Comedians Dealing With Hecklers

Hi Dave – How should a clean comic respond to hecklers? – A.B.

Get off the stage!

Hey A.B. – Clean comics respond to hecklers with the same comedy voice (language and who they are on stage) they use in their sets. Don’t start dropping F-bombs, swearing or lowering yourself to their level – if their level is lower because they’re rude, using foul language, or might be drunk (hecklers usually seem to have a few drinks in them).

That’s not how clean comics perform. And if a clean comic suddenly decides to use that type of material on stage, then bookers won’t look at him or her as a clean comic in the future.

Dealing with hecklers is always a big worry with many of the newer comedians I work with. It’s one of the first questions asked in my workshops. But to be quite honest and basing this on my experiences managing major clubs in New York City, Los Angeles and Cleveland, I don’t think of hecklers as a big problem.

I’m sure they’re more of a concern at poorly run open-mics and the very low-rent clubs that comedians play as they work their way up to better venues. But for the most part, allowing hecklers to disrupt shows is not good for business. And one thing you always need to remember is that club owners are not in the business to lose money.

As Navin R. Johnson (Steve Martin) said so eloquently in The Jerk: “Ah… It’s a profit deal!”

Say something funny!

This means that business-minded club owners don’t want paying customers to have a lousy time because of loud-mouthed jerks in the audience heckling the performers. The paying customers will bad-mouth the club to their friends and never come back. That means they’ll spend their entertainment dollars somewhere else.

The loss of returning and potential customers is a sure way to go out of business. Smart club owners don’t want to go out of business.

That’s why the more established comedy clubs have bouncers and security to prevent this from happening. Believe me, at the clubs in the cities I mentioned above, we had big security guys hanging around the back of the showroom and a police officer floating through the crowd. If anyone in the audience got out of line and started heckling, their next opportunity to yell at someone was from the sidewalk outside the club – which is where the security guys escorted them (after they paid their check, of course!).

Now, that being said – I’m not naive.

I know there are times when someone in an audience – even in the better comedy clubs – will start heckling the comic on stage. And check this out – seriously – a lot of these loud-mouths actually think they’re helping the comedian do a better show. I’ve even seen hecklers approach the comic afterwards looking for a bit of fame or at least a “thanks”. They assume they were part of the act and the comic should be glad they were there to help.

Duh…!!!

The best way to prepare yourself as a performer is through stage experience. Comedians, speakers, musicians… well, performers in general literally do hundreds of sets per year (if they’re serious about a career). Chances are something unexpected will happen during one of these sets. Someone will yell out; a server will drop a tray of drinks, a cell phone will go off…

I’ve even seen a comic at The Improv in Los Angeles have to switch material because of an earthquake while he was on stage. Talk about a disruptive heckler… Mother Nature?

Monday online comedy workshop starts April 1, 2024

April 1 (skip April 8), 15, 22 and showcase, April 29

For details, reviews and to register visit OnlineWorkshops

* Wednesday workshop is SOLD OUT!


When something unexpected happens, you learn through stage experience how to deal with it. You might ad-lib a line on the spot and if it’s funny (and works) you’ll keep it in your set to use again next time. If you stand there with a blank look on your face as a heckler (or an earthquake) disrupts the show, you might want to write a comeback line later and keep it ready in case the situation happens again.

Many comics have their comeback lines in their back pockets and ready to go at a moment’s notice.

Don’t believe me? Then read the chapter with Jeff Dunham in my book How To Be A Working Comic. He tells about the only time in his career when he never wrote a comeback line as a result of something that happened earlier in a club. It’s a great story – and I use it as an example in all my workshops.

If you truly have a fear of not being able to ad-lib or think on your feet while on stage, I recommend taking a class in improvisation. It’s all about being in the moment and working off what is given to you.

But to get back to your original question, as a clean comedian don’t lower yourself to a heckler’s level. Again, this takes stage experience, but stay in your comedy voice.

Do your best to keep control of the situation. You have the microphone, so you’ll be heard over what a heckler is saying.

One of the biggest mistakes I’ve ever seen in dealing with a heckler was when the comedian gave up the microphone. Seriously – I’ve seen it. The comedian said, (thinking he was putting the heckler in an embarrassing situation):

“If you think this is so easy and you’re so funny, let’s see you do it.”

And then he handed the heckler the microphone?!!

The honest truth was that the heckler was drunk, was not going to give the microphone back – and actually thought he was funnier than the comedian. The show took a nosedive and for the comedian on stage, it was a lesson learned the hard way.

