Tag Archives: comedy

Emailing Talent Agents: Bold Move or Waste of Time?

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Hey Dave – I just went to a (big) audition in LA but didn’t get in because there were too many people. Like you advised, I gave one of the judges a post card with my headshot and links to my website and videos. I’m not living in LA and it was a long way to travel for this. Do you think it could be useful for me to email website and video links directly to comedy agents in LA and hope they’ll work with me when I return? Thanks – D.

Who’s next?

Hey D – Sorry to hear you didn’t make it into the audition. I know the one you’re talking about, and since it involved TV, it was bound to draw a huge crowd. These types of auditions are often referred to as “cattle calls” in the industry – lines of performers hoping to be seen before the cut-off.

It’s frustrating. You travel a long way, wait in line, and sometimes don’t even get a shot. I had a comic once call me while standing in line for America’s Got Talent. They were only seeing the first 100 people. He was probably number 110 and didn’t get seen.

Even more frustrating? He watched some comics get ushered to the front of the line. Why? Because the casting team already knew them. They’d either seen them perform live or had relationships through agents. That familiarity makes all the difference – they’re more willing to set aside a specific time or let them skip the line entirely.

That’s how the business works, especially in cities like LA and NYC. Casting people and agents don’t just look for talent – they look for reliable, experienced talent they already trust to deliver.

So, about emailing agents with your materials:

My expectations were too high!

It’s not a bad idea, but temper your expectations. Blind emails and unsolicited promo links usually go ignored unless the agent has a reason to care. They want to see comedians live, multiple times, in different settings. They’re investing time and effort into someone’s career, and they need proof it’s worth it.

A link to your website or YouTube channel can serve as an introduction or a reminder if they’ve already seen you live. That’s why I advised you to bring a card or postcard with your info – something that might help with name-face recognition down the line.

But for agents to truly consider working with you, they need to see you on stage, ideally in their city, so they know you’re accessible for gigs and auditions.

If your long-term goal is to land an LA agent, the best thing you can do is get really good. Hone your act, build your credits, and when you’re ready, go to LA and start networking in person. Visit the clubs, hit the open mics, try to set up showcases. If you have any connections who can help you get stage time at bigger clubs, use them.

The promotional material you send is like a movie trailer – it builds interest. But eventually, people will want to see the full movie. That means performing live.

I’d also recommend reading the interviews with Drew Carey and Jeff Foxworthy in How to Be a Working Comic. Neither one got attention from their promo materials alone. It wasn’t until they were seen on stage in LA that the doors opened.

So yes – send your links. But don’t rely on them. Instead, think of them as part of your long-term strategy: build recognition, stay in touch, and be ready to show up when the opportunity calls.

Thanks for reading – and keep laughing!

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

 

 

Spring 2025 Stand-Up Comedy Workshop at The Cleveland Funny Bone

Saturdays – April 26, May 3 and May 10 from noon to 4 pm

Includes a performance at The Funny Bone on Wednesday, May 14

For details, reviews, photos and registration visit ComedyWorkshop

Customizing Material for Different Audiences

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Hey Dave – You’ve mentioned before about personalizing material for corporate shows. When comedians talk about “knowing your audience,” does that mean they need entirely different acts for different audiences? Thanks – S.A.

Know your audience!

Hey S.A. – Not necessarily. It depends on the material, delivery, and audience. Some comedians seamlessly “cross over,” appealing to diverse crowds. Others stick to a specific niche, knowing where they fit best and where they won’t be well-received.

For example:

  • An X-rated comedian won’t be booked for a church show.
  • A Christian comedian likely won’t perform at an adults-only, X-rated event.

That’s common sense in the industry. If a comedian doesn’t recognize this, they’re in for a tough career lesson. However, it’s also crucial to understand that…

Comedians Must Stay True to Their Voice

Some comics refuse to change their stage persona or material just to cater to an audience that doesn’t align with their style. Others, however, recognize that slight adjustments in material and delivery can open doors to more bookings.

It’s a personal choice. I’m just letting you know there are options.

Why Customize Material?

Someone call her designer!

Experienced comedians and speakers often tailor their performances for two key reasons:

  1. It can lead to more paid bookings.
  2. It can justify charging a higher fee.

Let’s focus on that second point. Higher fees tend to get a comedian’s attention, especially in the well-paying corporate market. Event planners may approach you for a booking, and you could charge one fee for your standard act. However, if they request a customized show tailored to their industry—whether it’s financial investors, gourmet chefs, or flight attendants—you can charge a higher fee.

Selling the Customization

The key selling point is that personalization requires extra effort. You’d need to research the company, modify your material, and incorporate industry-specific details into your set. This might include:

  • Mentioning the company’s name and industry.
  • Referencing their clients, competitors, or workplace culture.
  • Using inside jokes about employees or the city they’re based in.

