Tag Archives: comedian

When a Headliner Recommends You

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Hey Dave – After a recent showcase, the headliner came up to me and asked if I’d be willing to open for him on his upcoming shows. What’s the best way to approach being a featured comic or host at this major club? I have the manager’s email and a video of my showcase set as a sample of what I can do. I also have a website with my headshot and resume, and I can post the video on YouTube. Sincerely – L.S.

Handing out Golden Tickets!

Hey L.S. – That’s great news! As I’ve said in way too many articles, that’s your Golden Ticket.

A personal recommendation from a headlining comic is always better than trying to do everything yourself through cold calls, blind emails, or simply hanging around the club hoping someone notices you. Those methods can work, but when a comedian who already works at the club is willing to put in a good word for you, you have something much more valuable: an established comic opening the door for you.

That doesn’t mean you should stop promoting yourself. Quite the opposite. Every comedian should have the basic promotional tools in place—a professional website, current headshots, a resume or list of credits, and a good performance video. Those things make it easier for a talent booker to check you out when someone recommends you.

And if you already have a track record—with solid performing credits—you might not have to settle for a showcase. You could end up with a paid booking.

Your next booking?

I’ve seen this happen many times. A headliner will have his or her own opening and feature acts on the road, and the clubs will book the entire “package.” It makes life easier for everyone, including the talent booker.

Stay in Touch With the Headliner

My first piece of advice is simple: stay in touch with the headliner and find out exactly what he has in mind.

Ask questions. Is he talking about having you open his upcoming shows at this particular club? Does he want you to feature for him on a series of dates? Is he considering taking you on the road to open for him at several clubs over the next few weeks or months?

Don’t assume you know what he meant. Get the details.

You can also do a little homework yourself. Check the headliner’s website and social-media pages to see where he’s scheduled to perform. Many working comedians keep their online calendars updated for both fans and talent bookers.

And pay attention to how they promote themselves.

Some smart comics advertise on platforms such as Facebook and LinkedIn in the cities and areas where they’re scheduled to perform. They may start promoting a show a week or two in advance, while also directing potential fans to their websites, videos, and other material.

Clubs love it when comedians help promote their shows. And from your perspective, those promotions can also help you build an audience and establish yourself as a working professional.

There’s more about that strategy in the updated version of How To Be A Working Comic—and, yes, that was a blatant book plug.

Let the Headliner Make the Call

Preferably, the headliner should personally contact the club booker or manager and recommend you for the shows.

He can tell the booker, “I’d like L.S. to open for me,” and then tell you to expect a call or email. Or he can simply make the arrangements and get back to you with the details.

Either way, the important thing is that the headliner—or his agent—personally communicates the recommendation to the club.

That one phone call or email can cut through a lot of red tape.

Why?

Because otherwise, the booker may not know whether the headliner actually recommended you or whether you’re simply using his name to get through the door.

And I’m not singling you out. This happens with every comedian a booker doesn’t know.

You’d be surprised how many comics “drop names” without actually having that comic’s recommendation. I’ve had it happen to me, and it never works in the name-dropper’s favor.

There are plenty of club bookers who can relate to that experience. And I’ve seen comedians post online about situations where they assumed a headliner had recommended them—only to discover that the headliner had never actually contacted the club.

Don’t be that comedian.

If the Headliner Says, “You Contact Them”

What if the headliner doesn’t follow through—or simply says, “Just contact the booker and tell him I recommended you?”

That’s Plan B.

Send the club booker a brief, professional email explaining that you recently spoke with the headliner about opening for him at the upcoming shows.

Then ask for the correct procedure for submitting your promotional material.

Don’t immediately send a huge attachment package with your life story, 14-minute video, six headshots, and a resume that dates back to high school.

Keep it simple.

If the booker asks for your website and video, send the links. If they want a specific performance clip, send that. Give the booker exactly what was requested and make it easy to watch your material.

Your showcase video may be perfect because it demonstrates what you can do in front of an audience. Your website can then provide additional information, including your headshot, credits, upcoming appearances, and other performance material.

And if you don’t hear back?

Wait about a week to ten days and follow up.

The goal is to stay on the booker’s radar without becoming a pain in the you-know-what.