Never give up the microphone.

If a heckler becomes a problem there’s no reason why you can’t ask for assistance from the club manager, door-guys, bouncer, bartender – or whoever is in charge. I’ve seen comedians end their sets and walk off stage because a club didn’t take care of the problem. And I’m not just talking about beginning comedians – I’ve seen headliners do this. Their reasoning was that dealing with hecklers is not part of their show, not what they get paid to do – and if the club doesn’t have control over the room, they’re not performing.

And I’ve seen these comics get very angry about this. They leave swearing never to return – and warn their comedian friends about the potential problems.

You have the right to do the same.

Again – smart club owners don’t like to lose business. And when comics start bad-mouthing a club there’s the potential to lose good performers and therefore, also a lot of business.

If that is how a club is run, then it’s no more than a notch or two above a crappy open-mic and good comedians wouldn’t want to play there anyway.

On the other hand, I’ve also had some great comics tell me before they went on stage NOT to shut-up any hecklers. These performers have the attitude and experience to turn any interruptions into excellent comedy by verbally destroying anyone who would dare heckle them. As a word of warning, think twice before you have a few drinks and decide to verbally spar with Bobby Slayton, Dave Attell and some of my other personal favorites. It’s now called “crowd work” and there are plenty of experienced comedians that master the craft (thanks to a quick mind, an attitude – and just as important, stage time).

So, when it comes to hecklers? It doesn’t matter if you’re a clean comedian or raunchy – either be prepared and experienced in thinking on your feet or have your best comeback lines in your back pocket and ready to go. And trust me, it doesn’t happen as much as you might fear in the better comedy clubs.

Badly-run clubs can be another story. They’re also another incentive to continue getting on stage experience, get funnier – and get booked into better clubs.

Thanks for reading – and keep laughing!

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

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

It’s all in the delivery

Dave – I need to work on my delivery. The time you saw me, you mentioned that it sounded like I was just reading from a magazine (thanks! lol). I see what you mean after listening to my last set a couple times. I’m working out a new bit that I’m taking care not to write out in script form, but in outline form. I’m beginning to get the laughs where I want them, and I know the confidence to ad-lib only comes from stage experience. But working on delivery seems like the next logical step. Do you agree? – DB

What do I say next?

Hey DB – When you’re just starting out in the comedy or speaking biz, having the right delivery on stage is something everyone worries about. It’s up there with getting over any nervousness you might have just standing in front of an audience AND remembering what the heck you’re gonna say.

But you know what?

It’s nothing to sweat about at this stage – the beginning stage – of your career on stage. Wow, it’s not everyday I can use the same word three times in one sentence. Guess I need to work on my delivery…

Your delivery or comedy voice, which is a term I picked up from a major player in the comedy biz while I was working in Los Angeles, will develop through experience.

It comes with getting stage time.

Right now – and again, I’m talking about the beginning stage – I’ll suggest something else to concentrate on that I’ve heard many times from working comics. Write, write, and WRITE some more.

Got that? The idea is to have something – ideas, topics, stories, whatever – that you can talk about and try out in front of an audience. Then you rewrite, edit, come up with new stuff, and repeat the process again and again.

As you do this your material will change and evolve. You’ll also become more comfortable knowing your material AND being in front of an audience. For some people it seems easy, but I’ve talked with many more who’ve said it was damn hard work. It’s doing open-mics and any other gigs as often as possible.

During this process you (should) also develop your delivery. But again, sometimes it’s not that easy. So, I’ll make a suggestion based on your question…

A lot of comedians and speakers start out by memorizing their material. There’s a great story about that in my book How To Be A Working Comic from one of the great stand-up improvisors and ad-libber’s in the business. His many fans might find it hard to believe, but he told me that’s what he did in the beginning. You must find a way to get yourself on stage and if memorizing your material helps, then try it. Then through experience you can gradually develop and grow as a writer and performer and break free of that restraint (memorizing) and have as much fun as the audience.

It takes stage time.

Memorizing your material can be a valuable crutch to use when you’re first going on stage. As you know, all kinds of things – mental and physical – are happening when you’re new at this. It’s not a normal everyday thing to walk onto a spotlighted stage, stand in front of a microphone and start talking to people.

But even if it’s memorized the KEY is to NOT make it sound memorized.

