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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Hey Dave – Without revealing my secret identity, I heard you talking recently about a comedian who went way over his time on stage—and you didn’t sound too happy about it. Safe to say he overstayed his welcome. Care to elaborate? – G.
Did someone give me the light?
Hey G – “Secret identity?” What is this, a spy novel? Don’t worry – I’ll protect your cover. But if you were really undercover, you’d know better than to eavesdrop on my conversations. I tend to go long.
Speaking of going long…
Want to guarantee you won’t get booked again? Ignore the light. Stay on stage. Do another 10… 20… maybe 60 minutes. After all, the audience obviously can’t get enough of you, right?
(And just in case sarcasm doesn’t translate in print – insert a big NOT! right there.)
Here’s the reality: stand-up may be a creative art, but it operates within a very structured business. And one of the biggest unwritten rules is simple – respect your time on stage.
Yes, there are exceptions. If you’re selling out arenas or headlining major tours, audiences expect a longer “concert-style” experience. Think of Bruce Springsteen playing three-hour shows – fans love it, and they paid for it.
But unless you’re at that level, stick to your set time.
Why? Because behind every comedy show is a tightly run operation. Clubs run on schedules – doors open, shows start, staff works, and everything from the kitchen to the bar to the box office is timed around the performance.
Only NO fans!
When a comic goes long, it throws everything off:
The box office has already closed
Food and drink service has ended
Staff is waiting (on the clock) with no way to earn tips
The next audience is lining up while the current one is still inside
And here’s something a lot of performers don’t realize: clubs build in “check spots” so customers can pay before the show ends. Run long, and you increase the chances of people slipping out without paying – which often comes out of the server’s pocket.
Not exactly a standing ovation from the staff.
I once had a comedian tell me he was “helping the club” by going an hour over – giving the bar more time to sell drinks. That logic deserves a bigger laugh than anything he said on stage.
The business simply doesn’t work that way.
The same goes for corporate and college gigs. Those events run on tight schedules. Go short, you risk not getting paid. Go long, you risk never getting invited back.
Bottom line:
Time isn’t just a suggestion – it’s part of the job.
For newer comics especially, sticking to your time on stage shows professionalism. It tells bookers and managers you understand how the business works – and that you won’t create problems.
And that’s what keeps you working.
I could go on… but I’ll do something that comic didn’t do.
I’ll stick to my time.
Thanks for reading and as always – keep laughing!!
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Hey Dave – I took your workshop about a year ago. During the business session you mentioned not putting your home address on promotional material. Another comic told me the opposite — that if I’m serious about this business, I should put my address on my website, promo materials, and anything else I send out so bookers can find me easily. What do you think? — E.H.
I can see you!
Hey E.H. — I think you might want to hang out with different comics.
Yes, it’s smart business to make it easy for talent bookers to contact you. But there’s a big difference between being accessible and being too personal.
When you’re promoting your business — which in this case is you — you absolutely want buyers (the people who hire you) to know how to reach you. But it’s also important to remember one thing:
You have no control over who sees your promotional material.
Anything you post online — or even send through the Postal Service — can potentially be seen by anyone. That means not only bookers can find you… but everyone else can too.
And yes, I have a story about that. I’ll get to it in a moment.
First, a little context.
Business methods for comedians and humorous speakers have changed a lot over the years. In my workshops I used to bring in stacks of promotional packages created by major public relations firms for big-name comedians. They were impressive — glossy photos, printed bios, press clippings, and resumes all packaged in designer folders.
Agents and bookers would spread them across their desks and review them like portfolios.
But those days are mostly gone.
Today almost everything is digital. Instead of printed folders, you have websites, email attachments, and online video clips. It’s faster, cheaper, and easier for everyone involved.
But one thing hasn’t changed:
You still don’t know who might end up seeing your information.
You’re looking at me?
If you list your home address on promotional material, you’re not just giving it to talent buyers. You’re giving it to anyone who stumbles across your website or your materials.
And that brings us to the story.
