It’s all in the delivery

Dave – I need to work on my delivery. The time you saw me, you mentioned that it sounded like I was just reading from a magazine (thanks! lol). I see what you mean after listening to my last set a couple times. I’m working out a new bit that I’m taking care not to write out in script form, but in outline form. I’m beginning to get the laughs where I want them, and I know the confidence to ad-lib only comes from stage experience. But working on delivery seems like the next logical step. Do you agree? – DB

What do I say next?

Hey DB – When you’re just starting out in the comedy or speaking biz, having the right delivery on stage is something everyone worries about. It’s up there with getting over any nervousness you might have just standing in front of an audience AND remembering what the heck you’re gonna say.

But you know what?

It’s nothing to sweat about at this stage – the beginning stage – of your career on stage. Wow, it’s not everyday I can use the same word three times in one sentence. Guess I need to work on my delivery…

Your delivery or comedy voice, which is a term I picked up from a major player in the comedy biz while I was working in Los Angeles, will develop through experience.

It comes with getting stage time.

Right now – and again, I’m talking about the beginning stage – I’ll suggest something else to concentrate on that I’ve heard many times from working comics. Write, write, and WRITE some more.

Got that? The idea is to have something – ideas, topics, stories, whatever – that you can talk about and try out in front of an audience. Then you rewrite, edit, come up with new stuff, and repeat the process again and again.

As you do this your material will change and evolve. You’ll also become more comfortable knowing your material AND being in front of an audience. For some people it seems easy, but I’ve talked with many more who’ve said it was damn hard work. It’s doing open-mics and any other gigs as often as possible.

During this process you (should) also develop your delivery. But again, sometimes it’s not that easy. So, I’ll make a suggestion based on your question…

A lot of comedians and speakers start out by memorizing their material. There’s a great story about that in my book How To Be A Working Comic from one of the great stand-up improvisors and ad-libber’s in the business. His many fans might find it hard to believe, but he told me that’s what he did in the beginning. You must find a way to get yourself on stage and if memorizing your material helps, then try it. Then through experience you can gradually develop and grow as a writer and performer and break free of that restraint (memorizing) and have as much fun as the audience.

It takes stage time.

Memorizing your material can be a valuable crutch to use when you’re first going on stage. As you know, all kinds of things – mental and physical – are happening when you’re new at this. It’s not a normal everyday thing to walk onto a spotlighted stage, stand in front of a microphone and start talking to people.

But even if it’s memorized the KEY is to NOT make it sound memorized.

Ad-libbing and working off the audience can loosen things up and help you as a performer and writer come up with new material or learn how to deliver what you already have to get bigger laughs. In other words, you want to sound like you’re making this stuff up on the spot. It’s called being conversational, which is the opposite of sounding like you’re repeating a magazine article from memory.

Now I know all comedians and speakers are not the same. There are one-liners, physical comedy, storytellers, insult comics, prop comics and more. Just keep in mind I’m talking in general – okay?

I don’t know how many comedians I’ve seen over my career, but I know from experience as a talent booker and club manager I’ve seen a LOT during many different career stages. I’m talking about from beginners to household names. And what has always stayed with me is how they deliver their material – their comedy set – to each audience.

The successful ones are very conversational. They make it seem the audience is in on the creative process – like the comic is making it up on the spot. But what the audience doesn’t see is that most times (not all because again, I’m talking in general and don’t want the ghosts of Bill Hicks or George Carlin to do a Christmas Carol bit on me the next time I’m in a deep sleep) the next show can be almost exactly the same.

But it’s still seems different because of the comic’s delivery. They know how to involve the audience and have a conversation with them using their proven (through stage experience) material.

I know I’m repeating this story from one of my books, but I remember years ago when a VERY famous comedian was doing a set at The Comedy Cellar in NYC. It was late – the other clubs were closed, and this was the only one that would put up with us at 3 am. There were only about four “real” customers in the audience and everyone else was a comic with at least a beer or two already in them.

The famous comic was doing his act and another (who would also be famous within a couple years) jumped on stage behind him and did a mimic bit. He silently mouthed the words and did the same physical gestures. The already famous comic knew it (they were good friends) and played along. It was hysterical, but also proves my point that a skilled comedian can do his same act and make it seem new each time in front of different audiences by being conversational.

Again, I’m talking in general terms here. But that story always helps me make a point.