Since this level of customization takes additional time and effort, you can justify a higher rate. If the client finds it too expensive, you can negotiate—offering your regular act at your standard fee while keeping customization as an added premium.

Customization vs. A Different Act

Personalizing your material means tailoring it to your audience, but it doesn’t mean writing an entirely different act. It’s about adaptability.

A comedian friend of mine (featured in my book How To Be A Working Comic) is a master at this. He has decades of material and could perform a different set every night. Yet, he maintains a consistent comedy voice.

He might not be an expert on investment banking, gourmet cooking, or airline crew life, but he can make an audience of bankers, chefs, or flight attendants laugh. That’s what he’s paid to do.

He seamlessly shifts between:

  • A raunchy, X-rated midnight comedy club set.
  • A clean, corporate-friendly performance the next day.

His topics—his upbringing, family, and personal experiences—remain the same. The difference? His language and delivery. At the comedy club, he may use explicit language and edgier jokes. At a corporate event, he removes the “F-bombs” and adjusts his tone, keeping the humor intact.

Finding Your Approach

Would this strategy work for you? It depends on your style and audience.

  • If minor tweaks make your material work across different settings, you don’t need entirely separate acts.
  • If your material isn’t adaptable, you might need distinct sets for clubs, corporate gigs, or colleges (many comics do this).
  • If you prefer sticking to one niche, that’s fine too.

Some comedians prioritize creative freedom over marketability. Others use well-paid corporate gigs to fund their passion for uncensored, late-night comedy. The choice is yours.

Thanks for reading – and keep laughing!

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

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

Getting a guest set at a comedy club

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Hey Dave – Hope all is well in Comedy Land—a strange, twisted, but always entertaining place! I wanted to reach out for some advice. I’m really interested in performing at [Comedy Club] and doing a guest set so the booker can see my material. What’s the best way to get in front of him? I just want to make sure he knows who I am. I have some video clips I can send, but I’d love to hear your take on the most effective approach. Any guidance would be greatly appreciated. Thanks – JW

Comedy Land!

Hey JW – First off, fantastic job describing Comedy Land! You didn’t just outline a place—you brought its inhabitants to life. It’s clear we all share a lot in common.

You mentioned a well-known comedy club, but my suggestion applies universally to most clubs.

I’ve been fortunate to work with three major comedy clubs throughout my career. In fact, I’ll proudly say I’m the only person in comedy history to have managed and booked talent for The New York Improv, served as the talent coordinator for The Hollywood Improv, and managed The Cleveland Improv. That’s coast to coast to coast—from the Atlantic to the Pacific to Lake Erie.

And since the NYC Improv no longer exists, I’ll hold that record forever. Looks like my spot in Comedy Land is permanent – ha!

Over the years, I’ve been involved in auditions, showcases, and guest sets at all three clubs. Based on that experience, there are several ways comedians can get noticed by club bookers: contests, workshops, pre-scheduled audition showcases, and email submissions are standard approaches.

La La Land!

There’s also a reason comedians have always hung out at comedy clubs—it’s an opportunity to meet bookers in person. Whether it’s to ask for a showcase or simply be available as “stand-by” talent, networking in this setting has been a tried-and-true method since the dawn of stand-up.

At the NYC Improv, this presented a great chance for newer comedians.

We’d pre-schedule performers until midnight, but if the audience wanted more, the show would continue until 4 a.m. Those late hours provided valuable stage time for newer comics who hadn’t received earlier spots. As the manager, I’d often go through the bar area and invite comedians hanging out to perform short sets.

In Los Angeles, while comedians still frequented clubs, we relied more on video submissions and promo packages (now digital) to find talent for showcases. Back then, there was also a New Faces Workshop at the Santa Monica Improv, which helped new comedians improve their craft and provided opportunities for Monday evening showcases. This could lead to more substantial roles at the Melrose Avenue club.

Focus is on group comedy writing & discussions about the comedy / entertainment business

Next round of workshops meet Mondays – February 17, 24, March 3 and 1o, 2025

Space is limited. For details, reviews, photos and to register visit:

Online Comedy Workshops

For regional clubs like The Cleveland Improv, local comedians often fill opening and MC spots. To break in, it’s crucial to attend showcases or workshops to be seen in person. While YouTube submissions and email pitches can be effective, being there in person gives you an edge.

So, what’s the best way to get noticed by a comedy club booker?

Get a referral from a comedian who already works at the club.

As I’ve said before, that’s your Golden Ticket.

If you’ve worked with a headliner or feature act who regularly performs at a club you’re targeting—and they genuinely like your act—ask them to refer you to the club booker or manager (sometimes they’re different people).

