Category Archives: showcase

Promotional video needs an audience

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Dave – Does the promotional video have to be in front of a live audience? Most open-mics are restricted to 5 minutes and my bits are longer. Also, many open-mics are poor venues to make quality video. – ET

A live audience member

Hey ET – If you’re promoting for a live performance gig you need to show the talent booker what you can do in front of a live audience. Maybe if you’re sending in your “reel” for an acting gig – commercials, TV or film – I doubt it would matter. Then again, since we’re dealing with comedians and humorous speakers and not actors (well, not necessarily) the answers to your questions – in order – are:

  • Yes
  • Tough
  • Figure out another option

Okay, I know the last two sound kind of harsh, but I’ll explain my reasoning in a moment. But for right now I’ll fall back on a standard reasoning that this is a business. Yes, it is a creative business that survives on talent and continues by discovering new talent that is different, innovative and sometimes not afraid to push down a few established barriers. But when it comes to the business of promoting, there are some established thoughts I don’t think are going to change anytime in the near future.

One is submitting a promo video filmed in front of a live audience.

When you want to be considered for a performance gig – you need to show the talent booker a performance in front of an audience. They want to see how you work on stage and an audience reaction before they’ll take a chance on you. There’s no other way outside of a live showcase to do that.

Think of it like test-driving a new car. A buyer wants to know how it runs on the highway, rather than just taking the seller’s word on it. It’s the same thing with live performers. A good talent booker wants to know what he’s buying before putting the comic (or speaker, or musician…) on stage in front of a “live” audience. If the audience enjoys the show they might come back for another (clubs like returning customers), but if it’s a bomb they might just go to a movie or another club next time.

You need one of these!

It’s pretty much impossible to get an accurate feel for a comedian or speaker without an audience. I’m sure most comics know what I’m talking about from doing open mics in front of only two or three people. They’ve learned that you still need to perform for them.

I remember getting videos for A&E’s An Evening at the Improv from aspiring comedians that were filmed in their living rooms, basements, and bedrooms, and even outside. No audience – just them in front of a camera. Honestly, they were laughable because they came off as amateurs that really had no performing experience (an experienced comic would know better). And as I’ve been known to say…

They may call it amateur night, but no one wants to hire (pay for) an amateur.

So don’t even consider sending a promo video for a performance gig that was not filmed in front of an audience. The talent booker will be wondering why you couldn’t get on stage anywhere and had to do it this way.

Now as far as a time limit of say… five minutes. Again, it’s the business.

Talent bookers get a LOT of video submissions and simply don’t have the time to watch a string of comics doing… well, a LOT of time. Usually most of them know within the first 30 seconds if the comedian has the experience and material to maybe be hired. It’ll show right away.

Most bookers also know how to fast forward and stop at random places to see if the comic is getting laughs from an audience. I’ve sat and watched promo videos with more than a few very influential talent bookers in NYC and LA and have seen this happen.

So, whatever the length of the video, it should be your best and filmed in front of a live audience.

But saying five minutes is not enough time for your long bits could hurt you BIG TIME when you’re just starting out. An important part of the comedy club business is keeping comics “within their time.”

Headliners – the acts audiences are paying to see – have the most flexibility when it comes to time. I’ve seen many do an hour or more if there’s only one show that night and the audience is really having fun. But the opener and feature need to “stick to their time” so the headliner doesn’t go on too late in the show or in front of a burned-out audience.

Sometimes an opener can be given 15 minutes. But other nights, especially when there are two or three shows and maybe a guest set thrown in, the manager might tell the opener to do 5 minutes or less.

Can you do that?

If the manager says, “Do five minutes” and you go over your time because your bits are too long, chances are you won’t work that club again. I also remember a former member of my workshop calling me to say he’d had his best set ever during a contest at The Improv but was disqualified. Why? Because comics were given five minutes – and he had done five minutes and TEN seconds.

I’m not kidding. Again – it’s the business.

So if most open-mics only give you five minutes and your bits are longer, then you need to find other clubs that will give you more stage time. You don’t want to break their rules if you want to be invited back.

