Keeping Yourself Motivated

When you are first starting your comedy career, there will be a lot of ups and downs.  You will be working one week and may not work again for another two weeks or so.  This can have a negative effect on comedians, especially those that suffer from other mental health issues.  Let’s go over some ways to keep you motivated when the downs happen.

Be around comedy  What happens with comedians sometimes is they will only come out to perform when they are getting compensated.  This may work for the upper levels of comedians that are booked virtually all year, but if you are just starting or beginning to get paid, coming out to comedy shows and the like can be a great boon for your career and your mind!  When you are seen out at open mics and shows, it lets the people in the local area know that you are still pursuing comedy, and that increases your chances of getting booked.  If you have a local club and you are always going in to check out the shows, the management there will know that you are around and that opens the door for being put on shows.

Let them know you are looking for work  Look at the months coming up.  If you don’t have anything lined up, then start contacting those you know to see if you can be apart of a show.  This doesn’t mean just the normal format of show.  There are all kinds of special shows going on where you may smoke weed after your set and get back up, or drink and argue with other comedians.  These shows have the benefit of having a lot of other comedians there and networking with them can benefit you when you have another dry stretch.  If you have worked at clubs or know of bookers that are booking rooms, make sure you send them those dates that you are open.  Keep it up and that can help close a lot of those holes in your schedule.

Networking  This is kind of a combination of the first two steps above.  Go to your local club and rub elbows or butts or whatever with the other comedians.  Comedy is a very small community.  Knowing enough people can keep you busy!  You don’t have to kiss ass or anything either.  You can just approach comedians after the show and introduce yourself.  It helps even more if you are on a show together.  That way they can vouch for you.

Keep writing  I see this so much.  A comedian will start getting a little bit of work and then they stop really writing material and then the work dries up and they are left scratching their head as to why that may be the case.  Your one weapon to keep you relevant is your material.  If you only have twenty minutes and you have performed at your local club they can’t really use you as much as the person that has a bucket full of jokes to pull from.  I think one of the worst things someone can say about a comedian is, “I heard all that last time they were here.”.  If you keep working you will keep working.

Engage in other creative endeavors   The worst thing to do when the shows slow down is to stop being creative.  Just maintaining yourself in creative task can jolt you out of a slump and keep your mind on task.  I like to write and take photographs so I will write a couple of sketches or go out and photograph some stuff, anything to keep my mind working and that usually keeps jokes coming to me and keeps me out and about.

Don’t let it define your worth  This is an important one.  When I first started out, if I had a couple weeks of no work I would let it get to me big time.  My mind would just go nuts and I would assume that it meant I wasn’t funny if I wasn’t getting work.  That is usually not the case for most comedians.  Sometimes it is just a matter of the ones that are better at networking will get the work.  It took me many years to realize that having jokes and sitting in your house are not how you get work as a comedian.  I still have a ways to go, but I am not so down in the dumps because I haven’t had a working weekend in three weeks.  I see that and I hit the pavement.  When you are feeling down about your comedy is when you should strive to fix it.

I hope this helps.  Being motivated is one of the ways to turn comedy from a part time job into a career.

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Lets Just Talk

When I started this blog, the goal was simple:  Give people that are just starting out a guide so that they can be as successful as possible.  I can not tell you how to get on Conan or pitch a TV show because I have never done that.  I have spent over a decade in shady bars all over the country and I have dealt with the ups and downs of climbing the comedy ladder.  When I was starting out, there wasn’t anything online to help you.  You just walked on stage and made mistakes until you learned it.  This may seem like a good method, but what it does is make it extremely hard for some to even attempt comedy.  Not all of us can just collect ourselves and get up on stage.  Some need that confidence that something like this blog can provide.

I will never charge people to access what I have written.  I like to make money, but I want these tips available to those that are actually trying to find something to help them get to that next step.  One thing that has to be remembered though when reading this is that these are my observations and experiences.  Yours may differ.  With any amount of advice, you can take all, some, or none.  It wasn’t until I was doing it for a while that I had people that actually steered me in a direction that helped me get better and get more work.  Not everyone will have access to important mentors like this, so hopefully this will help at least a little.