Ask if they’d be willing to request a guest set for you, which serves as an audition. This is the single best way to get seen. You bypass the uncertainty of email submissions, long open-mic audition nights, or waiting endlessly to pull a lucky lottery number for a spot. A referral is your “in.”

Networking with your fellow comedians is key. However, this doesn’t mean brown-nosing or pestering them. Comedians and bookers deal with enough of that. Instead, focus on honing your craft and gaining enough experience to be genuinely ready for top-tier clubs like The Improv or The Funny Bone.

Remember, you can’t fast-track your way into the big leagues just because you know the right people.

Even if a referring comic is your close friend, they won’t risk their reputation by vouching for someone who isn’t ready. Most working comedians have spent years building their careers, and they’re not going to jeopardize it for someone unprepared.

That’s why experience and stage time are invaluable. They’ll not only sharpen your skills but also connect you with comedians working the clubs you want to play. For example, I visited your website and noticed you have two upcoming shows this month featuring performers who are regulars at The Improv. One of them even works at the Hollywood Improv.

If you deliver outstanding sets and the comics are impressed, this is your chance to ask for a referral. They may say yes or no, but you shouldn’t let the opportunity slip by.

In summary:

Personal references can open doors. In Comedy Land, talent, experience, and networking are the keys to getting that Golden Ticket. Keep working, stay prepared, and seize opportunities as they come.

Thanks for reading – and keep laughing!

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

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

Talent Agents vs. Talent Bookers

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Hey Dave – You’ve been referring to talent agents and talent bookers. What’s the difference? – Big G

Let’s make a deal.

Hey Big G – Good question! Even if it were a lousy question, I’d tell you it was great because… well, let’s just call it self-preservation. Nobody calls me “Big Dave.” Seriously though, how BIG are you?

Let’s clear this up: talent agents and talent bookers have distinct roles. Here’s the scoop:

Talent Agents: A talent agent works with a select group of performers—let’s say comedians in this case. The agent operates within an agency, and their primary job is to get work for their performers. Think of the agent and comedian as business partners. Here’s the process:

  1. A talent agent’s job is to secure gigs for the comedian.
  2. Event planners, club managers, or anyone needing a comedian reach out to the agent.
  3. The agent handles all the details—where, when, how much—and often manages contracts and payment. Agents take a commission and pass the rest on to the comedian.

Sign on the dotted line.

This usually requires an exclusive contract between agent and comedian. Agents rarely “free-lance” (work without a signed agreement). When they do, it’s typically to test the waters—can they work well together, and can the comedian book gigs that justify the agent’s effort? It’s like dating before committing to a serious relationship.

Free-lancing was more common back in the day (veteran comics, correct me if I’m wrong). But as the industry—and money—has grown, so has the need for exclusivity. Agents want to protect their investment, i.e., the time and effort spent building a comedian’s career. Without a contract, a comedian might land a bigger gig elsewhere and leave the agent behind. This isn’t exactly an industry known for its honor system, so contracts are now the norm.

Pro tip: Signing with an agent is a big decision. Choose one who shares your career goals. Don’t rush into a partnership just because you’re eager to “make it.” And always ensure there’s a time limit in your contract, so you’re not stuck with an agent who isn’t delivering.

The Tampa Funny Bone – Tampa, Florida

Saturdays – February 8, 15 and 22 from 12:30 to 4:30 pm

Includes a performance at The Funny Bone:

Wednesday – February 26

Space limited – pre-registration is required

For details, reviews, photos and to register visit ComedyWorkshops

Talent Bookers: A talent booker, on the other hand, is the person who hires you for work. For example:

  1. The individual scheduling acts for your local comedy club is the booker for that club.
  2. Bookers don’t find work for you at rival clubs or venues—that’s your agent’s job.
  3. On a larger scale, national chains like The Funny Bone or The Improv may have centralized booking agencies for all their locations.

It’s worth noting that some bookers also act as agents, which can muddy the waters. Generally, though, bookers focus on filling specific slots for their venues, while agents focus on building your career.

In short, your agent finds the work, negotiates the terms, and handles the paperwork. Your booker ensures you have a spot to perform. They’re like two sides of the same coin, but their goals and responsibilities differ.

Want even more detail? Check out my book How To Be A Working Comic. Yes, that’s a shameless plug, but hey, I’ve got a literary agent to keep happy too!

Thanks for reading – and keep laughing!

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

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

What are you NOT allowed to do with your promo video?

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Hey Dave – I played a (known) comedy club and it went very well. I got constant laughs and had so much fun. But I’m a bit confused about something. The club sent me a video of my set and said, “Feel free to use it as you want, just as long as it’s not used publicly.” What does that mean? How else can I use it? Can I send it to other clubs? Am I allowed to post pictures? I wanted to use it for my website, but I am in total limbo with this. Thanks in advance for clearing up my confusion – ha! Talk to you soon – R.Y.

