Category Archives: talent bookers

Build Potential Clients Contact List

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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.

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Business card – got one?

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Hi Dave – I’ve decided to order business cards. I was wondering what information I should include. I was thinking phone number, email, and website. Is there anything else I need, or any reason not to include my address? – K.S.

Could use more info…

Hey K.S. – Great decision. I’m always surprised how many comedians or performers still don’t have business cards. Maybe they think it’s a relic from the past—like mailing out DVDs instead of sending a link—but a business card is still an important promotional tool.

How is anyone supposed to know you’re out there and available for gigs if you don’t promote yourself? Unless you’re already a known comic, have a Comedy Central special, or a big-time agent pushing for you, you need to be prepared to handle the business side of your career.

Of course, the first step in any business is to be so good on stage that people want to see you again. That comes from writing, performing, then repeating the process countless times. But once you’re ready to move forward, promotion becomes a major part of your plan. It helps you take advantage of opportunities that can lead to showcases and paying gigs.

Promotion gets your foot in the door. Talent, hard work, and dedication are what get you hired. As I say in my book Comedy FAQs and Answers:

They may call it amateur night, but nobody’s looking to hire an amateur.

Memorize that—it’s true.

Now, your question wasn’t about showcases or all the ways to promote yourself, so let’s talk specifically about business cards.

I write a lot about networking and being part of your local comedy scene because you never know who you’ll meet—someone who could genuinely help your career. But are you prepared when that moment happens?

My latest

Back when I worked at The Improv, comedians would often ask how to get an audition or how to submit a video. Then, instead of handing over a business card, they’d say, “Let me give you my email,” and expect a manager to write it down—or they’d start searching for a bar napkin to scribble on.

Were they nuts? That’s not how you make a professional impression. And in my head, every time someone did that, I’d think: “Amateur…”

Even worse, some comics would just give their name and say, “I’ll send you my link,” or “Keep me in mind for showcases.”

Sorry, but I’m terrible with names. Honestly, there’s a woman interrupting me right now while I’m trying to write this. Her name escapes me… I should remember it—we’re married.

Get the idea?

People like talent bookers, event planners, and club managers deal with a lot of names. Make it easy for them to remember you and contact you. Business cards aren’t outdated or uncool. They’re a simple, effective professional tool.

So to finally answer your question:

Your business card should include:

  • Your name
  • What you do (comedian, speaker, etc.)
  • Your best contact info
    • Phone
    • Email
    • Website (with video and promo materials)

If you have a blog, newsletter, or podcast that supports your career and is actually interesting, you can include that link too.

Electronic business cards—QR codes, NFC cards, or files you can Airdrop—are also becoming popular. They’re great to have, but not everyone uses them yet. For someone just getting started, keep it simple and carry regular business cards.

A smart move is to design your card so it stands out. A photo or logo works, but if you (or a designer friend) can create something genuinely unique, memorable, or just plain cool, people are far more likely to keep it instead of losing it in a drawer.

On the flip side!

Try out a few designs on any inexpensive business card site—there are plenty—and don’t leave the house without at least a few cards on you. You can update or redesign them any time since they’re cheap and sometimes even free.

If you’re serious about building a career, you have to take promoting and networking seriously. When you meet someone new or stumble into an opportunity, a business card clearly communicates who you are and how to reach you. There’s nothing amateur about that.

One important warning:

Never put your home address on your business card or any promotional material. You don’t know where that card may end up, and the last thing you want is some wacko showing up at your door. Yes, this has happened—to both male and female performers.

A business card isn’t an outdated relic. It’s a simple, professional way to help people find you—and hire you.

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.

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The Comedy Police Force

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Hey Dave – I was at an open-mic last week. A comic went on stage and “called out” another comic who had gone before him for stealing jokes. He did this from the stage. Afterwards, he couldn’t prove it – and no one else remembered hearing those jokes anywhere else. We think he was wrong and handled it wrong. Any thoughts? – D

Comedy police out for joke-stealers!

Hey D – I always have thoughts. And when they’re about comics stealing material, they’re never good ones.

What a jerk.

Wait… let me rethink that. We might have two jerks here. Allow me to think out loud – or at least in loud writing.

JERK #1

This honor goes to the comic who “called out” the other one from the stage.

First of all, he admitted afterward that he had no proof. Maybe he thought he was being edgy—sometimes that works—but not when it’s at the expense of another comic who’s just trying to improve at an open-mic. That’s what these nights are for: getting better.

(And of course, this assumes the first comic didn’t actually steal material.)

The accuser should’ve talked to him privately, not trashed him in front of an audience. Unless a comic is known for stealing, the professional move is to speak offstage, one-on-one.

Bill Engvall talked about this in my book Comedy FAQs and Answers. He called it the comedy police.

Mention it!

