Q: I already took
a comedy class, and they offered up a graduation performance. Do you do something
like this? And if not, why not?
A: I have run my share of amateur nights and showcases.
As these low standard events are
usually not goal-oriented,
they tend to be roadblocks to career development.
Comedy Classes can also have other unexpected results:
"Overly Critical Student Syndrome."
The very intelligent student of comedy can become hyper aware of technique, and
eagerly point out the obvious errors of other comics, both amateur and professional.
If you plan to share your insights "to help out" other comics, expect angry reactions.
Become very good at blocking real punches.
8-)
This mistaken approach to professional relationships
also puts up yet more roadblocks
to career development,
and delays both creating material and/or performing your
new bits
the 50-100 times before paying audiences
required to set said bits.
Q: There are so many comedians out there today,
how can I ever hope to succeed in this business?
A: Both open-micer syndrome and overly critical student syndrome are
approaches which are doomed to failure,
and are often easily identified by simply
asking the wannabe comic,
"How many times have you been paid to perform your 'comedy'
in a professional stand-up comedy club over the past year?"
Luckily, there is a far better two-pronged approach that has helped both
my students and clients to advance their career rapidly, and at the highest
level —
These two approaches are best taken at the same time so you are always advancing with:
I. Spending 50% of your time mastering new techniques
that directly result in
your creating new material
which is both original and very funny.
II. The other 50% of your time should be spent performing for pay in professional
venues.
This way, valid audience reactions can be noted, and the act adjusted
accordingly.
Instead of spending years getting nowhere fast, every week you are adding time
to your act:
1) Figure testing a new bit about 10 times to get three valid recordings of
accurate audience response.
2) Always be testing at least 5 minutes of new material every performance.
3) Open and close with set material (scripted and staged),
testing new stuff in the middle of your act.
Obviously, a poorly attended open mic where you are only allowed to perform
a 5-minute act
will not allow the minimum 20-minutes of time on stage that is required to
develop an act.
About 10-20% of what you initially write or improvise-then-script will survive
to become part of your core act.
Q: What is it like participating in your Workshops or better yet, taking
your one-on-one Coaching and Co-Writing services?
A: I waste none of your valuable time talking about the business of comedy
in the early lessons and coaching appointments.
You need to have an act before you can even begin to think about marketing concerns.
But if you are still curious about The Act to Sell the Act,
see my book "Fundamentals
of Stand-Up Comedy," p.
378-388 and 440-510
which comes with my Home Study Program.
Instead, this is what I have learned works after training over 1,000 student
and professional comics, keynotes speakers, actors, etc.:
Jim Richardson's open letter to all stand-up comics,
business keynote speakers, politicians, ventriloquists
and other solo acts:
