Tag Archives: corporate events

The Comedy Business Secret: Let Clients Sell You

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Hey Dave – You had an article a while back about using quotes from clients as promotion on websites. I’ve been doing sets for some local businesses and clubs and the people who hire me say they like what I do. Can I just take what they say and post it on my website, or do I need it in writing? How do I get these quotes? I want to move into doing better paying corporate shows. Thanks – H.P.

Great idea!!

Hey H.P. — You have a good memory. I ran an FAQ a while back about using “Blurbs and Letters of Recommendation.” Since I only keep these ramblings online for about six months before hitting delete, it’s gone into the comedy workshop archives. But because I’m such a generous and caring individual (please try not to laugh too hard), here’s the updated version…

The original article talked about what makes a strong recommendation letter, email, text or DM from a client. At its best, it’s more than a compliment — it’s advertising. It tells future clients what you brought to the event and why they should hire you for their next one. Then you pull a line or two from that recommendation — the “blurb” — and post it on your website or promo material, just like those glowing quotes you see on book covers.

And now that we’re caught up, let’s continue…

Most comedians and speakers already know that getting a recommendation isn’t always automatic. A client may absolutely love your performance, promise to send you a testimonial, and then… disappear into real life. It usually doesn’t mean they didn’t like you. It means work, family, meetings, deadlines and everything else shoved your recommendation to the bottom of the pile.

Or they simply forgot.

What are friends for?

I also think a lot of people view writing a recommendation the same way comedians view helping friends move furniture. They know they should do it… but they keep hoping it somehow goes away on its own.

That’s where this next tip comes in. I learned it years ago from successful speakers and comedians and believe me — it works far more often than it doesn’t.

Always bring a self-addressed stamped envelope to your gigs.

Seriously. I’m not joking.

When the client is praising you after the show — “You were great!” “The audience loved you!” “Best event we’ve had in years!” — don’t just smile, say thanks, and head for the parking lot. Ask for the recommendation right there while the excitement is fresh. When they say yes — and they usually will — hand them the envelope and say, “I’m making this easy for you.”

Before I started doing this, recommendations were hit-or-miss. Once clients had that envelope in their hands, the follow-through rate went way up. Part of it is convenience. Part of it may be guilt. Either way, the system works.

And there’s another bonus.

Some clients may send a formal letter on company or school letterhead that you can scan and post on your website. Others may decide typing an email is easier. Either one works in your favor.

It also helps to send a thank-you email, card or note after the performance — something you should be doing anyway. If you haven’t received the recommendation yet, that follow-up gives you another opportunity to remind them.

And yes — you really should get recommendations in writing.

A verbal compliment is wonderful, but if you’re posting someone’s quote, name, company or photo online, it’s smart business to have written permission. An email is perfectly acceptable. Think of it the same way publishers use written permission for quotes and endorsements on books.

Now… let’s deal with the chronic procrastinators.

Years ago, I heard a highly successful humorous speaker at a National Speakers Association meeting share this strategy. I tried it myself, and it worked beautifully.

If you still haven’t received a recommendation about a week after the gig, call the client. Thank them again for hiring you and ask for feedback about the event. If they start complimenting your performance — which hopefully they will — bring up the recommendation again.

And if they say, “I’ve just been really busy…” here’s the magic line:

“Would it help if I wrote something up for you?”

Again — I’m not making this up.

Tell them you’ll draft something simple they can edit however they want. Explain that recommendations help with future bookings and that event planners and agencies often want to see testimonials before hiring talent.

You’ll practically hear the sigh of relief on the other end of the phone.

You just volunteered to do their homework for them.

Send the draft by email or regular mail. They can approve it, tweak it, put it on company letterhead, sign it, and send it back in the SASE you thoughtfully provided in the first place.

New online comedy writing groups start:

Monday, June 1 and Wednesday, June 3, 2026

Space is limited and pre-registration is required

For details, reviews and to register visit ONLINE WORKSHOPS

Most working comics and speakers probably think this is basic stuff. But newer performers often haven’t considered any of it. I’ve mentioned these ideas in workshops and watched eyes light up around the room. These are simple techniques — and they work.

One reader also suggested something that’s become even more valuable today: video testimonials.

Excellent idea.

Whenever possible, record your performance (with the client’s permission first). If people are praising you afterward, ask if they’d mind saying a few words on camera.

Seriously. Again — I’m not joking.

A short video testimonial from a happy client can be gold for your website or promo reel. It’s always more convincing when someone else is telling the world how great you are instead of you trying to convince them yourself.

Thanks for reading and as always – keep laughing!!

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Should You Self-Publish or Find a Literary Agent? The Real Business of Writing a Book

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Hi Dave – Which way do you lean when it comes to publishing a book? Should I try to get a NYC literary agent and a traditional publisher, or just self-publish? My blog is basically a manuscript in progress, but it’s already been reviewed – and rejected – by several agents through AgentQuery.com. One agent even sent me a personalized note saying it was great material, just not his style… but still worth publishing. As George Carlin once said: “A definite no… yeah.” Thanks! – C.B.

Is that a yes or a no?