Ad-libbing and working off the audience can loosen things up and help you as a performer and writer come up with new material or learn how to deliver what you already have to get bigger laughs. In other words, you want to sound like you’re making this stuff up on the spot. It’s called being conversational, which is the opposite of sounding like you’re repeating a magazine article from memory.

Now I know all comedians and speakers are not the same. There are one-liners, physical comedy, storytellers, insult comics, prop comics and more. Just keep in mind I’m talking in general – okay?

I don’t know how many comedians I’ve seen over my career, but I know from experience as a talent booker and club manager I’ve seen a LOT during many different career stages. I’m talking about from beginners to household names. And what has always stayed with me is how they deliver their material – their comedy set – to each audience.

The successful ones are very conversational. They make it seem the audience is in on the creative process – like the comic is making it up on the spot. But what the audience doesn’t see is that most times (not all because again, I’m talking in general and don’t want the ghosts of Bill Hicks or George Carlin to do a Christmas Carol bit on me the next time I’m in a deep sleep) the next show can be almost exactly the same.

But it’s still seems different because of the comic’s delivery. They know how to involve the audience and have a conversation with them using their proven (through stage experience) material.

I know I’m repeating this story from one of my books, but I remember years ago when a VERY famous comedian was doing a set at The Comedy Cellar in NYC. It was late – the other clubs were closed, and this was the only one that would put up with us at 3 am. There were only about four “real” customers in the audience and everyone else was a comic with at least a beer or two already in them.

The famous comic was doing his act and another (who would also be famous within a couple years) jumped on stage behind him and did a mimic bit. He silently mouthed the words and did the same physical gestures. The already famous comic knew it (they were good friends) and played along. It was hysterical, but also proves my point that a skilled comedian can do his same act and make it seem new each time in front of different audiences by being conversational.

Again, I’m talking in general terms here. But that story always helps me make a point.

Next round of Wednesday workshops (Mondays are sold-out):

March 13, 20, 27 and April 3

For details, reviews and to register visit OnlineWorkshops


So, you may know your material frontwards and backwards, but you don’t want your delivery to ever sound memorized. Since you’re still in the beginning stage and searching for your comedy voice, take a few chances. That’s what open mics are for. Try working off just an outline in your head or have a notebook (it’s an open-mic and you can do that) with key words about the topics. This means already having a few ideas you want to talk about – and then just talking about them.

It’s part of the process of finding out what works best for you as a performer. It also helps you become more conversational on stage rather than sounding memorized.

And even though you already know what you’re going to say, for instance jokes or descriptions you’ve written in advance and hope will get laughs, the method you use to get there will make it look like you’re making it up on the spot for that audience.

And as you said, you’re beginning to get laughs where you want them, so keep those moments in your set. That’s why you record your performance every time you’re on stage. When you listen, you’ll know what works (lines, words, emphasis, physical gestures – whatever) based on how the audience reacts. If they laugh, you’ll use them again because you’ll know through experience they should get laughs again from a different audience.

And for anyone who wants to be a working comic or humorous speaker – that’s what talent bookers, club owners and event planners pay for. Proven laughs.

Thanks for reading – and keep laughing!

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

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Always Leave the Audience Wanting More

Hi Dave – I was in a local open-mic comedy contest, and I’m upset about the way it was run. The show lasted way too long. The comedian who put it together had ten comics competing, and then four more after that. Three of them did 15 minutes and the last one went for over half an hour. I feel like it really wasn’t fair to the audience. The people I brought were getting tired and had to work the next day. We finally left at 11:30 pm and the show was still going. It was like being at a concert and the opening band never knows when to get off the stage.

Would it be in poor taste to tell him the show was too long? I know a lot of people who would like to see me perform won’t want to come if the show lasts that long. I’m also worried the people I brought won’t want to see me again now that they know this is a possibility. Thanks – Comedy Contestant (CC)

Is this over yet?

Hey CC – I don’t blame you for being upset. It not only sounds like a long night, but also a very amateur production. If the comedian in charge has been around the comedy biz for any amount of time, he should know it’s not a good idea to burn out an audience. He should have followed an old showbiz “suggestion” (I hate to use the word “rule”) that makes a lot of sense for a very good reason. It works:

Leave the audience wanting more.

I didn’t make that up. It’s been around since audiences learned to clap their hands together and scream for an encore.

There are no rules about time limits when it comes to great entertainment. A classic pop song can come in under three minutes while a rock band can hold an audience’s attention for over three hours. But sitting through a local comedy contest in an open-mic room that lasts longer than a Taylor Swift concert? I’m squirming in my chair just thinking about it.

