How To Be A Working Comic

You will begin creating comedy material to take on stage. Once again, the idea is to be original, so we'll avoid any "joke-writing formulas" with the goal of standing out from the stand-up crowd. There is a structure we'll discuss and follow, whether it's storytelling or telling a joke, but you will write about what interests you - and what you will be excited about sharing with an audience. What topics do you find funny? The story in this lecture involves a comedian who started out performing material he assumed audiences would enjoy but found major success when he began sharing his own personal thoughts and unique sense of humor.

Your first job as a comedian is to become a comedy writer. We'll talk about building productive writing habits and always being prepared for "the funny". Inspiration is the key and when it strikes... Well, everyone has his or her personal creative time clock - which leads us into this lecture's story from a comedian I've called "a comedy writing machine". As many working comedians will tell you, "Write, write and write some more." It's time to get into the habit.

As a comedy writer you will use not only your sense of humor, but also your observations, feelings, and opinions. These will serve as descriptions that enhance your material and add "colors" to what you are writing, whether it is a story or a joke. Comedy is always evolving and advice from an "older" comedian (shared in this lecture) would not hold up with many of today's top comedians since they rely more on "colors" to take their audiences on a journey, mentally picturing situations, characters, and places. It's been said good comedy is based in truth. We'll explore that theory in this lecture with exercises designed to encourage you to examine your “real life” (truth) and give it some “color”.

Exactly what the title of this lecture says, here is the greatest (comedy) writing advice ever. This is not a formula, but a technique - a method - used by a true comedy legend. Your writing process has already started by following the tips mentioned earlier, but now it's time to take it to the next level. As our "star" collaborator said when sharing this advice with me, "The material writes itself." I'm sure you'll agree - so write on!

Consider this program to be a crash course. Many aspiring comedians are fortunate to have too many topics, but unfortunate in that they can't decide what topics to do on stage. They never finish a comedy set because their ideas are too spread out by trying to write too much at one time. There's an old saying that pertains to this problem: "Don't bite off more than you can chew." It's time to get organized, pick topics, and start writing your comedy set. Don't play it safe and don't worry about being perfect. Your set and performances will improve the more you perform. The story in this lecture is about an aspiring comedian who didn't want to take a chance. He wanted everything - his writing and performing - to be "perfect." That's a lot of pressure, especially for someone new in the business. It's a good thing he learned that (sometimes) imperfection will get you more laughs.

Now we're getting down to business: the business of writing your comedy set. We'll focus on the topics you will most want to share with an audience. We'll talk about the format you'll use in writing this set and eventually, take onto the comedy stage. Remember, we're doing this step-by-step, and this is only the first step. It is also important to start thinking about potential audiences. The story involves a well-known comedian who thought he knew his audience, until he peeked out from behind the curtain before going on stage. You may start out in one direction but find out you're heading in another as you continue writing and performing.

We've talked about the format of writing your comedy material, so let's start where everyone does - at the beginning. We'll talk about how important it is to use your opening statements and creativity to grab an audience's attention and hang onto it. This lecture includes two stories. The first is a "wild" example of a comedian who set us up with his opening line, before taking us in a very different direction. And in the second, an aspiring comedian found out the hard way the importance of "knowing his audience."

You know what you want to write about. Now it is time to take your audience on a journey from beginning to end. This will be the "middle" of your set. We will talk about the importance of descriptions, "colors", and using the comedy material you already have in your files to add humor. The comedian subject of the story in this lecture is another case of learning a lesson the hard way, but his truth and creativity led to an ending that had his audience laughing - and the start of his very successful career.

We talk about ending your comedy set with either the hilarious truth (what really happened), your creativity - or a combination of both. The bottom line is you need a conclusion to your story or joke that makes audiences laugh. You may already have it in your files. But if not, another writing method used by a famous comedian will give you several options to choose from. This lecture ends with a challenge and if you accept it, you'll also have an ending for your comedy set.

It is time to put it all together and make it entertaining. Your comedy set(s) are written and the next step will be performing it on stage. We will talk about the importance of using your personality and developing your "comedy voice" - which takes time and experience. As an example, I share a story about a once not-so-funny comedian I worked with early in his career. But a few years later I turned on the television and... Well, the only answer I have is, "He got funny!"

It's all about preparation and what you should do before hitting the stage with your new comedy material. It's important to talk with an audience and not sound like you're reading from a magazine. You know what you're going to say and now is the time to start saying it. The story in this lecture is a bit more personal than the others, but it includes an open mic comedy club in New York City that stays open until 4 am. There is not much of a crowd at that time, but it's still an opportunity to say the words.

Here is a performance technique you already do every day. The idea is to continue doing it on a comedy stage. It is important to build a relationship with your audience and create an intimate and relaxed atmosphere within the venue. One way not to do that is to stand on stage and simply recite a memorized script. It takes much more than that to be entertaining and funny, and comedians develop their comedy voice by communicating with their audiences. Here is a clue on how to speed up that process. Also, a tip from a very well-known comedian who discovered - once again, the hard way - how to accomplish this. To give you a hint, let's just say, "It's party time!"