But first, think about this…
The only time someone in this business truly needs your address is when they’re sending you a contract or payment. Sometimes that happens electronically today, but many event planners and bookers still use good old-fashioned snail mail.
If someone wants to know where you’re located for booking purposes, simply list the nearest major city.
For example:
New York
Los Angeles
Cleveland
Chicago
Tampa
That’s all they need to know to determine whether a booking is realistic.
If they decide to hire you and need to send paperwork or payment, then you can provide a mailing address.
Better yet, since you’re running a business, think like a business.
Use a business address.
If you don’t have an office, a P.O. Box works perfectly and keeps your home address private.
The same goes for phone numbers.
Yes, cell phones make it easy to stay reachable, but think twice before posting your personal number online. Unless you have a phone dedicated strictly to business, anyone can find it.
And that includes:
Annoying strangers
Former acquaintances
People who want to “pitch” you something
Or the occasional wacko who just wants someone to bother
A simple “Contact” form on your website works much better. Interested bookers can email you directly, and you keep control of your personal information.
Separate business and personal email accounts as well.
I’m happy to share that publicly because it’s for business. My family and close friends use a different address.
And now… the story I promised.
Years ago, the owner of a well-known comedy club suggested I check out a young, up-and-coming female comedian who was looking for management. I watched her perform and immediately knew she had serious potential.
Over the years she proved that prediction correct. Today she’s a national headliner you’d recognize from television and movies.
But early in her career, she learned a difficult lesson.
She wanted to make sure every booker in North America could reach her, so she printed her home address and personal phone number on all her promotional materials.
And it worked.
She landed a week at a great comedy club a few hours from home — a big step forward in her career.
The club displayed her promotional photo outside with the headliners. She was very attractive, and the photo caught people’s attention.
At the end of the week, after paying her, the club owner tossed her promotional packet into the trash. Not because she wasn’t funny — she was — but because bookers rarely keep those materials. They simply don’t have the space.
A few days later she received a phone call from someone claiming to be a talent booker who had her promo material.
You probably see where this is going.
He wasn’t a booker.
He was a comic who had been hanging around the club, saw her photo in the trash, and took the promotional packet — complete with her home address and phone number.
The calls started out normal.
Then they got strange.
Then they got scary.
He became a full-blown stalker.
She had to destroy all her promotional materials and have them reprinted with new contact information. Back then that was expensive because headshots and printing costs weren’t cheap.
But the worst part?
She had to move.
Imagine hearing someone say, “I know where you live.”
That might sound dramatic in a movie, but in real life it’s terrifying.
She eventually relocated and had some very large friends help make sure the stalker wasn’t around when she moved.
The lesson is simple:
You are running a business.
Treat it like one.
Keep your personal life and personal contact information separate from your professional materials.
Because once something is out there — online or in print — you never know who’s going to find it.
Thanks for reading and as always – keep laughing!!
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Hey Dave – I have submitted to a few comedy festivals each year over the past few years. It can get pretty costly, so I limit myself to only three or four a year. Other than the general submission of filling out the forms and sending in a link to a video, are there some tips to getting noticed and accepted into these festivals? Thanks and I always look forward to receiving your weekly letters. – RT
Enter the unknown
Hey RT – Here’s one thing I love about the comedy industry:
The unknown.
Ask ten comics or industry people how to get into festivals and you’ll get ten different answers. I’ve spent plenty of late nights in clubs and NYC diners listening to debates about trends, formulas, and “what works.” Then – WHAM – someone breaks all the rules and changes the conversation.
Think about when audiences first saw George Carlin doing the Hippie Dippy Weatherman… then a few years later delivering “Seven Words You Can Never Say on Television.” That shift didn’t just surprise audiences — it reshaped comedy itself.
That unpredictability is what makes comedy exciting… and sometimes maddening.
So what does that mean for festival submissions?
Carlin Before
Every festival is different. Some are major showcases featuring established names and carefully selected “up-and-coming” talent. Others spotlight local performers or serve as a celebration of a city’s comedy scene. Some have themes. If it’s a “Women in Comedy” festival, guys won’t make the lineup. If it’s a clean comedy event, explicit material won’t help your chances.