Know what I mean?

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Use Your Golden Ticket

I’ve written plenty about promoting and marketing your comedy career through emails, postcards, phone calls, websites, social media, and other methods, so I won’t repeat all of that here. There are also plenty of marketing suggestions in Comedy FAQs And Answers and How To Be A Working Comic.

Did I mention I’m into marketing and promotion?

Ha!

But the bigger lesson here is that self-promotion works best when it’s supported by a personal recommendation.

You can have a great video, a terrific website, an impressive resume, and a professional headshot. Those tools are important. But when a headliner who already works at the club says, “I want this comic to open for me,” you suddenly have something you can’t create with a Facebook ad or cold email.

You have credibility.

That’s your Golden Ticket.

Use it.

Thanks for reading and as always – keep laughing!!

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Why Three Minutes Is More Than Enough

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Hey Dave – You’ve written about how important it is to stay within the amount of time you’ve been given on stage. My question is: Why are showcases so short? In most cases, I don’t think you have enough time to prove how good you really are. – S.K.

Hey S.K. – First, for anyone new to comedy or professional speaking, a showcase is simply another word for an audition.

A successful showcase can lead to paid work, television appearances, club bookings, corporate gigs, or even representation from an agent or manager.

Why do we call it a showcase instead of an audition? I’m not sure. Maybe it sounds more professional and less intimidating. Either way, the goal is the same: someone is deciding whether or not to hire you.

I’ve been involved in showcases for comedy clubs, television shows, corporate events, and college programs. Here’s a behind-the-scenes truth about the business:

The people doing the hiring want to make the best use of their time.

Talent bookers, agents, managers, and event planners don’t want to spend an entire evening watching one performer. It makes far more sense to watch several performers in a single session.

They also don’t want to sit through 10-, 20-, or 30-minute sets when they already know within the first few minutes that a performer isn’t what they’re looking for.

That’s why showcases feature multiple acts doing short sets.

For example, when I was auditioning comedians for A&E’s An Evening at the Improv, I scheduled showcases on Monday nights at The Improv in Los Angeles. We’d see ten comedians perform three-minute sets in about 35 minutes. The extra time was built in for introductions and transitions.

If everyone respected the clock, Mission Showcase was accomplished.

In just over half an hour, ten comedians had an opportunity to book a television appearance.

And it wasn’t just me in the room.

Talent scouts from The Tonight Show, HBO, MTV, and other networks knew these Monday-night showcases were happening. Everyone could evaluate a lot of talent in a short amount of time.

Of course, some comedians complained that three minutes wasn’t enough time to show what they could do.

They were wrong.

Three minutes is plenty of time for an experienced talent booker to know whether a performer is ready.

If you couldn’t convince me within three minutes that you belonged on An Evening at the Improv, then you weren’t ready for that particular show.

The same was true for the other bookers in the room.

Think about it: If a comedian can’t hold attention for three minutes during a showcase, why would a television producer trust that comic with three minutes of airtime?

Even if the performer somehow became hilarious in minute six, television viewers would already be changing channels.

The same principle applies to shows like America’s Got Talent, American Idol, and The Voice. Before contestants ever appear on television, thousands audition in front of producers and judges for only a few minutes—or sometimes less.

If they don’t make an impression quickly, they don’t move on.

The lesson?

Bring your A-game immediately.

A showcase isn’t the place to ease into your act and “warm up.” You don’t have time. Start strong and make every second count.

It’s also your opportunity to demonstrate professionalism.

When you respect your time limit, you’re showing industry people that you understand schedules, production needs, and the realities of the business. You’re proving that you’ll be easy to work with.

And there’s another reason time limits matter:

Your fellow performers.

Whether a showcase is held in front of a live audience or just a panel of judges, people can only absorb so many short performances before fatigue sets in.

That’s why showcases are designed to move quickly.

Sure, someone like Dave Chappelle can perform for two hours and leave audiences wanting more. He’s earned that ability through decades of experience and a mountain of material.

But if you’re already operating at Dave Chappelle’s level, you probably aren’t showcasing.

One way showcases stay fair is by preventing judges and audiences from becoming burned out before the later performers take the stage.