And again, time limits are important to remember if you want to get hired in most clubs. If you can’t stick to five minutes and that’s what they’re looking for, then turn down the gig. It won’t work in your favor.

Not every open-mic is a poor venue to make a quality video (your comment above) and if these are the only places you’re performing, it’s probably time to expand your horizons if you want to start getting paid work. Actually some of the more popular open-mics I’ve seen in various cities would be cool settings for a promo video. They may not have “FUNNY BONE” or another club logo on the back wall, but a stage, microphone and spotlight, and an attentive audience will usually do the trick.

The deal is that you want a real audience to make a decent promo video. A room full of open-mic comics who’ve probably heard your set a dozen times and are trying to figure out what they’re going to do on stage when you’re finished won’t be your best audience.

So this is where you figure out another option.

When you’re going to do a promotional video – promote the gig. Seriously. Invite friends, family, co-workers and anyone else you can get in the club. I’ve seen comics in NYC standing on the sidewalk handing out flyers not because it was a bringer show, but because they wanted an audience for their promo video.

Another option is to get a few other comics involved that also want new promo videos. Again, I learned this trick in NYC. Five or six comics would plan to do their videos on the same night and PACK the club with just about everyone they knew.

Once the scene was set – all they had to do was be funny (not an option – ha!) and film it.

At the end of the night they had new promo videos filmed in front of a “live” audience that (from what I remember) got them work from talent bookers. Then when they were booked in better clubs, they got better videos – and the cycle continues for anyone who wants to be a working comic.

Thanks for reading and as always – keep laughing!!

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Doing Face Time In Comedy Clubs For Bookings

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Hey Dave – Isn’t “face-time” (not the kind associated with online networking) one of the most important parts of getting work hosting in comedy clubs? What I mean is, doesn’t it make a big difference in someone’s chances of being MC for a weekend (or more) when they frequent the club, chat up the staff and tip well, and demonstrate a willingness to do grunt work? I think that is universal. Didn’t you have a story about the guy who showed up outside a club and swept the sidewalk every day until they hired him inside and he then moved up the ranks? – DM

Make it a clean sweep!

Hey DM – This is not an easy question because there are a lot of buts, maybes and depends that will go into any answer – from anyone. I know from experience there are some comics and club owners who will agree with what I’m going to say, and others who will grab a broom and tell me to get out of the way.

But you know what? This is showbiz, which is an industry full of gimmicks. If you don’t believe me turn on the TV and the highest rated reality shows. You may not want to hang out in real life with bachelors, housewives and Kaitlin Jenner’s ex-family, but you have to admit they know how to bring attention to themselves.

So keeping that in mind, it’s not a bad idea to call attention to yourself by being seen around the clubs you want to play. To break into your local comedy scene you need to have the local talent bookers know who you are and that you’re a comic.

The goal is to score an audition.

I’ve never heard of the guy who swept the sidewalk outside a club everyday and was rewarded with a paid MC (hosting) gig.  It’s not a bad way to call attention to yourself, but if you really do end up with an audition it will only pay off if you have the talent and experience to back it up. Otherwise the only winner will be the club owner with a clean sidewalk.

My first thought is that the time could be better spent getting stage experience somewhere else.

Hanging out for stage time

Earn a reputation as a good comic and then do some networking. It’s a lot easier to score a showcase when you have a track record and recommendations from other comics and bookers who’ve seen you on stage. When you have that going for you, there’s no need to bring a broom to the club.

Showbiz has always been about being different and standing out from the crowd. If you have the experience and truly believe you’re ready to play the club and sweeping the sidewalk gets you noticed by the booker, who am I to put it down?

That’s why a lot of new comics are willing to hand out flyers for stage time or line up friends and family for bringer shows. Sometimes you must go the extra mile to get ahead in this crazy biz.

But your real question is about “face time.” That was always (and still is) a major networking opportunity and how a lot of newer comedians got on stage when I worked in New York City and Los Angeles. But I have to emphasize they were already experienced comics and not someone who only thought keeping the sidewalk clean would be their best career move.

