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Subject: Stand-Up Comedy FAQ [01/01]
Date: Mon, 19 Jun 2000 16:21:11 -0500
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The alt.comedy.standup FAQ

The alt.comedy.standup Frequently Asked Questions (FAQ) list

Last-modified: 06/04/2000
Send suggestions and info to: Steve Gelder ([email protected])

Frequently Asked Questions (FAQ) for the alt.comedy.standup Newsgroup

Becoming a stand-up comedian.
Commonly asked questions
Comedy writing tips
Protecting your work
The Screen Actors Guild
List of comedy clubs by city
Agents and promotional agencies.
Books about how to become a stand-up.
Comedy Periodicals
Comedy Software
Miscellaneous


1. Tips for getting started in stand-up comedy

Keep a notebook and write down everything that strikes you as funny.  (Only
write down the stuff YOU think of!!!!)

Start by going to open mikes. Prepare a few minutes of material and give it
your best shot.

Audio tape or video tape yourself when possible.

Don't call your act unfunny; they'll believe you.

Don't say "This is serious" or "This is drama"; they'll believe you.

Don't tell the audience they're tired or they don't have to stick around.
They'll believe you.

Don't tell the audience they're supposed to laugh. They WON'T believe you.

Don't use "savers" (jokes about bombing) until at least 3 gags have gone
badly.

Don't do the "endless close" if your final bit ate it. It's not only
excruciating for the audience, it unfairly eats into the next comic's time.

Don't dump on an audience member who didn't ask for it.

Don't berate the small audiences for being small. They showed up.  They're
the good guys.

Don't judge, criticize, or rip other people. Comedy is more political than
you may imagine. Alternatively, politics is more comical than you may
imagine.

DON'T STEAL MATERIAL!  Is your ego so fragile that you can't risk your own
material not being funny?

Don't get discouraged if you don't do well. (Not easy!).

Bring everybody you know out to see you perform so that the next day, they
can lie to you about how well you did.

Learn how to take a joke. Most comedians can't.


2. Commonly asked questions:

Q:  Is alt.comedy.standup for telling jokes?
A:  Definitely not. Don't post them.  Not only are jokes formulaic and
offensive to stand-ups, if you post them, you will be derided mercilessly by
the regulars. If you have an auto erotic compulsion to tell jokes, or want
to steal jokes you can tell at the office to make people think you're not
the pathetic idiot you are, go to rec.humor and talk to those morons.

Q:  Then what is it for?
A:  It is mostly a place where stand-up comedians, agents, club owners,
bookers, comedy writers, comedy fans, and an occasional doorman, sound guy
or entertainment attorney hang out and discuss performing, the state of
comedy, and other issues pertaining to stand-up comedy.  The comedians in
this group range from first time open miker to nationally famous headliner.
Alt.comedy.standup also serves as an informational venue for people who want
to find out about about shows, touring, comedy CD's and the like. Please
refrain from posting binaries.

Q:  And what else, Dave?
A:  To me, this newsgroup is like sitting at a big table in a restaurant
after a show. Some comics are ripping each other, some just stay for a
minute then come back later, some are trying to be funny, and some just want
to eat and want everyone else to shut up.

Q:  But isn't stand-up comedy dead?
A:  Yes.

Q:  What happened to all the comedy clubs from the 80s, BaldGuy?
A:  At one point there were too many rooms and not enough headliners. So in
order to put more money in their pockets some rooms decided to start
headlining people who weren't headliners and that had 50 minutes of time
killing material. Instead of hiring comedians who can kick ass but demanded
more money.

  The audiences noticed the drop in quality and recognizability of the
headliners and quit coming to these clubs. So, some ever smart clubowners
decided to "Paper" the rooms which is letting people in for free and living
off the drinks alone. This is called a saloon. Once they got rid of the
cover charges they CERTAINLY couldn't afford the better comedians.  Hence
they dried up and died.

Q:  What about comedy writers?
A:  There is currently no Usenet group specifically for comedy writing.
Comedy writers are encouraged to use alt.comedy.standup for that purpose.
Since there is a huge overlap in the two venues (stand-ups usually write
their own material) comedy writing is often discussed in the newsgroup.

Q:  This news group isn't funny.
A:  Then shut your pie hole and post something funny.

