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.

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

March 13, 20, 27 and April 3

For details, reviews and to register visit OnlineWorkshops


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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Don’t be a jerk – respect the room!

Hey Dave – I’ve heard some comics think I’m a jerk because of how I run my open-mic room. I try to keep the show on schedule. I like comics being on time and like comics sticking to their time on stage. I’ve had to yell at a few for almost breaking my equipment and throwing stuff at other comics on stage. I’ve put a lot of work into making this successful and would like people to respect the club and the way I run it.

I don’t have to give everyone time on stage and can turn people away if I want to, but I typically don’t. And since no one has said directly to me about how much of a “jerk” I am, it’s apparent that I’m not too big of a jerk to stop them from coming back for stage time.

The way I see it, I’m doing them a favor. And if they want to find their own room and buy their own speakers, microphones, stands and wires, then they can run their room the way they want. Then, when 15 people are ignoring their light to get off stage, they can probably understand my frustrations. – Open-Mic Producer

Stick to your time!

Hey Open-Mic Producer – I LOVE your attitude! AND I think you are absolutely correct in how you’re running your open-mic room.

Comics – at least the ones who someday want to be considered professional working comics – need a lot of on-stage experience. And because they should be thankful someone is giving them this valuable experience, they must respect not only the club, but also any rules that keep it running smoothly.

This is your room Mr. Producer. You started it, you’re the one running it – and you’ve supplied the needed equipment, such as a microphone, mic stand and speakers, to make this a performance space. In other words, YOU are responsible for making it successful enough to continue giving aspiring comedians a place to gain the on-stage experience they need.

The way I feel about it – they can play the game your way or they can play it somewhere else.

Done. Period. No argument from anyone else is needed.

That’s also the way all successful comedy clubs and other performance venues are run by management. I know because I’ve worked for the best in the biz and have firsthand experience.

You break it, you buy it.

I’m sure veteran working comics would have cringed – or laughed in horror – if an aspiring comedian totally disregarded the length of time they’d been given on stage at The Improv in Los Angeles when the late Budd Friedman was running the show. Especially if the signal to get off stage was coming directly from Budd himself, who was responsible for making his club successful. And in the process of ignoring the light, the comic damaged the equipment on stage or threw something at another comic?

Oh, the horror… Oh, the humanity…

Oh, the fact this jerk just blew a chance to ever perform at that club again. It’s not smart and it’s definitely not professional.

That’s how you should run your room – whether it’s an open-mic or an established comedy club. It’s also how comedians should respond to your efforts – as professionals.

I know this sounds more like a lecture than advice and to be honest, it’s both. It’s important for aspiring comedians to know the value of what you’re giving them, even if it’s a bringer show where comics are required to bring a certain number of paying customers to get a performance spot.

Without customers the open mic can’t stay in business. When they’re not in business, aspiring comedians have one less place to gain important stage experience. If you don’t believe me – do the math.

Okay, to go along with the lecture and advice, here’s some inspiration and motivation:

As a comedian running an open mic (and I know the writer of this question fits that category) this is just a temporary situation. At least it should be. You are also putting in the effort to run a successful open mic to get necessary and valuable stage time.

At least you should be.

Whether you are hosting every show or doing a short set, your focus – besides keeping control over everything that makes the club successful, so it continues – is getting better as a comedian. Work on your material and performance every time you get on stage.

The goal is to gain on stage experience and be funny enough to get out of the open-mics and into more established – and paying – clubs.

Yeah, some aspiring comedians might think you’re a jerk when you crack down on them for breaking your rules. But if your efforts, talent, and dedication help your goals become reality, the ones who are still goofing around at open-mics, ignoring the light, throwing stuff at other comics on stage – and gave you crap – will be wondering where they went wrong.

Thanks for reading and as always – keep laughing!

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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 tacky is your sales pitch?

Hey Dave – One of the guys I work with was telling me how he does these after-hours networking events where people from all different businesses hand out business cards to each other and get to know each other and see if they can make a bridge to possibly do business in the future. He told me they have entertainers networking at these events.

I want to go to these things when I get my website up and running and try to get bookings for business events and parties. Any advice on what someone would be looking for to get booked at a company event? Would it be tacky to carry around my promo stuff like my bio and resume with me? Or should I offer to send that to them at a later date? – DB

Foot in the door edge!