When comics were experienced and funny enough to start performing at a club like The Improv they still had to pass the audition. Working the door, bartending, or even sweeping the sidewalk could open the door, but didn’t guarantee future paid gigs.

You had to prove – on stage – you could do it.

Even after someone passed the audition, there was no guarantee they’d get regular performing spots. They were on the club roster, which meant they were welcome to come in and “hang out at the bar” as a comic. Now if they wanted to sweep the sidewalk instead of sitting around – yeah, they’ll be noticed over the others. But if they hadn’t passed their audition, then chances are they’d still be sweeping when the show is ending.

But face time does count. For example…

During a weeknight at The New York Improv we would schedule enough comedians to get us through until around midnight. If there was still an audience at that time (in NYC we could keep the shows going until 4 am as long as we had people in the showroom) then we would look around to see what comics were “hanging out.” They would make up the rest of the show until either the audience left or we hit last call.

That was doing face time and we already knew they were comedians.

If they wanted to grab a broom and sweep up… well, thanks. But that alone would not have earned a performance slot. Were they on the roster? If not, was there another comic who was a regular performer at the club recommending they be given an audition? That’s the only way they were going to get on stage that night.

Now I already know some comics and club owners will disagree and have examples to prove me wrong. I even have a story in one of my books from a favorite club owner who might trade performing spots for work around the club. So I’m not saying it won’t work, I’m just saying…

A great way to kill a show is by putting on someone – anyone – who doesn’t have experience and isn’t funny. That’s why there are open mics and why established comedy clubs have auditions and already know who the comics are. Gimmicks like sweeping the sidewalk might get an audition, but the time could be better spent getting known as a good comedian – even if you have to perform somewhere else to make it happen. If you come in ready to knock everyone out with your talent, then you can get quality face time with the other comics “hanging out” instead of doing grunt work.

Thanks for reading and as always – keep laughing!!

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

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

Make sense? I’ll try my best…

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

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

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

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

Know what I mean?

Get on stage!

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

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

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

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

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

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

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

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

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

Then ask:

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

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

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

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

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

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

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

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

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

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

Thanks for reading and as always – keep laughing!!

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Why Do Talent Bookers Organize Showcases?

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Hey Dave – You’ve talked about showcasing in the last few newsletters. What’s the motivation for a talent booker to organize these showcases? What’s the benefit to the booker and the club? — MB

Hey MB – The simple answer is this: showcases exist to find talent.

Whether it’s a comedy club talent booker, casting director, television producer, event planner, or speaker bureau, they all have the same goal – to see performers in action before hiring them.

Yes, they watch videos. Everyone does.

But if you’re in a major entertainment market like Los Angeles or New York, there are far more opportunities to watch performers live. And live tells you things that a video never can.

Think about your favorite band. Watching them on YouTube is one experience. Seeing them perform in concert is something completely different. The same is true for comedians and speakers.

What Talent Bookers Are Really Looking For

When I worked for The Improv in Los Angeles and New York, I regularly received calls from casting directors looking for very specific performers. Sometimes it was for a sitcom, movie, documentary, commercial, or a one-time appearance on a late-night television show.

One of the most competitive showcases we hosted was for The Tonight Show.

The producers weren’t simply looking for funny comedians. They were looking for comics who were funny and experienced enough to handle the pressure of national television. They wanted performers who could walk on stage, deliver under the lights, and not freeze in front of the cameras.

If you had only five minutes of material and were hoping to hit the lottery, this wasn’t your audition.

Why Three Minutes Is Enough

Rather than spending weeks reviewing hundreds of submissions, producers could schedule one showcase and watch a carefully selected group of comedians perform live.

Most comics were given about three minutes.

That may sound short, but experienced talent bookers can learn a tremendous amount in three minutes. They can evaluate stage presence, confidence, originality, audience connection, professionalism, and, of course, whether the performer consistently gets laughs.

I used the same system as Talent Coordinator for A&E’s An Evening at the Improv.

After reviewing stacks of audition videos, I’d invite about ten comedians to perform at a Monday night showcase. Each comic did three minutes, so the entire showcase lasted only about half an hour.

There was never a quota for how many comics we’d book.

