Stand-up Comedy May Not Be For You…And That’s Alright

I love stand-up comedy.  I love watching it and I love performing it.  I love pouring over my jokes trying to come up with a set that will appease a group of people that paid a nominal fee to see it.  There are hundreds of people out there just like me.  That may not be you, and that’s alright.

Stand-up comedy, I would argue, is probably one of the hardest ways to entertain people.  Most of the time, you are the writer and the actor.  You do not have a cast of people to blame for any mishaps, if you messed up YOU messed up.  No best boy or gaffer to point at and accuse of trying to ruin your career.  If the jokes don’t work then it means, most of the time, that you are not writing good jokes. There is more to stand-up than just writing jokes and then getting paid.  You have to sit at open mics and develop your material three to four minutes at a time.  You are sitting somewhere a lot looking over your jokes like they are a Rubik’s cube, but instead of colors, there all the other things you could be doing instead of trying to make a room full of people that don’t know you laugh. Let’s not forget that if you are trying to make a living at it all the obstacles in your way!

You may ask yourself, “why would anyone that doesn’t want to do stand-up go through all of that?”.  There are many answers to that.  One is that it is simply the lowest entry point into entertainment.  If you want to act, you have to find a theater and try out.  If you want to perform comedy, all you have to do is find a place that is already letting people do that.  There are no auditions, or test, or pokes and prods.  So, this allows people who want to entertain, but don’t yet know what they are good at try something out.  More rare are those that assume that stand-up is the easiest way for truly talented people to get noticed, so they go into it thinking that their immense talent will over shadow all the talent-less grubs fighting for $25, and they will soon be whisked away to Hollywood, or Vancouver, or wherever they film things now.

Then reality sets in.  They realize that because stand-up has a lower bar, it means it takes longer to prove you are capable of consistently making people laugh.  They talk to the grizzled vets, that have, “stand-up is hell!” tattooed on their foreheads, and find out that most of these performers have been doing it for years!  Still searching for that one joke that will catapult them into the next rung of the stand-up hierarchy, where they will have to fight tooth and nail to maintain what they worked so hard to obtain.  This can shock many an aspiring entertainer who thought they would stand out in a sea of plebs.

It hits a lot of people that looked at this as maybe an easier way to their end goal, or as a way to achieve fame hard.  Going out multiple times a week for a little sliver of stage time can wear on you. Not to mention dealing with the many different personalities that you meet while performing (great article topic by the way), and a lot of people can see it as just not worth it.  So, they stop coming out as much, and anyone who goes to the gym a lot and stopped for whatever reason, can tell you:  It is so much easier to not do stuff than to do stuff.  Next thing you know, you haven’t been out to comedy for six weeks and you feel like a failure.

There is nothing wrong with finding out this isn’t the route you want to take to get to your end goal.  If your end goal isn’t: Stand-up comedian, then doing stand-up is not a great way to venture into other things.  Some people find out that stand-up isn’t for them after the first couple of times getting up there.  They notice that they get a little too nervous when they are on stage, or they have to drink a lot of calm their nerves, and that bothers them.  Nothing wrong with finding a different way of getting your creative soul out there.  Maybe you just want to write, or you want to perform sketch comedy.  There are many ways to be funny without getting up on stage by yourself.  If you thought that stand-up was the best way to advance because you believe in yourself so much, maybe just try auditioning at your local theater, or try improv.  Those things may be more of what you are looking for.  However you go about it, just try to get that creativity out because those who don’t end up being the Unabomber.

How to Take Advice/Constructive Criticism

Comedians get and give advice all the time.  It is constantly a learning process, and not one person knows everything about comedy.  How you take advice and/or criticism is important if you want to grow.

Advice can come in many forms, but no matter how you get it make sure you understand the source.  I am not saying that only famous people can give advice because a lot of the time it was just blind luck that got them famous!  You have to weight what advice from a certain sources means to you.  I am nowhere near famous, and I have dispensed advice on this blog for three years now.  You reading this are the only ones that will know if what I say applies to you and your career.  If you are headlining clubs every weekend you have no business here.  I will add hardly anything to your overall understanding of the comedy industry.  If you’re an open mic comedian, that is trying to move up the ladder, then maybe you can get something from all of these scribbles.  There is also nothing saying you can’t take bits and pieces of advice and make it something that can help you grow.  If someone tells you, “You need to get on stage more and face the crowd.”, but the persona you are building on stage is one that is stand offish to the audience, then maybe just take “You need to get on stage more.” and leave the rest to the winds.