And beyond all of that — there’s taste. The people reviewing submissions have their own preferences, their own goals for the show, and their own vision of what fits. Unless you’re in that room, you simply can’t predict what they’re looking for at that moment.
That’s the unknown factor.
Connections can also play a role. Festival organizers often hear recommendations from agents, bookers, and comedians they trust. Just like agents keep tabs on who’s consistently working strong clubs, festival producers pay attention to buzz and reliability. You never know what background information may help – or hurt – a submission.
Carlin After
Now for the part you can control.
Treat comedy like a business.
Your goal is to be funny, original, reliable, and professional. Festival organizers want performers who help make their event successful. Even if a show features newer comics, no organizer wants an amateur-run experience for their audience.
Your submission video is the single most important tool you have.
Never submit a poor-quality video. Ever.
It no longer takes a big budget to get a clean recording with good audio. A basic camera on a tripod in the back of a club works — as long as the picture is clear and the sound is strong. Bookers want to hear you and the audience response. If they struggle to see or hear your set, they move on.
Also, don’t waste valuable seconds.
Start with material. Not introductions. Not stock lines. Not applause cues. If the first thing they see is you being funny, you’ve already helped your chances.
I recently reviewed a festival submission where the first thirty seconds were the MC’s introduction, followed by standard “Hello city!” and “Give yourselves a hand!” lines. That’s not what bookers are evaluating. They want to know one thing:
Are you funny?
Here’s the bottom line.
You can’t control taste, timing, or trends. But you can control professionalism. A strong video, focused material, and a business-minded approach show you’re serious about the work.
Even if you’re still developing – never present yourself as unprepared.
And remember… sometimes the unknown works in your favor.
Thanks for reading and as always – keep laughing!!
TAMPA, FLORIDA 2026
Standup Comedy Workshop at The Tampa Funny Bone:
Saturdays – March 14, 21 and 28 from 12:30 to 4:30 pm.
Performance at The Funny Bone – Wednesday, April 1 at 7 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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Hi Dave – No, I’m not a comic. However, I’m a WGA screenwriter with a total focus on comedy screenplays. Can you tell me how to contact comedians’ agents about casting specific roles without running into blockades? I mean the blockades typically set up by the gatekeepers of those agents. Best – HK
Leave a message
Hey HK – The bigger the comedians (think celebrity) they represent, the bigger the agency blockade will be. When you make a call without prior personal contact or a great reference, plan some extra time on the phone for holding, transfers and a final request to leave a voice message and “Someone will get back with you.”
Does anyone really know who that “someone” is? I doubt it because they rarely call back without prior contact or reference. And unless you left a voice message with a great pitch (offer) that includes the opportunity for a lot of potential $$$’s (yeah, I’m jaded) you’ll spend a long time looking at your phone waiting for that return call.
Cold calling agents is usually a losing game.
That’s not cynicism. That’s how the business works.
But there is a reliable path forward — and it’s the same one that comedians use to get booked, discovered, and cast:
Be seen. Be present. Be part of the scene.
Come on in!
When I worked as a talent coordinator at the Improv clubs in Los Angeles and New York, I watched industry relationships form every night. Comics performed. Agents, managers, producers, and writers watched. After the show, everyone gathered, talked, and connected. Opportunities didn’t come from cold outreach — they came from proximity and familiarity.
Producers frequently contacted the clubs looking for specific “types” for TV and film roles. That’s why you sometimes see several comedians with similar looks or personas performing short sets in a row. They’re not just performing — they’re showcasing.
And once someone is seen in the right context, access changes instantly. Conversations happen. Meetings follow. Gatekeepers step aside.
Here’s the practical takeaway for writers looking to cast comedians:
Don’t start with the agent. Start with the comedian.
Go to the clubs. Watch performers live. Identify who truly fits your project — not just who’s famous. Introduce yourself professionally after the show. Be respectful. Be clear. Be human.
If a comedian is interested, they can open the door to their agent with one phone call. That personal connection does more than any cold pitch ever will.
Is networking easy?
