Category Archives: showcase

Comedy Blues and Creative Highs

Posted on by

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.

*

Click on the banner below to sign up for Dave’s free newsletter.

Build Potential Clients Contact List

Posted on by

Hi Dave – Speaking and comedy both sound like serious business. I’m dead serious about the value of comedy in business — way more serious than folks who don’t know how to laugh. How do I get those humorless folks to seriously see how silly it is to filter out fun from the expressions of ideas? How do I make it pay for me to show them how to make it pay for them? – R.W.

Seeking Humor Benefits

Hey R.W. — Here’s something I’ve noticed about the humorous speaking business: the people who need us the most are usually the last ones looking for us.

You know exactly who I mean—the humorless folks.

In fact, I’ll go out on a limb and say this: event planners who book humorous speakers already understand the value of humor in business. They get it. Just like we do. Their real challenge is convincing the other people—the ones who need it most—to embrace it.

Anyone who understands the value of humor in business (and in life) already knows the benefits. I won’t list them all, but here are a few favorites:

  • Less stress
  • Better teamwork
  • Increased productivity and attendance
  • Stronger networking and relationships

These are the same issues serious business speakers and trainers talk about every day. You’re doing the same thing, except you’re offering humor as part of the solution.

Humor works!

And honestly, it doesn’t matter whether you’re going to work or cleaning your house—you’re far more likely to do it if there’s an element of fun involved.

So yes, I agree with you completely. It is silly to filter fun out of the expression of ideas. And I’m confident many readers of this newsletter agree too (the humorless folks don’t subscribe).

Which brings us to the real question you asked:

How do I make it pay for me to show them how to make it pay for them?

You want to reach the humorless crowd—and get paid to do it. The problem is, they’re not going to hire you any more than they’re going to sign up for this newsletter. They don’t yet understand the value of your message.

That means you need to focus on the people who do understand it.

Network with event planners and decision-makers who already agree with you.

And the best way to do that is simple: show them what you can do.

In other words—get out and speak.

The best places for this are where both humorous and humorless businesspeople gather:

Meetings.

I’ve talked about this before in past FAQs, and readers have shared some great ideas on places to showcase a program. But here’s a simple starter plan:

Create a short presentation—20 minutes max—on your topic, and volunteer to speak for free at organizations in your area. Rotary clubs, associations, charities, alumni groups, chambers, nonprofits—anything that puts you in front of businesspeople.

If putting together a solid presentation feels overwhelming, I cover this in detail in my book How To Be A Working Corporate Comedian.

Think of free gigs the same way comedians think of showcases. You don’t get paid—but you get in front of people who can pay you later.

But that’s only step one.

You also need to build a list of potential clients and stay in touch with them.

That’s called networking.

Yes, bring a stack of business cards and hand them out after your presentation. That’s basic business sense. Make it easy for people to find you.

But handing out cards alone is a slow game. You can give out a hundred cards and hear from one—or none.

So, here’s how to kick-start your contact list:

Do a prize drawing at every free program.

The prize can be almost anything—a printed transcript of your talk, a plate of cookies, a discounted presentation, even a free one. Use your imagination and offer something your audience would actually want.

Here’s what I do.

At the end of my programs, I announce a drawing for a free autographed copy of one of my books. To enter, people drop a business card—with an email address—into a basket. In return, they’re added to my corporate e-newsletter list.

And this part is important: I make it clear they can unsubscribe easily after receiving it once. No tricks. No pressure.

One person leaves with a book.
I leave with a basket full of contacts who might become paying clients.

That’s a win.

So how do you reach the people who need your message?

You preach the gospel—your ideas—in front of people who already believe. You go where businesspeople and event planners can see and hear you. You use free gigs to build relationships, grow your list, and stay visible.

There are no guarantees they’ll hire you, but at least you’re giving them – and yourself – a chance. You need to show them what you can do and stay in touch.

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 – Thursday, January 29 at 7:30 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

*

Click on the banner below to sign up for Dave’s free newsletter.

Always good to ask before you audition

Posted on by

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!

Click on the banner below to sign up for Dave’s free newsletter.

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