And that brings me to a story.

In my comedy workshops, ten aspiring comedians perform five-minute sets during our graduation show. That’s 50 minutes of comedy, plus an emcee opening the show and introducing each performer.

The audience begins the evening fresh and excited. By keeping the sets short and focused, energy stays high throughout the night.

A few years ago, the first comedian in the lineup had a strong five-minute set. We had worked hard on it together, and he was prepared.

The problem?

He never looked up.

I was in the back of the room, ready to signal when his time was almost up. But he kept staring at the front tables and never once looked toward the sound booth.

His five minutes ended.

And he kept talking.

The prepared material ran out. Then came the rambling.

Suddenly, the audience wasn’t laughing anymore.

People started looking at menus, chatting among themselves, and ordering drinks. They mentally checked out.

By the time he finally left the stage, the comedian who followed him had to work twice as hard just to regain the audience’s attention.

The damage had been done.

After the show, he came over and asked how he did.

The truth?

“You did ten freaking minutes.”

Okay, maybe I said it with a little more diplomacy than that (not really – I never use the word “freaking”).

But I explained how going long had affected the entire show—not just him, but every performer who followed.

The irony was that his first five minutes were excellent.

The extra five minutes erased much of the goodwill he had earned.

Fortunately, he learned the lesson. He’s still performing today, and talent bookers continue to hire him.

Which brings us back to your original question.

Books by Dave Schwensen

Why are showcases so short?

Because experienced talent buyers don’t need a lot of time to evaluate talent. They’re looking for professionalism, stage presence, confidence, originality, and the ability to connect with an audience.

A strong performer can demonstrate all of that very quickly.

So whether you’re doing a showcase, audition, open mic, or paid gig, remember this:

Respect the clock.

Time on stage can be your greatest ally—or a ticking time bomb.

And as every comedian knows, nobody likes to bomb.

Thanks for reading and as always – keep laughing!!

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Running The Light (Going Over Your Time On Stage)

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Hey Dave – Without revealing my secret identity, I heard you talking recently about a comedian who went way over his time on stage—and you didn’t sound too happy about it. Safe to say he overstayed his welcome. Care to elaborate? – G.

Did someone give me the light?

Hey G – “Secret identity?” What is this, a spy novel? Don’t worry – I’ll protect your cover. But if you were really undercover, you’d know better than to eavesdrop on my conversations. I tend to go long.

Speaking of going long…

Want to guarantee you won’t get booked again? Ignore the light. Stay on stage. Do another 10… 20… maybe 60 minutes. After all, the audience obviously can’t get enough of you, right?

(And just in case sarcasm doesn’t translate in print – insert a big NOT! right there.)

Here’s the reality: stand-up may be a creative art, but it operates within a very structured business. And one of the biggest unwritten rules is simple – respect your time on stage.

Yes, there are exceptions. If you’re selling out arenas or headlining major tours, audiences expect a longer “concert-style” experience. Think of Bruce Springsteen playing three-hour shows – fans love it, and they paid for it.

But unless you’re at that level, stick to your set time.

Why? Because behind every comedy show is a tightly run operation. Clubs run on schedules – doors open, shows start, staff works, and everything from the kitchen to the bar to the box office is timed around the performance.

Only NO fans!

When a comic goes long, it throws everything off:

  • The box office has already closed
  • Food and drink service has ended
  • Staff is waiting (on the clock) with no way to earn tips
  • The next audience is lining up while the current one is still inside

And here’s something a lot of performers don’t realize: clubs build in “check spots” so customers can pay before the show ends. Run long, and you increase the chances of people slipping out without paying – which often comes out of the server’s pocket.

Not exactly a standing ovation from the staff.

I once had a comedian tell me he was “helping the club” by going an hour over – giving the bar more time to sell drinks. That logic deserves a bigger laugh than anything he said on stage.

The business simply doesn’t work that way.

The same goes for corporate and college gigs. Those events run on tight schedules. Go short, you risk not getting paid. Go long, you risk never getting invited back.

Bottom line:

Time isn’t just a suggestion – it’s part of the job.

For newer comics especially, sticking to your time on stage shows professionalism. It tells bookers and managers you understand how the business works – and that you won’t create problems.