Criticism is hard for any entertainer.  Who wants to know that you are not making 100% of people laugh? I have been doing this for twelve years, and I still get down whenever I hear someone tell me that.  I will tell you the same thing I told you in the paragraph above:  understand the source! Criticism coming from a drunk person may not be the same as it is coming from your buddy.  Is this person just trying to hurt your feelings?  That is something else to take into account.  I am not saying that anyone that has a criticism about you is a hater, but listen to the criticism.  Is it constructive?  Does it give you a starting point in which you can improve, or is it just tearing you down just for the sake of it? Constructive criticism is almost always trying to negate negativity by instilling a positive aspect. Here is an example:  Someone comes to you after a performance, and says, “I think you should shed some details in your stories.  The end is funny, but it takes to long to get there.” They are telling you that the stories you are telling on stage are too long, but they are giving you a way to change it.  If they approached you and just said, “Your stories suck.” you just have the negative and no way of changing anything for the better.  You also have to understand that there is no way 100% of people are going to find what you do funny.  You are not looking for 100% anyway.  You are looking for enough people that will fill up a room.  I am not saying don’t try to make the person that doesn’t like you laugh, but don’t kill yourself trying to do it.

It is important to note that not all advice and not all criticism is good.  I once had someone after a show tell me, “What you need to do is get on Comedy Central!”  That is advice, but I can not do anything with that!  I had someone just a couple of hours ago say they have never liked my material (the inspiration for this post), until recently.  That’s all they said.  That is criticism, but since they gave me nothing else to go off of, there is nothing I can do to see if it is something I can fix.  There is nothing wrong with going head first with our vision of what you want to do on stage.  The thing is, we are trying to entertain others, and if we are not trying to do the best we can to do that, then we are just amusing our need to be the center of attention when we are on stage.

The Myth of the Golden Age of Comedy

I love myths.  I love legends.  I love urban legends.  I also love getting to the grit of the situation and seeing why we believe what we do.  The myth that I am tackling today?  The myth that we are in another golden age of comedy!

We have already had a golden age of comedy.  Depending on who you speak to, they will say that the first golden age of comedy was in the 70’s and some will say the late 80’s through the mid 90’s. This was during what many would consider the height of SNL and other sketch comedy shows, some of the greatest comedy movies of all time, and some of the best stand up specials ever.  This was also the era of Live, local, stand up comedy, when people went out to see live comedy and everyone was doing well.  This all changed by the turn of the millennium.  Comedy clubs started shutting down and it was much harder for an MC or feature to make it.  I came along in the mid 2000’s and I was able to see the trend in real time.

Now with companies like Netflix and HBO shelling out big bucks for comedy specials, and the arrival of entire platforms to deliver comedy (Seeso, Laugh or Die, etc.), many are saying this is the second golden age of comedy.  I do not believe that.  There are many factors for this perception in the rise of comedy, one of them is that viewers are moving from the television and cable box, to the internet. That means that you can consume as much as you want, as long as it is out there. All you have to do is type in “comedy” into YouTube and you are able to watch tons of clips. Comedy specials are a great thing for content companies to invest in.  They typically have low budgets, they are a one off, so you don’t have to be invested in a story line, and a lot of the time, you will watch it multiple times. This means that the amount invested goes a long way! It also doesn’t hurt that with the advent of the internet, it is much easier to find and follow your favorite comedian, and it could seem as though we are seeing an uptick when in actuality its access to comedy content.