Comedy has to be entered into with a passion and a persistence that is not like many things in this world.  Comedy is a long, painful, embarrassing, journey that many will just simply give up.  For those of us that continue to grind and persist, and struggle, it may seem at times to not even be worth it. That is where the passion comes in.  There are plenty of funny people out there, but there are not that many that can get on stage and articulate that humor to the masses.  It is also a business and if there is one thing I have learned its that many human don’t like to take chances when it comes to their money.  It is hard to get up on stage night after night to sculpt a joke that will work most of the time, but it is even harder to then go to someone and tell them to give you money for those well-crafted jokes.  A lot of people just can’t do it.  I have had to get part time jobs in between dry spells.  I have had to pawn almost everything in my house at one point to keep this alive.  The thing is, some people don’t want to go through that.  Does that mean they were not passionate about comedy?  No.  It means that comedy is a great way to see how far you are willing to go for something.  Before comedy rewards you, it will ask: What are you willing to give up?  Some give up their friends.  Some give up their marriages.  Some give up great jobs.  It will ask how hard are you willing to work.  Will you go to every mic in your town?  Will you spend three hours in a bar for three minutes on stage?  Will you drive across the state for dinner and gas money?  It will ask for more and more, and when you have given all you have to it, it may give you what you sought out.  You may be a working comedian, or a get commercial work, or appear in shows and movies, or you won’t.  Comedy will ask so much from you and still there is the chance that you will end up at the end of the road empty handed and broke.  Most passions are cruel that way.  Not every painter gets to live on just the sale of their paintings and not every singer gets paid for their songs, but we all pursued the thing that makes us feel alive and whole.  These things that we pursue are what gives this human experience meaning.  It makes a life worth living.

I knew when I was getting out of the military and pursuing comedy, that it may end up with me at the end broken and alone.  The thing is, I had nothing else to lose.  I was getting medically discharged from something that I was planning on making my career.  I was already spat out of something, and had no fear.  Would I have gone after comedy the way I had if under better circumstances?  I don’t think so.  I think I was looking for something to make me feel as though I wasn’t as broken as they told me I was.   I wanted to care about more than a paycheck.

I would not call myself a successful comedian, but I can call myself a working comedian.  It takes work and luck to make comedy something more than just pocket money, and I hope this blog does that at least a little bit.  I hope that even though I am not a successful comedian, you will look at what I have been through and help it guide you so you can achieve what it is you are looking for in comedy.  Comedy is hard, and that is why you need as much help as you can get along the way.

Pushing Through No

People are always trying to find out what the difference is between them and their favorite comedians.  I hear it a lot when talking to comedians and they wonder why they have been doing it for five years and still hosting, but some guy they saw on TV has been doing it just as long and…well, they are on TV.  I have written before about the ways these guys are different.  Today I am going to write about one way that stops many people, including me at times, and that is “no”.

See, what separates us from most of the comedians, actors, and singers you see is that they don’t take no as a final answer.  No is more of a stop gap than anything.  If you are a comedian reading this, think of the times you have been told no (in one way or another).  The local booker doesn’t reply to your emails.  Clubs don’t want you for anything other than hosting.  Your family thinks its a phase.  Instead of just letting that get to them and keep them from progressing, these people are pushing.  Why?  Because they know that no isn’t the end all be all!  That is just one person, controlling a small bubble of the comedy landscape.  So instead of letting it eat them alive, they push on past that person and go to another, and another, and another, until they get to the next step in their career.

It is not easy to do this.  If it was, I wouldn’t be at an open mic right now writing this.  When I first started trying to branch out, hearing no from someone would obliterate my self-esteem.  Now, it is just part of the process.  This is the way this industry runs.  Is it fair?  No, but the way I see it is like this:  Everyone is trying to either maintain or make more money and gain prestige.  If they just allowed anyone in that could hurt that without making absolutely sure they could at least keep the status quo, then that means loosing a room, or a valuable client.

Ok.  So you’ve read all that and you think that you are one yes from being Tom Segura.  Wait.  Not letting “no” stop you is just one part of a whole.  You still have to write you ass off and get on stages and maintain relationships with people.  Every comedian out there has another comedian or booker or someone believe in them and help them and you need that as well, just don’t let disappointments get you down.

Why It’s Hard To Break Into Comedy Clubs (For Some)

I hope everyone had a happy New Years.  Now it is time to get back at it.  With this one let’s talk about the difficulties of getting booked into comedy clubs.

If you think about it, comedy clubs are very unique.  Comedy is the one of the few performing arts that basically has its own space.  There is not a ballet bar, or a poem emporium.  This obviously means that if you want to ply your trade in stand-up this is one of the first places you would look. You would think it would be as simple as emailing the person who books talent at the club and if they see a use for you, then you are good to go.  Well, it is not that easy.  Let us talk about the simple fact that there is only so many comedy clubs in the country.  Sure some cities like Chicago and New York City have several, but a lot of places may have just one club, and that one club has between 48 to 52 weekends (depending on things like when holidays fall and such) in which to fill.  Most comedy shows have a MC, feature, and headliner.  So at most, a club needs three comedians a weekend.  Now I hope you see that there are a ton of people that have the capacity to fill these spots, so that makes comedy clubs sort of a gate keeper.  If they want to have people return, they want to put on the best show they can afford.  That means they have to be a little more picky then say the sardine factory that just needs to fill five canning positions.