BUT let me make my opinion perfectly clear.

It’s not because of BAD comedians. Many open-mic comics are very good and ready to jump to the next level. Others are still learning and need the stage time. That’s what open mics are for. What I’m talking about is the length of a show.

To make my point, let’s use the movie biz as an example.

How long are most comedy movies? According to personal research using a television remote control to check out running times for random streaming movies, I’ll go with around 90 minutes. Of course there are exceptions, but check out big money-earners by Adam Sandler, Will Farrell, Kevin Hart and other hit comedies and you’ll see that’s a worthy guesstimate.

This is nothing new. 

Hollywood!

Somewhere in the long history of Hollywood movies someone had to come up with a “suggestion” that audiences are comfortable with around 90 minutes of entertainment. They’ll stay longer if it’s exceptional, but otherwise it doesn’t make any sense that most movies usually last about that long.

And if audiences really enjoy the movie they might see it again, or spend a night camped outside the theater to be first to see a sequel. That means it was entertaining and left the audience wanting more.

It’s a format that works and is successful.

We could also add television shows to this theory. Even the most highly anticipated season finales of The Voice, Dancing with the Stars, The Bachelor and others stick to a max time limit of two hours. Take away the commercials and we’re talking about 90 minutes’ worth of entertainment. If it’s more than that, they’ll break it up into two nights.

So why wouldn’t someone that hopes to launch a successful open-mic or comedy contest do the same thing? The idea is not to burn out your audience but keep them entertained so they have fun and want to come back for more.

The show’s producer could learn a lot from the big-name comedy clubs. But before I get too deep into this, I know many of the biggest name clubs are in New York and Los Angeles and shows can go on for hours.

But these are showcase clubs.

On weeknights they’ll feature a lot of comedians doing shorter sets during one long show. Audience members come and go throughout the night. At New York’s Original Improvisation we would start shows at 9 pm and run sometimes until 2 am or later, as long as we had an audience. But it was very rare when anyone outside of the staff was there from start to finish.

So, let’s talk about the big-name clubs outside of NYC and LA that use a three comic lineup: opener, feature, and headliner.

On weeknights club management knows many audience members have to be at work the next morning, so there won’t be any late-night marathons. On weekends they might run two or three shows each night, like movie theaters. Yeah, it’s a business concept because having more shows means earning more profits. But they also want paying customers to have a great experience and come back again as paying customers.

They’re not looking to burn out comedy fans. It’s the complete opposite. A great show will leave the audience wanting more.

Oh, and in case I forget… 

Do you know how long these shows usually last? An opener will do about 10 minutes, a feature about 20 minutes and the headliner an hour. That’s 90 minutes in case you can’t find the calculator on your iPhone and want to keep reading instead.

Focusing on your question, the problem might just be inexperience on the organizer’s part. Most comics running an open mic use it for personal stage time. There’s nothing wrong with that. In fact, everyone in the comedy biz should support that dedication because it’s not easy to be a performer, producer, talent booker and publicist (they must promote to stay in business) all at once. But they also need to consider the other comedians and the audience. It must be a fun experience (entertainment), or no one will want to experience it again.

If it’s not entertaining, nobody wins.

The comic that worked hard putting this together won’t have a returning audience and will probably lose a new audience once the show’s reputation goes around the neighborhood. He’ll lose the support of the club owners that need to make money to stay in business. He’ll also lose the stage time he was hoping for, and the other local comics will lose a place to perform.

If you want to run a successful open-mic or comedy contest, use the proven format as the established clubs. You don’t want to burn out the audience with a three- or four-hour show. Even the top club headliners with many hours of proven material will only do about an hour at a comedy club. They entertain the audience – and leave them wanting more.


For information about private coaching via Zoom or phone visit TheComedyBook


Next time the headliner is in town there’s a good chance the audience will remember it was a fun experience and pay to see him again.

And finally, should you share your thoughts with the guilty comedian who ran the contest? I would if you’re close enough to be honest without making him upset and losing future stage time. Your advice could help him run a more successful room.

But either way don’t lose track of your original goal.

You went to this open-mic contest because you want to get better as a comedian, and you need performances to do that. There’s always been a lot of hanging around time and traveling in this crazy biz and the dedicated comics do it for valuable stage time.

The idea is to keep working and improving until you’re experienced enough to play the more established clubs. Then the management will tell you how long the show will run – and you won’t even have to worry about it.

Thanks for reading and as always – keep laughing!