In the 90’s comedy was everywhere.  All you have to do is sit down with an older comedian and they will tell you about all the places in the area that had professional comedy.  I think that is why we think comedy took a dip.  It wasn’t that comedy was no longer popular, it was because comedy having such a low bar of entry, anyone could call themselves a comedian and start selling comedy to folks that just wanted to go out and have a good time.  Consumers started to wise up and that is how you get our current situation.  It’s much harder now to sell just generic comedy.  What I mean by that is, people are much more reluctant to just watch comedy, especially if there are better things to do.  That is why the industry is such a credit drawn industry.  People want to know if you are good, and the only way to see that is if they know you have done some things.  So, for the middle guys like me, comedy has actually shrunk.  Those bars and seedy hotel parlors are gone, so it is much harder to be on the road as just a feature act.  More money is going to comedians, but only the top 1%.  Jerry Seinfeld and Chris Rock are making 40 and 50 million for specials that will be on Netflix, but if you are hosting at clubs you will not see much difference.

This is not to bag on anyone or any system.  I am just stating that it is not a rise in popularity, but a rise in the availability of stuff that people always wanted.  Ten years ago, if you wanted to watch that new special, you had to either have HBO or Showtime, or you bought the DVD.  Now, you can go to a myriad of places to find great, funny content.  Add to that stars that you have seen on TV now coming to comedy clubs, and it could seem as though everyone is back into comedy.  People have always loved comedy.  Who doesn’t want to laugh? The problem is that there are a lot of things that can hinder a person wanting to go see stand up.  Is it in my area?  How much is it?  When is it over?  Will they make fun of my head?  These things keep people away from comedy.  Now, if you see that funny guy from that funny thing is coming to town, then you may forgo all those negatives and check it out.  So, instead of saying comedy is in another golden age, it would be more accurate to say that the lay person is more willing to come out and see the popular people.

So no, comedy is not going through a second golden age.  Like everything it ebbs and flows, but it has always been a popular form of entertainment.  There are many factors for the perception that comedy is gaining in popularity again.  Mainly, the internet.  There may be more money being handed out, but it is only to the top percent of comedians, and that is because that is what people want to see.  I am not saying that if you are a feature or a MC, to hang up your mic.  If anything that means keep pushing so you can work with these kinds of acts!  What if they are looking for someone to feature or MC for them all the time?  If you have your shit together, you could be that person and you could benefit from their ability to get into more clubs, which means more money in your pocket.

Comedy and Your Significant Other

Comedy is a tough beast.  It’s even tougher when you are in a relationship.  I know comedians that have been with their spouse for decades and I know comedians that are on spouse three or four. This article will discuss ways to at least attempt to have a successful relationship.  I am not a marriage counselor so if you and your love are having issues, please seek one out.  I am just a guy that has seen and been through stuff.

I think it is important to sit your significant other down and have a discussion.  Let them know what to expect.  If you are a person that isn’t pursuing comedy that hard, then just let them know that it is a hobby of yours and you will be out on certain days.  If this is your dream and you are chasing it hard, you have to set them up for a lot of stuff.  It’s important to let them know what comedy entails. We as comedians, just assume that everyone knows what we do.  They don’t.  A lot of the time, laymen assume we walk on stage and just produce these organic dick jokes.  This is why you have to approach your mate, and tell them the truth, those dick jokes take a lot of writing and performing.  That means late nights at comedy clubs and bars.  It seems like a no brainier, but I can tell you of many instances where comedians were surprised that their lover didn’t know what dating a comedian meant.  If you are actually performing and making money, you have to let them know that the pay is low and the travel is aplenty (at least over on the west side of the country).  What this does is prime them.  They can then make the decision to continue a relationship with you if it means that you may not be around a lot.

Another big thing, I feel, is letting them know comedy show etiquette.  I have seen comedians come in with their spouse and they will raid the green room of all the consumables.  You have to be the one to tell them how to act (not everyone was raised right).  You should tell them that just because you are on stage or on the show, that they should not be causing a disruption to the show.  That free booze for you, the comedian, does not usually extend to free booze for your significant other as well.  I haven’t had an issue with this.  I have had an issue where my girlfriend at the time thought it was weird that I was in the green room before the show instead of chilling out in the audience with her.  What I did, was I sat her down, and told her that it may seem like I am making things up as I go, but I have actually plotted the course for the show (sometimes, I never said I was a great comedian), and I need the time to gather these thoughts.  See to your love one, it may be a night out, but to you it is your job.  Letting them know how you work before a show also keeps them from thinking that you get weird whenever you are about to perform.  Some comedians can just hang out right until they have to get up on stage.  Some need to be in a pit and raised by a series of ropes and pulleys unto the stage. Whatever it is let them know.