Now the above tries to explain why its hard to get booked into comedy clubs on just a numbers aspect.  The thing is you have another hurdle, the booker.  There are men and women all across this country that book these shows and because they are human and have particular tastes, they will make decisions for a variety of reasons.  I have heard them all.  From just not that funny to you live too far away and we don’t want to house you.  Also because they are human, they are not immune from just grabbing what is nearby.  Why book a comedian for a show in Atlanta when they live in Portland?  Why not just look in your immediate vicinity.  Especially for features because there are a ton of people that can perform between 20-30 minutes of comedy.  It is less stress to know that most of your talent is in town.  That is why it is really hard to get booked as a MC or feature the farther away you look.  They can just grab a local comedian to MC and save money and hassle.  They don’t have to worry about comics changing their minds at the last minute because they can’t afford to come perform.  You also have to think about the booker and the amount of inquiries they receive on a day to day basis.  I can only imagine all the emails and packages they get from comedians that want to work their club.  They can’t possibly get to it all.  If you receive 200 emails a day, it will get to a point where you will ignore a ton of emails and base your decisions on what your peers are telling you.  Then there is just plain ole biases.  They may not like musical comedians, or comedians that wear hats on stage.  They won’t tell you this outright, but it could keep your from getting work from them.

Here is another thing.  Comedy clubs are businesses.  They are not non profits that are putting on comedy shows for the good of the community.  They are trying to get the audience to buy food and alcohol, and your quips about Tupperware is what is keeping them there.  These clubs are looking for people that can put asses in seats.  It is not so much how funny you can be, but an as of now undiscovered equation between funny and popular.  Why do you think your local club has that former porn star coming to town next week?  Because they are popular enough, and sometimes funny enough, to put asses in seats and make the club some money.  If you can’t offer them that, then it is hard to break in.  This is not so much a concern of MCs and feature acts because they are seen as younger, less experienced comedians, but headliners have to worry about this a lot.

So, how can you increase your chances you may ask.  Well, the thing you have to remember is persistence. You have to be able to accept that you will get turned down a lot and keep trying to get in contact with these clubs.  You will send out hundreds of emails and you may get one response back.  It’s important to know that you can not guess what is going on on the other side of email.  The booker may be ignoring emails.  They may be seeing it and not responding because you do not fit their place.  I will say this, if you got a response and they say no, then you should not keep sending them emails.  Accept the no and when you have a new headshot or new video for them to take a look at, then you should probably give it another try.  If they say contact again in six months, then do that. I have an spreadsheet (I know!) where I can check off who I have contacted and if they responded to me.  I don’t use it as much as I should, but it is helpful in keeping track.  You can also hit up the club’s open mic.  This is a great way of getting in front of people that can get your booked.  Don’t see it as a guarantee that the booker will be there though.  If I can get there, I like to do that because networking and getting to know bookers and what they are looking for is a great way to improve your chances of getting work in the future.  You can also try booking independent shows in clubs during off nights.  Some clubs will let you rent their spot on a night where they are not doing a proper show and you can show them that you have enough pull in the area to be brought back for a weekend.  You can also try this with a specialty show.  We have a show in Spokane called Drink N Debate, and it is put on at the Spokane Comedy Club every month.  The bookers get to see a lot of comedians and can evaluate them for potential work.

The key is being persistent and remembering that it is an uphill battle, but one you will have to go through if you are trying to get into comedy clubs.

 

Gift Ideas For The Comedian In Your Life (2017)

Yep, we are doing this once again!  Here is the list of things I think you should get that special comedian in your life.  There will be three groupings: Open micer, Feature act, and Headliner!  I hope this helps you.  You can help me by clicking on the embedded links.  Every purchase kicks a couple of nickles my way.  Thanks!

Open Micer

Saramonic Mini Smartmic

Just Starting out, it is a great idea to have a mic.  You can use the mic on your phone, but a dedicated microphone is an awesome option so you can get more of your voice and less of the pool game in the back of the room.  If you have a little more coin, Get this Rode Video Mic Me.

Lemome A5 Wide Ruled Hardcover Writing Notebook

Every comedian needs something to write with.  Get them one of these bad boys.  It is a nice looking notebook so when they walk into that biker’s bar they will look like someone.  If they always writing and you know they will go through a couple of these in no time, these will work great.

