Tag Archives: standup comedians

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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Business card – got one?

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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 visit COMEDYWORKSHOPS.

*

Click on the banner below to sign up for Dave’s free newsletter.

Being Influenced vs. Copying

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Hey Dave – I’ve been working on material and continue to search for my comedy voice. Although I want to do some improvising, I want a good amount of material to work off of. Someone said I have a somewhat eccentric and iconoclastic persona and should take advantage of that. Therefore, I’ve thought about using Prof. Irwin Corey and Steven Wright as influences and been writing material similar to theirs, especially since I like it. However, I’m afraid I’m not using them as an influence but just copying them. Is there a thin line between the 2 or just between fishing and standing there doing nothing? – JK

Read and remember!

Hey JK – I was fortunate to work with the late, great Prof. Irwin Corey and with Steven Wright during my years at The NYC Improv. And as I always tell the younger comics: if you don’t know who those guys are, look them up. You’ll learn a lot about the history of stand-up and how much past performers have shaped the headliners we see today.

Both Prof. Corey and Steven Wright are incredibly smart and incredibly funny. I also know that if I ever tried to write like either one, I’d be lost – completely confused. My brain actually hurts just thinking about it. But I do have some thoughts on your question, so instead of standing here doing nothing, let’s go fishing for an answer…

Yes – there is a line between being influenced and copying. Ideally, it should be a wide one.

As Prof. Corey would say, “Let me explain…”

Prof. Irwin Corey

I often compare comedy to music. I’ve done this in my workshops, books, and more than a few FAQs. You can’t reinvent the wheel. Someone had to hum the first tune, and someone had to make the first joke. Musicians and comedians have been building on those firsts ever since.

One of my all-time favorite bands is The Rolling Stones. They’ve influenced countless musicians for more than sixty years – yet there’s still only one Rolling Stones. But even they started by copying their heroes: Muddy Waters, Howlin’ Wolf, Robert Johnson, Chuck Berry, Bo Diddley… the list goes on.

Did they copy? Absolutely.

They played a lot of covers early on. But that’s not what made them legends. Mick Jagger found his own voice. Keith Richards found his. Together they wrote new songs inspired by what they loved – but filtered through who they were.

That’s exactly how comedians develop. They start by emulating what they like.

Keith Richards isn’t going to play Bach when he grew up loving Chuck Berry. And based on how you described your humor, I doubt you’re going onstage with props like Carrot Top or with the kind of sharp-edged commentary Dave Chappelle is known for. You admire Corey and Wright, so of course they’ll influence you – just like Chuck Berry influenced the Stones.

But here’s the big difference between comedy and music:

Steven Wright

The Rolling Stones can play “Johnny B. Goode” in concert. A comedian can’t go onstage and say, “Here’s one from Steven Wright,” and then perform his jokes.

That’s not influence – that’s theft. And yes, there are comedians who do it. And most of us know exactly who they are. The respect level for joke thieves is somewhere below sea level.

Being influenced is not the same as stealing.

Creative artists build on what came before them. A Rolling Stones song might have a Chuck Berry riff or a Bo Diddley beat hiding in the background, but it’s still a Stones song. Likewise, comedians can’t help but be influenced by the style of humor they enjoy.

Carrot Top didn’t invent prop comedy. Every kid who ever held paper plates to their head and pretended to be Mickey Mouse dabbled in prop comedy. He took what he liked and built on it.

That’s what you need to do.

You understand your comedic style. It’s reminiscent of Corey and Wright, but you’re not Corey and you’re not Wright – and that’s the point. You didn’t grow up in their neighborhoods, their families, their jobs, or their lives. You have your own stories, experiences, personality, and point of view.

That’s where your material has to come from.

Don’t ask, “What would Steven Wright say?” Ask, “What do I think about this?” Respect your influences, borrow the sensibility you appreciate – but say things in your own words with your own brain.

When I worked in Los Angeles, I worked with Jim Carrey and Michael Richards (Kramer from Seinfeld). Both were massive Jerry Lewis fans. But neither went onstage yelling, “HEY LAAYYYDEEE!” That would’ve been stealing. But they did incorporate Lewis-style physicality, wild expressions, and pratfalls – filtered through their own personalities and experiences. And Jerry Lewis, of course, had been influenced by Chaplin and Harpo Marx.

That’s how influence works.

Use your natural mannerisms, your personality, and your experiences to shape your material. Don’t hold paper plates up to your head and hope the audience laughs – dig deeper. Think about why something is funny to you and how you see it. Then present that.

Everyone is influenced by someone. None of us are inventing the wheel – we’re just putting better tires on it. The key is understanding what makes you unique and exploring material that fits your comedic point of view.

Keep writing. Keep performing. Your comedy voice will emerge. And one day, when someone asks who influenced you, you’ll have your answer – just like every successful comedian does. The turning point is when you stop copying and start building on what inspired you in the first place.

Thanks for reading and as always – keep laughing!!

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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