I travel a lot as a comedian, and I think a lot of people can not handle this aspect of comedy life.  You have to know if your mate is fine with being alone a lot of weekends out of the year.  Social media also gets in the way a lot as well.  If they can not handle you having your photo taken with a bunch of random people then you may need to go your separate ways.  I was dating one young lady that assumed I was just a party animal.  I am not, but if people pay to see you sling dick jokes, you better at least appreciate them.  So, when she saw a photo of me and some lady smiling, she assumed it was something nefarious when all it was was someone who gave me 10 bucks for a CD that they were probably never going to play.

Comedians are weird creatures.  We have a weird sense of humor and we tend to analyze a lot.  That is our make up.  If your significant other can’t handle these things, then it may be best for you two to call it.  I have told every lady I have been in a relationship with since starting comedy, that this is my first love.  I love writing and performing and since I do it to pay the bills, they have to understand that I will not cancel a show because it is on a Saturday and we were going to go to the beach, or because it’s your grandparent’s anniversary.  If you are going to treat it like a job then that means you may not be there for everything.  Being open and clear is the best way to have a happy, healthy relationship…I should have just written that instead of all this.

What I Learned From A Comedy Class

The local comedy club had a comedy class and it was revealed later that it was mandatory if you wanted to work at the club.  I was going regardless, but a lot of people wondered what a class like this would entail.  Would it try to sway the way we write jokes?  Would it try to brainwash us?  Would the lunch be satisfactory?  These were just a few of the inquiries that were floating around before the date of the class. I just wanted to go over some things that I got out of a class of this nature.

The class was ran by comedian Cory Michaelis.  I’ve known him for several years, and he is a former teacher turned comedian.  That background helped him build a class to teach those looking to give comedy a shot. The class he was teaching us was a bit more advanced. What I thought was really cool was how, at the very start of the class, he told us that he was not assuming to be an expert, just someone that through experience as a teacher and comedian, could deliver it in a fruitful way.  That is how I run this blog.  I am not a big time comedian, just a guy that has seen a lot of stuff and wanted to share that information.  I think a lot of people were wondering what gave him the right to teach a class when he doesn’t have whatever credit needed to be seen as a “real” comedian.  He was headlining the club this past weekend, but I got the feeling that a lot of people wanted appearances on late night and stuff like that.

He started off with the simple stuff.  Premises, punchlines, tags.  The stuff that people claim to know about, but when you ask them about it they don’t have a firm grasp of these concepts.  We saw videos of people using techniques that were taught, giving you thorough understanding of each thing taught.  He then went into hosting, and asked for any questions.  I thought it was a great class and I took away quite a lot of information.

I am always trying to write more material.  I got a couple of tips on how to make that happen more than just those eureka moments.  I learned more about hosting (one of my many weak areas), and what is required of a good host.  I was able to see techniques applied to actual jokes, and I learned a lot more about why my emails probably were not getting answered.  All in all I think it was worth my money.

Sadly, I also learned some not good things from this comedy class and it has nothing to do with the club, or the teacher.  Spokane, like I have said before, is pretty much an island when it comes to performers.  We are here with no other large cities around for hundreds of miles.  That means that a lot of people have a warped sense of where they are in the grand scheme of the comedy landscape. Before the new club came to town, if you just kept doing alright for a couple of months, you could get paid to perform.  That means that we have a lot of people who have only been doing this for a couple years that have gotten paid and now they think they can take on the world.  When the club came to town a lot of those same people wondered why they were not getting the same work, and instead of turning the critique inward, looked out and tried to find the reason for these failings elsewhere.  When the class was announced a lot of people chimed in that it was fishy because it was aimed at comedians.  Not thinking that maybe it was the club’s way of saying that we were not up to the standards that they are looking for, and that the class could help.  When it became known that the class was needed in order to work a the club, you got a lot of defiance.  This perplexed me.  As some one who has had to sit through orientations and training meetings, it is not unheard of to ask your employees to sit down and see what is required of you.