  You're either new to the group or not a comic. People who peruse the
group the first time often have no idea what's going on. Comedians are
notorious for remembering and calling back posts from days, months, or even
years ago and using them as ammunition to rip others. Many of the posts that
seem nonsensical at first usually turn out to be the funny ones if you've
been paying attention. The posts whose contents are most readily apparent to
a newcomer are the functional/informational posts, and those are generally
dull, especially to outsiders who really don't care what an opener in
Sheboygan makes.

  In order to fully appreciate this group, it's helpful to know the
characters.  Many of the regulars have been posting here for 2 years or
more.  Comedians are notorious for their amazing ability to recall any
event, no matter how trivial, especially if it can disparage someone or
bring forth humor. Lurk for a few weeks. If it's still not funny to you, go
to rec.humor and talk to those morons.

Q:  Are you guys always this mean, Kinetic?
A:  ACS isn't as rough as it appears.  I liken it to a room full of
siblings.  Sure, we fight and kid each other, but it's all done in fun - if
the chips were ever down, most of us would be here to help each other pick
them up.  A lot of what you see as "rough" is likely an inside joke.  Maybe
it really is an argument with knives drawn and battle-cries being yelled
(because sometimes it is), but most times the passion is about the argument,
not the people.  Like siblings, we learn about each other through our
battles.  Maybe it is rough.  I don't know.  Still, ACS has to have some
sense of home to it, because this is also the place where we congratulate
each other on jobs well done, or offer condolences for lost family members;
where members (literally) fly half-way around the world just to put faces to
the names.

Q:  How can I tell when you guys are being sarcastic?
A:  In order to help convey a sense of sarcasm in a post, we at
alt.comedy.standup have created and approved [%] (open-bracket, per cent
symbol, close-bracket) as the universally accepted symbol for sarcasm.
Everybody's using it! [%]

Q:  Just what is a stand-up comedian, Bob?
A:  "Comedian: a breed of human being who, without benefit of a steady job,
adequete plane fare or a social life, traverses the globe attempting to
impart upon the masses his/her warped, intricate and often beguiled point of
view while living from brown paper bags, overnight cases and on stale donuts
and coffee."

Q:  Why are you a stand-up, Billy?
A:  I know when I was a kid, I mean little kid, if I could make the grownups
laugh, I felt like I was closer to them, or they were closer to me. I used
humour in school to avoid getting beaten up, to make friends, and to escape
the realities of homework (a humourous essay was quicker to write than a
real one, and I could get the teacher to laugh, I sometimes actually got a
good mark ).

Q:  What differentiates comedians from other people?
A:  Everyone experiences pain, of course.  But a comedian has the ability to
use their anger and intelligence to refocus and reconstruct their pain into
entertainment. It's so obvious that it almost goes without saying, but
comedians are generally more intelligent and sensitive than the average
person. It's our undeniably superior (almost god-like) intelligence that
made life difficult for us when we were children.  We could see through the
hypocracy and illogic of our parents and teachers, but because of our age
and size we couldn't do anything about it. The more we pointed out the
foolishness of our "superiors," the more they kept us down. But just as
pressure and heat transform coal into diamonds, it's that frustration,
social pressure and the heat of anger that transforms us into comedians.

Q:  How many Open Mikes do I have to do to become a star, actual3?
A:  It frequently amazes me how many people want - even expect - some kind
of instant stardom. As someone who frequents open mics, I think it's
important that people understand that the value you get out of them is not
some diamond lane to superstardom but the opportunity to try different
things in front of an audience and develop a comfort level that allows you
to get better.

  Along the way, of course, you'll have the fun of getting out of the
house, away from the television and performing for people the way they used
to do it in the old days. It's a lot like entertaining people in your living
room, because the audience is mostly comprised of other performers.  If you
go into an open mic situation expecting some kind of immediate result,
you're only going to be frustrated and get angry. And what's the point of
that? You don't get good feedback that way; nor do you give yourself a
chance to fail.

Q:  What else can you tell me about these Open Mikes, actual3?
A:  I consider open mics to be a hobby like fencing or building model
railroads or refinishing furniture. You put in time and effort, you achieve
a certain level of expertise, but the odds that you'll get back any of the
time or money you invest are very small.  It becomes a matter of deciding
what you're going to do with your life.