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

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

How tacky is your sales pitch?

Hey Dave – One of the guys I work with was telling me how he does these after-hours networking events where people from all different businesses hand out business cards to each other and get to know each other and see if they can make a bridge to possibly do business in the future. He told me they have entertainers networking at these events.

I want to go to these things when I get my website up and running and try to get bookings for business events and parties. Any advice on what someone would be looking for to get booked at a company event? Would it be tacky to carry around my promo stuff like my bio and resume with me? Or should I offer to send that to them at a later date? – DB

Foot in the door edge!

Hey DB – Why am I having a hard time thinking of anyone in this crazy business who isn’t tacky at least occasionally? You can put on a suit and be a complete professional to represent yourself, but sometimes you need to have a little “edge” to make your presence known if you want to get ahead.

I’m not talking pushy, but hopefully you get the idea. If not, here’s what I mean…

Good promoting can lead to good sales. There are a lot of salespeople that get business by being total professionals with a good “sales pitch” and promotional material. Then again, there are times when a door is starting to close in their face and they just can’t help it… call it instinct, training, experience or determination… but they just can’t stop themselves from sticking their foot in the door and making one last sales pitch.

Tacky?

Yeah, that term has a way of coming up when talking about certain sales techniques. But if you want the business and have a product (in our case we’re talking about your comedy act or speaker presentation) that deserves to be considered, you have to find ways to let the buyer know. If you don’t, you can bet someone else will.

Okay, first things first. 

What would I be looking for if it was my job to book someone (a comedian or speaker) for a company event? I’ve said this numerous times in past FAQs And Answers, but will use the opportunity for a quick reminder…

When I was booking corporate (business) shows we always looked for G-rated material. 

That’s a BIG resume!

Okay, PG at the max – and that only depended on the type of company and what the boss or event planner requested. But honestly, those were few and far between. Everyone else was too worried about someone – anyone, including the boss and employees – being offended during a company event.

The comedians I used the most knew how to entertain these audiences with their regular topics (the material they were also doing in the comedy clubs) but could keep it squeaky clean for corporate events. In other words, the laughs didn’t depend on dropping an F-Bomb, graphic sex jokes, or bathroom humor. The guy at work who stands around the coffee machine telling jokes and the company prude could both be entertained at the same time.

Can you do that? 

If you want to be a player in the corporate comedy or speaking biz, it’s a requirement. That’s the first concern and there’s no getting around it.

Now that we’ve made this perfectly clear, I’ll stick my foot in the door and continue the conversation…

The after-hours business card meetings sound very promising. Your goal is to connect with any event planners and people from the Human Resource Departments. From experience, other than the boss, these are the people that are usually in charge of the company events, or at least have some say in how it will all work. Of course, anyone can put in a recommendation if they have an event or party coming up, so don’t be tacky and avoid anyone who might not appear to be important enough to give you a job. They might just be the break room jokester or office prude the CEO is concerned with keeping entertained and not offended.

Is it tacky to carry your promo material with you in this type of situation?

Yes, I think so.

But here’s the deal, all your promotional material should be online anyway. Do you have a dedicated website? If not – you should.

That’s one way to make it clear you’re a professional. Sending a business client to your Facebook page to find your promotional video between photos of that day’s lunch and your cat is not going to result in too many paid gigs– if any at all.

I recommend you always be prepared to make a sales pitch if the opportunity arises. That’s why every professional still carries business cards that will direct a potential client to your website. You never know when or where you’ll make your next valuable connection.

But again, being professional is the key. And it’s different in the business world than in the entertainment business world – and I’ll give you an example.

When I was at The Improv in New York and Hollywood, there were always a lot of showcases (auditions) for television shows. And not just for shows that used standup comedians. Quite often there was casting for sitcoms or movies and with these types of showcases, if the casting person was looking for a certain “type,” all the auditioning performers would be scheduled because they fit that “type.”

For example, you might have ten comedians auditioning for a specific role. If they were looking for a male – there would be ten men auditioning. Female – ten women. The showcase would be booked around the casting call for a specific type.

But not every comic that fit the desired type could be on the showcase.

There would be only X number of spots to be seen over X amount of time. So usually there were lots of comedians that didn’t get the opportunity to audition. But quite often the professional comedians in NYC and LA had their promotional material with them – or close enough (in their car) so they could have it within a matter of minutes if there would be a chance to network. And a lot of times if they weren’t on a showcase but thought they should’ve been given the opportunity, they’d hang around the club until the casting person was leaving and ask if they would accept it as a submission.