Hey DB – Why am I having a hard time thinking of anyone in this crazy business who isn’t tacky at least occasionally? You can put on a suit and be a complete professional to represent yourself, but sometimes you need to have a little “edge” to make your presence known if you want to get ahead.

I’m not talking pushy, but hopefully you get the idea. If not, here’s what I mean…

Good promoting can lead to good sales. There are a lot of salespeople that get business by being total professionals with a good “sales pitch” and promotional material. Then again, there are times when a door is starting to close in their face and they just can’t help it… call it instinct, training, experience or determination… but they just can’t stop themselves from sticking their foot in the door and making one last sales pitch.

Tacky?

Yeah, that term has a way of coming up when talking about certain sales techniques. But if you want the business and have a product (in our case we’re talking about your comedy act or speaker presentation) that deserves to be considered, you have to find ways to let the buyer know. If you don’t, you can bet someone else will.

Okay, first things first. 

What would I be looking for if it was my job to book someone (a comedian or speaker) for a company event? I’ve said this numerous times in past FAQs And Answers, but will use the opportunity for a quick reminder…

When I was booking corporate (business) shows we always looked for G-rated material. 

That’s a BIG resume!

Okay, PG at the max – and that only depended on the type of company and what the boss or event planner requested. But honestly, those were few and far between. Everyone else was too worried about someone – anyone, including the boss and employees – being offended during a company event.

The comedians I used the most knew how to entertain these audiences with their regular topics (the material they were also doing in the comedy clubs) but could keep it squeaky clean for corporate events. In other words, the laughs didn’t depend on dropping an F-Bomb, graphic sex jokes, or bathroom humor. The guy at work who stands around the coffee machine telling jokes and the company prude could both be entertained at the same time.

Can you do that? 

If you want to be a player in the corporate comedy or speaking biz, it’s a requirement. That’s the first concern and there’s no getting around it.

Now that we’ve made this perfectly clear, I’ll stick my foot in the door and continue the conversation…

The after-hours business card meetings sound very promising. Your goal is to connect with any event planners and people from the Human Resource Departments. From experience, other than the boss, these are the people that are usually in charge of the company events, or at least have some say in how it will all work. Of course, anyone can put in a recommendation if they have an event or party coming up, so don’t be tacky and avoid anyone who might not appear to be important enough to give you a job. They might just be the break room jokester or office prude the CEO is concerned with keeping entertained and not offended.

Is it tacky to carry your promo material with you in this type of situation?

Yes, I think so.

But here’s the deal, all your promotional material should be online anyway. Do you have a dedicated website? If not – you should.

That’s one way to make it clear you’re a professional. Sending a business client to your Facebook page to find your promotional video between photos of that day’s lunch and your cat is not going to result in too many paid gigs– if any at all.

I recommend you always be prepared to make a sales pitch if the opportunity arises. That’s why every professional still carries business cards that will direct a potential client to your website. You never know when or where you’ll make your next valuable connection.

But again, being professional is the key. And it’s different in the business world than in the entertainment business world – and I’ll give you an example.

When I was at The Improv in New York and Hollywood, there were always a lot of showcases (auditions) for television shows. And not just for shows that used standup comedians. Quite often there was casting for sitcoms or movies and with these types of showcases, if the casting person was looking for a certain “type,” all the auditioning performers would be scheduled because they fit that “type.”

For example, you might have ten comedians auditioning for a specific role. If they were looking for a male – there would be ten men auditioning. Female – ten women. The showcase would be booked around the casting call for a specific type.

But not every comic that fit the desired type could be on the showcase.

There would be only X number of spots to be seen over X amount of time. So usually there were lots of comedians that didn’t get the opportunity to audition. But quite often the professional comedians in NYC and LA had their promotional material with them – or close enough (in their car) so they could have it within a matter of minutes if there would be a chance to network. And a lot of times if they weren’t on a showcase but thought they should’ve been given the opportunity, they’d hang around the club until the casting person was leaving and ask if they would accept it as a submission.

What’s the worst that can happen? Being told NO? You’ve already been told that when you weren’t asked to be part of the showcase.

So, is it as tacky as a salesman sticking his foot in a closing door? Yeah, but like a final sales pitch for a good product, sometimes it works.

The idea is not to waste an opportunity.

But remember, the business you’re talking about networking for – bookings in the corporate market – is different than the entertainment business I was just talking about. It would definitely be tacky to carry around full promotional packages at one of these business card-trading events.

Most promotion today is done online.

