Tag Archives: standup comedians

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.

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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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When a club booker asks, “How much do you want?”

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Hi Dave – The talent booker for a comedy club sent me the following: “How long is your routine and how much would you want to come to (city) to do a show?” I do 45 minutes to an hour, but on the money question I have no idea how to answer them. Obviously, I’d want enough to cover airfare. Between you and me, I’d stay with my grandmother who lives near the city. Any ideas? Thanks! – B.K.

How much’ya want?

Hey B.K. – I know the club you’re talking about. They’ve been around for years and have a solid reputation. Since you didn’t mention this being a one-night private event or corporate booking, I’m assuming they’re asking about a weekend at the club.

And right away, you’ve run into one of the oldest games in show business.

The talent booker asked you a very open-ended question:

“How much would you want?”

That puts the pressure entirely on you.

Meanwhile, the person asking already knows the going rate for openers, features, and headliners because he’s been booking and paying comedians for years. Clubs that operate every weekend know exactly what comics are worth in their market.

So why ask you?

Because there’s always the chance you’ll come in low just to get the booking.

That’s especially common with newer comedians. Most comics who are still building credits don’t want to scare off a club by quoting too high a number. They’re thinking:

“I just want to get in the door. I’ll negotiate more money later.”

And honestly, that’s understandable.

This is part of the ongoing push-and-pull between bookers and developing talent. Comics with major credits, television exposure, and audience-drawing power can often name their price. Newer comics usually can’t.

That’s simply the reality of the business.

Years ago, when I was booking talent for The Great Lakes Comedy Festival, I contacted representatives for two major television stars for theater appearances. These were household names with hit sitcoms and enormous popularity.

The fees I was quoted were enormous — far beyond the budget of a startup comedy festival. One package even included a private jet to fly the comedian in and out the same night.

And none of it was negotiable.

As long as I’m on TV I set my own price, man!

That’s what leverage looks like at the top level.

But for newer comedians and speakers, the key is learning how to ask better business questions instead of immediately throwing out a number.

Start with this:

“How many shows are you looking for me to do?”

That matters.

Five shows over a weekend is very different from one showcase appearance.

Then ask:

“What do you usually pay your first-time headliners, features, or openers?”

That’s a fair and professional question.

You should also do some research. If you know comedians who have worked the club — and you’re on good enough terms to ask — find out what the club typically pays.

Comedians don’t have a union. Information is often the only leverage performers have.

That said, be respectful. Some entertainers are private about money, and that’s understandable too. Don’t push if someone seems uncomfortable discussing it.

Ideally, the club would simply make an offer upfront:

“This is what we pay first-time features.”

That would make life easier for everyone.

But in the real world, bookers often want to see whether a comedian will undersell themselves first.

You’ll hear this same approach in the corporate, cruise, and college markets too. The difference is that established comedians in those worlds usually already have a set fee structure and know how to negotiate travel, hotel, meals, merchandise percentages, and other expenses.

Club work can be trickier because rates vary wildly depending on the venue, city, audience size, and your drawing power.

A comic consistently earning $1,000 a weekend has established a market value. A comic who’s still building credits may have less negotiating power — especially if the club is taking a chance on booking them for the first time.

That’s why you also have to look at the bigger picture.

Ask yourself:

  • Is this a strong credit for my resume?
  • Will I meet people who could help me get more work?
  • Is this an opportunity to expand into a new market?
  • Would I enjoy the trip personally?
  • Does staying with family reduce my expenses enough to make the deal worthwhile?

In your case, staying with your grandmother could actually become part of the negotiation.

If the club normally provides a hotel room, you might save them money by not needing one. The same goes for transportation if you can borrow a car while you’re there.

But here’s an important reality in today’s comedy world:

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——————–

A lot of clubs no longer cover airfare the way they once did.

That means you absolutely need to calculate your expenses before agreeing to anything. Know what the trip will realistically cost you. Then compare that number against whatever offer the club makes.

From there, the final question becomes simple:

“Is this worth it for me right now?”

Only you can answer that.

My advice is to stay professional, be honest, and avoid throwing out a random number too quickly. Ask what they’re offering first. Let the booker show his cards before you show yours.

Then negotiate from a position of information — not insecurity.

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.

——————–

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Mondays are SOLD OUT!

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——————–

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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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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Business Advice for Comedians: How Much Personal Information Is Too Much?

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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.

For example, my business email is:

dave@thecomedybook.com

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.

But here’s what happened next.

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__________

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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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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Getting Past Gatekeepers

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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

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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 visit COMEDYWORKSHOPS.

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Clean or Dirty? You’d better know your audience

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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.

https://youtu.be/mu1F3ck5ZgE?si=AuPP001eW_GOKONc

Know the Room

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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Laughs and Bookings – the best revenge

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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 visit COMEDYWORKSHOPS.

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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 visit COMEDYWORKSHOPS.

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