I have to do to get work there. In saying that, do you know how to go about submitting videos to the clubs and what should accompany it, i.e. bio, pics, etc.? If you know who the contacts for the club may be or how to find that info that would be great as well. Thanks for your continued support in the comedy scene and I hope you are well. Talk to you soon – C.J.

Make sense? I’ll try my best…

Hey C.J. – Thanks for the support and well wishes. In answer to both I can say I’m trying my best…

And another thanks for your question since it gives me a chance to combine two past articles into a (hopefully) working answer. Make sense? Again, I’ll try my best…

Usually with the major clubs, the headliners and most features (middle acts) are booked through a corporate office. They have a talent coordinator who books all the clubs in their chain. Opening acts are mostly local or within driving distance and are booked by the club’s in house manager. The opening acts don’t get flown in or put up in five star hotels, if you know what I mean.

When you’re going for an opening (host / MC) spot at an “A-Room” (pick the top club in your area) it’s about the total package. Yeah, of course you have to be a good comic with experience. But you also have to show that in your submission to even be considered. These bookers are not going to hire someone who’s not ready to play their club. The audiences pay for and expect a professional comedy show. And even though the openers won’t have the television and/or film credits the headliners or some features have, audiences are also not paying big $$’s to watch an amateur night.

Know what I mean?

Get on stage!

You should have experience and a list of credits from playing smaller clubs first, before you approach the “big guys.”

I was on a panel at a comedy festival a number of years ago with the manager of a major club and an owner of another. One of them – in a very polite way – talked about the smaller clubs being like the minor leagues. He was comparing it to baseball. Get your experience there first to prove you can do it before trying to move up to the major leagues.

Assuming you’ve done that – here’s a game plan for your question.

In past articles I’ve talked about doing “face time” (networking) in comedy clubs. Another favorite topic is promotional material. Now it’s time to combine…

I suggest calling the club and asking the proper way to submit a video for a showcase (audition). The people answering the phones will know – because this is a question they get all the time from comedians. Follow what they say.

Based on the two major clubs in my area, there can be two different scenarios. One is doing face time. For instance, one of the clubs has a bringer showcase once a month. Bringer, meaning you must bring x-amount of paying audiences members to get stage time. I won’t discuss the pros and cons of that now, because I’ve also done that in past FAQs And Answers and on my YouTube Channel (How To Be A Working Comic #25). Let’s just agree it is what it is – and the only way you’ll be seen on stage at this particular club.

Play the game (pay the admission for your friends if you have to) and get on stage. At least you’ll be seen by someone connected with the club. Afterward do some face time and network with whomever is in charge of the show. Ask them what your next step is (you asked about getting feedback, so this is your opportunity) or how to be considered as an opening act during one of their regular shows.

Who knows? They might offer you a gig based on your performance (best scenario), say you’re not ready (worst scenario), or ask you to send them a video for more review. That last one’s okay because you’re still in the game. It’s also what you’d have to do for the other club I’m thinking about anyway, so here’s how that’s gonna work…

Again, you might want to consider starting with some face time. Go to a show and keep an eye out for a manager. Another hint – from experience – do this on a “one-show night.” Fridays and Saturdays usually mean multiple shows in the major clubs and everything is more hectic. Go on a Wednesday, Thursday or Sunday and chances are better you’ll get a minute or two with the person in charge.

Then ask:

What’s the best way to get a showcase or submit a video?

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Again, from experience – because comics ask all the time – they’ll tell you. Follow what they say. If the club doesn’t offer a showcase night, ask if they accept submissions via email and get the email address.

I also suggest you have a dedicated website for your comedy submissions. A certain comedy club I’ve worked for won’t even consider booking a comedian – including an opening act – without one. If you’re working off a Facebook page or other social media site, it doesn’t show them you are serious about your career if you haven’t taken that step as a professional. And if you’re not sure what to include on a website, just check out websites by “working” comedians or pick up a copy of my book How To Be A Working Comic.

Some comics might tell you this is not necessary since all the booker is interested in is your video. But here’s another hint from experience. To stand out from the crowd (and they get a lot of videos) you should make the extra effort. It makes you look more professional and that’s how you want them to see you.

