Category Archives: career

Corporate Comedy: Think big but start small

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Hi Dave – I just joined your email list. I do humor and did my first two stand-up open mics… rough crowd. Someone threw a cup of ice at one of the other comedians. My goal: to get some gigs entertaining at travel conferences. I have a bunch of funny travel stories. Any idea who I approach? A booking agent? I’m new to this, so any thoughts are appreciated. – R.R.

Traveling for work!

Hey R.R. – Only one cup of ice and you call that a rough crowd? Welcome to open mics. No wonder you’re aiming for conferences and corporate gigs. At those, the worst you’ll get is an icy stare if you’re not funny.

Here’s the thing: two open mics is a start, but you’ll need a lot more stage time to develop timing, delivery, and the ability to dodge both ice cubes and awkward silence. That only comes from performing – over and over.

Since you want to specialize in funny travel stories, focus now on two things:

  1. Writing – Create material that you find interesting. If it doesn’t grab you, it won’t grab the audience.
  2. Short sets – Start with five minutes. Think of it like writing a book: one chapter at a time. Use “color” – vivid descriptions – to take the audience on the trip with you. And make it funny.

Once you’ve got that five minutes, try it live:

  • Don’t avoid traditional open-mics, but search out stage opportunities with “real” audiences (and not just other comedians waiting their turns to go on stage).
  • Offer to speak for free at local business groups, networking breakfasts, luncheons, or special interest clubs. These are the “open mics” of the corporate world.

Work for free?

Why free?

Because you’re practicing, and they’re doing you the favor by giving you an audience. Keep it squeaky clean – G-rated – because in the corporate market, that’s the only way in.

When that first five minutes works, write another. Soon you’ll have ten… then fifteen… then a full conference-ready set.

Now – about booking agents.

Don’t call them yet. They need proven, audience-tested acts. You’ll know you’re ready when free gigs turn into paid ones – when people in the audience hand you their card and say, “Are you available for our event?” That’s when you start quoting fees and agents start calling you.

Bottom line:

  • Think big, start small.
  • Write, perform, adjust, repeat.
  • Build a proven act before chasing agents.

When the offers start rolling in, you’ll be ready to ask the magic question:

“Where, when, and how much are you gonna pay me?”

*

Thanks for reading and as always – keep laughing!

For details about September 2025 stand-up comedy workshop at The Cleveland Funny Bone check out this LINK!

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Always good to ask before you audition

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Hey Dave – I have a big audition coming up. I’m not going to have any profanity in my (comedy) set, but I’m thinking of having a cleaner version and another one that is a bit edgier. I’m thinking of asking the panel of judges what type of set they want before I perform. Do you think this is a good idea? Thanks – DS

Hey DS,

What’s the question?

Absolutely! I think it’s a smart move to ask the judges—or any talent booker—about any content or language restrictions before you perform. In fact, I emphasize this in my workshops for a couple of important reasons:

  1. It shows professionalism – Being able to adjust your material based on the audience is key. Talent bookers appreciate that because it’s a sign you understand the business side of things.
  2. It gives you an edge over the competition – As much as I love talking about the supportive nature of the comedy community, let’s face it: not everyone can be hired. To stand out at showcases, you need to tailor your performance to the audience. And yes, comedy is a business, so that’s an important part of it.

For instance, let’s say there are only five spots available for a television show, but plenty of comics auditioning. Sure, being funny is crucial, but assuming everyone is equally funny and knows the right people, the deciding factor often comes down to whether you can adapt your set for the audience.

You wouldn’t perform the same set on The Disney Channel that you would on a Comedy Central Roast, right?

Here’s another example:

Did she really say that?

If you’re auditioning for a cruise ship gig, you wouldn’t walk on stage and start dropping F-bombs or overshare about your personal life. A lot of the onboard comedy shows are family-friendly—early evening performances with kids in the audience—and then later, after the kids are asleep, the adult shows take over. But if you can’t show you can adapt to both audiences, you likely won’t get the gig.

