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.

Why Being A Great Show Producer Is Important

It may seem easy to just throw a couple of your funny friends on stage and rack in the millions, but it is much more difficult than that.  If you are going to put on shows there are some things you have to be aware of.

You would think that being a comedy show producer is all about gathering talent and making a flyer, but that isn’t the case.  At the very start, the producer has to make sure that the place they are performing is suitable for what they envision the show to be.  Are you looking for intimacy? Then doing it in a large theater is not going to work.  Are you planning on bringing a person that has a following?  Then you will be be served to not pick your uncle’s bar and try to charge people $25 bucks.  The venue is very important to how people perceive the product before they even get to actually witness the product.  It’s important that the producer see the venue.  That is hard to do if you are several states away, but if you are producing a local show, it is pretty simple to just walk into the place and see if it has functioning lights, or if the stage has dark spots (places left unlit on stage). Does the audience sit far away from the stage?  That is important to who you bring in.  Does the venue even have a stage, or are you just huddled in the corner of a dark ass bar?

When it comes to talent on the show I have always been of the mind set of leaving them wanting more.  There is no need to have 10 comedians on a stage if three or four will do. When you load a show with talent, it does several things to the audience.  It can wear them down because they are seeing comedian after comedian, and it makes it seem as though this is the only way this show could have been pulled off is with a bunch of comedians doing five to ten minutes of material.  You want to make the audience want to see your next show, not wish the current show is over.  Make sure you know the talent getting on stage.  Don’t give someone you have never seen before enough time to tie a noose around their neck.  Don’t pad the show with a bunch of open mic comedians thinking that it adds value to the show because it doesn’t (not ragging on open mic comedians, but they tend to be less experienced and thus should be dealt with carefully).

If you are going to do advertising, please ensure you proofread!  I know this blog has mistakes in it all the time, so I am not saying I don’t do it, but when you are making something that is supposed to attract people to your event, you have to make sure that the venue’s name is spelled right at the very least!  Do you have everyone’s name spelled right on the flyer?  Does it have the date and time?  These are things that separate the  professional from the unprofessional.

Let’s talk about the show itself.  This is a huge pet peeve of mine, but START THE SHOW ON TIME!  If you say 8pm and you don’t start until 8:30, you now have an uneasy audience that has probably been drinking for those thirty minutes and by the time the last comedian gets up, people have been waiting to leave.  Don’t do your audience like that!  They made it to the show.  The least you can do is give them the show in a timely matter.

I think the last thing to discuss is compensating the comedians.  There are a myriad of ways to go about paying comedians, but one thing is for sure: Pay the comedians!  Nothing will shorten your comedy producing career faster than not paying comedians.  That is why it is important to tell them up front what they are going to get.  Do they get a couple of drinks or a meal?  Let them know beforehand.  You are the producer it is your job to make sure the talent feels like their time was valued.  We had an incident here where there was bad communication between us, the show producers, and the talent.  They thought that a guest set pays, and they were upset that we did not pay them.  I offered to pay the person because they do not live nearby, so they may not have wanted to do it if they knew they would not get anything like gas covered.  I also let them know for future reference what a guest set meant.  These are things you have to do because nothing spreads faster than negative news.  You want to make sure you have a good reputation with comedians so sometimes you may have to take a bullet, but it is better than being the type of person that is screwing over the talent.

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.

Comedian Pet Peeves: The Third One

If you haven’t read the first one, or the second, you should check those out to see if I hit something that bothers you as a comedian.  Here are some more of not just my pet peeves, but a lot of comedians I have talked to over the years.

The Attention Whore:  We are talking about audience members with this first one.  This is the person that can’t stand that their friends are enjoying someone other than them.  They always thought they were the life of the party, but are too chicken shit to get on stage.  They will do any and everything to get inserted into the show even if it means making an ass of themselves.  They don’t care that they are embarrassing their friends because fuck their friends who suddenly paid money to hear this person tell jokes!

The No Notice Cancellation:  This sucks donkey balls.  This usually happens with bar shows where they either don’t give a damn about the entertainment, or the establishment caught the manager embezzling money and they are so busy with that they forgot to tell you they don’t have money to pay you.  It sucks more if you are trying to connect shows together so you don’t have to sleep in your car or call up that one night stand from three years ago, and beg to sleep in their garage.

Over Promisers: That may not be a word, but this is a thing.  Usually involves a promoter that has never promoted anything before.  They want you on their show because you are one of three comedians they know.  They say you will get a meal and a ton of money and a BJ, and 400 people said they were gonna show up.  You get there and there and only his family shows up, you get a lukewarm redbull as a meal and the BJ he promised was from is asthmatic aunt.  You have to blame yourself a little bit for this. You got suckered in by the promise of sexual favors and now you have to drive four hours back home.  At leas the redbull will keep you up.

The Promise Of Exposure: Can’t pay your rent or car payment with it, but people love to try to pay you with that.  I am not getting exposure from a bar in the remotes of South Dakota.  A talent scout isn’t coming to Medford Oregon. Some times it is a real possibility that something else will happen if you do the show, but mostly it won’t. People who ask you to work for exposure must have the largest assholes.  Only someone with that much shit in their lives can possibly think that exposure is this thing that artist eat up like Ramen noodles, which is what you will be eating a lot of if you keep doing all this work for exposure.

 

 

What A Major Club Will Do For Your Local Scene

The Spokane Comedy Club (SCC) has been operating in town for almost a year, and in that year, it has transformed comedy in the area.

One of the biggest ways that SCC changed the area was just in the visibility of comedy.  Before SCC, a very small number knew about the clubs that came before it.  For years I would have people ask me where I perform, and when I told them that there was a comedy club in town, they would have a shocked look on their face, as if I told them that I am actually a little person standing on another little person’s shoulders.  It was frustrating because all of your attempts to get comedy in the area to be recognized seemed to be for naught.  The clubs before SCC just didn’t do a good job at advertising.  Just putting a sign up in front of a bar saying comedy doesn’t work as well as it did before.