I was asked why I, a comedian of 12 years, would attend a class on comedy and I think the answer should have been obvious.  I am not an expert at comedy.  I don’t know every single thing there is to know about comedy, so I want to know as much as possible in order to become better. To see fellow comedians look at it not as a chance to get better, but as an attempt to get $25 dollars from them (the discounted price to attend, from $125), seemed short sighted and pretty egotistical.  To assume that you need no direction because you have been paid, or have been doing it for some time is just a weird thing to me.  How do we get better as artists if we don’t sharpen our skills?  How do we move from just getting paid every so often, to having comedy pay our bills, if we are not trying every thing possible to make it happen.  I also think that getting upset over the date (the weekend before the 4th) or the cost, or the fact that it was mandatory, was just a cover for something larger. Comedians are some of the most sensitive people I have ever met, and any affront to their ability to make people laugh is an affront to them and their very being.  So to some, to have someone come in (mind you someone that has a successful club that is one of the best in the nation), and tell them they need to work on their comedy is a slap in the face, and that saddens me.  It saddens me because I am a champion of a lot of the comedians in this city, and to see that they don’t want every little edge possible to be the best they can be is disheartening.  It’s not the fact that the class cost money, someone had to spend their off time to teach it so it should cost something.  It’s not the fact that it is a class.  We take classes for all sorts of other things and pay way more money for it.  It’s not that it was mandatory. We have all worked places were we had to sit there and listen to someone tell us not to talk about our co worker’s tits, and to not steal the bandages (this was orientation for a job I had at the VA).  It’s about comedians who do not want to admit that they can work on being better then they currently are.  So, one of the biggest lessons I learned is that you can not drag people to their potential. The only career I can control is my own, so I will continue to write, perform, and get better.

Oh, and the pizza we got for lunch was pretty good.

Why Getting What You Are Worth Matters

It is always weird to me when I hear comedians talking about getting paid and they are so comfortable with just taking whatever they can get.  It may be due to their awkwardness in asking someone for money, but I think it is due to something much bigger:  not knowing what they are worth.  You can sit down with a comedian and tell them how much everyone else is getting, but if they don’t know why it matters it will go in one ear and out the other.  I will try to explain as best as I can.

Now, your worth as a comedian changes from place to place.  In the Midwest, the money comedians are getting is different than in the Northwest.  It can also vary depending on if it’s a one night performance in a bar or if you are at a comedy club.  It can also change depending on demand.  If you have a market that is flooded with comedians, it may be harder to get as much as say, someone who lives in Spokane, WA.  So, the very first thing you need to do if you are a working comedian (or trying to be one) is that you need to ask other comedians what is the going rates in your area.  That way you are not undercutting yourself out of ignorance.  It is important to know that, for example, if you are tasked with hosting a show at a bar, it usually pays a certain amount.

Okay, now that we took care of that, let’s look at why it is important to get paid what you are worth.  If you ask any comedian that has been doing it for 20-30 years, they will tell you that the pay hasn’t really increased since they started.  With the price of inflation, that $100 that was seen as great in 1990 is almost $200 in today’s dollars!  That means that the market has not kept up with inflation.  Why?  Because so many comedians are insecure and love comedy so much that they will take the $100 and be happy.  A lot of comedians think it is weird in the first place to get money for something that they enjoy, and that gives the people handing out the money an advantage in that they use this against you. They know that the average comedian will take that $100 bucks and if that one doesn’t then the next one will.  Because there is no union and for a lot of comedians, work so infrequent, they think it is better to get something rather than nothing.

This is all well and good until you think about all the other aspects of comedy other than just performing.  You have to get there.  That cost.  You have to eat.  That cost.  If you take that $100, after you have paid for gas and food you maybe down to $60.  Now, that means much more work on your part.  This is why there aren’t that many touring feature acts. You can’t afford to travel and perform.  If you are traveling and performing in comedy clubs, that may soften the blow because you don’t have to jump in your car each night, but a lot of clubs don’t give features hotel rooms, so that means you will either have to have a friend in that city, or get a hotel room and that eats into more of your pay.