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March 13, 20, 27 and April 3

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So, you may know your material frontwards and backwards, but you don’t want your delivery to ever sound memorized. Since you’re still in the beginning stage and searching for your comedy voice, take a few chances. That’s what open mics are for. Try working off just an outline in your head or have a notebook (it’s an open-mic and you can do that) with key words about the topics. This means already having a few ideas you want to talk about – and then just talking about them.

It’s part of the process of finding out what works best for you as a performer. It also helps you become more conversational on stage rather than sounding memorized.

And even though you already know what you’re going to say, for instance jokes or descriptions you’ve written in advance and hope will get laughs, the method you use to get there will make it look like you’re making it up on the spot for that audience.

And as you said, you’re beginning to get laughs where you want them, so keep those moments in your set. That’s why you record your performance every time you’re on stage. When you listen, you’ll know what works (lines, words, emphasis, physical gestures – whatever) based on how the audience reacts. If they laugh, you’ll use them again because you’ll know through experience they should get laughs again from a different audience.

And for anyone who wants to be a working comic or humorous speaker – that’s what talent bookers, club owners and event planners pay for. Proven laughs.

Thanks for reading – and keep laughing!

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Moving up (or out) in your local comedy clubs

Here is my question, Dave. How do you get out of the open mic circuit and into the real club circuit? The two comedy clubs here in my town won’t even let you audition. They have a monthly open mic that you have to wait months to get on and then of course nothing happens no matter how good you are. There must be a better way. – M&M

Hey M&M – Just about every comedian I know will have a different answer for this. You’ll get lots of advice backed by lots of experience on how to move up a level. In your case (and many others) it’s going from open mics into paid bookings at “real” clubs.

The best advice is to be so good (so funny!) the club bookers can’t ignore you. Yeah, I know… there are a lot of experienced (and very funny!) comedians ready to shoot me some nasty emails right now. And I also know sometimes it takes a lot more than being really funny to getting bookings. For instance…

  • First impression
  • Personality
  • Image
  • Reputation

And… Oh what the heck, let’s just call it what it is:

  • Politics

That’s nothing new. It’s going on in every business – including politics. Think back to school. I’m sure you had to deal with the class kiss-up that seemed to be handed everything on a silver platter, while everyone else had to work for it.

Hate to say it, but many of us have also seen that happen in the comedy biz. I’m assuming a few of the earlier mentioned comics are deleting their nasty emails and nodding their heads in agreement.

You know what I’m talking about.

Yeah, some of it is politics. But again, if you’re so good (so funny!) there’s no reason why you shouldn’t be able to find bookings in “real” clubs. But for whatever reasons; a surplus of great comedians, a lack of stage time, or (gulp) politics, you might consider digging in for the long haul or looking outside your home base for opportunities.

As usual, I have a couple stories to back both of these up.

But in an unusual move, I won’t name-drop (one of my favorite pastimes). The experiences for the comics turned out great, but the club owners and bookers won’t look good, and that’s not my intention. I know from experience that sometimes it takes outside influences to change first impressions and held-on-for-too-long opinions. They found out their earlier thoughts about a couple comedians were wrong and it may have come back to bite them in the “kiss up” area, if you get my drift.

The first comic doesn’t have to remain nameless. 

Her story is in my book Comedy FAQs And Answers, but you’ll need to read it to find out (cheap book plug – I know). Anyway, she broke out of the open mics in her hometown and was getting MC gigs at her local club. But the club owner’s first impression was hard to break. He considered her a good MC and kept her in that position.

She was funnier than many of the feature (middle) acts, but he wouldn’t move her up. So, she moved out – to a different city. She started booking feature spots in her new locale, but the same thing was happening.

She was seen as a “feature” and that was it. So, it was moving time again…

I’m sure you know where I’m going with this, but just to be clear: she was VERY good (VERY funny) at this stage of her career. Experience and dedication had paid off and a different club owner moved her into headlining slots. Everything was going right – full speed ahead career wise – until she returned for a hometown visit.

I’m sure you know where I’m going with this…

The hometown club still saw her as an MC – and that’s the spot they offered her. Frustrating? Yeah – just like what you’re experiencing. In fact, I’ve seen this happen to two comedians that had done The Tonight Show, but the only way they could get booked in their hometown to perform in front of family and friends was as the MC. (Note: that talent booker is no longer in the biz. I wonder why…)

A lot of this boils down to first impressions and politics. Some people just can’t get over it.