No. The entertainment industry runs on relationships, persistence, and yes — a bit of schmoozing. There’s a reason “Let’s do lunch” became standard vocabulary.
But if it didn’t work, nobody would keep doing it.
For established names, access is automatic. For everyone else, access is earned through visibility and connection.
Be part of the scene.
That’s how you get seen.
And once you’re seen, you have a chance to be heard.
Thanks for reading and as always – keep laughing!!
TAMPA, FLORIDA
Standup Comedy Workshop at The Tampa Funny Bone:
Saturdays – March 14, 21 and 28 from 12:30 to 4:30 pm.
Performance at The Funny Bone – Wednesday, April 1 at 7 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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Hi Dave – I have one question. As a new comedian does my material have to be clean? – J.N.
Have a decision to make!
Hey J.N. — you’re not alone. This question comes up all the time, and new comedians ask it for a good reason: it matters.
Here’s the short answer upfront (because I’m rarely accused of giving one):
There is no right or wrong answer.
Comedy is both a creative art and a business, but before either of those things matter, there’s one primary goal:
Be funny.
How you get there is completely up to you.
A very famous comedian once told me (and I included this in my book How To Be A Working Comic):
“If you swear in real life, you’re going to swear on stage.”
That makes sense. If those words are already part of who you are, they’ll naturally show up in your act. But if they aren’t—don’t add them because you think they’ll make you funny. Audiences can smell that a mile away, and “trying to be edgy” is never as funny as being honest.
There’s a market for everything. Whether you choose to work clean or adult is a personal decision.
But since you asked – and once again, I’ve never been known for short answers – let’s look at this from a different angle.
We’ll call it…
Your Audience
But will they laugh?
You specifically said new comedian, so let’s start there.
When you’re beginning, your job is simple:
Get stage time. Learn how to write. Learn how to perform. Learn how audiences respond.
Along the way, you’ll encounter different rooms, different crowds, and very different expectations.
Some comedians love late-night, beer-soaked club crowds.
Others prefer corporate events, colleges, or private functions.
Right now, it’s probably too early to know which lane you’ll ultimately choose—and that’s okay. But eventually, this becomes both a creative and business decision, because different markets hire different kinds of comics.
So here’s the real question behind your question:
Who do you want your audience to be?
Every entertainer has to answer that—not just comedians. As a creative artist, who do you want to make laugh? And as a businessperson (yes, that’s you), how will you build an audience that supports your work?
When you’re starting out, that audience could be anyone: open mics, bar shows, fundraisers, showcases. What matters most is experience. You don’t become a working comic by rehearsing in your living room or performing for the family dog.
You get better by getting on stage.
If they laugh, it works.
If they don’t, it doesn’t.
Audiences are honest that way—which is why stage time is priceless.
Would your audience want clean material or adult material?
That’s not a moral question. It’s a practical one.
I’ve coached Born Again Christian comics and the most X-rated acts you can imagine. I don’t care which direction someone chooses—as long as they’re clear about it and performing for the right audience.
But make no mistake: there are rules in this business.
And those rules are made by the people who hire comedians.
You can’t do X-rated material on network television. Cable and satellite radio allow more freedom—but even then, context matters. The Disney Channel and The Howard Stern Show aren’t fighting over the same talent pool.
So ask yourself:
Where do you want to perform?
Who do you want laughing?
Which markets excite you?
You can work dirty—just don’t do it in front of grandparents who brought their grandkids for a fun night out. And don’t expect your clean, church-friendly material to crush in a late-night dive bar full of people upset that the bartender turned off cage-match wrestling for a comedy show.
Get the picture?
Experience Changes Everything
Many experienced comics can work both clean and adult. Why? Because their jokes are funny on their own—not because of an F-bomb. They can adjust based on the room.
A perfect example: cruise ship comics.
They perform family-friendly shows before and after dinner, then switch gears later that night for adult-only crowds. Same comedian. Same brain. Two very different sets—sometimes just hours apart.
That kind of flexibility comes from experience.