When you think someone’s stealing, mention it—but privately. Comics should police each other, keep each other honest. If the warned comic keeps doing the same bit after being told, then there might be consequences.

But sometimes it’s not theft – it’s coincidence.

I once knew two comics, one in New York and one in Los Angeles, who independently wrote the same joke. They didn’t know each other and had never worked the same clubs. But the LA comic did the joke on the television show, A&E’s An Evening at the Improv.

(I know, because I was the talent coordinator standing off – camera when it happened.)

After the taping, I called the NY comic – both are still friends of mine – and told him what happened. He immediately said, “Well, I can’t do that joke anymore.” He wasn’t mad, because he knew they’d both written it honestly. But now that it had aired nationally, the other guy “owned” it.

That’s just how the business works.

So yes, a comic can accidentally do something too similar to someone else’s bit. The right way to handle that is quietly and respectfully – not grandstanding from the stage.

If you’ve got proof, talk privately. If he keeps doing it, then you can call him out.

JERK #2

Now let’s talk about the other jerk – the one who really does steal.

Back in New York, when I was starting out, there was an open-mic comic who ran a popular show. He was a nice guy, gave people stage time, and claimed to be a headliner in Florida.

That didn’t quite add up.

Turned out, he was going to Florida and doing the best material he’d stolen from comics performing at his open-mic.

Say what?!

The reaction from the NY comedy scene was swift and brutal. Nobody played his open-mic anymore, and no one else would give him stage time. Word got around, and eventually, he left for Florida to “pursue his career.” I later heard he was parking cars. Can’t confirm that – but it fits.

A few years later, when I was talent coordinator for An Evening at the Improv, he called my office trying to play the “old friend” card for an audition. Short story – he didn’t get one.

Chalk another up for the comedy police.

The Bottom Line

So, to answer your question, yeah – the comic who called the other one out from the stage was wrong. If he thought there was a problem, he should’ve handled it privately. Maybe the other comic didn’t even realize it. But if there’s proof, he needs to stop doing the joke.

And if he really is stealing? The comedy police will take care of it.

Comedy is a small world. Word gets around fast.

If it’s obvious someone’s stealing and they keep doing it, they’ll be blacklisted before long. Odds are better they’ll be parking cars at a comedy club before they ever “own” anyone else’s material on television.

Thanks for reading and as always – keep laughing!

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Monday, October 27 and Wednesday, October 29, 2025

Space is limited – for details, reviews and registration visit OnlineWorkshops

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Open Mics for Corporate Comedians

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Hey Dave – Last week you talked about ‘what is corporate comedy material.’ I would also like to learn about getting into doing comedy and humorous keynotes at corporate events. – E.M.

Not a late-night open mic audience!

Hey E.M. – Let’s pick up where we left off. Last time, I talked about the kind of material comedians need to develop to get hired for corporate events. But the bigger question is: how and where do you develop that kind of act?

Here’s the challenge: the type of material you’ll need—G to PG (max) and often with a business-related angle—doesn’t always work in the usual late-night, beer-soaked open mics. But that doesn’t matter, because those crowds aren’t your audience anyway.

Your real audience consists of business owners and event planners, and you’ll find them at morning, afternoon, and evening business or association meetings. Instead of bars at midnight, look for stage time at Rotary breakfasts, Knights of Columbus luncheons, and College Club dinners—just to name a few. Almost every town has groups like these, and they’re always looking for speakers or entertainers.

Bonus incentive!

These slots usually run anywhere from five to twenty minutes—often slotted between the entrée and dessert.

Here’s the key: treat these meetings like open mics. Don’t expect to get paid (at least not at first). The magic word for getting these spots is FREE. Offer to do a clean five-minute comedy set before their featured speaker, and you’re far less likely to hear the other magic word in comedy: NO.

In my own experience, I was almost never turned down. The only exception was a 90-year-old Rotary member in the Midwest who thought his club wasn’t interested in anything except insurance, fertilizer—or both. When I explained I spoke on humor and creativity, he sounded ready to have me arrested for being anti-American. I politely thanked him, called another Rotary club, said the word FREE, and got booked right away.

As you continue writing and testing material that works in this environment, aim for longer sets—up to the typical 20-minute featured program. From my experience, most organizers welcome a variety of speakers. After all, you can’t have insurance, fertilizer, or a combo of both every single week.

After doing these enough times—and enjoying more than my fair share of free breakfasts, lunches, and dinners—I had built a solid corporate program. From there, it was a matter of networking and promoting, and before long, I was booking paid gigs. That never would’ve happened if I had tried to shape my corporate act at late-night open mics.

So, if you’re serious about the corporate market, this is a proven way to get started. And, by the way, the advice is FREE. If you can make an audience laugh at 7:30 in the morning over scrambled eggs and coffee, you’ve got a real shot at making it in the corporate comedy and keynote world.