So, how would you know these nuances if you’ve never been on a cruise ship or worked in that environment? That’s where asking beforehand comes in handy.

Of course, if you’ve already found your comedy voice and certain venues aren’t a fit, that’s totally fine! I’m not saying you should always work clean. But if you know your material wouldn’t be acceptable for a specific gig (say, a family show), you’re not only wasting your time, but also taking an opportunity away from another comic who’d be a better fit for that audience.

Another example: when I booked comics for A&E’s An Evening at the Improv, we had specific guidelines for the performances. We’d go over them with the comics before the taping:

  1. Avoid making fun of God or religion – Our highest ratings were in The Bible Belt, and we didn’t want to risk alienating that audience. Plus, higher ratings bring in sponsors, so it’s good business.
  2. No bashing specific products – We couldn’t afford lawsuits, so no dissing a car brand or fast-food chain. Business, once again!
  3. Song parodies were limited – We had a strict 18-second rule to avoid paying song royalties for TV broadcasts.

So, what happened if a comic didn’t follow these rules?

If you watch reruns, you might notice some comics are only on-screen for 4 or 5 minutes instead of the usual 7. Why? They didn’t follow the guidelines, and that gets edited out. It’s an easy fix in the editing room, or even before the performance in the case of live auditions.

When it comes to working clubs, it’s almost always possible to check with the talent booker beforehand to ask if there are any material restrictions. They should be upfront with you because they know their audience best.

The goal for any talent booker is to find performers who can connect with their venue’s audience. This applies to comedy contests too, since the bigger business goal is to turn first-time audience members into repeat customers. And to figure out what works for their audience? You’ve got to ask.

Thanks for reading and as always – keep laughing!

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

Seeking advice for a “stuck” comedy career

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Hi Dave – I’m not so sure stand-up is for me. I think I may be better suited for improv acting such as The Groundlings, Second City, etc… I’ve always been told I’m funny and animated but am not so sure how to focus or direct it. I am interested in the profession / business and think I would enjoy it. However, I feel stuck! How do I know if stand-up is for me? What advice do you have as to getting in touch with my creativity and directing it in the right way / format? Any advice would be very helpful, welcomed and appreciated. Thanks so much. Best – C.H.

Feeling stuck?

Hey C.H. – You’re definitely not alone — a lot of people feel “stuck” when trying to figure out where their creativity fits best, especially in a field like comedy.

The truth is, the only way to really know if stand-up, improv, or anything else is right for you is to try it. Since you mentioned being drawn to improv groups like The Groundlings or Second City, that might be a good starting point. Most reputable improv theaters offer classes, and those classes are designed to help you channel your natural energy, timing, and personality into something structured and performance ready.

Some performers do both stand-up and improv, but most tend to gravitate toward the one that fits their style and personality. Improv is collaborative — working as part of a team. Stand-up is solo, where you’re in full control of the writing and performance. Neither is “better” — it’s about what suits you.

Learn the basics!

Taking a class is an excellent way to experiment without the pressure of an audience or audition. It gives you a safe space to explore, get feedback, and see what feels right. A good coach or instructor will not only teach you the basics but also give you an understanding of the business and help you shape your raw creativity into something focused.

Here’s why that matters:

When I managed the monthly auditions at the NYC Improv, it was a lottery system — anyone could draw a number and get three minutes on stage. No experience required. Some people had prepared and tested their material. Others had never been in front of an audience, had no guidance, and no idea what to expect. And it always showed.

Two examples I’ll never forget:

One woman brought a roll of receipt paper on stage — like the kind you’d find in a cash register — and had written jokes on it. She’d read one into the mic, get no laughs, rip it off, throw it on the stage, and say, “Well, that didn’t work.” Repeat. It was painful to watch — but kind of hilarious in hindsight.