And one more thing to keep in mind…
The people who hire comics for corporate events, banquets, and private functions pay far more than the beer-soaked guy booking a bar show. That’s why many working comics love corporate gigs.
On the other hand, an uncensored Netflix special or becoming a regular guest on a show like Stern can launch a career just as fast.
Different paths. Same requirement.
So… Clean or Dirty?
As a new comedian, here’s my advice:
Focus on writing funny material—material that works with or without a few choice words. Develop jokes that stand on their own. Learn how to adjust your delivery depending on the room.
Then ask yourself:
Would I rather perform at a business luncheon—or a late-night dive bar?
Neither answer is wrong. But knowing your audience will help you find the right one.
And that’s where real comedy careers begin.
Thanks for reading and as always – keep laughing!
Next online comedy workshop groups start
Wednesday, February 11 and Monday, February 16, 2026
Space is limited – for details, reviews and registration visit OnlineWorkshops
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Hey Dave – I had a great set last night, but one of the comedians who went on after me tore into me. It got really personal, and it honestly hurt. The people running the show asked if I wanted to go back on and get revenge, but I declined. Did I handle it the right way? – N.R.
Best revenge!
Hey N.R. – It sounds like the opening shot in a potential comedy war. Whether you want to crawl into the comedy trenches (a common comedy term — not mine) with this loudmouth depends on two things:
• Your onstage personality — your comic voice • How you want to be seen onstage and offstage in this business
Maybe I’m naive, but after a few decades working with comedians, I’ve found this business to be far more supportive than people think. Sure, there are jerks — real pains in the butt — but I don’t know any career path that’s immune from that.
When this kind of behavior happens, it’s usually fueled by jealousy, ego, or a power trip. And here’s the irony: in my experience, the more power someone actually has in the business, the more supportive they tend to be of newer talent. That goes for comedians, bookers, and behind-the-scenes decision-makers.
Disbelief?
(I can practically feel the disbelief from some readers right now. This may turn into a future FAQ — I’ll let that thought marinate.)
For now, here’s the real issue:
Who are you onstage, and how do you want to be perceived by the people you work with — other comics and the people who hire them?
Comedians who are genuine friends tear into each other onstage all the time. That can be hilarious. At the NYC Improv, we could run a microphone into the men’s room and hold it over a flushing toilet when a friend’s joke bombed. The comic onstage ripped into us for the rest of the set, and everyone loved it.
That’s playful.
That’s earned.
That’s mutual.
What you experienced sounds different.
SPECIAL EVENT – ORLANDO, FLORIDA!
Standup Comedy Workshop at The Orlando Funny Bone:
Saturdays – February 7, 14 and 28 from noon to 4 pm.
Performance at The Funny Bone – Wednesday, March 4 at 7 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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When it’s mean-spirited, there’s no upside. An unprovoked attack is almost always about making him look better at your expense — jealousy, ego, or both.
There are two ways to handle this, and the right choice depends on who you are.
If you’re the kind of comedian who can verbally dismantle someone — truly dismantle them — then by all means, go for it. A skilled insult comic doesn’t absorb cheap shots; they return them with interest. Think Nikki Glaser, Marc Maron, Wanda Sykes, Dave Attell, Jeff Ross. An insult comic worth their weight can turn a heckler — or a fellow comic — into roadkill.
If that’s you, next time: aim for the throat.
But if that’s not your voice — onstage or in life — then you absolutely did the right thing by walking away.
Let this guy burn his own reputation. Comics don’t want to work with someone known for cheap shots. And bookers? They want the least amount of drama possible. Speaking from experience as a booker, I’ve passed on very funny non-headliners simply because they were a pain to deal with.
If someone else is just as funny — and easier to work with — that’s who gets the gig. Every time.
In a perfect world, your only focus should be becoming a better comedian. If someone chasing the same goal doesn’t like you, you’re probably doing something right.
Want revenge? Get more laughs. That leads to more bookings.
Use this moment as fuel. If your work ethic and focus pay off, maybe someday this loudmouth will be parking cars outside a comedy club, ripping into his coworkers — while you’re inside headlining.
Make it happen.
Thanks for reading and as always – keep laughing!!
