Tag Archives: comedy

Business card – got one?

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

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

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

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

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

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

Memorize that—it’s true.

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

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

My latest

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

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

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

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

Get the idea?

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

So to finally answer your question:

Your business card should include:

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

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

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

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

On the flip side!

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

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

One important warning:

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

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

Thanks for reading and as always – keep laughing!!

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Being Influenced vs. Copying

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Hey Dave – I’ve been working on material and continue to search for my comedy voice. Although I want to do some improvising, I want a good amount of material to work off of. Someone said I have a somewhat eccentric and iconoclastic persona and should take advantage of that. Therefore, I’ve thought about using Prof. Irwin Corey and Steven Wright as influences and been writing material similar to theirs, especially since I like it. However, I’m afraid I’m not using them as an influence but just copying them. Is there a thin line between the 2 or just between fishing and standing there doing nothing? – JK

Read and remember!

Hey JK – I was fortunate to work with the late, great Prof. Irwin Corey and with Steven Wright during my years at The NYC Improv. And as I always tell the younger comics: if you don’t know who those guys are, look them up. You’ll learn a lot about the history of stand-up and how much past performers have shaped the headliners we see today.

Both Prof. Corey and Steven Wright are incredibly smart and incredibly funny. I also know that if I ever tried to write like either one, I’d be lost – completely confused. My brain actually hurts just thinking about it. But I do have some thoughts on your question, so instead of standing here doing nothing, let’s go fishing for an answer…

Yes – there is a line between being influenced and copying. Ideally, it should be a wide one.

As Prof. Corey would say, “Let me explain…”

Prof. Irwin Corey

I often compare comedy to music. I’ve done this in my workshops, books, and more than a few FAQs. You can’t reinvent the wheel. Someone had to hum the first tune, and someone had to make the first joke. Musicians and comedians have been building on those firsts ever since.

One of my all-time favorite bands is The Rolling Stones. They’ve influenced countless musicians for more than sixty years – yet there’s still only one Rolling Stones. But even they started by copying their heroes: Muddy Waters, Howlin’ Wolf, Robert Johnson, Chuck Berry, Bo Diddley… the list goes on.

Did they copy? Absolutely.

They played a lot of covers early on. But that’s not what made them legends. Mick Jagger found his own voice. Keith Richards found his. Together they wrote new songs inspired by what they loved – but filtered through who they were.

That’s exactly how comedians develop. They start by emulating what they like.

Keith Richards isn’t going to play Bach when he grew up loving Chuck Berry. And based on how you described your humor, I doubt you’re going onstage with props like Carrot Top or with the kind of sharp-edged commentary Dave Chappelle is known for. You admire Corey and Wright, so of course they’ll influence you – just like Chuck Berry influenced the Stones.

But here’s the big difference between comedy and music:

Steven Wright

The Rolling Stones can play “Johnny B. Goode” in concert. A comedian can’t go onstage and say, “Here’s one from Steven Wright,” and then perform his jokes.

That’s not influence – that’s theft. And yes, there are comedians who do it. And most of us know exactly who they are. The respect level for joke thieves is somewhere below sea level.

Being influenced is not the same as stealing.

Creative artists build on what came before them. A Rolling Stones song might have a Chuck Berry riff or a Bo Diddley beat hiding in the background, but it’s still a Stones song. Likewise, comedians can’t help but be influenced by the style of humor they enjoy.

Carrot Top didn’t invent prop comedy. Every kid who ever held paper plates to their head and pretended to be Mickey Mouse dabbled in prop comedy. He took what he liked and built on it.

That’s what you need to do.

You understand your comedic style. It’s reminiscent of Corey and Wright, but you’re not Corey and you’re not Wright – and that’s the point. You didn’t grow up in their neighborhoods, their families, their jobs, or their lives. You have your own stories, experiences, personality, and point of view.

That’s where your material has to come from.

Don’t ask, “What would Steven Wright say?” Ask, “What do I think about this?” Respect your influences, borrow the sensibility you appreciate – but say things in your own words with your own brain.