And that’s what keeps you working.

I could go on… but I’ll do something that comic didn’t do.

I’ll stick to my time.

Thanks for reading and as always – keep laughing!!

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Business Advice for Comedians: How Much Personal Information Is Too Much?

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Hey Dave – I took your workshop about a year ago. During the business session you mentioned not putting your home address on promotional material. Another comic told me the opposite — that if I’m serious about this business, I should put my address on my website, promo materials, and anything else I send out so bookers can find me easily. What do you think? — E.H.

I can see you!

Hey E.H. — I think you might want to hang out with different comics.

Yes, it’s smart business to make it easy for talent bookers to contact you. But there’s a big difference between being accessible and being too personal.

When you’re promoting your business — which in this case is you — you absolutely want buyers (the people who hire you) to know how to reach you. But it’s also important to remember one thing:

You have no control over who sees your promotional material.

Anything you post online — or even send through the Postal Service — can potentially be seen by anyone. That means not only bookers can find you… but everyone else can too.

And yes, I have a story about that. I’ll get to it in a moment.

First, a little context.

Business methods for comedians and humorous speakers have changed a lot over the years. In my workshops I used to bring in stacks of promotional packages created by major public relations firms for big-name comedians. They were impressive — glossy photos, printed bios, press clippings, and resumes all packaged in designer folders.

Agents and bookers would spread them across their desks and review them like portfolios.

But those days are mostly gone.

Today almost everything is digital. Instead of printed folders, you have websites, email attachments, and online video clips. It’s faster, cheaper, and easier for everyone involved.

But one thing hasn’t changed:

You still don’t know who might end up seeing your information.

You’re looking at me?

If you list your home address on promotional material, you’re not just giving it to talent buyers. You’re giving it to anyone who stumbles across your website or your materials.

And that brings us to the story.

But first, think about this…

The only time someone in this business truly needs your address is when they’re sending you a contract or payment. Sometimes that happens electronically today, but many event planners and bookers still use good old-fashioned snail mail.

If someone wants to know where you’re located for booking purposes, simply list the nearest major city.

For example:

  • New York
  • Los Angeles
  • Cleveland
  • Chicago
  • Tampa

That’s all they need to know to determine whether a booking is realistic.

If they decide to hire you and need to send paperwork or payment, then you can provide a mailing address.

Better yet, since you’re running a business, think like a business.

Use a business address.

If you don’t have an office, a P.O. Box works perfectly and keeps your home address private.

The same goes for phone numbers.

Yes, cell phones make it easy to stay reachable, but think twice before posting your personal number online. Unless you have a phone dedicated strictly to business, anyone can find it.

And that includes:

  • Annoying strangers
  • Former acquaintances
  • People who want to “pitch” you something
  • Or the occasional wacko who just wants someone to bother

A simple “Contact” form on your website works much better. Interested bookers can email you directly, and you keep control of your personal information.

Separate business and personal email accounts as well.

For example, my business email is:

dave@thecomedybook.com

I’m happy to share that publicly because it’s for business. My family and close friends use a different address.

And now… the story I promised.

Years ago, the owner of a well-known comedy club suggested I check out a young, up-and-coming female comedian who was looking for management. I watched her perform and immediately knew she had serious potential.

Over the years she proved that prediction correct. Today she’s a national headliner you’d recognize from television and movies.

But early in her career, she learned a difficult lesson.

She wanted to make sure every booker in North America could reach her, so she printed her home address and personal phone number on all her promotional materials.

And it worked.

She landed a week at a great comedy club a few hours from home — a big step forward in her career.

But here’s what happened next.

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__________

The club displayed her promotional photo outside with the headliners. She was very attractive, and the photo caught people’s attention.

At the end of the week, after paying her, the club owner tossed her promotional packet into the trash. Not because she wasn’t funny — she was — but because bookers rarely keep those materials. They simply don’t have the space.

A few days later she received a phone call from someone claiming to be a talent booker who had her promo material.

You probably see where this is going.

He wasn’t a booker.

He was a comic who had been hanging around the club, saw her photo in the trash, and took the promotional packet — complete with her home address and phone number.