Having a big club in town means you will have more people trying to become comedians.  People see the club, and then think this is their way to stardom. This is always a good thing because usually those are the more vocal people that will get word out that comedy is going on.  This leads to more packed open mic line ups, but it means they will get their family and friends and co workers to come see them.  This works out like a grass roots advertising campaign.

A weird thing happened to the scene about 9 months after the club came to town, a lot of the more seasoned comedians stopped coming around.  It was weird because, here we are with a club that is being packed, and the people that stuck it out in shady open mic dens are no longer to be found.  I hypothesized that it was because the talent level of what the new club wanted discouraged these comedians to a point that they no longer come out.  That is quite sad because this is what all those empty shows were all about!  You are about to be rewarded now, and you stop coming around.  It is heartbreaking.

If there is one negative to having a major club hit our scene, it has to be with independent shows.  Before the club came to be, there were a lot of independent shows around the town.  Eight months after the club?  80% of those shows disappeared.  I think what happened was all of these comedians that were putting on these shows thought that they would be working the club, when that didn’t happen for a lot of them, it left a hole in independent shows.  Don’t get me wrong, there are guys that were still producing shows when the bottom fell out, but not at the level that is was before the club came to town.

The club has given me, personally, a lot more exposure.  I get to perform a lot more private shows for a lot more money because people have seen me at the club.  I also get chances to perform with some really big names in comedy because of them and that increases my chances of working with them in the future. Having a club of this nature in the area did good things for me as a comedian, and I think for the whole of the Spokane area.  This area has so many people, and the fact that no one was serving them top notch comedy was almost a crime.  Now that the club is approaching one year, I think it will do better things for our scene.

How To Stand Out In Your Comedy Scene

A lot of comedians think that the best way to stand out is to just be funny.  All you have to do is write material, work it out week after week, and someday…you will be able to host!  Here is the thing that a lot of comedians just can’t understand: That is not the way to stand out in your scene.  I will tell you what does and why?

You may be saying, “Well, Harry, handsome mofo you, why isn’t being funny the best way to stand out?  That is my job, right?” Your job is to be funny, but being funny is just a part of being a comedian.  You have to think about all the stuff that a comedian does before and after they get on a stage and be funny.  You have to get to the show, on time.  You have to perform your time, not going over or under.  If you are gonna be on stage, you should probably not be up there so high that you forget your material, or go after people in the audience.  When you are off stage, it is probably not a good idea to touch the wait staff (unless they consent of course).

If you want to stand out, you have to do what the others around you are not willing to do.  For example, in Spokane, we have a major comedy club and some independent shows.  If you show up to the open mics and show yourself not be a douchebag, it is not that hard to rise to the top of the scene and start working at the club, where you can be sharing the stage with some huge names.  Because in almost every scene I have witness, there are the same groups of people.  You have the entitled people that think that they should get work because they have stuck it out. You have the comedy fans that are more into the idea of comedy then actually creating and performing their own stuff.  Then you have just lazy comedians that will not show up to open mics, and when they do they are still performing the same jokes.  It is not that hard to rise above these guys.  While they are sitting around wondering why no one is booking them, you are making face time with all the other comedians that are trying their best to, just like you, stand out and be noticed by the people that are booking shows.

People always look at me and assume I get work because I make people laugh.  That is so far from the truth.  At first it was because I was available, and that I could go to places at a moments notice.  Later, bookers turned to me because I was dependable. I got to the venue on time and was nice to the staff.  When the manager of the room sees that, they will book you again.  Now, if you suck, you will get some work, but after awhile it will be harder, but the idea here is to get your foot in the door with a lot of these bookers and promoters by being dependable.  Bookers need people to fill time.  Yeah they want a great show, but if the funniest person on the planet only shows up 50% of the time, then there is no show.

Look comedy is still hard, if you have read any of this blog you know that, the thing is to make sure that you are setting yourself up for success, and that means getting out and being seen and not being a horrible garbage person.

Where The Blog Is Heading

If you stop by this blog on the regular, you will notice that I have been pretty sparse with the articles during the 2016 calendar month.  There are many reasons for this.  2016 was a really good year comedy wise for me.  Lots of shows, but that also meant lots of travel.  It was hard for me to get out of a car after a five hour drive or after a plane ride and write an article on something.  That is not a great excuse, but it is the only one I have.  It is not that I have ran out of ideas for articles or anything, I have just been busy and have not had time to dedicate it to weekly articles.  I will try to change that.  I think I will start releasing articles on Sunday instead of Monday.  I don’t know why I started on Mondays, maybe it was the day after I got back into town after shows, so I was still hyped up.  I am also thinking of doing YouTube videos that mirror the blog because blogs have not been a thing for awhile.  I mean my favorite sites are basically blogs, but not many people get their information from blogs.  If they do, you don’t have to update it.  I keep getting about 50 hits a week about a article I wrote entitled ‘Donald Trump Is A Cartoon Super villain’.  I don’t think I wrote much about Trump, but the title alone keeps getting people to come.  I am glad people still come to the blog.  Last year was a down year, and I still managed about five thousand visitors.  For a site like IGN that is what they get in about a minute, but for a guy that has no TV credits and is not known, I think it is alright.  I want to thank you guys for sticking with me, and reading my stuff.  Like I have always said, this blog is by a guy that is living it just like every other comedian trying to break to the next level.  I will never pretend to know how to get an hour special, or get on Conan, but if I get those things, I will tell you how did it.  Thanks, and welcome to 2017 where there are still no rocket boots.