How To Be A Working Comic Channel

They may call it amateur night - but no one is looking to hire an amateur.

How To Be A Working Comic #40

What NOT To Promote

Promotion and networking are key to finding work as a comedian. We’ve talked about the importance of having a website, headshot, resume and bio – and you always want to make it easy for talent bookers and potential clients to get in touch with you. But there is one thing no one needs to know and should never be included in your promotional material. And to back it up, this episode includes another true story with (thankfully) with a happy ending.

How To Be A Working Comic #39

Writing Your Comedy Resume

Continuing our look into effective promotional material, your comedy resume – similar to a “normal” job resume (comedy is not a normal job) – lists your experience. Newer comedians may not have many credits, but can make opportunities for stage time and gain experience to show talent bookers. There are no short cuts, but when it’s time to pursue paying gigs an impressive resume will show you’re ready.

How To Be A Working Comic #38

Marketing: Writing Your Bio

When contacting talent bookers for paid gigs, there are four key items that should be included on your website and in online submissions. The other three are mentioned in this video, but often the word “bio” causes a bit of confusion. What should it say, how long should it be and what is it used for? It’s about marketing and promoting, and giving talent bookers and audiences an idea of “who you are.”

How To Be A Working Comic #37

The Best Place To Start

An aspiring comedian asked where is the best place to start doing comedy. He’s thinking about New York City, but might be leaning more toward Los Angeles. Is one a better choice than the other? Considering who gets the most stage time in the spotlights of these showbiz cities and experiences two working comics shared in my first book, there’s a better place to start.

How To Be A Working Comic #36

Know Your Audience

A comedian was confused about cancel culture and doing a “clean” act. Two recent shows were stopped because his material was considered offensive and not what the audiences expected. Most working comics rely on experience to avoid these situations – and advice from a legendary comedian even spelled it out word-for-word. He won’t be quoted since “clean” is a key word in this episode, but I’ll share thoughts on how aspiring comedians (on the way to becoming all-powerful headliners) can gain more valuable on-stage experience and the importance of knowing your audience.

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