Networking for stage time

Hey Dave – Love your posts. I have a question that you may be able to share and help me with. I am at an Emcee status. I have worked a few shows with some other good comics and they (believe it or not) are helping me out. My question is I live not far from NYC and Philadelphia. How can I get hooked up with someone that can get me some MC gigs? I look online but it seems like you really have to jump through hoops. The bringer shows are a waste of time because they love you until you can’t bring people in.

I produced a show in my area, and it went GREAT! I had 2 comedians from NYC. Any advice… I know I threw a lot at you but maybe you could give me some feedback. Thanks – PD

Who do you know?

Hey PD – First of all talent, good (funny) material and stage experience are requirements. Since you’re getting on stage, I’m guessing you already know that.

And just about everyone reading this knows what you mean about bringer shows. If not, it means you have to bring x-amount of paying customers to the club if you want to perform. If they require ten people and you only show up with five – chances are you not going on stage that night. But since you made that more of a statement than a question…

When you’re ready to move into new territory – in your case New York City – it’s a lot easier when you know someone already working there. In other words:

Connections.

And it always helps when your connections also have connections and you can all help each other get stage time.

SO, what we’re really talking about here is networking.

This is not the first time (there have been plenty!) we’ve hit on this topic, but that wouldn’t be the case if it weren’t important. Networking is also covered in a lot business (other than the comedy or speaking biz) training seminars. That’s how a lot of companies stay in business. They network to gain new customers.

Comedians and speakers should also network to get bookings.

For example, I did a training seminar at a big conference. They must have liked what I did because they asked me to recommend a speaker for their next event. I gave them the name of a good friend I knew would be great for the gig, and then called her and said to get in touch with the event planner.

She got the booking AND for more money than they had paid me! Fast forward in the networking process…

A few months ago, she recommended me to one of her past clients. They called – we booked it – and they paid me more money than what they had paid her. It’s called pay back.

It’s also called networking and it works.

Let’s get back to your goal of getting on stage in NYC. You have the first step in place…

You’ve already produced a “GREAT” show and brought in two comics from NYC. I’m assuming you paid them (always a great incentive to get comics to leave NYC), which means you have two connections.

  • Did you do much talking (networking) before, during and after the gig?
  • Did they (be honest) like your set?
  • Did you mention you’re interested in performing in NYC?
  • Did they offer any help?
  • Did you offer to bring them back for another (paid) gig?
  • After that – did they offer any help?
  • Did you ask for any help in getting on stage in NYC?

In other words, did they have any connections for you? In the quest for stage time, helping someone else can (if deserved) result in a pay back.

Here’s another example…

I got into the comedy biz because I wanted to be a stand-up. I guess that’s how most of us fall into this. And like some of my friends, I wound up behind the scenes. But that’s a different story….


 

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I knew the importance of stage time. I was living in NYC, but it was tough to find. Yeah, there were lots of open-mics and some of them were bringer shows, but there were also lots of other comedians working hard for those performing slots. You had to arrive early to sign up and then usually wait hours to get five minutes on stage.

Usually other comedians ran these open-mics and if their friends showed up, they would get favored treatment. Unfair? Yeah, that’s what the rest of us that didn’t get “favored treatment” would insinuate behind their backs. It could be very wearing on the nerves watching certain “favorites” go on stage while sometimes I wouldn’t get on until almost 4 am. Other times not at all.

To get around this problem, I started my own open-mic club.

And to be honest, it was very successful. We always had a full audience, no bringer policy, and it became a popular weekend stage for the open-mic comics and some working comics at that time. Included in this group were a lot of the comedians who were also running open-mics around Manhattan.

Are you following me so far?

SO, I started networking with these connections.

If a comedian who ran another open-mic wanted stage time I’d give it to him or her – no problem. AND in turn, if I wanted to go up at their open-mic – no problem. They would return the favor.

* I didn’t invent this. I just saw through experience how it worked and played the connections game.

SO, back to you PD…

If you’re producing a successful show with NYC comics, then you need to start networking and ask for their help in getting you on stage in NYC. Obtaining a name, phone number, email, or in-person introduction to a person booking the shows should be your goal and the least they can do.

If not – book two different NYC comedians next time.

Believe me, there are plenty who would appreciate the opportunity. A personal connection beats the heck out of cold calling, blind emails, countless postings on Facebook or LinkedIn, or arriving early to sign up and hope they find time before the end of the show for your five minutes.

But first of all, you need talent, funny material and experience.

If you can’t deliver the goods – NEVER ask someone to put their reputation on the line for you just because you gave them a gig. That’s one way to short-circuit your potential reputation and have possible connections avoid you at all costs. If you don’t believe me, scroll down to my article from a few weeks ago about being a “pain” when it comes to getting referrals.

Be serious and honest with yourself. If you can back up your act or presentation with those requirements, then start to pay it forward. Help someone else find stage time and hopefully they’ll return the favor.

And for anyone who thinks this is just a topic for a business-training seminar, you’re correct. It is. In fact, successful business people call it good business sense.

Now I’ll sign off before I use the word business again. It sounds too cold and calculated and you really shouldn’t be that way – correct? Well, not unless you want to get your comedy or speaking business going with more stage time.

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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