So, the bottom line to giving yourself the “edge” without coming off as “tacky” is to always be prepared to network and promote. Today that means keeping your dedicated website updated and don’t forget your business cards.

That’s the simplest business tool for networking and promoting – and makes the effort a lot easier than carrying around “old fashioned” promotional packages that no one else will want to carry around after you hand it to them.

And the best part about networking with only business cards? There’s nothing tacky about it. In fact, in this business it’s expected.

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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Using a stage name – can you live with it?

Hello Dave – I am very proud of my name, but for as long as I can remember people have never been able to say it. I’m starting to wonder if I should go with a stage name. Even if you are against them, how do you go about using a stage name? How do you manage introducing yourself and, in the future, how do you handle payment when you go by a stage name? Thanks – K

Hey K. – The question you need to ask about using a stage name is if you can live with it. And if you happen to become successful – can you live with it for a looong time?

It might be cool now, but what if you get tired of it later? If you’re just starting your career and still learning who you are on stage, what if that name doesn’t fit anymore? For an extreme example, using the name Goofy (sorry Disney fans) might get some laughs at an open mic, but somehow I don’t see it enhancing the career of a corporate comedian.

I could be wrong, which is not unheard of. Then again, it’s something to think about.

Let’s put it another way. If you’re just starting out in your career, you might be wearing jeans and a t-shirt on stage. But as you progress, maybe you grow into wearing a suit and tie. I’ve seen it happen. But if all your promo material (photos and videos) shows you in jeans – then you’ll have to update everything.

But one thing that is more difficult to change is name recognition. If all your contacts and clients know you by name, then changing your name means you need to introduce yourself all over again. It’s like starting from scratch.

So if you’re considering a stage name, be sure you can live with it for a looong time.

This topic has come up in my books How To Be A Working Comic and Comedy FAQs And Answers. In the first one, Scott Thompson told me there was already a comic actor with that name. Since Scott was a marketing major in college, he was educated enough to know he needed something that was different and “marketable.”

So he went with Carrot Top. To quote him from the book:

“The first time someone across campus yelled, ‘Hey, Carrot Top!’ I thought, ‘Oh Lord, do I really wanna do this to myself?’ But now it’s second nature.”

The second book example comes from the comedian Earthquake:

“Earthquake was a childhood name. My real name is Nathaniel Stroman. And when you play for an urban audience, it just don’t roll off the tongue. You know, ‘Give it up for Nathaniel Stroman!’ ‘Boo, *#@#*! Boo!!’ That’s right off your name! So I had to get something that would give me a fighting chance.”

A stage name is totally a personal decision.

If you already have a nickname or come up with something memorable, give it a shot. But keep in mind if you start finding success under that name, it’s very tough to change. Just ask John Cougar Mellencamp.

Introducing yourself is another matter.

You can choose to have an entertainment persona and a personal life. There are some very famous celebrities who do just that. The former drummer of The Beatles is known throughout the world as Ringo Starr. But his family and friends call him “Ritchie” since his real (and legal) name is Richard Starkey. To the best of my knowledge, his appearances, promotions and autographs are by “Ringo Starr” and for contracts and payments it’s for “Richard Starkey.”

So in your comedy career, you should promote yourself as your stage name and handle all business as your legal name. When it comes to your personal life, do what you wish.

In the comedy biz I’ve seen more stage names than you might think. And usually I’ve had no idea the performer was using a stage name until their real name was on a contract.


 


So if you don’t change your name legally, you’ll eventually end up using both. It can be confusing sometimes, but for promotional purposes everything is done using your stage name. For legalities it’s your real name.

BUT before I go into this more, it’s important for me to make it clear I’m not a lawyer and this is not legal advice. I’m just passing it along based on my past experiences. So before you even think about following the following, make a smart move and talk with a real lawyer.

Years ago when I was managing comedians and speakers, I asked a lawyer and a banker about performers using a stage name. I thought they would be the two most important people to ask if the talent wanted to get paid – and pay me a commission.

The advice was to have a bank account in your legal (real) name. If a talent booker writes you a check using your stage name, you sign the back with your stage name. Then underneath, you sign your real name.

It’s a double endorsed check, which is legal and can be deposited in your legal name bank account.

But if you’re looking at direct bank deposits (rare in the performing biz since most bookers and event planners pay with checks, cash or through an online service like PayPal), then you’ll have to use your stage name for all appearances and promotions, and your legal name on all contracts and other business paperwork.