There have always been debates about whether someone can teach comedy. As mentioned earlier, I consider myself to be a comedy coach and believes each of us has our own individual and unique sense of humor. Let's face it, you can't be taught something is funny when deep down inside you don't think it is. But there is a group of people that can be called comedy teachers. They are also writing partners and collaborators in developing your on-stage performances. When writing comedy on your own or with other writing partners, you may think, guess, or hope something you create is funny. There is only one way to know for sure. And when it comes to being hired as a working comic, talent bookers will be expecting you already know for sure because your act has met the approval of your new partners. This lecture includes a sad story about a comedian who had earned the approval of his comedy collaborators, but let it disappear into thin air.

In this session we will talk about stage fright and fear of public speaking. As a newer comedian, you might be nervous before making your stage debut. Even seasoned comedians could suffer from nervous tension before trying out new material in front of an audience. Believe it or not, there are working comedians that do not consider nerves to be a bad thing and feel their heightened energy and awareness are important elements in keeping their performances real. But if you suffer from a case of the nerves, here are suggestions that will help. The story in this lecture has happened countless times in my comedy workshops and in your case - if you feel a bit nervous - will happen to you. It's time to raise the curtain!

It is time to start finding opportunities to perform your comedy material. In this lecture we talk about researching local venues, such as comedy clubs and open mics, but also how beneficial it can be to think outside the box. You can only improve and develop as a writer and comedian through on-stage experience. Included are examples from two comedians who found audiences in places you would never expect to watch comedy. Similar opportunities - and more - are also there for you. You just need to know where to look.

This is when all your previous hard work starts to pay off. It is time to go on stage. Of course, that does not mean the hard work stops. In fact, a lot of it is just starting. The stage is a workplace for comedians, and it is important not to waste any opportunity to improve as a writer and performer. There is also a very important (and strict) rule almost every club manager and talent booker will want you to follow, and what they expect from you if hired for a paid gig. We discuss the value of ad-libs, comeback lines, and how to be prepared in advance if the unexpected happens while you are on stage. That advice comes from well-known comedian who had an experience that left him speechless, but hopefully will never happen to you.

We continue with performance tips to develop your comedy voice. Topics include communicating with your audience, improving delivery, and not sleepwalking (yes, that's a thing) through your set. Advice from two important television and comedy club executives about how you handle a microphone will tell them if you are a professional or an amateur. And chances are you will experience a few bad performances in your journey to paid gigs. It is called bombing and every comedian experiences it at one time or another. But don't worry because a top Hollywood writer and stand-up shares a technique he learned at the beginning of his career that will turn the audience back in your favor. It's time to communicate!

Audiences are like people with each having its own personality. Your comedy material may earn big laughs from one audience, but silence from another. There are major comedy clubs that schedule three shows in one night and it is safe to say the audience at the early show will be much different than the one you might encounter at the late show. As a working comic it is very important to put the odds of success in your favor by knowing your audience. Our story involves a now famous comedian who changed her act while on stage in hopes of being scheduled for a family-friendly television show. But she detected a problem because the audience watching her audition at the comedy club was not receptive to family-friendly comedy. Fortunately, she knew her audience - as you will too as you continue to gain more experience on stage.

It is time to start thinking ahead. Successful businesses use promotions and networking to gain new clients. To become a successful working comic, you must do the same. In addition to having talent, experience, and dedication, it can sometimes involve luck, and being in the right place at the right time. But no one will know you are a comedian and available for performances if they don't know who you are. It is your job to tell them. This is achieved by becoming part of the comedy scene in your area and building professional relationships that can help further your career. Social media, websites and business cards are some of the tools you will use, along with continued performances and connections with members of the comedy community. The story in this lecture involves two comedians who share a name (one last and one first). The action on stage by the experienced comic led to a successful reaction by the newer one, who happened to be in the right place at the right time.

Let's go back to the beginning: comedy is a serious business with a lot of laughs. You've worked hard on the "laughter" part, continuing to write, and performing on stage. But it's important to take the business seriously for a successful career. I talk about business and promotional tools that will help you get there. These include websites, photos, videos, resumes, bios, and making it easy for talent bookers to contact you. Also keep in mind the importance of being prepared and not trying to jump too far ahead in your career goals until you are ready. You will have many opportunities, but only one chance to make a good first impression. In this lecture's story, a very funny comedian didn't live up to his earliest expectations and it set his career back several years. Remember, they may call it amateur night, but no one wants to hire an amateur.

You are a creative artist in a big business. You will learn more by doing - writing and performing - but never forget, your business is comedy. As a working comic, you will grow as an artist. As a businessperson, you will look for more performance opportunities. In this course we have talked about open mics and comedy clubs, but there is so much more to consider. Where do you want to go from here and what other opportunities are there for you as a comedian? In this lecture I will give you a few suggestions. But always keep one thing in mind: have fun. After all, it's comedy. Until next time - keep laughing!