The calls started out normal.

Then they got strange.

Then they got scary.

He became a full-blown stalker.

She had to destroy all her promotional materials and have them reprinted with new contact information. Back then that was expensive because headshots and printing costs weren’t cheap.

But the worst part?

She had to move.

Imagine hearing someone say, “I know where you live.”

That might sound dramatic in a movie, but in real life it’s terrifying.

She eventually relocated and had some very large friends help make sure the stalker wasn’t around when she moved.

The lesson is simple:

You are running a business.

Treat it like one.

Keep your personal life and personal contact information separate from your professional materials.

Because once something is out there — online or in print — you never know who’s going to find it.

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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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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Laughs and Bookings – the best revenge

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Hey Dave – I had a great set last night, but one of the comedians who went on after me tore into me. It got really personal, and it honestly hurt. The people running the show asked if I wanted to go back on and get revenge, but I declined. Did I handle it the right way? – N.R.

Best revenge!

Hey N.R. – It sounds like the opening shot in a potential comedy war. Whether you want to crawl into the comedy trenches (a common comedy term — not mine) with this loudmouth depends on two things:

• Your onstage personality — your comic voice
• How you want to be seen onstage and offstage in this business

Maybe I’m naive, but after a few decades working with comedians, I’ve found this business to be far more supportive than people think. Sure, there are jerks — real pains in the butt — but I don’t know any career path that’s immune from that.

When this kind of behavior happens, it’s usually fueled by jealousy, ego, or a power trip. And here’s the irony: in my experience, the more power someone actually has in the business, the more supportive they tend to be of newer talent. That goes for comedians, bookers, and behind-the-scenes decision-makers.

Disbelief?

(I can practically feel the disbelief from some readers right now. This may turn into a future FAQ — I’ll let that thought marinate.)

For now, here’s the real issue:

Who are you onstage, and how do you want to be perceived by the people you work with — other comics and the people who hire them?

Comedians who are genuine friends tear into each other onstage all the time. That can be hilarious. At the NYC Improv, we could run a microphone into the men’s room and hold it over a flushing toilet when a friend’s joke bombed. The comic onstage ripped into us for the rest of the set, and everyone loved it.

  • That’s playful.
  • That’s earned.
  • That’s mutual.

What you experienced sounds different.

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When it’s mean-spirited, there’s no upside. An unprovoked attack is almost always about making him look better at your expense — jealousy, ego, or both.

There are two ways to handle this, and the right choice depends on who you are.

If you’re the kind of comedian who can verbally dismantle someone — truly dismantle them — then by all means, go for it. A skilled insult comic doesn’t absorb cheap shots; they return them with interest. Think Nikki Glaser, Marc Maron, Wanda Sykes, Dave Attell, Jeff Ross. An insult comic worth their weight can turn a heckler — or a fellow comic — into roadkill.

If that’s you, next time: aim for the throat.

But if that’s not your voice — onstage or in life — then you absolutely did the right thing by walking away.

Let this guy burn his own reputation. Comics don’t want to work with someone known for cheap shots. And bookers? They want the least amount of drama possible. Speaking from experience as a booker, I’ve passed on very funny non-headliners simply because they were a pain to deal with.

If someone else is just as funny — and easier to work with — that’s who gets the gig. Every time.

In a perfect world, your only focus should be becoming a better comedian. If someone chasing the same goal doesn’t like you, you’re probably doing something right.

Want revenge?
Get more laughs.
That leads to more bookings.

Use this moment as fuel. If your work ethic and focus pay off, maybe someday this loudmouth will be parking cars outside a comedy club, ripping into his coworkers — while you’re inside headlining.

Make it happen.

Thanks for reading and as always – keep laughing!!

SPECIAL EVENT – ORLANDO, FLORIDA!

Standup Comedy Workshop at The Orlando Funny Bone:

Saturdays – February 7, 14 and 28 from noon to 4 pm.

Performance at The Funny Bone – Wednesday, March 4 at 7 pm

Space limited – for details and to register visit COMEDYWORKSHOPS.

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

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

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

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

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

Talking comedy

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

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

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

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

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

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

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

Thanks for reading – and keep laughing!

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