When I worked in Los Angeles, I worked with Jim Carrey and Michael Richards (Kramer from Seinfeld). Both were massive Jerry Lewis fans. But neither went onstage yelling, “HEY LAAYYYDEEE!” That would’ve been stealing. But they did incorporate Lewis-style physicality, wild expressions, and pratfalls – filtered through their own personalities and experiences. And Jerry Lewis, of course, had been influenced by Chaplin and Harpo Marx.

That’s how influence works.

Use your natural mannerisms, your personality, and your experiences to shape your material. Don’t hold paper plates up to your head and hope the audience laughs – dig deeper. Think about why something is funny to you and how you see it. Then present that.

Everyone is influenced by someone. None of us are inventing the wheel – we’re just putting better tires on it. The key is understanding what makes you unique and exploring material that fits your comedic point of view.

Keep writing. Keep performing. Your comedy voice will emerge. And one day, when someone asks who influenced you, you’ll have your answer – just like every successful comedian does. The turning point is when you stop copying and start building on what inspired you in the first place.

Thanks for reading and as always – keep laughing!!

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Humorous speakers – it’s more than telling jokes

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Hi Dave – I do a lot of presentations through my job. These are specific to the industry, and I’d like to start speaking at related conferences. I’m not a stand-up comedian but know the importance of humor in getting my message across to an audience. Many of my friends think I am funny in an “I Love Lucy” kind of way… Which I suppose comes naturally. However, I am not sure how to release that side of me when I am giving a humorous presentation. Thanks – DB

Not funny!

Hey DB – When it comes to giving a humorous presentation – or performing as a comedian – the most important goal is to connect with your audience. That’s the bottom line. If you don’t connect, they won’t listen.

And one of the best ways to connect is to be yourself – to let your natural personality shine through.

Let me explain…

Working comics know that stand-up is more than just telling jokes. Anyone can tell a joke, but to be successful, you have to show who you are on stage. Comics, agents, and bookers call it your comedy voice. For speakers, I like to call it who you are on stage.

Look at legends like Rodney Dangerfield and Henny Youngman (and if you don’t know these guys, brush up on your comedy history). Their personalities made their material unforgettable. They could deliver quick, clever one-liners, but what really sold those jokes was them – their character, rhythm, and delivery.

Who? Me?

Fans could retell their jokes the next day at school or around the office water cooler, but the laughs were never quite the same. Why? Because they didn’t have Rodney’s hangdog face or Henny’s sharp timing. Their personalities made the jokes work.

Dangerfield’s humor came from his self-deprecating style – “I get no respect.”

Youngman was the wisecracker – “Take my wife… please!”

Without those distinct personalities, their jokes would have been forgettable.

The same goes for humorous speakers.

I often see speakers try to be “funny” by tossing in a random joke they found online or by reworking an old one to fit their topic. They think this makes them a humorous speaker – but it usually comes across as forced or phony.

Yeah – you!

I’ve seen it too many times: speakers hiding their natural personalities because they think being professional means being serious. That’s fine if your goal is to be strictly informational – but if you want to be memorable, engaging, and genuinely funny, you have to bring your real self to the stage.

So, your friends say you remind them of Lucille Ball. There’s truth in that. I’m sure you’re not trying to imitate Lucy – you just share some of her qualities naturally. That’s part of your charm, and it’s something you can use.

You don’t have to recreate her candy factory scene or hang off the side of a building to channel your inner Lucy. Her comedy wasn’t just slapstick – it was also about timing, expression, and physical energy. Maybe it’s the way you tell a story, use gestures, or react to a situation. Whatever it is, that’s your version of Lucy – and that’s what will connect with an audience.

Here’s the key:

Don’t tell jokes. Tell stories.

If you have stories or examples related to your topic that are naturally funny, lean into them. Use facial expressions, movement, and vocal variety. Keep it natural.

And most importantly – use your personality.

Think about how you talk with your friends. When something funny happens and you tell the story, you probably don’t plan the punchline – you just tell it in your own way, and people laugh. That’s your natural comedic rhythm.