Filming your video

Hey R.Y. – I just checked on YouTube and found more than a few comedian videos taped at the same (known) club. So, I’m really not sure what they mean about “not used publicly.” I’ll tell you at the end of this how to find out, but right now I’ll take a couple guesses and explain why…

The known clubs – and many that are not so well known – are very protective of their images. In business terms, it’s called their brand. When you see an advertisement or commercial promoting an upcoming show, it’s going to be for a comedian that will deliver a performance the audience will expect from that caliber of a club.

Let me clear that up a bit. I won’t single out one particular known club because there are too many. So just pick out your favorite.

These clubs are in business.

How they stay in business in this competitive field is by bringing in a comedian audiences will pay to see. This builds their reputation (brand) with consumers (ticket buyers). They want you to feel confident that if you attend a show at their club, you’ll see a very funny comedian.

That’s the image they want potential and returning customers to have. Buy a ticket to this (known) club on the “nights advertised” and you’ll have a great time.

But these clubs are also interested in finding new talent. Again, it’s part of the business.

Promoting your video

They can’t bring in the same comics over and over and over because a large segment of their audiences are returning customers. Yes, there are certain comics that are more popular than others, which is why they will have more return engagements. But especially in the clubs where using three comics (MC, feature and headliner) are standard, they don’t want the exact same show. A talent booker will schedule different opening acts and feature acts for that reason.

To help find these new comedians or to give local comics more experience, known clubs might have an open-mic night, showcase (where management is auditioning) or host a comedy class that includes a performance night.

Usually the comedians can get a video of his or her performance.

For some it’s a souvenir of a memorable night. For comics serious about building a career, they’ll use the video to get better. They watch to see how they look on stage, what material worked and what needs work, and to analyze timing and delivery.

But we also know video is the best way to promote your career. If you have a great video the goal is to get it in front of talent bookers. But sometimes depending on “where” you filmed that great set it can be a little confusing on how you’re allowed to use it.

Let’s say you’ve done an open-mic at a known club and have the video. Let’s also say you’ve had some experience and might be ready for paying gigs at lesser known clubs, but not where you made this great video. And even if you are, you’re not the headliner the club would promote to sell tickets.

Kick off a laugh-filled 2025!!

Comedy Workshop at The Cleveland Funny Bone

Saturdays, January 4, 11 and 18 from noon to 4 pm

Perform at The Funny Bone – Thursday, January 23 at 7:30 pm

Space is limited – for details and to register visit COMEDY WORKSHOP

If you put this video online and make it seem like you were a paid “regular” (MC, feature or headline) performer at this club, it’s not going to live up to their brand. That’s an important factor for the club because they’ve worked hard to build their reputation. This happens (a lot) with newer comedians. They’re proud of what they’ve done but need to remember the clubs are also proud of their brands. I know club managers that have contacted comics and demanded they take the videos down.

It’s business.

That’s also why many clubs hide their onstage logos during open-mic and showcase nights. When their brand is presented publicly, they want the public to only associate it with the best comics.

Another answer to this question would be using it for publicity. You might score a gig at another club or even a benefit show and a clip from your video at the known club is used to sell tickets. Without written permission it’s not a good idea to use video showing their brand (the logo on stage) in the background while you promote a show at a different venue. That could cause more headaches than you’d care to have, so never use one club to promote another.

Again, it’s business.

In your state of confusion, the best bet is to call or email the club and find out exactly what they mean. And since we’re talking about business that’s also a good way to stay in touch. Any time your name is mentioned to a talent booker, you’re promoting yourself (your brand). This is a legitimate reason, rather than an email or postcard just “saying hello and keep me in mind for work…”

Be honest.

Tell them you’ve received the video and you’re not sure what you’re allowed to do with it. Then let them tell you. You don’t have to say you want to post it on your website, YouTube or send to other clubs. The club manager / booker should fill in the blanks. Then just follow what they say. Either way they’re doing you a favor. You’ll have a video you can watch to help you improve as a comedian or help promote yourself as a comedian – or both.

Thanks for reading – and keep laughing!

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

How old is too old to start?

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Hi Dave – I worked as a comedian for ten years, opening and featuring. Is 51 years of age too old to go back into it? – D.K.

Hey lady!!

Hey D.K. – You know what? That’s one of those questions only you – and anyone else who checks out a calendar before making a move – can answer for sure. But also “for sure” I have a few thoughts about this.

So here we go…

First of all, I consider comedy – writing and performing – to be a creative art. I’ve written that countless times in these FAQs And Answers, so no detailed explanation is needed.

It’s just the way it is.