Another guy auditioned with a female mannequin dressed in lingerie. He set it on a stool, never acknowledged it, told a few bad jokes to uncomfortable silence, picked up the mannequin, and walked off into the night. Never saw him again.

Would they have done that if they’d taken a class or had some coaching? Maybe. But more likely, they would’ve had better instincts and more professional judgment.

So, my advice? If you’re interested in comedy — any form of it — and feel unsure where to start, take a class. It can open doors, sharpen your instincts, and help you figure out whether this is the right creative path for you. And even if it’s not, it’s still a fun and valuable experience that gets you unstuck and moving forward.

Thanks for reading and as always – keep laughing!

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

Comedy contests offer stage time

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Hi Dave – I did an open mic and saw the club was hosting another round of their “Best Amateur Comedian” contest. I want to enter, but not sure I’m ready. What’s the deal with comedy contests overall? – L.P.

More stage time!

Hey L.P. – Here’s a big chunk of personal opinion. I like comedy contests in clubs for one simple reason – stage time. Otherwise, I’m not a big fan. Winners are usually decided by audience applause and the person who packs in the most friends (voters) will win. I’ve seen this happen over and over and can’t remember ever seeing the funniest comedian (another chunk of personal opinion) actually win one of these contests. Whoever can coax in the most paying customers will be awarded, “Funniest Comedian.”

Doesn’t seem fair – does it?

Of course, the club owners and management have no problem with this because they make money from paying customers. And you know what? I also have NO PROBLEM with that because it’s show BUSINESS and if the club doesn’t make money, then comedians have one less place to perform. That’s the business part that comedians and performers in general need to understand. So, from that point of view – I’m a BIG fan of comedy contests.

But since you’re a comedian, let’s stick with the comedian’s point of view…

There are other ways to decide contest winners. Similar to the format used on the various television talent shows there might be a panel of judges making the award-winning decision. I’m sure most comedians would deem that more of a fair competition when performing in front of a loaded audience, but then you need to impress the judges. Depending on what they personally enjoy (clean comedy, adult comedy, etc.…) this might compromise your comedy voice and material.

This is also true if you have to play by their rules.

But I still got on stage!

For instance, I’ve seen comedians disqualified from contests because they’ve accidentally dropped the F-Bomb (against the rules) or went 10 seconds over their allotted time – even though the only reason they couldn’t get through their set in the given amount of time was because of audience applause and laugh breaks. But you need to follow their specific contest rules and if you don’t – then you just blew it in front of the judges.

Again – doesn’t seem fair, does it? The losers will tell you that, while the winners will add the award to their resumes.

Here’s the real scoop about comedy contests.

A BIG name, BIG time comedy contest is a BIG deal and will open up BIG opportunities for the BIG winners.

Think BIG – like the winners of the almost-forgotten television show Last Comic Standing or contests associated with a major city or festival like Montreal, Boston, New York or San Francisco. Win one of those and you not only will be seen by many important entertainment industry movers and shakers, but you could even wind up with your own sitcom.

No BS – I’ve seen it happen.

Of course there are always two sides to everything. Some of the best comedians I’ve worked with and respect the most never won a local comedy contest. And you know what? I don’t think any of them really care. They were simply dedicated to being good comedians and losing a contest never stopped them from working toward their goal. They also would never have considered changing who they are on stage or what language they use, and instead develop material that the judges would approve of next time.

That’s not why they got into the biz in the first place.

I’ll also make an assumption and say that during the early days of their careers they might have entered a local contest or two. But I’m sure they only did it for the same reason I’ll tell you to do it – stage time. I remember a few comics at the NYC Improv going to other clubs for contests and not even staying to see who won. That wasn’t important – getting on stage was.

Any time you have an opportunity to get on stage and work on your act, grab it and use it to your advantage. As you should know, improving as a comedian (humorous speaker or performer in general) can only happen through performing experience. And you know what comedy contests offer?