Using two names has been done a lot before and will continue. You just need to be very clear about everything for contracts, tax forms, and all the other important legal stuff.


 

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Many performers have chosen not to change their hard-to-pronounce names, have become famous, and people learn to say their names correctly because they hear it so often. Arnold Schwarzenegger is an example. I saw him interviewed on television once and he said his goal was to become so famous that Americans would have to learn how to pronounce it.

At first his mispronounced name was a punch line for every late night television and radio host. But eventually, everyone knew it and could say it. Guess his plan worked – all the way to blockbuster movies and the California Governor’s Mansion.

Another consideration for a name change should include any future showbiz career goals. If you ever get into acting or voiceovers, the Screen Actors Guild (SAG) and the American Federation of Television and Radio Actors (AFTRA) – merged since 2012 as “SAG-AFTRA” – only allow ONE name in their membership. So, if you choose something simple like “Goofy” and someone else is already registered by that name in the union, you’ll have to pick something else.

That’s true also if you’re using your legal name.

So my advice is to make the change only if you think it’s really necessary and will further your career. But be sure you can live with it. The only one I can think of who “took it back” after he became famous was John Cougar… uh, I mean John Mellencamp.

More advice?

My last name has been mispronounced every way possible. So when I have a speaking gig, I give the person introducing me a printed introduction (in a larger font than what you’re reading here). On it I have my name spelled out phonetically as “Sch-wen-sen.” That way they can usually say it correctly. Since you mentioned being very proud of your name, I would suggest trying that for a while before making the huge commitment of changing it.

If you still decide to go with a stage name, keep in mind there’s already a Carrot Top and Earthquake in the acting unions. You’ll have to come up with something original and one you can live with – maybe forever.

Thanks for reading and as always – keep laughing!

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Living in a “relatively” small comedy town

Hi Dave – How do you possibly adjust your comedy act or speaking focus on abstract concepts of humor, when you are in a relatively small town that has a large amount of pressure on people to not stand out, nor to think things that are upsetting to persons with high social titles? – Regards, Ric

Where is everyone?

Hey Ric – I have all kinds of thoughts going through my mind based on this question. You say “relatively” small town – but it sounds “very” small to me. Different areas regardless of size have unique lifestyles and tastes that sometimes don’t mesh with others. I’m not knocking it – I’m just pointing out what I’ve learned from my own relocations and working with various entertainers.

For example, we used to talk about New York comedians vs. Los Angeles comedians. There were obvious differences that might include topics, language, attitudes, and stage presentation. And when I started working in the Midwest, I learned what might “fly” on the east or west coasts sometimes didn’t get off the ground with the local audiences.

Everyone knows I’m a name-dropper in my workshops and books (with the performer’s permission), but not in these articles. But I’ll say here I was quite shocked when four headliners (three appear in my books) that had packed east and west coast clubs appeared in front of half-filled audiences at clubs in Cleveland. It didn’t mean they weren’t funny because all four went on to become major comedy stars.

But at that time the focus of their material didn’t appeal as much to audiences in this area.

Don’t say that!

There are all kinds of reasons for this. Some areas are more open to diverse lifestyles and ideals than others. Again, I’m not knocking it – I’m just pointing it out. When I booked comedians for the television show A&E’s An Evening at the Improv, I told them our biggest demographic (audience) was in The Bible Belt. So don’t go on stage and make fun of God or religion because that segment of their set would be edited out.

That “rule” wasn’t true for comedians performing in New York or Los Angeles.

Those cities had more diverse audiences than those tuned into The Arts & Entertainment Network. And I could give other examples of audience demographics concerning various markets such as colleges, corporate, and cruise ships, but that’s not addressing your question. It’s just making a point.

A hot topic in the entertainment world is how to address today’s political, social, and yes, humor climates. But I don’t see it as anything new. If you look back at the history of comedy – from monologuists, through Vaudeville and silent movies – you’ll find some audiences had laughed loud and hard, while others were outraged and called for censorship over what was meant to be “entertainment.”

Sort of like the banning of books that is happening today.

Some people are offended by the written words, while others will recommend “those” people just don’t read “those books”, but don’t stop others that want to. Like a television show you might find offensive – just turn the channel. But when you go into someone’s home (area) they have the right to make the decisions what books, shows or comedy are welcome. There’s no point in arguing – they’re the boss of their own domain (same as you).