I also believe using your creativity and being psyched (excited) about sharing your “art” with others is like a Fountain of Youth. Don’t laugh. Again, I’m serious. I’ve had too many former friends (and I mean former because I have no interest in hanging out with people like this) hit a lazy-boy chair (yeah, I know it’s La-Z-Boy, but I don’t feel like getting sued) at the age of 30 and announce they’re over the hill. They hang onto jobs they hate because it’s too much work to find another. Their free time is spent vegging and basically, watching and critiquing other people that are doing or creating other things.

They never seem to create anything except annoyance. And at least to me, they always seem to look and act a lot older than they really are. The only thing they accomplish is getting older.

Am I being too hard on these people? Maybe, but they won’t read this anyway.

With Phyllis Diller – laughing into her 90s!

And now that I’ve made my opinion perfectly clear, let me tell you about another creative artist who doesn’t look at his age as a barrier. Oh yeah, and we’re still friends…

A musician pal I hung with during my years living in NYC was deeply into heavy metal rock music. We’re talking Led Zeppelin, KISS and Guns & Roses type of screaming vocals, guitars, drums and, as expected, The Look of being a rock star. He didn’t make it as a teenager, or even into his twenties or thirties. But you know what?

He’s now in his 60s and rockin’ out harder than ever.

He has a real job to support his creative endeavors, but instead of investing his salary into buying a more comfortable chair and big screen TV experience, he built a recording studio in his basement. He’s continually writing (creating) and recording (performing). It’s his creative outlet and passion, but also more than just a hobby similar to playing in a local band on the weekends.

It’s a business.

About once a year he has enough material to release a CD of hard rock originals on his own independent label (same as self-publishing your book). Through the internet and YouTube, he’s developed a fan base in Germany and some Eastern European countries that the more youthful independent (and inexperienced) bands haven’t even discovered yet. It keeps him off the couch and more importantly, from wondering:

“What if…?”

Kick off a laugh-filled 2025!!

Comedy Workshop at The Cleveland Funny Bone

Saturdays, January 4, 11 and 18 from noon to 4 pm

Perform at The Funny Bone – Thursday, January 23 at 7:30 pm

Space is limited – for details and to register visit COMEDY WORKSHOP

So, how would you answer that question ten years from now? You might think 51 is old – but it’s not as old as you’ll be tomorrow, next week or next year. If you have a creative passion and want to give comedy a shot, there’s no better time than now.

And yeah, I know. That sounds like such an overused, tired and old cliché. But it wouldn’t be overused, tired and old if it didn’t make sense.

I won’t even get into stories of creative artists making it in their careers until they were older (Google Grandma Moses if you really need an example). I’ve heard Rodney Dangerfield sold paint until he was 40. Not sure how true that is (anyone want to throw me some facts?) but I tend to believe it.

There are different ways you can get back into the comedy game at a more advanced age. You need to consider your material and audience. But then again, that’s what just about every comic needs to do anyway.

For instance, you have a better chance of winning the Lottery than making a comedy career on the college circuit. Through my experience as a college agent I know that’s true. And as father to a couple college graduates, I know for a fact there’s nothing easier for them to tune-out than an old person (think over thirty) trying to make them laugh.

I remember interviewing Bill Engvall for my book Comedy FAQs And Answers and mentioning that I thought he’d get a lot of work in the college market. He told me I was nuts. He said his material was about being married and raising a family, which ain’t exactly what college audiences relate to.

I’m only surprised he didn’t hand me the invisible, “Here’s your sign!” He was sooo right…

But as you know, I also talk about the potential for work in more mature (think again over 30) markets, which means pretty much anything other than college and high school prom shows. Your open-mic circuit can include Rotary Clubs as well as comedy clubs. It’s a matter of writing material your potential audience will relate to and laugh at – and then finding the best venues to deliver it to them.

It’s also about telling yourself you’re not too old to do something you really want to do.

So, for another inspiring example to get you off the lazy-boy and onto the stage…

The age range in my comedy workshops has been pretty wide. We used to go as young as 13 (it’s now 18) and as old as… well, there’s no limit. The record so far is 84 years young. And you know what?

He ended up working a lot more than some of the much younger members.

This late-starting comedian knew what he was interested in talking about and what potential audience would be interested in hearing it. His material was about being 84 and some of the things he – and others near his age – was doing and dealing with. He was fun, funny, active and creative. And believe it or not, he started working almost immediately because he was an original rarity.

An older adult doing comedy.

He booked MC spots in good clubs but made a financial killing playing events for senior citizens. I kid you not! Last time we talked – and this was a few years ago – he was a working comic and bouncing around like a guy half his age.

Okay, maybe except for the ones half his age that are stuck in comfortable chairs and critiquing him for being “too old” to do that sort of thing…

So, are you too old at age 51?