What’s the worst that can happen? Being told NO? You’ve already been told that when you weren’t asked to be part of the showcase.

So, is it as tacky as a salesman sticking his foot in a closing door? Yeah, but like a final sales pitch for a good product, sometimes it works.

The idea is not to waste an opportunity.

But remember, the business you’re talking about networking for – bookings in the corporate market – is different than the entertainment business I was just talking about. It would definitely be tacky to carry around full promotional packages at one of these business card-trading events.

Most promotion today is done online.

So, the bottom line to giving yourself the “edge” without coming off as “tacky” is to always be prepared to network and promote. Today that means keeping your dedicated website updated and don’t forget your business cards.

That’s the simplest business tool for networking and promoting – and makes the effort a lot easier than carrying around “old fashioned” promotional packages that no one else will want to carry around after you hand it to them.

And the best part about networking with only business cards? There’s nothing tacky about it. In fact, in this business it’s expected.

Thanks for reading and as always – keep laughing!

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

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Using a stage name – can you live with it?

Hello Dave – I am very proud of my name, but for as long as I can remember people have never been able to say it. I’m starting to wonder if I should go with a stage name. Even if you are against them, how do you go about using a stage name? How do you manage introducing yourself and, in the future, how do you handle payment when you go by a stage name? Thanks – K

Hey K. – The question you need to ask about using a stage name is if you can live with it. And if you happen to become successful – can you live with it for a looong time?

It might be cool now, but what if you get tired of it later? If you’re just starting your career and still learning who you are on stage, what if that name doesn’t fit anymore? For an extreme example, using the name Goofy (sorry Disney fans) might get some laughs at an open mic, but somehow I don’t see it enhancing the career of a corporate comedian.

I could be wrong, which is not unheard of. Then again, it’s something to think about.

Let’s put it another way. If you’re just starting out in your career, you might be wearing jeans and a t-shirt on stage. But as you progress, maybe you grow into wearing a suit and tie. I’ve seen it happen. But if all your promo material (photos and videos) shows you in jeans – then you’ll have to update everything.

But one thing that is more difficult to change is name recognition. If all your contacts and clients know you by name, then changing your name means you need to introduce yourself all over again. It’s like starting from scratch.

So if you’re considering a stage name, be sure you can live with it for a looong time.

This topic has come up in my books How To Be A Working Comic and Comedy FAQs And Answers. In the first one, Scott Thompson told me there was already a comic actor with that name. Since Scott was a marketing major in college, he was educated enough to know he needed something that was different and “marketable.”

So he went with Carrot Top. To quote him from the book:

“The first time someone across campus yelled, ‘Hey, Carrot Top!’ I thought, ‘Oh Lord, do I really wanna do this to myself?’ But now it’s second nature.”

The second book example comes from the comedian Earthquake:

“Earthquake was a childhood name. My real name is Nathaniel Stroman. And when you play for an urban audience, it just don’t roll off the tongue. You know, ‘Give it up for Nathaniel Stroman!’ ‘Boo, *#@#*! Boo!!’ That’s right off your name! So I had to get something that would give me a fighting chance.”

A stage name is totally a personal decision.

If you already have a nickname or come up with something memorable, give it a shot. But keep in mind if you start finding success under that name, it’s very tough to change. Just ask John Cougar Mellencamp.

Introducing yourself is another matter.

You can choose to have an entertainment persona and a personal life. There are some very famous celebrities who do just that. The former drummer of The Beatles is known throughout the world as Ringo Starr. But his family and friends call him “Ritchie” since his real (and legal) name is Richard Starkey. To the best of my knowledge, his appearances, promotions and autographs are by “Ringo Starr” and for contracts and payments it’s for “Richard Starkey.”

So in your comedy career, you should promote yourself as your stage name and handle all business as your legal name. When it comes to your personal life, do what you wish.

In the comedy biz I’ve seen more stage names than you might think. And usually I’ve had no idea the performer was using a stage name until their real name was on a contract.


 


So if you don’t change your name legally, you’ll eventually end up using both. It can be confusing sometimes, but for promotional purposes everything is done using your stage name. For legalities it’s your real name.

BUT before I go into this more, it’s important for me to make it clear I’m not a lawyer and this is not legal advice. I’m just passing it along based on my past experiences. So before you even think about following the following, make a smart move and talk with a real lawyer.