Thanks for reading and as always – keep laughing!

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What Is Considered Corporate Comedy Material?

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Hi Dave – You’ve talked about working in the corporate market as a comedian or humorous speaker. What is considered corporate comedy material and what is not? – B.E.

Living on the edge?

Hey B.E. – That’s a great question, and honestly, one I don’t hear in such a general way. Usually it’s more specific, like “Is this particular joke okay for a corporate show?” But since you asked broadly, I’ll give you the broad answer first.

When it comes to corporate work, the golden rule is simple: work clean. I’ve said it many times before, and I’ll keep saying it because it’s true.

There’s been some debate on social media about whether dropping F-bombs will ever become acceptable at corporate functions. My opinion? The people saying that are a little F-bombed themselves. It’s not happening now, and it won’t anytime soon. Sure, there may be rare exceptions with an “edgy” company (think Comedy Central), but if you want steady work in the corporate market, clean material is the standard. That means no F-bombs, and no routines where the F-bomb is the punchline.

Now, let’s get into what corporate audiences do look for. A lot depends on the event and its theme.

Follow the rules.

From my experience as both a booking agent and a corporate speaker:

  • Comedians are often hired for holiday parties, retirement banquets, and award ceremonies. The material can cover almost anything—marriage, kids, sports, current events—as long as it’s clean and fits the mood. But it’s important to know the theme. If it’s a holiday party, the client might want some holiday references mixed in. At a retirement banquet, comics who can roast, ad-lib, and personalize a few jokes usually do well. The key is to keep the laughs lighthearted—no embarrassment, no hurt feelings.
  • Humorous speakers are different. They’re brought in for their message—stress relief, communication, networking, leadership, tech training, you name it. With humor, they become entertaining as well as informative. These speakers might give keynotes, run breakout sessions, or even full-day training workshops. Their material comes directly from their area of expertise, with comedy woven in to keep the audience engaged.

So, to put it simply:

  • Comedians = entertainment. Be funny, be clean, and tie in the event’s theme when needed.
  • Humorous speakers = infotainment. Deliver useful content, but with humor so it sticks.

That’s the general answer to your general question, B.E. If you’re serious about working the corporate market, start by keeping your act clean, know the event’s theme, and always make sure the CEO (or whoever signs the check) leaves happy.

Thanks for reading and as always – keep laughing!

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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?”

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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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Finding stage time in Los Angeles

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Hey Dave – I won a contest for a trip to Los Angeles to appear in a commercial. Unfortunately, since I’m not in SAG-AFTRA (Actors Guild), I’m being buried in the background as an extra. I’m pretty stoked about the trip though. I’m hoping to hit one of the popular comedy clubs in Hollywood and see if they’ll let me do a guest set. I’m wondering if you have any recommendations. I’ll be there next week for six days. – S.

LA – where dreams can come true!

Hey S. – First, congratulations! Winning a contest for a trip to L.A. is very cool, even if they’re burying you in the background since you’re not in the actor’s union. Consider it motivation to get that SAG-AFTRA card — though, to be honest, I had mine for years and still got buried in the background plenty of times.

Here’s the scoop — and, of course, your experience might be different:

Unless you’re already a well-known or semi-known headliner or feature with credits and contacts who can vouch for you, it’s extremely tough to get stage time at the popular Hollywood clubs when you’re just in town for a week. The local comics have invested years hanging out, showcasing, networking, taking workshops, bringing paying audiences (“bringer shows”), and doing whatever it takes to get seen.

The bookers at clubs like The Improv, The Comedy Store, and The Laugh Factory need to spend their time on comedians they can actually book again soon. Giving a visiting comic a guest spot doesn’t help them much — unless you have a strong recommendation from a trusted regular (and I mean a real regular, not someone who’s just emceeing Monday open-mic nights).

I’ve been the talent booker at The Improv in L.A., so trust me — I know how this works.

So, to be blunt: it’s very unlikely you’ll score stage time at the big-name clubs during your short trip. But that doesn’t mean it can’t be a productive comedy visit.

Here’s what I recommend:

 

👉 Hit the open mics. L.A. has tons of them — Google “Los Angeles comedy open mics 2025” and you’ll find plenty. In fact, I just did and here’s a LINK. Always check that they’re still running — venues open and close fast. Call ahead or reach out to whoever books it. Some shows may ask you to bring guests; some may squeeze you in because you’re from out of town. You won’t know unless you ask.

👉 Check out the big clubs anyway. Even if you can’t get on stage, you should absolutely go watch a show or two. See how the pros work. Weeknight shows are best for watching up-and-coming comics; weekends are more touristy and packed with big names you can see on TV. You’ll learn a lot just by observing.

👉 Use this trip for inspiration. Wherever you find comedians, you’ll find comics hunting for stage time. It’s part of the grind. So, treat this trip as a chance to network, see what’s working in a major scene, and maybe make a few connections you can build on down the line.