It’s up to you, but I don’t know if that reason alone could truly hold a creative artist back from at least giving it a shot. As far as I’m concerned, it beats the heck out of vegging in a chair and watching someone else go for it on your large screen TV…

Thanks for reading – and keep laughing!

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Record for your own protection

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Hi Dave – I was talking with another comic about a court case from a few years ago. A customer in a comedy club sued the comic over his (adult) language. She claimed to be stressed and shocked and won the case. We record every set mainly so we can hear which jokes work and how well. Now it’s important to document what was actually said. This was a case of a comic being accused of using inappropriate language in a mandatory “clean” show. – BM

Disorder in the court!

Hey BM – I remember that case and wrote about it in a FAQs article when the verdict came down. A lot of people in the comedy biz were shocked over what happened. To borrow a phrase from an influential club booker who seems to repeat it every time we talk, comedy clubs are “The Last Bastion of Free Speech.” In other words, he feels as long as the comedian is funny it’s okay to have an opinion to say what he or she wants on stage and not worry about being politically correct.

But it’s not that simple.

It didn’t take a court case for most working comics to understand there are limits on language and topics depending on the venue, audience and event. For example, what you can expect to hear during a late night show in a comedy club vs. a corporate event will be different.

As you mentioned, it’s important to record all your sets. This is a great way to help you improve as a writer and performer. If your performance is funny the audience will laugh. If it sucks, you’ll hear crickets from the segments of the room where your family and friends are not sitting. You can develop your act off the response.

Proof is on the recording

As you also mentioned, recording your set is a way to “document” what is said on stage. Based on the result of the court case, having proof of what you said can be just as important.

Some performers may not realize this, but did you know that some club owners or managers record the shows? It’s nothing new. Many clubs have a permanent camera installed and aimed toward the stage. Before that in “ancient times” (pre video cameras) quite a few had an audio recorder going.

I know. I’ve been around since the “ancient times” and saw this happening.

I’ve also seen this documentation (proof) used to show performers that what they advertised (promised) was not what they delivered. And in some cases, it justified the talent booker not paying the performer.

Example…

A few years ago I received a call from a booker to warn me about a certain comedian who was promoting himself as a clean (G-rated) act. He had scheduled the comic for a corporate show and was called-out by the client because the comic not only talked graphically about sex, but also dropped the F-bomb in the process.

Of course the comic protested. He said his material was not that dirty.

So the talent booker told him to prove it. Send the audio or video. The comic couldn’t because he didn’t record. So it came down to the client’s word vs. the comic’s word.

Can you guess who won?

Yeah, the angry and offended client with big corporate $$’s to spend on his next event.

The booker still hoped some of that money would be spent on one of his performers, so case closed. The client demanded and received a refund, so neither the talent booker or the comic was paid. And since the talent booker wasn’t used to getting yelled at by clients because the performers he works with are expected to understand the event and “know the audience,” he called other talent bookers to warn them of the potential nightmare that comes from working with that particular comic.

That’s how I heard about it.

So now getting back to the article you mentioned, I’m guessing the judge made a ruling based on whose lawyer sounded most convincing. I don’t remember reading about the comedian recording his set. If he had, it might (or might not) have saved him time, trouble, money and future work. It’s important for creative artists to have freedom of expression, but I’ll also add this from a business side of the creative entertainment business:

There are certain limits.

What do I mean by that stipulation?

A comedy club normally is for people ages 21 and over. If someone fits that demographic but is easily offended, then they need to follow the rule of “buyer beware.” If the show is announced for “mature audiences only” you can bet the comic on stage will practice his or her right of free speech at some point or another. If someone doesn’t like it – they should leave.

It’s similar to watching television. If I don’t like a show I’ll change the channel. But I won’t impose my beliefs on someone else who might enjoy it. As an example I’ll use all the violent murder and detective shows that I have no desire to watch. But they pull in high ratings, so who am I to prevent others from tuning in? Instead, I’ll just change the channel to The Voice or a rerun of Seinfeld. Those are the types of shows I enjoy watching.

But performers also need to be aware of the event and audience.

As mentioned above, a late night comedy club show will be different than a corporate event. Comedy clubs are where comedians can practice free speech, while corporate comics need to be funny using G-rated material.

To prove (document) my point, here’s an experience with someone that “did not know his audience” that I still find unforgettable and unforgivable…

Many years ago I took our then 5 year-old son to a very well known amusement park. It wasn’t Disney because they have standards about this stuff. But as we walked around all these rides and games meant for little kids, I saw a guy wearing a white t-shirt with the F-Bomb spelled out in all it’s four-letter glory in BIG bold black lettering as in “F(bomb) YOU!”

Sorry “Mr. Living-On-The-Edge”, but that was not the time or place for your political incorrectness. Performers who work in the comedy and speaking biz will understand. It’s called “knowing your audience “and the audience this idiot had was a bunch of 5-year-old kids with their parents.