Years ago when I was managing comedians and speakers, I asked a lawyer and a banker about performers using a stage name. I thought they would be the two most important people to ask if the talent wanted to get paid – and pay me a commission.

The advice was to have a bank account in your legal (real) name. If a talent booker writes you a check using your stage name, you sign the back with your stage name. Then underneath, you sign your real name.

It’s a double endorsed check, which is legal and can be deposited in your legal name bank account.

But if you’re looking at direct bank deposits (rare in the performing biz since most bookers and event planners pay with checks, cash or through an online service like PayPal), then you’ll have to use your stage name for all appearances and promotions, and your legal name on all contracts and other business paperwork.

Using two names has been done a lot before and will continue. You just need to be very clear about everything for contracts, tax forms, and all the other important legal stuff.


 

Next group starts Wednesday, November 8th

Space limited!

For details, reviews and to register – visit OnlineWorkshops


Many performers have chosen not to change their hard-to-pronounce names, have become famous, and people learn to say their names correctly because they hear it so often. Arnold Schwarzenegger is an example. I saw him interviewed on television once and he said his goal was to become so famous that Americans would have to learn how to pronounce it.

At first his mispronounced name was a punch line for every late night television and radio host. But eventually, everyone knew it and could say it. Guess his plan worked – all the way to blockbuster movies and the California Governor’s Mansion.

Another consideration for a name change should include any future showbiz career goals. If you ever get into acting or voiceovers, the Screen Actors Guild (SAG) and the American Federation of Television and Radio Actors (AFTRA) – merged since 2012 as “SAG-AFTRA” – only allow ONE name in their membership. So, if you choose something simple like “Goofy” and someone else is already registered by that name in the union, you’ll have to pick something else.

That’s true also if you’re using your legal name.

So my advice is to make the change only if you think it’s really necessary and will further your career. But be sure you can live with it. The only one I can think of who “took it back” after he became famous was John Cougar… uh, I mean John Mellencamp.

More advice?

My last name has been mispronounced every way possible. So when I have a speaking gig, I give the person introducing me a printed introduction (in a larger font than what you’re reading here). On it I have my name spelled out phonetically as “Sch-wen-sen.” That way they can usually say it correctly. Since you mentioned being very proud of your name, I would suggest trying that for a while before making the huge commitment of changing it.

If you still decide to go with a stage name, keep in mind there’s already a Carrot Top and Earthquake in the acting unions. You’ll have to come up with something original and one you can live with – maybe forever.

Thanks for reading and as always – keep laughing!

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

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com

Don’t waste a golden opportunity to be “seen”

Dave – I have a question for you. I know who makes all the booking decisions for a club I want to play. It’s local, but I’ve never met him so can’t say I know him personally. I wanted to see if you had any suggestions on how to go about getting a guest set there. I had another comedian friend who already plays this club email the booker a clip of me from another club. How should I follow up on this? Just wanted your take. Thanks – JW

He’s the guy!

Hey JW – I hope you read last week’s article about getting a Golden Ticket. If not, scroll down because you might have one. Most of these FAQs And Answers are about the business side of the business. Yes, you must have talent both as a writer and performer with on stage experience before you’ll really need to concentrate on the business.

But once you’re ready, you’ll need to think about promoting your career.

A big part of promoting is networking. And as I’m sure you’ve heard (because I don’t make this stuff up) sometimes it’s “who you know.”

It’s great you’ve already had someone that works for the club put in a good word for you. Performers need to protect their own reputations in this competitive business, and I highly doubt someone else would recommend you to an important talent booker if he/she didn’t believe you were “ready.” To repeat what I said last week, a good recommendation from a comedian or speaker already working for a talent booker or event planner YOU want to work for is like having a Golden Ticket.

It’s not a guarantee you’ll be seen (given an audition or showcase), but your chances are better than making a cold call or sending blind emails.

So… you have the referral – correct? How should you follow up on this and make it really work for you?

Here’s a suggestion:

Booking Local

According to your email, you live in the city where this club and the talent booker are located. And since your referral (Golden Ticket) performs at this club, she/he either lives in the area or is working there on a somewhat regular basis.

BUT the referring comedian EMAILED your clip to the talent booker!

Okay… that’s better than nothing. But when an opportunity arises, you sometimes must kick it up a notch. As I’ve said, this is a competitive business.

Most of the talent bookers I know are busy people. They’re booking not only clubs, but also colleges, corporate shows, cruise ships and other events. The ones that work solely for the independent clubs are usually also the club managers and in charge of the staff, kitchen, box office, running the shows and a lot of other “stuff.” So sometimes watching unsolicited videos (cold calls, blind emails, etc.) is not a priority.