SPECIAL EVENT – ORLANDO, FLORIDA!
Standup Comedy Workshop at The Orlando Funny Bone:
Saturdays – February 7, 14 and 28 from noon to 4 pm.
Performance at The Funny Bone – Wednesday, March 4 at 7 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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Hey Dave – I have a confession to make and was wondering if this is normal or not and if so, how to deal with it? Is there such a thing as having the blues in comedy? I guess you could call it the Comedy Blues. I mean, I’ve been told “no” before and had terrible sets in the past. But I strongly feel it has made me the keen comedian I am today. But still, if I may… help! – A.
An instrument for creativity
Hey A. – Congratulations. You’re a creative artist.
And what you’re feeling? It comes with the territory.
A career in the arts—comedy, speaking, acting, music, writing—often means riding an emotional roller coaster. Big highs. Big lows. That’s one reason so many people wish they could do it, but don’t. Standing on stage, getting laughs, meeting fans, and getting paid is a great gig. From the audience, it looks glamorous. What they don’t see is the rejection, the waiting, the self-doubt, and the work.
The people who truly pursue it usually don’t feel like they have a choice. They have to do it.
This may sound more motivational than instructional today but stay with me.
Let’s talk music for a second. Some great songs are about incredible highs. Others are about lows—the blues. Blues songs exist because nothing worth having comes easy. They’re about loss, frustration, and struggle.
Now translate that to comedy.
Creative words from a creative artist
If you’re serious about being a comedian (or humorous speaker), you want things to happen now. But progress is slow. Opportunities are unpredictable. Yes, there are huge highs—your first paid gig, passing an audition, winning a contest. But there are also long stretches where nothing clicks, nothing moves, and doors stay closed.
Here’s the truth: every working comic will tell you that you’ll hear “no” far more than “yes,” especially early on.
That’s not a flaw in the system. That is the system.
If you want to stay in this business long enough to build a career, you need to develop thick skin. There’s no shortcut around it.
Think of it like sports. The best relief pitchers in baseball blow saves. What separates them from the ones who spiral or disappear is their ability to shake it off and throw the next pitch with confidence. That mindset has to be learned—or developed quickly—if you want to survive in a competitive field.
Comedy is exactly that: a creative art inside a competitive business.
You put your work—and yourself—out there to be judged by bookers, producers, and audiences. Some will love it. Some won’t. The goal isn’t avoiding highs and lows. The goal is not letting either one define you.
I remember working in New York and hearing brand-new comics say they planned to have a sitcom within a year. I heard it more than once. Meanwhile, the comics hanging around the NY Improv—Ray Romano, Larry David, Dave Attell (to mention only three)—had been grinding for years. They didn’t get everything they auditioned for. They just didn’t quit when someone said “no.”
Unrealistic expectations create massive lows.
Understanding the process creates resilience.
That process has a name: paying your dues. Some people drop out because they can’t take the lows. Others continue because they’re wired to create—whether success comes quickly or not. Continuing doesn’t guarantee success. Talent, business skills, relationships, and luck all matter. But quitting guarantees nothing.
So, what do you do with the Comedy Blues?
Sometimes you step back and regroup. Sometimes you put your head down and keep going. For many creative artists, there isn’t really a choice.
One final thought: consider using those feelings in your writing.
You don’t need to talk about the Comedy Blues—but bringing real emotion into your material adds honesty and depth. Audiences can spot fake instantly. They can also sense when someone is telling the truth, even through jokes.
Most strong comics and speakers draw from experience. They’ve ridden the roller coaster. They’ve paid their dues.
Remember—this is a creative art. And being a creative artist has never been easy.
But for those who feel called to it? It’s the only ride worth taking.
Thanks for reading and as always – keep laughing!!
Winter 2026 Standup Comedy Workshop at The Cleveland Funny Bone:
Saturdays – January 10, 17 and 24 from noon to 4 pm.