This goes both ways.

Performers must know your audience. Audiences must realize where they are. If it’s a corporate show it’ll be clean. If it’s a comedy club, chances are something will be said that’s not appropriate for 5 year old kids or anyone easily offended.

Next online workshop starts Monday – November 25, 2024

Visit website for details and to register

When you cross the line, that’s when the trouble – and bad-mouthing phone calls – can start. Your best defense is to always record your set and be sure it backs up what you’ve been hired to do.

Oh, and by the way – I reported the idiot wearing the “F-Bomb” t-shirt to administrators at the amusement park. I don’t know if they told him to change or to leave, but I hope they at least made part of his day a hassle. LOL!!!

Thanks for reading – and keep laughing!

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Finding corporate gigs and dealing with gatekeepers

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Dave – I’ve taken your comedy workshop, and it was a wonderful experience. Okay, now that I’ve saved you the time of promoting it, I did have a question. You recently wrote about using humor to gain corporate gigs. How does one go about finding these speaking opportunities? Who do you contact – event planners, Human Resources or some other person at the corporate office? What is a gatekeeper and how should one approach that gatekeeper? – B.T.

No one gets past me!

Hey B.T. – Come on… You know me. Just because you plugged my workshop (thank you btw) doesn’t mean I’m not going to plug it again. It’s called promoting, which is what you also need to do if you want to book corporate gigs.

That’s true whether you’re a comedian, humorous speaker, or any type of presenter or entertainer. No one will hire you unless they know you’re out there and available for work.

The article you’re referring to was about using humor during your program at corporate events. It was posted in two parts in case anyone wants to scroll down for a reminder. But your question has given it a different spin:

How would you use humor to find and schedule corporate gigs? Here’s my take on it…

I go through phases but guess I could admit to being a big cold caller. It sounds miserable (think telemarketer) and was at first. I dreaded those work-related calls. But after much practice and bad experiences, I came up with an idea to make these calls semi-humorous. After all, in my corporate programs I talk about comedy, humor, laughter – and it was time to start using them.

You really want to get past me?

In the corporate market you really can’t be a one-liner, class clown or jokester when first contacting a gatekeeper (we’ll get to that term in a moment) by phone. You’ll either get the Rodney Dangerfield treatment (no respect) or be treated to an endless symphony of Elevator Muzak (for a sample, check out this LINK) when they put your call on hold and go out for lunch.

It’s a business call and you need to treat it that way. BUT it’s important to have an opening line that grabs interest. It’s like writing the beginning of a comedy bit or speaker’s presentation. You want to grab your listener’s attention as soon as possible. And since you also work in the humor industry, there’s no reason why you can’t use a fun(ny) opening line as a conversation starter.

Here’s an example that I’ve used, and it’s worked – no BS:

“Hello, this is (your name) and I’m calling from “beautiful” or “hot and humid” or “snowy and cold” (name the city closest to you that you know they’ve heard of).”

THEN WAIT.

More times than not, the person answering the phone will have a comment about the city. They’ve been there; have relatives or friends living there; know something about it (good or bad – doesn’t matter); or will have at least heard of it.

BINGO!!! Conversation starter.

Let them talk and all you have to do is work off of what they’ve just given you. Get it?

To continue this random example, they might go with the “weather option” you gave in your opening line or want to talk about the city’s sports teams (I get that one a lot). Then once we have (hopefully) a friendly and/or funny conversation going I ease into my sales pitch.

“I have a program that would be great for your company’s next event. Let me tell you about it…”

And here’s another secret. If my opener is greeted by silence or a negative reaction, I don’t waste a lot of time on the call. Since I deal with humor, this is obviously not a good fit for what I do. I’ll move onto the next one.

How do you find speaking opportunities?

Cold calling is just one way – and usually everyone’s least favorite. The best is always in person networking. I talk about this in much more detail in my book How To Be A Working Corporate Comedian, but in a nutshell, every community has business organizations looking for presenters. Play detective and find the person that schedules these meetings and volunteer to speak for FREE.

This is a major source for contacts. Not only can you showcase in front of potential clients, but they’ll also usually feed you for FREE. Then you do a meet and greet as they leave the program and liberally hand out your business cards while trying to collect as many as you can. Some audience members might have an event coming up and would be interested in hiring you based on your FREE showcase presentation.

I’ve booked quite a few paying gigs this way and gained a few pounds at the same time.

As far as who you should contact…

You’ll need to play detective again to find out that info for individual corporate events. I’ve learned firsthand it can be just about anyone from an assistant to the head honcho of the company. Go online and learn what you can about the company before calling. You can also ask the gatekeeper…

Who??

