A comedian sent in an email about an important showcase (audition) coming up and asked for any helpful tips. There are two that all comics should be aware of. The first comes from a respected industry insider, while the second is based on comments from working comics and firsthand “in-the-clubs” experience running showcases.

Some of the best advice from working comics is to write, write and write some more. As an artist, you never want to stop being creative and presenting new material on stage. However, having an audience-tested showcase set “in your back pocket” ready to go at a moment’s notice should also be a priority. This video is about being a creative artist, but ready to take care of business at the same time.

Life on the road is part of the job. Some know how to use it, and others how to abuse it. Talent bookers, club owners and management expect you to deliver the performances they’re paying for and won’t have a lot of patience if you don’t take your career seriously. But that doesn’t mean you can’t have fun and take advantage of what different cities have to offer. Another travelogue episode!

You have a great promo video, but to get hired it has to be seen by talent bookers. The question sent in asked if it was acceptable to email your video link as an introduction and submission for work. As always, a lot depends on “who you know.” However, there is usually a way to contact bookers, clubs and agents that will increase your chances of someone actually watching it.

Remember your first time on stage? It was probably an exciting moment and if you’re fortunate to have a video of your comedy debut, it’s fun to look back and see how much you’ve improved. You might also share it with your friends for laughs, especially since you’ve put so much work into your career and are finally ready to contact talent bookers for paid gigs. But will that earlier video come back to haunt you? It can, unless you start taking care of business.

Do nice guys really finish last? When it comes to doing insult comedy, that’s usually the case. But throwing insults during open mics where the audience is mostly made up of fellow comedians could be met with “death glares,” rather than laughter. They may not appreciate verbal darts aimed in their direction from a stage where they also hope to work. If that’s the case, how can aspiring insult comedians work on their performances?

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