Tag Archives: comedy material

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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Never promise what you can’t deliver

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Hey Dave – I need some advice… although I think I already know the answer. A booker asked if I could do an hour clean for corporate and 90 minutes for cruises. I’ve got about 40 clean. I already hurt myself recently when someone asked if I could headline an hour and I admitted I was more comfortable featuring. I want to say yes – but I don’t want to disappoint them or damage my reputation. At the same time, I’m worried that if I say no, they won’t call me again. What do you think? – D.

Are you being honest?

Hey D. – You’re right – you do already know the answer. And so does every working comic and talent booker who’s been around the business for more than a few open mics. The only difference is experience makes it easier to trust that answer.

Here’s the reality: nobody in this business wants to lose an opportunity. But one of the fastest ways to do exactly that is by overpromising – or worse, flat-out misrepresenting – what you can deliver.

If a booker tells a client, “This comic can do a clean hour,” that’s not a suggestion. That’s the product being sold. And if you say you can deliver it, it had better be true.

Because if it’s not… everyone loses.

Now, there are exceptions. Some performers can stretch with crowd work and genuinely carry an hour without a fully written set. If you’ve done that successfully before, that’s part of your act.

It could be a bomb!

But if you haven’t? A high-paying corporate show or a first impression with a legitimate booker is not the place to experiment.

For experienced comics, this is obvious. For those coming up, it’s where temptation creeps in.

You’re thinking: If I say no, I might lose the opportunity. But here’s the flip side: if you say yes and don’t deliver, you won’t just lose this opportunity – you’ll likely lose future ones too.

So, what’s the move?

Tell the truth.

A legitimate booker will respect honesty far more than a shaky performance. If they reached out, it means they’re already interested in working with you. This isn’t a “one strike and you’re out” situation – it’s the beginning of a relationship.

Use it.

Let them know what you can do right now. Ask to be considered for shorter sets. Stay in touch. Most corporate shows don’t even need an hour – 30 to 45 minutes is often the sweet spot.

And when you’re ready to deliver a full hour – or 90 minutes – you circle back and let them know.

That’s how careers are built.

Because this is a career. And careers take time.

Developing a strong, clean act for corporate and cruise work doesn’t happen overnight. It takes stage time, discipline, and a clear understanding that there are no shortcuts in this business.

From the booker’s side, I can tell you this: there’s nothing worse than putting a performer on a show who doesn’t deliver. The client is unhappy. The relationship takes a hit. And that comic?

Let’s just say they’re not getting a call anytime soon.

And yes… I learned that the hard way.

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!!

TAMPA, FLORIDA 2026

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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Clean or Dirty? You’d better know your audience

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Hi Dave – I have one question. As a new comedian does my material have to be clean? – J.N.

Have a decision to make!

Hey J.N. — you’re not alone. This question comes up all the time, and new comedians ask it for a good reason: it matters.

Here’s the short answer upfront (because I’m rarely accused of giving one):

There is no right or wrong answer.

Comedy is both a creative art and a business, but before either of those things matter, there’s one primary goal:

Be funny.

How you get there is completely up to you.

A very famous comedian once told me (and I included this in my book How To Be A Working Comic):

“If you swear in real life, you’re going to swear on stage.”

That makes sense. If those words are already part of who you are, they’ll naturally show up in your act. But if they aren’t—don’t add them because you think they’ll make you funny. Audiences can smell that a mile away, and “trying to be edgy” is never as funny as being honest.

There’s a market for everything. Whether you choose to work clean or adult is a personal decision.

But since you asked – and once again, I’ve never been known for short answers – let’s look at this from a different angle.

We’ll call it…

Your Audience

But will they laugh?

You specifically said new comedian, so let’s start there.

When you’re beginning, your job is simple:

Get stage time. Learn how to write. Learn how to perform. Learn how audiences respond.

Along the way, you’ll encounter different rooms, different crowds, and very different expectations.

  • Some comedians love late-night, beer-soaked club crowds.
    Others prefer corporate events, colleges, or private functions.
  • Right now, it’s probably too early to know which lane you’ll ultimately choose—and that’s okay. But eventually, this becomes both a creative and business decision, because different markets hire different kinds of comics.

So here’s the real question behind your question:

Who do you want your audience to be?

Every entertainer has to answer that—not just comedians. As a creative artist, who do you want to make laugh? And as a businessperson (yes, that’s you), how will you build an audience that supports your work?

When you’re starting out, that audience could be anyone: open mics, bar shows, fundraisers, showcases. What matters most is experience. You don’t become a working comic by rehearsing in your living room or performing for the family dog.

You get better by getting on stage.

  • If they laugh, it works.
  • If they don’t, it doesn’t.

Audiences are honest that way—which is why stage time is priceless.

https://youtu.be/mu1F3ck5ZgE?si=AuPP001eW_GOKONc

Know the Room

Would your audience want clean material or adult material?

That’s not a moral question. It’s a practical one.

I’ve coached Born Again Christian comics and the most X-rated acts you can imagine. I don’t care which direction someone chooses—as long as they’re clear about it and performing for the right audience.

  • But make no mistake: there are rules in this business.
  • And those rules are made by the people who hire comedians.
  • You can’t do X-rated material on network television. Cable and satellite radio allow more freedom—but even then, context matters. The Disney Channel and The Howard Stern Show aren’t fighting over the same talent pool.

So ask yourself:

  • Where do you want to perform?
  • Who do you want laughing?
  • Which markets excite you?

You can work dirty—just don’t do it in front of grandparents who brought their grandkids for a fun night out. And don’t expect your clean, church-friendly material to crush in a late-night dive bar full of people upset that the bartender turned off cage-match wrestling for a comedy show.

Get the picture?

Experience Changes Everything

Many experienced comics can work both clean and adult. Why? Because their jokes are funny on their own—not because of an F-bomb. They can adjust based on the room.

A perfect example: cruise ship comics.

They perform family-friendly shows before and after dinner, then switch gears later that night for adult-only crowds. Same comedian. Same brain. Two very different sets—sometimes just hours apart.

That kind of flexibility comes from experience.

And one more thing to keep in mind…

The people who hire comics for corporate events, banquets, and private functions pay far more than the beer-soaked guy booking a bar show. That’s why many working comics love corporate gigs.

On the other hand, an uncensored Netflix special or becoming a regular guest on a show like Stern can launch a career just as fast.

Different paths. Same requirement.

So… Clean or Dirty?

As a new comedian, here’s my advice:

Focus on writing funny material—material that works with or without a few choice words. Develop jokes that stand on their own. Learn how to adjust your delivery depending on the room.

Then ask yourself:

  • Would I rather perform at a business luncheon—or a late-night dive bar?

Neither answer is wrong. But knowing your audience will help you find the right one.

And that’s where real comedy careers begin.

Thanks for reading and as always – keep laughing!

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Wednesday, February 11 and Monday, February 16, 2026

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

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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.

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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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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