Now imagine your audience as a room full of friends. Deliver your message with that same warmth, spontaneity, and humor. You’ll inform them and entertain them.

People remember speakers who make them feel something – especially laughter. They’ll forget the PowerPoint slides, but they’ll remember you.

That’s how you stand out from the competition.

It worked for Rodney, Henny, and Lucy – and it can work for you, too.

Thanks for reading and as always – keep laughing!!

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The Comedy Police Force

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

Comedy police out for joke-stealers!

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

What a jerk.

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

JERK #1

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

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

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

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

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

Mention it!

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

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

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

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

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

That’s just how the business works.

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

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

JERK #2

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

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

That didn’t quite add up.

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

Say what?!

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

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

Chalk another up for the comedy police.

The Bottom Line

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

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

Comedy is a small world. Word gets around fast.

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

Thanks for reading and as always – keep laughing!

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What Is Considered Corporate Comedy Material?

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

Living on the edge?

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

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

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

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

Follow the rules.

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

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

So, to put it simply:

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

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

Thanks for reading and as always – keep laughing!

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Looking for stage time

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Hey Dave – I have performed terribly at three open-mics in Kentucky. Could you point me in the direction of a “lower end” establishment in Ohio? I’m looking for a place that does not require you to bring five friends. I don’t know five people. Thanks, J.

Come’on in – please!!

Hey J – Thanks for thinking of me when it comes to “lower end” establishments. Maybe I should start calling this the Blue Collar Comedy Column – but let’s not go there. Instead of chasing a “higher end” reputation, let’s focus on what you really need: stage time.

First, about the whole bring-five-friends thing…

Open mics that aren’t at established comedy clubs tend to come and go quickly. Most are in bars, restaurants, or small venues. If the owner is making money on comedy night, it keeps going. If not, they swap the mic for a giant TV and start packing the place for football season.

That’s why you see so many “bringer” shows. It’s a simple business deal:

  • You bring paying customers.
  • They give you stage time to get experience and improve.

From their perspective, everybody wins.

Stage time!

Now, back when I started in this crazy business, we performed at open-mics in NYC that always had an audience – no bringer requirement. But times have changed. Today, getting stage time often means convincing friends to pay a cover and buy a couple drinks.

Chris Murphy, a comedy coach in NYC, shared some great tips on beating the bringer system in my book Comedy FAQs and Answers. Check your library or grab a copy online if you want the full story.

But let’s get back to your real question – where to find open-mics.

Here’s the deal: open-mic lists get outdated fast. I used to hand them out in my workshops, but by the next session, half the places had shut down or switched to karaoke. The smarter approach is:

  1. Research – Google comedy clubs in your area (Ohio in your case). Most legit clubs post open-mic info on their websites because it’s free promotion.
  2. Call – If there’s no info online, call the club. You’ll probably talk to a staffer, not the owner, so don’t worry about annoying the wrong person. Fun fact: many people answering phones at comedy clubs are aspiring comics themselves.

Even if the club doesn’t have an open mic, ask if they know of any. Comics tend to know where stage time is happening.

Once you find one open-mic, go there. Perform, hang out, and start talking to other comics. That’s networking – and it’s the real key to finding stage time. Comics share info, recommend each other, and build local comedy scenes together.

A few tips:

  • Be supportive. Watch other comics. Don’t just do your set and leave.
  • Share open-mic info when you find it.
  • Avoid being “that guy” who only takes and never gives back.

And yes, you’ll meet a few jerks along the way. Every business has them. Ignore the negativity and focus on improving and building connections.

The bottom line:
Once you are part of a local comedy scene, you’ll hear about open-mics before they’re even posted online. The more supportive you are, the more stage time opportunities will come your way.

Simple? From what I’ve seen, it usually is.

Thanks for reading and as always – keep laughing!

For details about September 2025 stand-up comedy workshop at The Cleveland Funny Bone check out this LINK!

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Corporate Comedy: Think big but start small

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Hi Dave – I just joined your email list. I do humor and did my first two stand-up open mics… rough crowd. Someone threw a cup of ice at one of the other comedians. My goal: to get some gigs entertaining at travel conferences. I have a bunch of funny travel stories. Any idea who I approach? A booking agent? I’m new to this, so any thoughts are appreciated. – R.R.