Performance at The Funny Bone – Wednesday, January 28 at 7:30 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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Hi Dave – Speaking and comedy both sound like serious business. I’m dead serious about the value of comedy in business — way more serious than folks who don’t know how to laugh. How do I get those humorless folks to seriously see how silly it is to filter out fun from the expressions of ideas? How do I make it pay for me to show them how to make it pay for them? – R.W.
Seeking Humor Benefits
Hey R.W. — Here’s something I’ve noticed about the humorous speaking business: the people who need us the most are usually the last ones looking for us.
You know exactly who I mean—the humorless folks.
In fact, I’ll go out on a limb and say this: event planners who book humorous speakers already understand the value of humor in business. They get it. Just like we do. Their real challenge is convincing the other people—the ones who need it most—to embrace it.
Anyone who understands the value of humor in business (and in life) already knows the benefits. I won’t list them all, but here are a few favorites:
Less stress
Better teamwork
Increased productivity and attendance
Stronger networking and relationships
These are the same issues serious business speakers and trainers talk about every day. You’re doing the same thing, except you’re offering humor as part of the solution.
Humor works!
And honestly, it doesn’t matter whether you’re going to work or cleaning your house—you’re far more likely to do it if there’s an element of fun involved.
So yes, I agree with you completely. It is silly to filter fun out of the expression of ideas. And I’m confident many readers of this newsletter agree too (the humorless folks don’t subscribe).
Which brings us to the real question you asked:
How do I make it pay for me to show them how to make it pay for them?
You want to reach the humorless crowd—and get paid to do it. The problem is, they’re not going to hire you any more than they’re going to sign up for this newsletter. They don’t yet understand the value of your message.
That means you need to focus on the people who do understand it.
Network with event planners and decision-makers who already agree with you.
And the best way to do that is simple: show them what you can do.
In other words—get out and speak.
The best places for this are where both humorous and humorless businesspeople gather:
Meetings.
I’ve talked about this before in past FAQs, and readers have shared some great ideas on places to showcase a program. But here’s a simple starter plan:
Create a short presentation—20 minutes max—on your topic, and volunteer to speak for free at organizations in your area. Rotary clubs, associations, charities, alumni groups, chambers, nonprofits—anything that puts you in front of businesspeople.
Think of free gigs the same way comedians think of showcases. You don’t get paid—but you get in front of people who can pay you later.
But that’s only step one.
You also need to build a list of potential clients and stay in touch with them.
That’s called networking.
Yes, bring a stack of business cards and hand them out after your presentation. That’s basic business sense. Make it easy for people to find you.
But handing out cards alone is a slow game. You can give out a hundred cards and hear from one—or none.
So, here’s how to kick-start your contact list:
Do a prize drawing at every free program.
The prize can be almost anything—a printed transcript of your talk, a plate of cookies, a discounted presentation, even a free one. Use your imagination and offer something your audience would actually want.
Here’s what I do.
At the end of my programs, I announce a drawing for a free autographed copy of one of my books. To enter, people drop a business card—with an email address—into a basket. In return, they’re added to my corporate e-newsletter list.
And this part is important: I make it clear they can unsubscribe easily after receiving it once. No tricks. No pressure.
One person leaves with a book. I leave with a basket full of contacts who might become paying clients.
That’s a win.
So how do you reach the people who need your message?
You preach the gospel—your ideas—in front of people who already believe. You go where businesspeople and event planners can see and hear you. You use free gigs to build relationships, grow your list, and stay visible.
There are no guarantees they’ll hire you, but at least you’re giving them – and yourself – a chance. You need to show them what you can do and stay in touch.
Thanks for reading and as always – keep laughing!!
Winter 2026 Standup Comedy Workshop at The Cleveland Funny Bone:
Saturdays – January 10, 17 and 24 from noon to 4 pm.
Performance at The Funny Bone – Thursday, January 29 at 7:30 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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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.
Could use more info…
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!!
Winter 2026 Standup Comedy Workshop at The Cleveland Funny Bone:
Saturdays – January 10, 17 and 24 from noon to 4 pm.
Performance at The Funny Bone – Thursday, January 29 at 7:30 pm
Space limited – for details and to register visitCOMEDYWORKSHOPS.
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