Enjoy the commercial shoot, make the most of your free time, and soak up everything you can. Who knows? Maybe your next visit will be with a SAG-AFTRA card — and a real spot on the lineup.

Break a leg and have a blast in L.A.!

Thanks for reading and as always – keep laughing!

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Personalizing and Customizing Performances for Corporate Events

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Hi Dave – Can you give us a few examples of how to work event themes into your material for a corporate gig? What is the process like? – MD

Hey MD – When it comes to performing at corporate events, I’ve always believed that personalizing your act or presentation to fit the audience and occasion is essential. It’s not just something I do – major entertainers do it too.

How did they know that?

For example, several years ago, my cousin attended a corporate event in Florida where Jay Leno was the surprise performer. Having Leno on the bill was impressive on its own, but what really elevated the experience was when he mentioned the company by name and even referenced a few of the executives in the audience. Suddenly, it wasn’t just a great show – it felt like a one-of-a-kind event designed just for them. It’s one thing to hear a big-name comic joke about your city or current headlines, but when they reference your business or someone sitting a few tables away, it becomes unforgettable.

Event planners, executives, and employees love that kind of attention. It reflects well on the company, adds energy to the event, and makes the entire experience more engaging. A key way to make this happen? Performers who know their audience—and show it.

This is what we mean when we talk about personalizing or customizing material. Even if a comedian or speaker is delivering the same core act they performed a thousand miles away the night before, they’ll weave in references to the location, event theme, and audience members to make it feel special.

Think of it like this…

I’m a classic rock fan, so let’s use The Rolling Stones as an example. On tour, they stick to a fairly consistent setlist. That’s necessary – stage lighting, video screens, pyrotechnics, and choreography all depend on knowing exactly what song is coming next and where Mick and Keith will be standing when the fireworks go off.

It’s the same with big-name speakers or comedians. They have a program that works. Corporate clients are paying for that proven performance. But that doesn’t mean it can’t be tweaked to suit the crowd.

If the Stones are playing in Los Angeles, you can count on Mick kicking off with, “Hello Los Angeles—we’re rockin’ tonight!” Next week in New York, he’s not shouting out L.A.—he’s calling out New York City. A simple change, but one that creates connection.

Here’s another example from my own experience:

When I book comedians from New York or L.A. to perform near Cleveland, many of them aren’t familiar with the local scene. But the savvy ones will ask how they can relate to the crowd. One question I often hear:

“What’s a suburb near Cleveland that locals make fun of?”

No offense intended, but I usually tell them “Parma.” Then during their act, the comic tosses in a joke referencing Parma—and suddenly the audience feels like, this comic gets us.

Now here’s the truth: that comedian may not know anything else about Parma. But next week, in another town, they’ll ask the same question and swap in a different local punchline. That’s personalizing the performance – and it works. Audiences respond to it. Talent bookers and event planners love it.

What I Do for Corporate Bookings

When I book a comic or speaker for a corporate event, I include a short questionnaire with the contract. It’s the best way to learn about the audience and the company. Based on the answers, I’ll ask the performer to incorporate relevant material into their act.

Here are a few examples of what I might ask:

  • Is there a theme for the event?
  • What should we know about the city or event location?
  • Who are some key people in the company?
  • Are there any individuals you’d like us to spotlight – either for recognition or audience participation?
  • What are the company’s products or services?
  • Is there a rival company we can (respectfully) poke fun at – or one we should avoid mentioning?
  • Where do employees like to hang out after work?

The depth of personalization depends on how much the client wants to share – but even a few specific details can go a long way in creating a stronger audience connection.

What About Customization?

Earlier, I mentioned both personalizing and customizing. Here’s the difference:

  • Personalizing involves adjusting an existing act or presentation to reflect the audience or event.
  • Customizing means creating brand-new material specifically tailored to the client’s message, goals, or theme – and yes, it usually comes with a higher fee, because it involves extra time and effort.

A customized presentation starts with a deep dive. I’ll often interview the client, event planner, and key team members to learn about the company culture, industry challenges, and internal goals. The performer then builds their presentation around that material, while still staying true to the style that got them hired in the first place.

For example, if a speaker is known for expertise in communication, the client won’t ask them to build a presentation on accounting. Similarly, if they hire Carrot Top, they’re not going to request a prop-free, TED Talk-style set. You get what you’re paying for – but a smart performer can shape their material to suit your exact needs.

Just like The Rolling Stones wouldn’t skip Jumpin’ Jack Flash in concert, comedians and speakers know their core act is what the audience expects. But with the right information, they can personalize – or fully customize – it to turn a good performance into a great one.

And that’s what makes a corporate event truly memorable.

Thanks for reading and as always – keep laughing!

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