One week we might discover four or five performers ready for television. The following week, none.

That’s simply the nature of scouting talent.

A Real-World Example

One evening at the New York Improv, I received a call from The Today Show.

It was an election year, and the producers wanted a comedian who performed political material.

Instead of launching a nationwide search, I contacted ten comedians from our roster who specialized in political comedy and scheduled a showcase.

Each comic performed three minutes.

The producers came to the club, watched everyone in one evening, and selected the performer they wanted.

It saved them from reviewing hundreds of videos and scheduling countless auditions. They made one trip, saw everyone under identical conditions, and left with exactly what they needed.

That’s the real value of a showcase.

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Why Agents and Managers Love Showcases

Showcases aren’t just organized by talent bookers.

Agents and managers often book showcase time at clubs like The Improv and fill the lineup with comedians from their own roster.

Then they invite casting directors, producers, network executives, talent buyers—and in the case of managers, talent agents they hope will represent their clients.

Yes, organizing these events takes work.

But it’s far more efficient than emailing promotional packages, making dozens of phone calls, and trying to schedule individual meetings.

Everyone who matters is in the same room at the same time.

A successful showcase becomes part audition, part networking event, and part business meeting.

What’s the Benefit for the Club?

Hosting industry showcases brings prestige – and business.

Imagine owning a comedy club that’s regularly visited by producers from major television shows, film studios, streaming platforms, and talent agencies.

Where do ambitious comedians want to perform?

That club.

And when the best comedians want your stage, audiences follow.

That’s why clubs compete just as hard to host industry showcases as comedians compete to perform in them.

Showcases Aren’t Just for Comedians

The same principle applies to humorous speakers.

When I worked as an agent booking college entertainment through the National Association for Campus Activities (NACA), showcases were the primary way speakers and comedians landed college bookings.

At regional NACA conferences, colleges sent student activities representatives to watch live showcases over several days.

Comedians, motivational speakers, musicians, hypnotists, and other entertainers each performed approximately twenty-minute sets.

After seeing them live, the student delegates selected who they wanted to bring to their campuses during the upcoming school year.

If you wanted college bookings, you had to be seen.

The Bottom Line

Whether you’re pursuing comedy clubs, television, corporate events, or speaking engagements, showcases remain one of the most efficient ways for buyers to discover talent.

For talent bookers, it’s an organized way to evaluate performers.

For clubs, it’s an opportunity to build reputation and attract top acts.

And for comedians and speakers, it’s a chance to perform in front of the people who can actually hire you.

When you’re ready, there are few opportunities more valuable than getting on the right showcase stage.

Thanks for reading and as always – keep laughing!!

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Comedy Festival Submission Tips

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Hey Dave – I have submitted to a few comedy festivals each year over the past few years. It can get pretty costly, so I limit myself to only three or four a year. Other than the general submission of filling out the forms and sending in a link to a video, are there some tips to getting noticed and accepted into these festivals? Thanks and I always look forward to receiving your weekly letters. – RT

Enter the unknown

Hey RT – Here’s one thing I love about the comedy industry:

The unknown.

Ask ten comics or industry people how to get into festivals and you’ll get ten different answers. I’ve spent plenty of late nights in clubs and NYC diners listening to debates about trends, formulas, and “what works.” Then – WHAM – someone breaks all the rules and changes the conversation.

Think about when audiences first saw George Carlin doing the Hippie Dippy Weatherman… then a few years later delivering “Seven Words You Can Never Say on Television.” That shift didn’t just surprise audiences — it reshaped comedy itself.

That unpredictability is what makes comedy exciting… and sometimes maddening.

So what does that mean for festival submissions?

Carlin Before

Every festival is different. Some are major showcases featuring established names and carefully selected “up-and-coming” talent. Others spotlight local performers or serve as a celebration of a city’s comedy scene. Some have themes. If it’s a “Women in Comedy” festival, guys won’t make the lineup. If it’s a clean comedy event, explicit material won’t help your chances.

And beyond all of that — there’s taste. The people reviewing submissions have their own preferences, their own goals for the show, and their own vision of what fits. Unless you’re in that room, you simply can’t predict what they’re looking for at that moment.