It sounds to me like a similar situation to what you’re dealing with. You’re the minority in a “relatively” small town that might not accept your abstract concepts of humor.

My advice is to find an audience that does.

Professional comedians and speakers travel. That’s part of the gig and if you want to be successful, you’ll need to get used to it. You can’t play in front of the same audience over and over. They’ll tire of you, and you’ll tire of seeing the same faces as you try to grow as a creative artist.

Where else can you go? Is there a town nearby that is not so “relatively” small? How close is the nearest city with a diverse comedy scene? Your goal should be stage time and you might need to travel to find it.

I know from working with many aspiring performers that day jobs, families, school, and other responsibilities might have kept them from pursuing their desired careers. But you know what? That’s true with just about every comedian I’ve worked with that has “made it.” What is the closest “not” small town within driving distance that has open-mics or other venues to perform? You might need to sacrifice some of your personal life right now to travel, but it could be an investment in your future.

As I’ve been known to say in my workshops: You might have to skip finding out who gets the final rose or Mirror Ball Trophy (TV shows for the non-viewers) for a long drive to do three minutes at an open mic. If you don’t, keep in mind someone else will.

I have examples of this in both my books, How To Be A Working Comic and Comedy FAQs And Answers. You’ll need to read them to find out the names I’ve dropped, but here are the lessons…

One comedian realized the travel requirement needed to develop a quality set. He cold called every comedy club he could find until someone took a chance on hiring him as an opening act. It was a long drive; the pay was minimal, and he ended up sleeping in his car. Sounds tough, I know but many comedians have similar stories. In this case, that week’s headliner recognized his desire and talent, and asked if he would like to open his next week of shows. It required another long drive, but he was dedicated to giving comedy his best shot.

He ended up being “on the road” for over three months. But when he returned, he was ready to do it all again – only this time with the experience and credits to book better (and higher paying) gigs.

Another comedian worked her way up to being a solid opening act in her area (a bigger city). But the talent bookers kept her pigeonholed in the opening slot and wouldn’t consider bumping her up to feature. So, the answer was to find another audience.

She moved to a different city, and it happened. She also had to follow the same scenario to become a headliner – which she did. The funny part (think comedy) was when she returned to her hometown as a known headliner, but her original bookers still wanted her to open shows.

She wasn’t about to let that happen – and didn’t. She took a chance and found other areas to perform.

Even though I don’t know your situation as far as access to larger and more diverse audiences, all I can tell you is to follow the experienced advice from many working comics. Look beyond your area. It’s a large world out there with a lot of people looking to be entertained. If you want it bad enough, you’ll find a way to get there.

Thanks for reading and as always – keep laughing!

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Don’t waste a golden opportunity to be “seen”

Dave – I have a question for you. I know who makes all the booking decisions for a club I want to play. It’s local, but I’ve never met him so can’t say I know him personally. I wanted to see if you had any suggestions on how to go about getting a guest set there. I had another comedian friend who already plays this club email the booker a clip of me from another club. How should I follow up on this? Just wanted your take. Thanks – JW

He’s the guy!

Hey JW – I hope you read last week’s article about getting a Golden Ticket. If not, scroll down because you might have one. Most of these FAQs And Answers are about the business side of the business. Yes, you must have talent both as a writer and performer with on stage experience before you’ll really need to concentrate on the business.

But once you’re ready, you’ll need to think about promoting your career.

A big part of promoting is networking. And as I’m sure you’ve heard (because I don’t make this stuff up) sometimes it’s “who you know.”

It’s great you’ve already had someone that works for the club put in a good word for you. Performers need to protect their own reputations in this competitive business, and I highly doubt someone else would recommend you to an important talent booker if he/she didn’t believe you were “ready.” To repeat what I said last week, a good recommendation from a comedian or speaker already working for a talent booker or event planner YOU want to work for is like having a Golden Ticket.

It’s not a guarantee you’ll be seen (given an audition or showcase), but your chances are better than making a cold call or sending blind emails.

So… you have the referral – correct? How should you follow up on this and make it really work for you?

Here’s a suggestion:

Booking Local

According to your email, you live in the city where this club and the talent booker are located. And since your referral (Golden Ticket) performs at this club, she/he either lives in the area or is working there on a somewhat regular basis.

BUT the referring comedian EMAILED your clip to the talent booker!

Okay… that’s better than nothing. But when an opportunity arises, you sometimes must kick it up a notch. As I’ve said, this is a competitive business.