Traveling for work!

Hey R.R. – Only one cup of ice and you call that a rough crowd? Welcome to open mics. No wonder you’re aiming for conferences and corporate gigs. At those, the worst you’ll get is an icy stare if you’re not funny.

Here’s the thing: two open mics is a start, but you’ll need a lot more stage time to develop timing, delivery, and the ability to dodge both ice cubes and awkward silence. That only comes from performing – over and over.

Since you want to specialize in funny travel stories, focus now on two things:

  1. Writing – Create material that you find interesting. If it doesn’t grab you, it won’t grab the audience.
  2. Short sets – Start with five minutes. Think of it like writing a book: one chapter at a time. Use “color” – vivid descriptions – to take the audience on the trip with you. And make it funny.

Once you’ve got that five minutes, try it live:

  • Don’t avoid traditional open-mics, but search out stage opportunities with “real” audiences (and not just other comedians waiting their turns to go on stage).
  • Offer to speak for free at local business groups, networking breakfasts, luncheons, or special interest clubs. These are the “open mics” of the corporate world.

Work for free?

Why free?

Because you’re practicing, and they’re doing you the favor by giving you an audience. Keep it squeaky clean – G-rated – because in the corporate market, that’s the only way in.

When that first five minutes works, write another. Soon you’ll have ten… then fifteen… then a full conference-ready set.

Now – about booking agents.

Don’t call them yet. They need proven, audience-tested acts. You’ll know you’re ready when free gigs turn into paid ones – when people in the audience hand you their card and say, “Are you available for our event?” That’s when you start quoting fees and agents start calling you.

Bottom line:

  • Think big, start small.
  • Write, perform, adjust, repeat.
  • Build a proven act before chasing agents.

When the offers start rolling in, you’ll be ready to ask the magic question:

“Where, when, and how much are you gonna pay me?”

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Thanks for reading and as always – keep laughing!

For details about September 2025 stand-up comedy workshop at The Cleveland Funny Bone check out this LINK!

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Always good to ask before you audition

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Hey Dave – I have a big audition coming up. I’m not going to have any profanity in my (comedy) set, but I’m thinking of having a cleaner version and another one that is a bit edgier. I’m thinking of asking the panel of judges what type of set they want before I perform. Do you think this is a good idea? Thanks – DS

Hey DS,

What’s the question?

Absolutely! I think it’s a smart move to ask the judges—or any talent booker—about any content or language restrictions before you perform. In fact, I emphasize this in my workshops for a couple of important reasons:

  1. It shows professionalism – Being able to adjust your material based on the audience is key. Talent bookers appreciate that because it’s a sign you understand the business side of things.
  2. It gives you an edge over the competition – As much as I love talking about the supportive nature of the comedy community, let’s face it: not everyone can be hired. To stand out at showcases, you need to tailor your performance to the audience. And yes, comedy is a business, so that’s an important part of it.

For instance, let’s say there are only five spots available for a television show, but plenty of comics auditioning. Sure, being funny is crucial, but assuming everyone is equally funny and knows the right people, the deciding factor often comes down to whether you can adapt your set for the audience.

You wouldn’t perform the same set on The Disney Channel that you would on a Comedy Central Roast, right?

Here’s another example:

Did she really say that?

If you’re auditioning for a cruise ship gig, you wouldn’t walk on stage and start dropping F-bombs or overshare about your personal life. A lot of the onboard comedy shows are family-friendly—early evening performances with kids in the audience—and then later, after the kids are asleep, the adult shows take over. But if you can’t show you can adapt to both audiences, you likely won’t get the gig.

So, how would you know these nuances if you’ve never been on a cruise ship or worked in that environment? That’s where asking beforehand comes in handy.

Of course, if you’ve already found your comedy voice and certain venues aren’t a fit, that’s totally fine! I’m not saying you should always work clean. But if you know your material wouldn’t be acceptable for a specific gig (say, a family show), you’re not only wasting your time, but also taking an opportunity away from another comic who’d be a better fit for that audience.