I’m not saying they don’t watch, but it can take longer to be seen than you’re probably hoping for. It can be easier and more time efficient for them to book the performers they’ve already been working with and know they can rely on.

BUT I also know from being there if a comic or speaker the booker is already working with (and respects) pops by to say hello, they won’t scream for them to, “Get out!

Okay, maybe some will, but every business has its share of (insert your own derogatory adjective). Usually, they’ll take at least a few minutes to make small talk or trade a few friendly insults (again, experienced from being there).

So, here’s where you need to step up your networking game…

You, the club, the talent booker and (at least on occasion) your Golden Ticket contacts are all in the same city at the same time. BUT again, your contact EMAILED the booker a clip of you performing! The best scenario is to have your contact provide you a SOLID Golden Ticket (I just made that up by the way, not bad…).

That’s another name for a personal introduction.

Yeah, I know… Some of my friends that are talent bookers read these articles and are not shy about emailing me their thoughts. I’m already thinking of a few that will say, “You’re crazy! You can’t have comics stopping by. We’re too busy!

True, but again from being there I’ve seen it happen – and I’ve seen it work.

A headlining comedian will bring in a friend and ask if they can do a short, five-minute showcase before his set. If it’s not a big weekend night – Friday or Saturday – it’s always a good possibility. Also coming by the club early with your Golden Ticket for an introduction and to meet personally can make a difference in how fast your video will be watched or showcase scheduled.

Again, there are no guarantees. But you never know unless you try. And a personal touch is always better than a cold call or blind email.


Group Comedy Writing / Discussions about the comedy “business” / Performing online

Fall 2023 sessions start Monday, September 25 and Wednesday, September 27

Groups limited to 6 people – for details and to register visit OnlineWorkshops


In fact,…

Just a few minutes ago – as I’m writing this – I received an email from a comedian who wants me to hire him. Everyone who reads these articles know I’m all about promoting and getting your name out there, so emailing is not bad. After all, no one is going to find you unless you know how to promote yourself. I’m a big believer in networking, but also a big believer in doing it correctly and finding an edge over the competition.

The email I received from this comedian didn’t offer any type of personality. Like when I talk about using a hook in your promotional material and all that other useful and proven promotional advice I’ve shared. Again, I don’t make this stuff up – it works for advertising companies, publicists, and working comedians and speakers.

I have yet to meet a successful publicist that didn’t include a healthy dose of personality in their promotional campaigns.

Anyway, this comedian just sent me his credits with a list of websites, Facebook, and online video links. Also, one sentence that says he’s available for bookings. There’s nothing else. There was no personal touch (or personality) and therefore – no edge over any other email looking for the same results.

So, let me see… the email didn’t come from anyone I know, so there’s NO chance I’ll open any of the links. It also didn’t come off as professional (think short cover letter), interesting or unique. And here’s something else that will back up what I’ve mentioned above about busy talent bookers:

It’s the third email I’ve received this week from a comedian looking for work and I’m not even booking anything! Can you imagine how many emails are sent to active talent bookers every day?

That’s why a “delete” key is so important.

Most bookers use it more often than you’d like to know. So, when you are in the same city as the club, the talent booker, and your Golden Ticket contact, you need to take advantage of that edge over the competition. Pick up the Golden Ticket at his/her hotel or pay for the cab or Uber, buy lunch, dinner – whatever – and ask for a personal introduction to the talent booker. If the referring comedian is truly a fan and agrees, ask if she/he can also help you score a guest set.

Again, I’ve seen it happen.

I remember a then-new comedian (very well-known today) making his first visit to the Los Angeles Improv (I was there). He was introduced to us by another comic (that worked for us) as one of the “funniest guys in New York.” Before he was even done shaking hands, he was offered three minutes on stage that night to “prove” he was so funny.

He was ready, he did – and was on our regular roster from that night on.

Again, this is a competitive business. If you can find an edge – a Golden Ticket – don’t be afraid to use it. As some of my talent booker friends will tell you (and hopefully they’ll be nice to me in the emails I’ll probably receive) it’s easier and more accurate to watch a live showcase than wade through a long list of online videos. It’s also the best way for a performer to be seen – in person – which is the best way to get hired.

Thanks for reading and as always – keep laughing!

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

For comments, questions about workshops and coaching please email – Dave@TheComedyBook.com