Another story? Yeah, I promised a couple…

Back in NYC during the late 1980’s one of the most dedicated comedians I’ve ever worked with (I’m still a major fan) worked his “kiss up” butt off to get as much stage time – anywhere – as possible and the result was that he was REALLY good. Every comic on the scene knew he was destined for stardom (he made it!) and he started scoring short five minute sets at the “real” clubs.

But one club owner never saw him being anything more than an open mic “star” and capable of only doing 5 minute sets. He was stuck in First Impression Land and nothing was going to change the owner’s mind. Then one night one of the club’s regular comics (pre-scheduled to do a twenty-minute set) got stranded in the subway.

There was a full audience and no other comedian was in the club except our five minute friend.

There was no choice, so the club manager put him on stage to fill the twenty minute spot. As the comic started his set, the club owner walked in – and immediately freaked out. He thought the show would be ruined, but after calming down, he watched. The five minute comic simply KILLED (I know, because I was there) and his material, experience and crowd response broke him out of First Impression Land with this club owner.

He was too good (too funny!) to be ignored. And when he got his break, he was ready.

Does this answer your question?

Maybe. I’m sure you’ll hear a lot of worthwhile advice from working comics, but just know you’re not alone. Sometimes it feels like you’re banging your head against a brick wall to simply move up a level in this crazy biz.

The best option is to be very good (very funny!). 

Next round of Wednesday workshops (Mondays are sold-out):

March 13, 20, 27 and April 3

For details, reviews and to register visit OnlineWorkshops


If it’s not working in your area for whatever reasons, then – if you’re serious – start looking elsewhere. The working comics I’ve known weren’t afraid to jump in a car (or train for those of you in NYC) and check out another scene. They may be working on a lack of sleep and not knowing who won The Voice or received the Final Rose, but it didn’t matter as long as they got on stage. And if they were good (funny!) there was also a good chance they could make a good new first impression on the person booking the room.

To sound corny (I’d rather name-drop) don’t put all your eggs in one basket. There are plenty of other clubs.

Also be ready in case a lucky break on your home turf falls your way. Be part of the scene and not a stranger in the clubs you want to work. As you can probably guess, I have many stories from comics that were in the right place at the right time – and had the opportunity to prove they were ready to move up. Our five minute comedian friend from NYC would tell you the same thing – if he has any time between television spots and headlining gigs.

Thanks for reading and as always – keep laughing!

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

Shake things up in 2024

Hi Dave – I’m one of those people who will always wonder, “What if?” I’ve fallen behind in my stage fright quotient and will definitely tackle those fears and hit the stage once I get a solid five minutes (of comedy material). I may sink, swim or neither, but it’s time to shake things up. I was just watching what I consider to be the underrated Stardust Memories with one of my favorite lines: “You wanna help mankind? Tell funnier jokes.” Much obliged – P.J.

Hey P.J. – I like your attitude. It’s a new year, which for many people can signal a new change or a new direction in life. Personally I don’t see why changes can’t be made anytime you feel you’re ready and it’s needed, but the New Year’s Countdown and ball dropping in New York’s Times Square can be like a starter’s pistol going off. For some, it’s time to start running in a new direction.

Three, two, one… Happy New Year!

Wait a minute… another year? “What if…?”

How often have you thought that? We’d all like to swim rather than sink, but to do neither sounds like a step backwards to me. So, I’m going to kick-start 2024 with a bit of a challenge:

Let’s shake things up.

Since you’ve read this far AND if you’ve read any past FAQ’s And Answers, I’m assuming you have a sense of humor AND a flair for creativity (and that’s a creative word: flair). You’re either a comedian or a humorous speaker – or both – or aspiring to be one or the other – or both.

How do you stand out from everyone else? What separates you from the pack? Maybe it’s time to shake things up and take a risk.

Taking a risk can mean different things to different people. If you’ve never been on stage for whatever reason (stage fright quotient?) but it’s burning a BIG “What If?” in your brain – do it now. If you’re waiting until the ball drops next year, you risk losing this year. Go to an open-mic, take a class, form a writing group – whatever, there are tons of options. There are also plenty of good books on the market (and not just mine – search around) on how to write, perform and find work in this crazy biz.

Let’s shake things up.

If you’re already on stage doing comedy or speaking and your career is not where you think it should be – make a change. Take a risk. Try something different. It could be different topics, different energy, different venues, or even a different location.

You never know until you try.

One of my favorite stories in my book Comedy FAQs And Answers: How The Stand-Up Biz Really Works is from comedian Christopher Titus.

He described himself early in his career as being the “happy-go-lucky comic.” He was funny, but there was nothing that separated him from any other observational comic.

