Tag Archives: stage time

Why Three Minutes Is More Than Enough

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Hey Dave – You’ve written about how important it is to stay within the amount of time you’ve been given on stage. My question is: Why are showcases so short? In most cases, I don’t think you have enough time to prove how good you really are. – S.K.

Hey S.K. – First, for anyone new to comedy or professional speaking, a showcase is simply another word for an audition.

A successful showcase can lead to paid work, television appearances, club bookings, corporate gigs, or even representation from an agent or manager.

Why do we call it a showcase instead of an audition? I’m not sure. Maybe it sounds more professional and less intimidating. Either way, the goal is the same: someone is deciding whether or not to hire you.

I’ve been involved in showcases for comedy clubs, television shows, corporate events, and college programs. Here’s a behind-the-scenes truth about the business:

The people doing the hiring want to make the best use of their time.

Talent bookers, agents, managers, and event planners don’t want to spend an entire evening watching one performer. It makes far more sense to watch several performers in a single session.

They also don’t want to sit through 10-, 20-, or 30-minute sets when they already know within the first few minutes that a performer isn’t what they’re looking for.

That’s why showcases feature multiple acts doing short sets.

For example, when I was auditioning comedians for A&E’s An Evening at the Improv, I scheduled showcases on Monday nights at The Improv in Los Angeles. We’d see ten comedians perform three-minute sets in about 35 minutes. The extra time was built in for introductions and transitions.

If everyone respected the clock, Mission Showcase was accomplished.

In just over half an hour, ten comedians had an opportunity to book a television appearance.

And it wasn’t just me in the room.

Talent scouts from The Tonight Show, HBO, MTV, and other networks knew these Monday-night showcases were happening. Everyone could evaluate a lot of talent in a short amount of time.

Of course, some comedians complained that three minutes wasn’t enough time to show what they could do.

They were wrong.

Three minutes is plenty of time for an experienced talent booker to know whether a performer is ready.

If you couldn’t convince me within three minutes that you belonged on An Evening at the Improv, then you weren’t ready for that particular show.

The same was true for the other bookers in the room.

Think about it: If a comedian can’t hold attention for three minutes during a showcase, why would a television producer trust that comic with three minutes of airtime?

Even if the performer somehow became hilarious in minute six, television viewers would already be changing channels.

The same principle applies to shows like America’s Got Talent, American Idol, and The Voice. Before contestants ever appear on television, thousands audition in front of producers and judges for only a few minutes—or sometimes less.

If they don’t make an impression quickly, they don’t move on.

The lesson?

Bring your A-game immediately.

A showcase isn’t the place to ease into your act and “warm up.” You don’t have time. Start strong and make every second count.

It’s also your opportunity to demonstrate professionalism.

When you respect your time limit, you’re showing industry people that you understand schedules, production needs, and the realities of the business. You’re proving that you’ll be easy to work with.

And there’s another reason time limits matter:

Your fellow performers.

Whether a showcase is held in front of a live audience or just a panel of judges, people can only absorb so many short performances before fatigue sets in.

That’s why showcases are designed to move quickly.

Sure, someone like Dave Chappelle can perform for two hours and leave audiences wanting more. He’s earned that ability through decades of experience and a mountain of material.

But if you’re already operating at Dave Chappelle’s level, you probably aren’t showcasing.

One way showcases stay fair is by preventing judges and audiences from becoming burned out before the later performers take the stage.

And that brings me to a story.

In my comedy workshops, ten aspiring comedians perform five-minute sets during our graduation show. That’s 50 minutes of comedy, plus an emcee opening the show and introducing each performer.

The audience begins the evening fresh and excited. By keeping the sets short and focused, energy stays high throughout the night.

A few years ago, the first comedian in the lineup had a strong five-minute set. We had worked hard on it together, and he was prepared.

The problem?

He never looked up.

I was in the back of the room, ready to signal when his time was almost up. But he kept staring at the front tables and never once looked toward the sound booth.

His five minutes ended.

And he kept talking.

The prepared material ran out. Then came the rambling.

Suddenly, the audience wasn’t laughing anymore.

People started looking at menus, chatting among themselves, and ordering drinks. They mentally checked out.

By the time he finally left the stage, the comedian who followed him had to work twice as hard just to regain the audience’s attention.

The damage had been done.

After the show, he came over and asked how he did.

The truth?

“You did ten freaking minutes.”

Okay, maybe I said it with a little more diplomacy than that (not really – I never use the word “freaking”).

But I explained how going long had affected the entire show—not just him, but every performer who followed.

The irony was that his first five minutes were excellent.

The extra five minutes erased much of the goodwill he had earned.

Fortunately, he learned the lesson. He’s still performing today, and talent bookers continue to hire him.

Which brings us back to your original question.

Books by Dave Schwensen

Why are showcases so short?

Because experienced talent buyers don’t need a lot of time to evaluate talent. They’re looking for professionalism, stage presence, confidence, originality, and the ability to connect with an audience.

A strong performer can demonstrate all of that very quickly.

So whether you’re doing a showcase, audition, open mic, or paid gig, remember this:

Respect the clock.

Time on stage can be your greatest ally—or a ticking time bomb.

And as every comedian knows, nobody likes to bomb.

Thanks for reading and as always – keep laughing!!

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Running The Light (Going Over Your Time On Stage)

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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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Comedy Festival Submission Tips

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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 visit COMEDYWORKSHOPS.

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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