That’s the unknown factor.

Connections can also play a role. Festival organizers often hear recommendations from agents, bookers, and comedians they trust. Just like agents keep tabs on who’s consistently working strong clubs, festival producers pay attention to buzz and reliability. You never know what background information may help – or hurt – a submission.

Carlin After

Now for the part you can control.

Treat comedy like a business.

Your goal is to be funny, original, reliable, and professional. Festival organizers want performers who help make their event successful. Even if a show features newer comics, no organizer wants an amateur-run experience for their audience.

Your submission video is the single most important tool you have.

Never submit a poor-quality video. Ever.

It no longer takes a big budget to get a clean recording with good audio. A basic camera on a tripod in the back of a club works — as long as the picture is clear and the sound is strong. Bookers want to hear you and the audience response. If they struggle to see or hear your set, they move on.

Also, don’t waste valuable seconds.

Start with material. Not introductions. Not stock lines. Not applause cues. If the first thing they see is you being funny, you’ve already helped your chances.

I recently reviewed a festival submission where the first thirty seconds were the MC’s introduction, followed by standard “Hello city!” and “Give yourselves a hand!” lines. That’s not what bookers are evaluating. They want to know one thing:

Are you funny?

Here’s the bottom line.

You can’t control taste, timing, or trends. But you can control professionalism. A strong video, focused material, and a business-minded approach show you’re serious about the work.

Even if you’re still developing – never present yourself as unprepared.

And remember… sometimes the unknown works in your favor.

Thanks for reading and as always – keep laughing!!

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Saturdays – March 14, 21 and 28 from 12:30 to 4:30 pm.

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Space limited – for details and to register visit COMEDYWORKSHOPS.

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Getting Past Gatekeepers

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Hi Dave – No, I’m not a comic. However, I’m a WGA screenwriter with a total focus on comedy screenplays. Can you tell me how to contact comedians’ agents about casting specific roles without running into blockades? I mean the blockades typically set up by the gatekeepers of those agents. Best – HK

Leave a message

Hey HK – The bigger the comedians (think celebrity) they represent, the bigger the agency blockade will be. When you make a call without prior personal contact or a great reference, plan some extra time on the phone for holding, transfers and a final request to leave a voice message and “Someone will get back with you.”

Does anyone really know who that “someone” is? I doubt it because they rarely call back without prior contact or reference. And unless you left a voice message with a great pitch (offer) that includes the opportunity for a lot of potential $$$’s (yeah, I’m jaded) you’ll spend a long time looking at your phone waiting for that return call.

Cold calling agents is usually a losing game.

That’s not cynicism. That’s how the business works.

But there is a reliable path forward — and it’s the same one that comedians use to get booked, discovered, and cast:

Be seen. Be present. Be part of the scene.

Come on in!

When I worked as a talent coordinator at the Improv clubs in Los Angeles and New York, I watched industry relationships form every night. Comics performed. Agents, managers, producers, and writers watched. After the show, everyone gathered, talked, and connected. Opportunities didn’t come from cold outreach — they came from proximity and familiarity.

Producers frequently contacted the clubs looking for specific “types” for TV and film roles. That’s why you sometimes see several comedians with similar looks or personas performing short sets in a row. They’re not just performing — they’re showcasing.

And once someone is seen in the right context, access changes instantly. Conversations happen. Meetings follow. Gatekeepers step aside.

Here’s the practical takeaway for writers looking to cast comedians:

Don’t start with the agent. Start with the comedian.

Go to the clubs. Watch performers live. Identify who truly fits your project — not just who’s famous. Introduce yourself professionally after the show. Be respectful. Be clear. Be human.

If a comedian is interested, they can open the door to their agent with one phone call. That personal connection does more than any cold pitch ever will.

Is networking easy?

No. The entertainment industry runs on relationships, persistence, and yes — a bit of schmoozing. There’s a reason “Let’s do lunch” became standard vocabulary.

But if it didn’t work, nobody would keep doing it.

For established names, access is automatic. For everyone else, access is earned through visibility and connection.

Be part of the scene.