Then his manager challenged him to take a risk. He suggested he be real on stage.

Titus was one person (happy-go-lucky) on stage, but off stage he had a dark, edgy – risky – style of humor. Accepting the challenge, he wrote a bit about stabbing his boss with a letter opener. It worked BIG time. This change in his comedy voice separated him from the pack, made him an in-demand headliner and star of his own television sitcom, Titus.

Now, I’m not saying to write material about stabbing your boss with a letter opener.

If you look back at the above paragraph, it’s been done. Copying someone else’s material is not going to get you anywhere in this creative business. In fact, it would be a step backwards. And it probably wouldn’t be a good idea to go in a more edgy direction if that is NOT where your true humor is based. Some comics like more family-oriented material or working in the corporate (clean) market.

Click Here for details about How To Be A Working Comic on Udemy – thanks!


All I’m saying… suggesting… (motivating?) … is to make this YOUR year. Accept the challenge and shake things up.

If you’re waiting to start, take that important first step and get on stage. If you’re looking for help in preparing for that first step, are too nervous, or have a full-blown case of stage fright, take a workshop and let someone with experience help you ease your way into it. If you’re already performing, remember the famous line from Stardust Memories (a Woody Allen film if you need to know):

“You wanna help mankind? Tell funnier jokes.”

Have a happy, peaceful, productive, successful, and laugh-filled 2024.

Your Pal – Dave

Thanks for reading and as always – keep laughing!

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How Long Should You Do The Same Material?

Dave – How long can I keep doing my current material and how often do comics usually change their act? Since I plan on doing a lot of clubs locally, I wonder if people will be hearing the same act over and over. – M.

Lots of writing!

Hey M. – Your goal is to get your comedy set really, REALLY good. That means you should be working on improving your material – your act – whenever and wherever you can.

Usually, this means you would be working on the same bits over and over and over….  And I know that sounds boring, especially for creative artists like stand-up comedians. But the idea is to treat your act as a creative work, like writing a novel or painting a masterpiece. You always want to “tweak” it and make it better. Make improvements, change words, add, subtract, etc…

In other words, make it funnier.

BUT I also want to repeat myself (boring?) in saying comedians are creative artists. They are not (and should not be) robots programmed to say the exact same thing show after show after show… If that’s the goal, then become an actor and memorize a script. Most comedians have topics or bits they use in their acts because the material is practiced, and audience tested. They know it “works” and can get a good response during a show they’re being paid to do.

And in case you missed an earlier FAQ And Answer, I’ll repeat a good business tip for you.

Talent bookers pay comics to perform sets that “work.” 

What else can I say?

A talent booker’s business depends on satisfied customers. For newer comedians trying to reach that career goal, becoming working comics, they perform for free at open-mics, lower paying gigs, and anywhere they can get time on stage. Once their material has been audience-tested and gets laughs, that’s what talent bookers will pay for.

For this reason, you shouldn’t try to do a completely new set every time you go on stage. Unless the performance is improvisational, no comic does unless they’re hosting a late night (or daytime) television talk show. But you need to remember television hosts have writing staffs, Teleprompters, and cue cards.

The idea is to learn what material works based on audience reaction. Even if you’re only playing in front of a few people at an open mic, find out what gets a laugh every time and keep it in your act.

As the late Richard Jeni said in my book Comedy FAQs And Answers, you build your act “brick by brick” (laugh by laugh / bit by bit). This is how most comedians create their act.

And most entertainers, not just comedians, have an “act.” If you don’t believe me, go see your favorite arena rock band do a couple shows and try to see what – if anything – is different between the two performances. I doubt there would be much if anything.

When I was managing The Improv, we would have three comedians for each show. Often all three would do their same set every show. They were doing their “act,” which is what they were being paid to do. You must remember the audience is different for each show, so it’s all new to them.

Management and staff might be the same, but that shouldn’t worry you because they’re not listening all the time. They might stop and watch a bit now and then, but don’t worry about them hearing your act over and over. If they’ve been working at the club long enough, they know it’s the nature of the business. And besides, they’re also professionals and are there to work and make money, and not to watch your set.

Tweaking and perfecting your act will keep it interesting for you. Like a novelist and painter, you’re making changes – subtle or huge – toward your finished creation. The idea is to keep improving your act. As a creative artist I doubt you’ll ever consider it “finished,” but when your act is regularly earning laughs it might be time to start contacting talent bookers to get paid for what you’ve created.

Thanks for reading and as always – keep laughing!

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