Again – none of these top clubs are interested in hiring an amateur.

If they tell you to submit a video via email, send a link to your website that includes your video. Yeah, you can probably just email a link to your video on YouTube – if that’s really how you want to play this opportunity. But again, it won’t look as professional.

And for some of you, don’t let the idea of having a website throw you off your game. They’re easy and inexpensive. Check out WordPress and some of the others available for this.

Talent bookers will understand (they should) that you’re not a headliner or feature act because you’re asking for an opportunity to be an opening act (MC). They shouldn’t expect all the “bells and whistles” of a big-time headliner website.  But since these are “A-Clubs” we’re talking about, they will expect you to be further along in your career than doing open-mics and using a Facebook page as your business site.

If you don’t get a response from your submission, stay in touch without being a pain in the you-know-what. An email or postcard every couple weeks should work.

But again, networking REALLY helps. If you’re part of your area comedy scene you probably know some of the comics who open at these clubs. If you see them at the open-mics or some of the other clubs – and they like your sets (important to know first!) – ask if they can throw in a good word for you with the booker. As I’ve written in the past, a personal recommendation from someone who already works at the club can be your Golden Ticket. That can either get you a showcase or have your video watched a lot faster than anything I just mentioned above.

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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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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When a club booker asks, “How much do you want?”

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Hi Dave – The talent booker for a comedy club sent me the following: “How long is your routine and how much would you want to come to (city) to do a show?” I do 45 minutes to an hour, but on the money question I have no idea how to answer them. Obviously, I’d want enough to cover airfare. Between you and me, I’d stay with my grandmother who lives near the city. Any ideas? Thanks! – B.K.

How much’ya want?

Hey B.K. – I know the club you’re talking about. They’ve been around for years and have a solid reputation. Since you didn’t mention this being a one-night private event or corporate booking, I’m assuming they’re asking about a weekend at the club.

And right away, you’ve run into one of the oldest games in show business.

The talent booker asked you a very open-ended question:

“How much would you want?”

That puts the pressure entirely on you.

Meanwhile, the person asking already knows the going rate for openers, features, and headliners because he’s been booking and paying comedians for years. Clubs that operate every weekend know exactly what comics are worth in their market.

So why ask you?

Because there’s always the chance you’ll come in low just to get the booking.

That’s especially common with newer comedians. Most comics who are still building credits don’t want to scare off a club by quoting too high a number. They’re thinking:

“I just want to get in the door. I’ll negotiate more money later.”

And honestly, that’s understandable.

This is part of the ongoing push-and-pull between bookers and developing talent. Comics with major credits, television exposure, and audience-drawing power can often name their price. Newer comics usually can’t.

That’s simply the reality of the business.

Years ago, when I was booking talent for The Great Lakes Comedy Festival, I contacted representatives for two major television stars for theater appearances. These were household names with hit sitcoms and enormous popularity.

The fees I was quoted were enormous — far beyond the budget of a startup comedy festival. One package even included a private jet to fly the comedian in and out the same night.

And none of it was negotiable.

As long as I’m on TV I set my own price, man!

That’s what leverage looks like at the top level.

But for newer comedians and speakers, the key is learning how to ask better business questions instead of immediately throwing out a number.

Start with this:

“How many shows are you looking for me to do?”

That matters.

Five shows over a weekend is very different from one showcase appearance.

Then ask:

“What do you usually pay your first-time headliners, features, or openers?”

That’s a fair and professional question.

You should also do some research. If you know comedians who have worked the club — and you’re on good enough terms to ask — find out what the club typically pays.

Comedians don’t have a union. Information is often the only leverage performers have.

That said, be respectful. Some entertainers are private about money, and that’s understandable too. Don’t push if someone seems uncomfortable discussing it.

Ideally, the club would simply make an offer upfront:

“This is what we pay first-time features.”

That would make life easier for everyone.

But in the real world, bookers often want to see whether a comedian will undersell themselves first.

You’ll hear this same approach in the corporate, cruise, and college markets too. The difference is that established comedians in those worlds usually already have a set fee structure and know how to negotiate travel, hotel, meals, merchandise percentages, and other expenses.