STAGE TIME.

Yeah, they may also offer cash prizes and more stage time, so of course you want to win to reap those benefits. But if you don’t, there’s no reason to sweat it or feel bad.

By the way, that’s why I’m not a big fan of comedy contests. Not everyone starts out in the business with a thick skin. That has to be developed if you ever plan to be serious about a comedy career. Newer comedians might put too much weight behind a comedy contest and feel if they don’t win, they’re not talented. No – it just means you didn’t bring enough friends, didn’t cater to the judge’s sense of humor, or haven’t had enough stage experience. There are no short cuts – sorry.

But you still win because you get stage time. So, contests are good for that reason.

If you win the contest – that’s great! I hope it leads to more stage time. But if you don’t…

Like I’ve mentioned, a lot of top comedians never won a contest and never lost any sleep over it. They took advantage of the experience on stage and used it to become better comedians.

So go ahead – enter. Just know why you’re doing it.

For the experience. Not the trophy.

Thanks for reading and as always – keep laughing!

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

3 Lessons I Learned From a 30-Year Comedy Veteran – Dave Schwensen

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By Siddesh Pai – “I Help Comedians, Humor Keynote Speakers & Entrepreneurs Enhance Their Personal Brand Through Targeted Newsletters | Standup Comedian”

Readers: You can locate Siddesh Pai through the following link on LinkedIn. This is an interview we did earlier this year and I liked it enough to share it. Thanks Siddesh and keep laughing!!

https://www.linkedin.com/in/siddeshpai/

3 Lessons I Learned From a 30-Year Comedy Veteran – Dave Schwensen

Talking comedy

Dave has been working in comedy for three decades. But he wants to make one thing clear: he’s not a stand-up comedian. To me, it felt like a writer who doesn’t read. But that’s exactly what makes him different—he’s spent his career booking, coaching, and writing on the business of comedy. In our conversation, he dropped some serious wisdom on why treating comedy like a business is the key to making it a career.

1) Comedy Can’t Be Taught—But It Can Be Coached

“I don’t believe you can teach comedy. What I think is funny, you might not. My kids certainly don’t think I’m funny.” I can’t tell you the Three Stooges are funny if you don’t find slipping on a banana peel hilarious, there’s nothing he can do to change that. This is where coaching comes in. Every comedian has a different style, a different rhythm, and a different worldview. Dave helps comics refine that—polishing the delivery, cutting the fat from jokes, and shaping a strong act. Because at the end of the day, you can’t teach funny. But you can help someone be funnier.

2) No One Is Going to Hand You Stage Time – You Have to Create It

“You can’t teach timing, you can’t teach delivery, and you sure as hell can’t teach stage presence. You have to get up there and do it.” Most comedians think getting better means hitting open mics over and over. But Dave has a different take – go where the audience actually wants entertainment. Clubs are competitive. You’re performing for other comics, waiting for their turn. But business events, fundraisers, and community groups? They’re desperate for entertainment. Your first gigs might be free, but that’s how you build momentum. One day, you’re performing at a Rotary Club for free. The next, someone offers you $500 to do the same set. Stage time is currency. The more you get, the faster you grow.

3) They Call It Amateur Night, But No One Is Trying to Hire an Amateur

A lot of comedians treat stand-up like a passion project. But the ones who make a career out of it? They treat it like a business. – Networking Matters – Hanging out with comics at open mics isn’t enough. Get to know bookers, producers, and event organizers. These are the people who can actually get you paid work. – Market Yourself – Being funny isn’t enough if no one knows you exist. Build a brand, create content, and stay on people’s radar. Your name should pop up when someone’s looking for a comedian. – Be a Professional – Show up on time. Have a tight five. Be easy to work with. Give people your business card. Make yourself easy to book. The comedians who get booked aren’t just the funniest—they’re the ones who treat it like a business.

Thanks for reading – and keep laughing!

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