 

Pentel Libretto Roller Gel Pen

Yeah, these may work, but if you want them to feel important, then get them a fancy pen!  They will feel like Dickens or Poe while writing about their balls.

 

Feature Act    

The prices may be rising, so that also means this is for those that may be a little more serious about comedy.

 

Beastgrip Universal Lens Adapter & Rig System

 

Now that you have the time, it is time to start working on that set that will get you in the biggest clubs in the country, or at the very least, keep your granny from hassling you.  The beastgrip is designed for any phone, so you don’t have to worry about iphone, android, or (shudders) Windows phone.  They have lenses and connection to add mics, lights, and anything else to get the best video to send out there. If this is too much then this is a great alternative.

 

PRORECK PARTY 15 Portable 15-Inch 2000 Watt 2-Way Powered PA Speaker System

This is for the people out there that are putting on their own shows.  They may not be booked in a place that has their own sound system.  Instead of standing in the back by the darts, not getting heard, grab these bad boys and now they can take their comedy on the road, making that sweet, sweet tater tot money.  These are a little more expensive, but they are nicer to carry.

 

Mini Flash Strobe Lights

If they don’t have a sound system, they may not have proper lighting.  Now, you can go to Lowes and get a clamp light, but these will work great because you can slap them on a stand and you have a nice spot light.

 

Headliner

 

Lenovo Flex 4 Premium 2 in 1 Convertible 

Hey, a comedian is on the road all the time, and they need a companion that will help them unwind, or keep them writing deep into the night.  This has enough power to edit your videos and podcast, and it bends all sorts of ways so you can watch a movie while you lay on your friends sofa.  If you are an apple guy I suggest this bad boy.

 

Samsung Note 8 (64GB)

 

Everyone has a cell phone, but do they have a cell phone this sweet?  You can do a lot with this bad boy.  Joke ideas can be jotted down without turning the phone on.  Your set list can be written down last minute and saved on this gorgeous and huge screen.  It is pricey if not bought with a plan, but it will be your comedian’s favorite possession.  If you are an iphone guy this will do. If you are a Windows phone or Blackberry user this is for you.

 

PANASONIC LUMIX G7 4K Mirrorless Camera

This is personally my favorite thing to talk about.  A dedicated camera is great because you won’t have to rely on the digital zoom that a lot of cameras on phones have.  With interchangeable lens cameras, you can decide how you want the footage to look.  This Panasonic is one of the cheapest 4k cameras you can get.  It has a mic jack so you can get awesome sound as well as crispy video.  If you must have a camcorder, let me suggest this one.  It is another Panasonic, but it is a traditional camcorder for all of those that want to also film a sex tape when they are not on stage.

 

There are plenty of things that you can stuff in their stockings.  Get them a domain from Squarespace, that way they can set up a website to help fans get in touch with them.  If they are going from open mic to open mic then get them a lyft gift card!  That way they can travel all around the city attending mics and not have to worry about parking.  You could also give them a hug.  They will probably need it!  I would like to thank Phil, Missy, Mika and Folger for giving me some great ideas for this post.  Oh and Greg.  I didn’t forget Greg…ole Greg.

 

 

 

 

Big Idea Comedy Vs. Small Idea Comedy

For lack of better terms, I tend to look at comedy in two very broad terms, that can be elaborated on later.  Big ideas and small ideas.

Big idea comedy, at least in the way that I think of it, are premises that try to tackle the big issues in our society.  Poverty, inequality, women’s issues, race, are what I would call Big ideas.  These are things that people have an idea about, but may not have thought of them in a comedic way.  I think a lot of comedians start out writing material with these ideas in mind. Why?  Because it can be easier to grasp for both the comedian and the audience.  We have been confronted with most of these ideas, so there is not much set up required.  As soon as you start going into the bit, everyone more or less has an understanding of the topic at hand.  This does not mean it is easy. On the contrary, big idea comedy writing is usually the hardest to write effectively.  There is a reason they are ideas that still linger in our society, and there are many different ways to fail an idea you are trying to get out to the audience.  I have sat at hundreds of open mics where the person wants to say something witty about these issues, but instead comes off as offensive or tone deaf.  If that is the idea then, to make it seem as though you have no idea what is going on, then exaggeration is your friend.

Newer comedians tend to want to go  after these topics for another reason, they have seen their favorite comedians knock these topics out of the park.  The problem is that we tend to not see the work that is involved with crafting a joke so it seems easy when in actuality it is quite difficult.  So, how would I advise a new comedian to go after these big ideas?  I wouldn’t.  I would tell them to go after things that others can’t duplicate (this is where small idea comedy comes in).  If they really want to though, I would tell them that saying the same thing that every comedian in the world is already saying is not a good way to differentiate yourself from the masses.  That is why blue collar comedy is what it is.  It says something completely different from what hundreds of other comedians are saying.

