This column is intended for readers who have set up their act, Mike’s open stage, and are looking to move to MC or feature work. At each level it has different demands, and generally has different ways of being corrupted; Let’s start at level MC.
Getting booked as an Emcee
In many clubs, the emcees are all locally based; Clubs don’t have the budget to host an MC, and so use a number of local comedians to fill the slot. If you have a local club, the best way to work at MC is usually to become a regular at a open night club (and to become the best, most consistently funny in the show). If your club doesn’t have an open mike night, ask about setting up a guest set – an unpaid, short set at a regular show (usually midweek or Sunday). If you print the portfolio there, you can get the MC work on a stick.
Some rooms, including top chains such as Improvs and Funny Bones, will bring in MCs on a regional basis. The pay is generally low (in the range of $200-$300 a week) and you will often sleep in a bed while the headliner and feature use the other two rooms in the room many clubs rent for their comics. That said, it will give you a chance to work, and after a few MC sets, you can pretty much expect a librarian to print so that the feature can be brought.
Remember that at the MC level, many clubs – especially locally owned, independent rooms – are simply looking for an emcee who doesn’t want to “break the show”. I want you to be professional, to make announcements that you are instructed to make, to make introductions that are requested, and to usually make “clean”, or non-offensive, material. If you’re funny, so much the better.
Sending in press kits or tapes in MC work is almost always unnecessary; a few clubs watch the tapes in the middle of the action and even in the headlines. MC selection is something that the overwhelming majority of librarians simply don’t spend a lot of time on. Your best bet is to stay in the block(s) for as long as possible, establish rapport, and be a consistent and professional comedian when you get on stage.
Finding booked as a Feature
First things first: remember that to be considered a working feature, you need to have a strong, polished, funny thirty-minute record. Now. Not twenty minutes, not eighteen minutes and you can make a crowd, or write material between now and the time you booked Don’t go too fast. It will only hurt you in the eyes of the book, and it will also hurt your confidence. Moreover, once you are out of the club, it is almost impossible to get back in.
Another important lesson to use as a feature: persistent. It took me three years to get into a well-known club in the Midwest; two years into another. I was a few clubs before getting promoted to feature emceed. There are thousands of potential mediums out there, and they are constantly emailing and calling. Don’t give up, don’t write to the clubs; stand upon it, and persevere.
When looking for feature work, there are generally three ways to get yourself and your act in front of librarians. We will take them in order;
Press Kits
In standard form, the daily kit involves a DVD (almost exclusively today; many books have their own VHS equipment) of a length equal to the amount of time you ask to book – i.e. if you are looking for a feature work; The DVD must be 30 minutes long; percussion; A short and short life; references and business card with contact information.
Some clubs require their own press kits, and it’s always a good idea to call ahead of time to find out what they are. (Some clubs ask for additional headers or copies of your resume.) The newspaper kit does not need to be screen printed, but the cover should be of high quality. If you’re good enough with a camera and PhotoShop, you can do it yourself, but I’d recommend using a professional. A bad performance suddenly sends a signal that the comedian is not a real professional.
Your biography should include a brief summary of your comic style; I.e. “Jones has the highest energy, an in-your-face act that leaves the audience in the gallery rolling…” You played Tack in the clubs, and he quotes from the previous pamphlets. If you do an office party or a corporate one, make sure to mention it as well.
Most clubs, if you ask for and book information, will ask for a press kit. And there the question is put; everyone press them and send them to CNN. Go into the office of a comedy club and you’ll often see stacks or boxes full of unattended press kits. Booksellers and club actors simply don’t have the time to sit and watch unsolicited writers. As such, we need brevity. There are faster ways to reach librarians, which I believe are more effective.
Guest puts
As mentioned in the emcee section, the guests are basically auditioning – a short set on a regular show, between the emcee and the feature. (Usually, the guest is placed between 7 and 10 minutes.) Most clubs are relatively generous with the guest, as long as you have some experience, and often offer the opportunity to finish before the librarian or at least the club minister. . As they are, they are more direct and generally more effective, just releasing the kit to the press.
It may be obvious that killing a guest is time-consuming and often expensive. In addition, most clubs ask the guest to have a place either in the middle of the week or on Sunday (since many clubs have more shows on Friday and Saturday, they cannot kill the guest who prolongs the show), so anyone with Monday-Friday. The job is to struggle in finding the times. And, there’s nothing worse than feeling like you’ve driven six hours to a guest house only to find out, upon arrival, that he’s not going to be there after all.
That said, the guest sets are effective. Bring a daily kit with you – even if you already have one in the mail. (Tossed or lost.) You can cut the bribe immediately, or worst of all, when you call to pursue. Next week, you should get a little more respect if you can say: “I was in the club last Wednesday…” Killing the guests can be dangerous, but it can also be great to lift yourself from the pile of anonymous tapes. in the book office.
References
In “Relations from the MC Spot” I’ve put together some rules and some tips for getting feedback from the comedians you work with. This is the reason why I have attached the entire article to the network: they are known, especially now, as the most important means of promotion a comedian can have. The press kits may lie to the police, and they may not impress the guests, but the word of a respected headliner – or even a solid one – will book-only clubs are listed; Regardless of the plan, a recommendation from the headliner is sure to grab the attention of the librarian. If the comic refers to you, follow immediately; to lead to live work or at least make yourself stand out in the librarian’s mind.
A Note on “Agents”
Asked by several aspiring comedians about getting an agent. Most comedians don’t have acting. Some of the main ones, especially those in L.A. and based in New York, they may have marketing, television, and/or voice-over agents for work, but the comedy circuit club does not require, nor usually accommodate, agents. There are books that book one-nighters, and also college talent agents that book capital to make college gigs, but neither of these is attached as a traditional “agent”. Comedy is a solitary thing, that is, of the stage and the scene. You make the most of your own book, and it is above you in three ways. Hopefully he will gain gigs and stage time.
Periocha
It’s important to remember that, when you’re trying to move up the comedy ladder, you’re competing with literally thousands of other comedians, trained others, many of whom are in the same position as you. As they press CNN, they are accepted as booked, and they have agencies such as they have in Comedy Zone. of any value, it is important to find ways to stand out from the crowd. Making and killing a guest, and more importantly, getting information from a set of comedians are the most effective and important ways for you to be more valuable than any other comedian. And, while things are most certain, every year hundreds of people make the transition to adult comedy. Using your networking skills and putting in extra effort can help you make the jump as well.
This article was originally published on Suite101.com. The following changes have been made
