Tag Archives: humorous speakers

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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Comedy Blues and Creative Highs

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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 visit COMEDYWORKSHOPS.

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Build Potential Clients Contact List

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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.

If putting together a solid presentation feels overwhelming, I cover this in detail in my book How To Be A Working Corporate Comedian.

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 visit COMEDYWORKSHOPS.

*

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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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