Most of the talent bookers I know are busy people. They’re booking not only clubs, but also colleges, corporate shows, cruise ships and other events. The ones that work solely for the independent clubs are usually also the club managers and in charge of the staff, kitchen, box office, running the shows and a lot of other “stuff.” So sometimes watching unsolicited videos (cold calls, blind emails, etc.) is not a priority.

I’m not saying they don’t watch, but it can take longer to be seen than you’re probably hoping for. It can be easier and more time efficient for them to book the performers they’ve already been working with and know they can rely on.

BUT I also know from being there if a comic or speaker the booker is already working with (and respects) pops by to say hello, they won’t scream for them to, “Get out!

Okay, maybe some will, but every business has its share of (insert your own derogatory adjective). Usually, they’ll take at least a few minutes to make small talk or trade a few friendly insults (again, experienced from being there).

So, here’s where you need to step up your networking game…

You, the club, the talent booker and (at least on occasion) your Golden Ticket contacts are all in the same city at the same time. BUT again, your contact EMAILED the booker a clip of you performing! The best scenario is to have your contact provide you a SOLID Golden Ticket (I just made that up by the way, not bad…).

That’s another name for a personal introduction.

Yeah, I know… Some of my friends that are talent bookers read these articles and are not shy about emailing me their thoughts. I’m already thinking of a few that will say, “You’re crazy! You can’t have comics stopping by. We’re too busy!

True, but again from being there I’ve seen it happen – and I’ve seen it work.

A headlining comedian will bring in a friend and ask if they can do a short, five-minute showcase before his set. If it’s not a big weekend night – Friday or Saturday – it’s always a good possibility. Also coming by the club early with your Golden Ticket for an introduction and to meet personally can make a difference in how fast your video will be watched or showcase scheduled.

Again, there are no guarantees. But you never know unless you try. And a personal touch is always better than a cold call or blind email.


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In fact,…

Just a few minutes ago – as I’m writing this – I received an email from a comedian who wants me to hire him. Everyone who reads these articles know I’m all about promoting and getting your name out there, so emailing is not bad. After all, no one is going to find you unless you know how to promote yourself. I’m a big believer in networking, but also a big believer in doing it correctly and finding an edge over the competition.

The email I received from this comedian didn’t offer any type of personality. Like when I talk about using a hook in your promotional material and all that other useful and proven promotional advice I’ve shared. Again, I don’t make this stuff up – it works for advertising companies, publicists, and working comedians and speakers.

I have yet to meet a successful publicist that didn’t include a healthy dose of personality in their promotional campaigns.

Anyway, this comedian just sent me his credits with a list of websites, Facebook, and online video links. Also, one sentence that says he’s available for bookings. There’s nothing else. There was no personal touch (or personality) and therefore – no edge over any other email looking for the same results.

So, let me see… the email didn’t come from anyone I know, so there’s NO chance I’ll open any of the links. It also didn’t come off as professional (think short cover letter), interesting or unique. And here’s something else that will back up what I’ve mentioned above about busy talent bookers:

It’s the third email I’ve received this week from a comedian looking for work and I’m not even booking anything! Can you imagine how many emails are sent to active talent bookers every day?

That’s why a “delete” key is so important.

Most bookers use it more often than you’d like to know. So, when you are in the same city as the club, the talent booker, and your Golden Ticket contact, you need to take advantage of that edge over the competition. Pick up the Golden Ticket at his/her hotel or pay for the cab or Uber, buy lunch, dinner – whatever – and ask for a personal introduction to the talent booker. If the referring comedian is truly a fan and agrees, ask if she/he can also help you score a guest set.

Again, I’ve seen it happen.

I remember a then-new comedian (very well-known today) making his first visit to the Los Angeles Improv (I was there). He was introduced to us by another comic (that worked for us) as one of the “funniest guys in New York.” Before he was even done shaking hands, he was offered three minutes on stage that night to “prove” he was so funny.

He was ready, he did – and was on our regular roster from that night on.

Again, this is a competitive business. If you can find an edge – a Golden Ticket – don’t be afraid to use it. As some of my talent booker friends will tell you (and hopefully they’ll be nice to me in the emails I’ll probably receive) it’s easier and more accurate to watch a live showcase than wade through a long list of online videos. It’s also the best way for a performer to be seen – in person – which is the best way to get hired.

Thanks for reading and as always – keep laughing!

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