Another example: when I booked comics for A&E’s An Evening at the Improv, we had specific guidelines for the performances. We’d go over them with the comics before the taping:

  1. Avoid making fun of God or religion – Our highest ratings were in The Bible Belt, and we didn’t want to risk alienating that audience. Plus, higher ratings bring in sponsors, so it’s good business.
  2. No bashing specific products – We couldn’t afford lawsuits, so no dissing a car brand or fast-food chain. Business, once again!
  3. Song parodies were limited – We had a strict 18-second rule to avoid paying song royalties for TV broadcasts.

So, what happened if a comic didn’t follow these rules?

If you watch reruns, you might notice some comics are only on-screen for 4 or 5 minutes instead of the usual 7. Why? They didn’t follow the guidelines, and that gets edited out. It’s an easy fix in the editing room, or even before the performance in the case of live auditions.

When it comes to working clubs, it’s almost always possible to check with the talent booker beforehand to ask if there are any material restrictions. They should be upfront with you because they know their audience best.

The goal for any talent booker is to find performers who can connect with their venue’s audience. This applies to comedy contests too, since the bigger business goal is to turn first-time audience members into repeat customers. And to figure out what works for their audience? You’ve got to ask.

Thanks for reading and as always – keep laughing!

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Seeking advice for a “stuck” comedy career

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Hi Dave – I’m not so sure stand-up is for me. I think I may be better suited for improv acting such as The Groundlings, Second City, etc… I’ve always been told I’m funny and animated but am not so sure how to focus or direct it. I am interested in the profession / business and think I would enjoy it. However, I feel stuck! How do I know if stand-up is for me? What advice do you have as to getting in touch with my creativity and directing it in the right way / format? Any advice would be very helpful, welcomed and appreciated. Thanks so much. Best – C.H.

Feeling stuck?

Hey C.H. – You’re definitely not alone — a lot of people feel “stuck” when trying to figure out where their creativity fits best, especially in a field like comedy.

The truth is, the only way to really know if stand-up, improv, or anything else is right for you is to try it. Since you mentioned being drawn to improv groups like The Groundlings or Second City, that might be a good starting point. Most reputable improv theaters offer classes, and those classes are designed to help you channel your natural energy, timing, and personality into something structured and performance ready.

Some performers do both stand-up and improv, but most tend to gravitate toward the one that fits their style and personality. Improv is collaborative — working as part of a team. Stand-up is solo, where you’re in full control of the writing and performance. Neither is “better” — it’s about what suits you.

Learn the basics!

Taking a class is an excellent way to experiment without the pressure of an audience or audition. It gives you a safe space to explore, get feedback, and see what feels right. A good coach or instructor will not only teach you the basics but also give you an understanding of the business and help you shape your raw creativity into something focused.

Here’s why that matters:

When I managed the monthly auditions at the NYC Improv, it was a lottery system — anyone could draw a number and get three minutes on stage. No experience required. Some people had prepared and tested their material. Others had never been in front of an audience, had no guidance, and no idea what to expect. And it always showed.

Two examples I’ll never forget:

One woman brought a roll of receipt paper on stage — like the kind you’d find in a cash register — and had written jokes on it. She’d read one into the mic, get no laughs, rip it off, throw it on the stage, and say, “Well, that didn’t work.” Repeat. It was painful to watch — but kind of hilarious in hindsight.

Another guy auditioned with a female mannequin dressed in lingerie. He set it on a stool, never acknowledged it, told a few bad jokes to uncomfortable silence, picked up the mannequin, and walked off into the night. Never saw him again.

Would they have done that if they’d taken a class or had some coaching? Maybe. But more likely, they would’ve had better instincts and more professional judgment.

So, my advice? If you’re interested in comedy — any form of it — and feel unsure where to start, take a class. It can open doors, sharpen your instincts, and help you figure out whether this is the right creative path for you. And even if it’s not, it’s still a fun and valuable experience that gets you unstuck and moving forward.

Thanks for reading and as always – 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