Getting what you are worth is important because if you want to do it full time, you will have to maximize your pay while minimizing the cost.  So, if it cost you $150 to go perform, you may want to make sure you are getting enough that you are not constantly doing expensive open mics.  It is also important because it adds value to not only your comedy, but comedy as a whole.  Some of the worst crowds I have ever perform in front of are crowds that got in for free.  They see no value in it so they don’t care what they get out of it.  If a booker knows he can pay you $25 to feature, he is not thinking of your comedy as a valuable product.

People make fun of me because I am always trying to get more for my performance.  The reason I do that is because I feel like even though I am not a big comedian or famous, my time and my comedy are worth something, at least more than what others are getting.  I know I am not going to raise the amount everyone gets paid because it is only me looking for more pay, but it does add value to my comedy.  Don’t get me wrong, I am not trying to make it seem like while others get $100 I get 400, but I try to make sure I am getting what I am comfortable with so that after I am done paying for expenses, I have money for silly shit like bills and drones.  That is also the reason I have kinda moved away from mostly bar stuff to corporate stuff.  I can get paid what I am comfortable with and I don’t have to drive all over the place.  Getting what you are worth is not greedy.  It’s just smart.

Finding Your Niche In The Market

If you are just starting out on your comedy journey, then you may be trying to find ways to target the people that will enjoy your comedy.  This is why I am here.  I will try my best to help you.  I am using demographic and niche kind of interchangeably, please don’t get too butt hurt.

Here is the thing you have to learn first of all.  When you are just starting out.  You will usually have no clue the demographic that will enjoy your material.  This is completely normal. Don’t sweat this too much.  The more you write and the more you perform, the more you will get a grasp on who in the audience is enjoying your material.  Another thing to take into account is that everyone, and I mean EVERYONE falls into some sort of niche or category and sometimes you will be able to operate in multiple niches.  Even someone like Kevin Hart, arguably the hottest comedian on earth right now, falls into a niche.  His niche seems to be very large, but it is still a niche.

Some people have an idea of where their material is taken them.  There is a comedian I know that has a large chunk of “drug material”, when he is getting booked for shows, he is usually getting booked on shows where drug use is the theme or in places that are a little more “loose”.  This is not his only niche however, because he is a talented comedian, he can do other stuff.  This is important when you do not have a large fan base because it allows you the ability to work more often.  If he could only tell jokes about drug use, then he would be extremely limited, especially in an area of the country that is a little more conservative, and frowns upon that sort of stuff.

Some comedians don’t have no clue who will like their comedy so they bounce around until the hole in the market opens allowing them to fill it.  This is what happened to me about six years ago, when there were a lot of corporate comedy going on and they wanted comedians that could perform relatively clean.  It was something I didn’t want to do because I enjoy cursing and doing what I want on stage.  The thing that got me doing it was because of all the benefits of doing these sorts of shows.  You usually did one show and they feed you and paid for travel expenses and the pay was really good.  I figured since all I had to do was not curse that much, I could do it since there weren’t that many comedians in the area that could.  It helped me earn a good deal of money and because the market is still in need of that type of comedian in Eastern Washington I can get a lot of work.

I would not say this is the only niche I can fill though.  People want to put me on shows because I am black, or because I am a veteran.  Sometimes you have to use your life experiences to your advantage. I know of former teachers turned comedians that are now performing at corporate events for teachers.  Former drug addicts that go around and perform for others to put a lighter spin on a serious issue.  There are many niches in the market that can be filled if you know that it exist and that you can target it appropriately.

How do you find these niches in the market.  Well, if you are a comedian then go to Facebook and find a area page for comedians.  Every area has one.  Join it, and see what bookers and comedians are looking for.  If you fill that need then go after it and network seeing if it is a market that you can use further down the line.  Another way is going to a site like GigMaster or GigSalad and signing up (you can sign up for free, but they usually want your money), you can then observe the types of shows people are putting, and then you can hopefully go on to fill.  I do a lot of private shows during the fall and winter and it is because of sites like these that I know about them.

If there is one more piece of advice I can give you it is this:  Don’t pin yourself into one corner!  Just because you like video games, doesn’t mean that everyone on the planet will want to listen to that.  Write what you like, but keep yourself open until you gain a following and can afford to do what you want.