Hey C.B. – If you had asked me that question when my first book came out through a New York publisher, I would have given you a long speech about why you should never self-publish.

Today? I’m right in the middle.

I’ve done both – traditional publishing and self-publishing – and there are advantages and disadvantages to each. Honestly, there’s no reason you can’t do both.

This topic comes up all the time with speakers and comedians because writing is part of the business. Whether it’s material for the stage, speeches, articles, or eventually a book, creative people write.

And let’s face it – most people believe the old saying:

Everyone has at least one book in them.

Writing it is one challenge.

Getting it published, read, and actually making money from it? That’s a whole different story.

So let’s get to your real question:

Literary Agent or Self-Publish?

First, let’s clear something up.

A “NYC agent” does not guarantee anything.

Your literary agent can be in New York, Los Angeles, Atlanta, London, or anywhere else. Publishing is largely handled online now, along with book fairs, networking events, and industry connections. Geography matters far less than relationships.

Case in point – my literary agent is based in Atlanta, and she landed me two book deals with New York publishers.

Before that, I lived in Manhattan for 14 years and ran one of the most famous comedy clubs in the world. I had contacts in television, film, and nightlife – but not publishing.

Without a literary agent, I would have never gotten past the gatekeepers.

My agent handled the submissions, made the calls, worked her contacts, and got the deals.

That’s the real value.

It’s Who They Know

What’s your story?

A literary agent’s success doesn’t depend on where they live.

It depends on who they know.

Their job is to get your work into the right hands – the editors and publishers who can actually say yes.

But first, you need the product.

That means the manuscript.

If you’re already famous, your agent can probably sell an idea or outline. If Taylor Swift calls her agent with a book idea, she gets a deal.

You and I?

We’d better have the full manuscript ready.

Traditional Publishing = Prestige

In my opinion, getting a real publisher to release your book is still the gold standard.

It’s harder. It takes longer. It can feel nearly impossible for an unknown author.

But it can happen – I’m proof.

And yes, it feels good knowing professionals in publishing believe in your work enough to invest real money and time.

There’s also still a stigma around self-publishing.

Sorry if that bruises a few egos, but it’s true.

Ask an author, “Who published your book?”

Saying the name of a recognized publishing house sounds a lot stronger than saying, “Well… I did.”

But Speakers and Comedians Need to Think Differently

Now let me shift this toward the people I usually write for – speakers and comedians.

Because honestly…

Who cares who published your book if the book helps you make money?

Professional speakers and comedians understand something called:

BOR Sales

(Back Of the Room)

Books. T-shirts. Audio programs. Videos. Merchandise.

If it isn’t nailed down backstage, someone is probably trying to sell it.

And smart performers should.

That’s where self-publishing becomes incredibly valuable.

Self-Publishing Can Pay Fast

Traditional publishing is prestigious.

Self-publishing is practical.

A publisher may give you an advance – which is great.

But self-publishing lets you create inventory for BOR sales.

You can literally open a box of books in the morning, do a speaking engagement or comedy show that night, and go home counting cash.

That’s real business.

I’m a big fan of Kindle Direct Publishing (KDP) for both paperbacks and eBooks. Costs have come down significantly.

But remember this:

You can’t autograph an eBook.

After a strong performance, audiences want more information – or a souvenir.

A signed physical book gives them both.

That’s why printed books still matter.

Don’t Go Cheap

If you self-publish, invest in quality.

Too many people look for the cheapest possible printer and end up with a cheap-looking book.

Bad idea.

A poor-quality book kills sales.

People will smile, shake your hand, compliment your performance – and walk away without buying.

In publishing, like comedy:

You get what you pay for.

——————–

Next online comedy writing group starts Wednesday, May 6, 2026

Mondays are SOLD OUT!

For details, reviews and to register visit OnlineWorkshops

——————–

So What Should You Do?

My answer is:

Yes – try for both.

Pursue a literary agent and traditional publishing.

Absolutely.

But while you’re waiting – and yes, it can take years – also explore self-publishing, especially if you’re already performing regularly.

Because here’s the reality:

Most aspiring authors hear “no” far more than “yes.”

Can your ego handle that?

Self-publishing gives you immediate control.

Traditional publishing gives you long-term credibility.

Both can work.

Final Thought

If you truly have a book in you, get it out.

Look for literary agents.

Research submission guidelines.

Study agency websites.

Do the work.

But if you’re already a working speaker or comedian, also think seriously about self-publishing for BOR sales.

Key phrase there:

Already working.

Because if you’re not performing in front of audiences, promoting your book becomes much harder.

Otherwise, you’re just another unknown author competing online with thousands of others.

And trust me – I’ve heard plenty of horror stories from self-published authors with boxes of unsold books stacked in their basements.

Books don’t sell themselves.

Promotion matters.

That’s why every movie star on the planet hits the talk show circuit when a new film comes out.

It’s marketing.

And for speakers and comedians, your best marketing opportunity happens right after a great show – when the audience is excited, engaged, and standing right in front of you.

That’s when books sell.

That’s BOR.

And that’s why publishing – whether traditional or self-published – isn’t just about writing.

It’s about business.

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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