Small idea comedy may sound like the opposite, and you would be partly right.  Small ideas, as I am writing them, are things that are happening to you directly.  It is not as big as race relations, but it can be, just as long as it is happening to you.  This seems to be how a lot of comedians progress as they get more comfortable with the way they write. They start off talking about really heavy ideas, and then they look within their own lives to find humor.  To a lot of newer comedians, this seems daunting.  You may be young and thing the things that are happening to you directly would not be funny, but have you sat down and thought about it?  Have you taken time to assess situations in your life that could be funny?  When you start thinking about comedy differently, you start to realize that you can find a lot of good material in smaller ideas.  How does going out in public make you feel?  Do you hate your in-laws?  These are things that do not affect the lives of many, but can still be funny.

How can you get to these small ideas and write effective material about them?  First, think about the things that bother you.  The things that make you laugh.  These are things that a lot of other people may find weird enough to laugh at.  Some of the greatest comedians ever made their names from looking within and being able to articulate it in ways that made others laugh.  What is great about this material is because it is more personal, it is harder for others to duplicate.  This is the material that audiences will remember you for.  Do you have funny stories?  That is small idea comedy!

I hope I was able to get these idea across in an effective manner.  If not please let me know in the comments.  While you are at it, go here to pick up the new book from my friend Andrew Oullette.  Thanks!

Take Charge of The Stage!

The stage is a comedian’s workplace, and territory.  When you are on stage, it should be clear that it is time for a show and you are going to give one to the crowd. Here are some ways you can better take charge on stage.

Look at them! Unless your act requires it, you should be up there looking at the audience.  When I first started, I could not stand to look at them judge me.  What I started doing instead was looking just above eye level.  That way the audience thinks you are looking at them, but you aren’t.  Just staring ahead at the first couple of rows isn’t enough.  You have to look at all of the audience!  Try to connect with everyone in the crowd.  It let’s them know you are not only going to tell them jokes, but connect with them while they laugh.

Look comfortable.  You have to look as though you are in front of a group of friends.  If you are nervous, don’t alert the crowd to that fact (unless it is a part of your act of course).  If your hands shake really bad when you are nervous, place one in your pocket or keep the mic in the mic stand in front of you.  Starting out, I would get so nervous I would get sick.  So, I started out telling a couple of smaller, warm up jokes that would get the crowd laughing and in turn, would calm my nerves.  If your knees get a little wobbly, try pacing a little on stage.  This will get you moving so the audience can’t see how nervous you are and that may help you calm down sooner.

Memorize your material. You don’t look like you are so sure of your stuff if you are constantly looking at the stool.  During an open mic or something, looking at notes is cool because that is what an open mic is for.  Looking at your notes at a paid show looks like you didn’t bother to prepare, and keeps you from physically moving away from your notes.  There are comedians that can bring notes on stage and not make it known that they do.  If you must take notes with you, then you may have to get inventive.  Trying taping it to the side of your water bottle or glass.  Then when you take a drink, you can sneak a peek.  You can also try writing it on the inside of your arm.  Don’t write on your palms because it is much more noticeable to the audience.

Ignore distractions! Part of being an effective comedian is knowing when you should and should not interact with things off stage.  Some things can not be helped.  If someone is getting thrown out of the bar, you have to address it so as to get the attention back on you.  A lot of comedians with not a lot of stage time will want to point out every thing that is happening in the room.  This can throw the show off course and make it seem as though you are easily distracted.  If a glass drops, the audience knows that.  Unless you have a really good joke, just let it be and keep on with your act. Sometimes the audience is the distraction.  Hecklers should be shut down, but you have to analyze the situation and see if it is needed.  Sometimes the best way to deal with a heckler is to ignore them.  If an audience member is responding to you material, sometimes not saying anything back is the best way to keep it from messing with your ongoing show.  If it can not be helped make sure let them know that you heard them.  If this does nothing then your standard heckler response may be needed.  I always advise comedians not to go to hard on a heckler at first because you don’t want the audience to think you are the asshole.  Most audience members want the person talking to shut up, so all you have to do is make it clear that it will not be tolerated.  This will show that you are in charge, and this is your show.  Do not let the inmates run the asylum!

I hope this helps those that have been having trouble getting that edge on stage.  I think these tips will help you get that crowd listening to your dick jokes.