Club work can be trickier because rates vary wildly depending on the venue, city, audience size, and your drawing power.

A comic consistently earning $1,000 a weekend has established a market value. A comic who’s still building credits may have less negotiating power — especially if the club is taking a chance on booking them for the first time.

That’s why you also have to look at the bigger picture.

Ask yourself:

  • Is this a strong credit for my resume?
  • Will I meet people who could help me get more work?
  • Is this an opportunity to expand into a new market?
  • Would I enjoy the trip personally?
  • Does staying with family reduce my expenses enough to make the deal worthwhile?

In your case, staying with your grandmother could actually become part of the negotiation.

If the club normally provides a hotel room, you might save them money by not needing one. The same goes for transportation if you can borrow a car while you’re there.

But here’s an important reality in today’s comedy world:

Cleveland Comedy Workshop June 2026

Stand-Up Comedy Workshop at The Cleveland Funny Bone

Saturdays noon to 4 pm – June 6, 13 and 27

Perform at The Funny Bone on Wednesday, July 1 at 7:30 pm

For details and registration visit CLEVELAND COMEDY

——————–

A lot of clubs no longer cover airfare the way they once did.

That means you absolutely need to calculate your expenses before agreeing to anything. Know what the trip will realistically cost you. Then compare that number against whatever offer the club makes.

From there, the final question becomes simple:

“Is this worth it for me right now?”

Only you can answer that.

My advice is to stay professional, be honest, and avoid throwing out a random number too quickly. Ask what they’re offering first. Let the booker show his cards before you show yours.

Then negotiate from a position of information — not insecurity.

Thanks for reading and as always – keep laughing!!

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Running The Light (Going Over Your Time On Stage)

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Hey Dave – Without revealing my secret identity, I heard you talking recently about a comedian who went way over his time on stage—and you didn’t sound too happy about it. Safe to say he overstayed his welcome. Care to elaborate? – G.

Did someone give me the light?

Hey G – “Secret identity?” What is this, a spy novel? Don’t worry – I’ll protect your cover. But if you were really undercover, you’d know better than to eavesdrop on my conversations. I tend to go long.

Speaking of going long…

Want to guarantee you won’t get booked again? Ignore the light. Stay on stage. Do another 10… 20… maybe 60 minutes. After all, the audience obviously can’t get enough of you, right?

(And just in case sarcasm doesn’t translate in print – insert a big NOT! right there.)

Here’s the reality: stand-up may be a creative art, but it operates within a very structured business. And one of the biggest unwritten rules is simple – respect your time on stage.

Yes, there are exceptions. If you’re selling out arenas or headlining major tours, audiences expect a longer “concert-style” experience. Think of Bruce Springsteen playing three-hour shows – fans love it, and they paid for it.

But unless you’re at that level, stick to your set time.

Why? Because behind every comedy show is a tightly run operation. Clubs run on schedules – doors open, shows start, staff works, and everything from the kitchen to the bar to the box office is timed around the performance.

Only NO fans!

When a comic goes long, it throws everything off:

  • The box office has already closed
  • Food and drink service has ended
  • Staff is waiting (on the clock) with no way to earn tips
  • The next audience is lining up while the current one is still inside

And here’s something a lot of performers don’t realize: clubs build in “check spots” so customers can pay before the show ends. Run long, and you increase the chances of people slipping out without paying – which often comes out of the server’s pocket.

Not exactly a standing ovation from the staff.

I once had a comedian tell me he was “helping the club” by going an hour over – giving the bar more time to sell drinks. That logic deserves a bigger laugh than anything he said on stage.

The business simply doesn’t work that way.

The same goes for corporate and college gigs. Those events run on tight schedules. Go short, you risk not getting paid. Go long, you risk never getting invited back.

Bottom line:

Time isn’t just a suggestion – it’s part of the job.

For newer comics especially, sticking to your time on stage shows professionalism. It tells bookers and managers you understand how the business works – and that you won’t create problems.

And that’s what keeps you working.

I could go on… but I’ll do something that comic didn’t do.

I’ll stick to my time.

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

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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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