That’s how you get seen.

And once you’re seen, you have a chance to be heard.

Thanks for reading and as always – keep laughing!!

TAMPA, FLORIDA

Standup Comedy Workshop at The Tampa Funny Bone:

Saturdays – March 14, 21 and 28 from 12:30 to 4:30 pm.

Performance at The Funny Bone – Wednesday, April 1 at 7 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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Comedy Blues and Creative Highs

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Hey Dave – I have a confession to make and was wondering if this is normal or not and if so, how to deal with it? Is there such a thing as having the blues in comedy? I guess you could call it the Comedy Blues. I mean, I’ve been told “no” before and had terrible sets in the past. But I strongly feel it has made me the keen comedian I am today. But still, if I may… help! – A.

An instrument for creativity

Hey A. – Congratulations. You’re a creative artist.

And what you’re feeling? It comes with the territory.

A career in the arts—comedy, speaking, acting, music, writing—often means riding an emotional roller coaster. Big highs. Big lows. That’s one reason so many people wish they could do it, but don’t. Standing on stage, getting laughs, meeting fans, and getting paid is a great gig. From the audience, it looks glamorous. What they don’t see is the rejection, the waiting, the self-doubt, and the work.

The people who truly pursue it usually don’t feel like they have a choice. They have to do it.

This may sound more motivational than instructional today but stay with me.

Let’s talk music for a second. Some great songs are about incredible highs. Others are about lows—the blues. Blues songs exist because nothing worth having comes easy. They’re about loss, frustration, and struggle.

Now translate that to comedy.

Creative words from a creative artist

If you’re serious about being a comedian (or humorous speaker), you want things to happen now. But progress is slow. Opportunities are unpredictable. Yes, there are huge highs—your first paid gig, passing an audition, winning a contest. But there are also long stretches where nothing clicks, nothing moves, and doors stay closed.

Here’s the truth: every working comic will tell you that you’ll hear “no” far more than “yes,” especially early on.

That’s not a flaw in the system. That is the system.

If you want to stay in this business long enough to build a career, you need to develop thick skin. There’s no shortcut around it.

Think of it like sports. The best relief pitchers in baseball blow saves. What separates them from the ones who spiral or disappear is their ability to shake it off and throw the next pitch with confidence. That mindset has to be learned—or developed quickly—if you want to survive in a competitive field.

Comedy is exactly that: a creative art inside a competitive business.

You put your work—and yourself—out there to be judged by bookers, producers, and audiences. Some will love it. Some won’t. The goal isn’t avoiding highs and lows. The goal is not letting either one define you.

I remember working in New York and hearing brand-new comics say they planned to have a sitcom within a year. I heard it more than once. Meanwhile, the comics hanging around the NY Improv—Ray Romano, Larry David, Dave Attell (to mention only three)—had been grinding for years. They didn’t get everything they auditioned for. They just didn’t quit when someone said “no.”

Unrealistic expectations create massive lows.

Understanding the process creates resilience.

That process has a name: paying your dues. Some people drop out because they can’t take the lows. Others continue because they’re wired to create—whether success comes quickly or not. Continuing doesn’t guarantee success. Talent, business skills, relationships, and luck all matter. But quitting guarantees nothing.

So, what do you do with the Comedy Blues?

Sometimes you step back and regroup. Sometimes you put your head down and keep going. For many creative artists, there isn’t really a choice.

One final thought: consider using those feelings in your writing.

You don’t need to talk about the Comedy Blues—but bringing real emotion into your material adds honesty and depth. Audiences can spot fake instantly. They can also sense when someone is telling the truth, even through jokes.

Most strong comics and speakers draw from experience. They’ve ridden the roller coaster. They’ve paid their dues.

Remember—this is a creative art.
And being a creative artist has never been easy.

But for those who feel called to it?
It’s the only ride worth taking.

Thanks for reading and as always – keep laughing!!

Winter 2026 Standup Comedy Workshop at The Cleveland Funny Bone:

Saturdays – January 10, 17 and 24 from noon to 4 pm.

Performance at The Funny Bone – Wednesday, January 28 at 7:30 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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