The gatekeeper is the person that answers the phone during your cold calls and considers it to be his or her personal mission to keep you from talking to the decision maker. And in case you need a refresher, the decision maker is the person that can hire you. You need to convince the gatekeeper that you and (especially) your comedy act or speaking presentation is worthy of personal contact with the decision maker.

Sometimes the above-mentioned creative (humorous) example can be the needed cold call icebreaker. Other times it turns into a longer process. This would involve sending information and promotional videos showing what you can offer to make their event successful – and hope the decision maker sees it. Then you need to follow-up without being a pain in the you-know-what.

How do you do that? It’s in my book How To Be A Working Corporate Comedian (another plug!) and involves a timely use of phone calls, emails and postcards. There are no guarantees, but gatekeepers, event planners, human resources, assistants and head honchos will never know you’re even out there and available unless you present yourself.

It’s called promoting. And in my opinion, an element of humor can help you stand out from the competition.

Thanks for reading – and keep laughing!

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New material for a comedy contest?

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Hey Dave – I won a spot in the amateur contest finale show next week. My question to you is this: I used my same set that you saw and it “rocked”. Should I go back there with that exact same set or a completely new one untested? Can I put in a few new bits and keep the rest the same? Thanks for your time – N.D.

Hey N.D. – That’s great news – congrats! Good things can happen when you “rock” on stage.

To answer your question, I’ll need to rely on what I’ve been told by too many comedians and behind the scenes people over the years. I’ve been involved with many auditions, which are different than contests. At an audition the comedians would do anywhere from five to seven minutes to be considered for a booking. When I was in Los Angeles it was three to five minutes when auditioning for most of the television shows, including The Tonight Show and on down the list.

And in case you’re wondering, auditions for America’s Got Talent are 90 seconds. You don’t need a lot of time to make an impression in this crazy biz.

We didn’t see the same material twice because there were no preliminaries and finals like in a comedy contest. The comic either got the gig or didn’t. If one of the talent bookers wanted to see the comic again it meant he/she was interested, but also wanted to see different material.

In comedy contests you have to know “what got you there” and what will keep you around until the end. In my book Comedy FAQs And Answers, I asked the same question to an important Hollywood television producer (you’ll have to read the book to find out). His answer?

“Always go with your A-Game.”

Pick a winner!

In other words, never do an audition, showcase or (important) contest with untested material. Otherwise just consider it “stage time” (practice) and use it as that. Use it to work on material, delivery, timing, stage fright or whatever you need to improve to get better.

But since you’re excited by going this far in the contest you should follow the above advice. Go with your A-Game and don’t do the untested set.

Since this is during a live show and not a repeat performance in front of a small panel of judges you’re going to have a different audience. So don’t worry about people having heard your material earlier. And as for the club staff, the hard workers behind the scenes are there every night and know many comedians do essentially the same act every show.

But now we’ll throw a little variation into the mix…

Comedians – good comedians anyway – are creative artists. I’ve said that many times before because it’s true. They are constantly writing and constantly anxious to try out new material to see how an audience will react. Many of my favorites that I’ve seen dozens of times over the years always have something new to say. But they also know “what got them there” as far as paid bookings and fans. They already know through experience what material is proven to work, whether it’s a great opening, closing or a solid punch to the funny bone in the middle of their set, and they’ll deliver it.

When a comedian does a Netflix special or competes on America’s Got Talent, you can bet the material has been tried out more than a few times before the show is filmed. The stakes are too high and no one including the comedian, management, producer, network and beyond can afford a “bomb.” It wouldn’t help anyone’s career.

But let’s not get too far ahead of ourselves…

You are going up in an amateur contest next week, which isn’t in front of Netflix or AGT producers, but it can also be an important step in your career. If your creativity is telling you to try something new, it’s probably a good idea to try it out somewhere else first. Do some open mics and get a feel for the delivery and audience response. It’s what you did anyway in putting together the material that “got you there” and the process shouldn’t stop now.

When it comes to the contest performance, do the material that really works best. If it’s the same set you did it at the earlier show, the new audience won’t know. And unless the contest judges requested something new – and obviously they didn’t or we wouldn’t be having this discussion – they should make their decisions based on audience response. Of course it doesn’t always happen that way, but your main goal should be entertaining the audience. If you get a great response and don’t get crowned the winner, it’s not the end of the world – or your career.

You still win. You’ve had more stage time, which is an opportunity to get better. And as far as I know and from what I’ve been told, that’s what’s important to a creative artist.

Remember what got you there – a set that rocked. You want to rock again and that could be a crapshoot for a newer comedian with untested material. In these situations give them your best – your A-Game. But keep writing and looking for more opportunities to get on stage because in the long run, that’s how you’ll put together the material “that got you there” when Netflix or Simon Cowell finally give you a call.

Thanks for reading – and keep laughing!

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