  So what am I going to do with the time I have left here on Earth? I can
entertain people who are as bored as I am. For a few hours, I can forget my
stupid money problems and help others forget, too. Open mics are great for
that. If it turns out that I have a chance to make a little money from it,
get a little recognition, and maybe hit it big, all the better. But when I'm
up on stage at an open mic I try to get as much emotional and intellectual
value out of those few moments as I can. If I didn't, I'd be in real
trouble. Because that might be all I ultimately get out of it.

Q:  I'm pretty damn funny. How do I go about getting a gig, Tim?
A:  Oh, sure, you may be pretty damn funny.  But you'll need a hell of a lot
more than that to get one of your so-called "gigs."  Bitterness, for one
thing. If you haven't failed miserably at nearly every legitimate job you've
ever tried to hold, then you might not have the necessary level of choking
bile to perform stand-up. You see, the best stand-ups are those who are able
to take their own sickening, pathetic obsessions and shortcomings, and
splatter them all over an audience like an Alien Autopsy. Only then will you
even begin to appreciate the masochistic delight you'll experience offering
your brilliant analogies and sparkling wit to a room full of smoking drunks
trying desperately to get laid by the other fattest person in the room.

Q:  I'm really freaking funny, Liam.
A:  Every time someone tells you how funny they are, you know right away
that they're not, and the more they insist on the fact that they're funny,
the more you know they're an untalented douchebag.

Q:  I'm serious, Bill - my friends tell me I should be a comedian...aren't
they right?
A:  I've been able to make people laugh for a long time.  And some of those
people suggested I become a stand-up comedian.  But I knew I wouldn't be
very good at it, because the two are very different.

  I knew, for example, that although what I said to my friends made them
laugh fairly regularly, the amount of time I contributed to the conversation
was pretty small.  For most of it I just sat there, listening intently to
what was being said.  When I found an opportunity for a laugh I gave the
punchline and everyone had a chuckle.

  But stand-up is different.  You can't just stand around, hoping someone's
conversation will lead to a punchline.  You have to do everything yourself.
And you have to keep doing it for however long you're on stage.  Friends are
a lot more polite than audiences.  Your friends might laugh to make you feel
better or joke about how bad your last line was.  But if an audience isn't
laughing they'll let you know in no uncertain terms.

  You and your friends probably share a lot of history together.  There's
probably a lot of in-jokes you use, a lot of things you have in common to
laugh about, etc.  Most audiences are strangers. You have to do stuff they
can relate to as well -- not always easy.  And of course, unless you drive
your friends to drink every time you open your mouth, they're usually a bit
sober.  When you start out, you'll probably find audiences with attention
spans shorter than most goldfish, and only half their brain cells operating.

Q:  What should my act be about, Mark?
A:  There are jokes and subjects that the individual comedian wants to tell
and explore and there are jokes and subjects the audience wants to explore.
There is a large intersection and it is the comedian's job to find that
intersection.

Q:  Are friends and family supportive of my decision to do comedy, Steve?
A:  Friends and family will think you're nuts if you continue to pursue
stand-up for years, to the detriment of personal relationships, good health
and good credit reports, and they'll eventually tell you so to your face.
Enjoy these early days, when those who love you will patronize you, and
encourage you to follow your dream to your face, secretly believing that one
day you'll take that Asst. Manager gig at Blockbuster Video.

Q:  There are no Open Mikes in my area.  How do I get stage time?
A:  Well you could move, but consider starting your own Open Mike. Go to a
local bar, or club, or even shopping mall  and pitch it to them. Tell them
you are going to run a comedy night once a week or so. If you don't have, or
can't afford equipment, a bar, or anyplace bands play are usually a good
venues. The point is, make things happen for yourself. If you depend upon
others for your success, you'll often end up getting screwed politically,
financially, or creatively, but seldom physically.

Q:  How do I set up an Open Mike, Al?
A:  Find a bar or coffeeshop that has a small performance area that's
separate from the main bar area.

Make sure you can perform without worrying about the juke box, the
television set or waiters carrying food.

Ask the owner for permission to have small open mikes there during a time
when it's slow anyway.

Send notices to your local newspapers and drama classes to advertise that
you exist.

Open mikes that mix music, poetry, etc. with comedy tend to be more fun for
the audience members than those that just feature bad, open-mike-level
comedy.

Suggestions:

Make sure that the bar owner understands that most of the performers will be
really, really bad.

Try not to locate the acts any place where the performers will frighten away
the paying customers.

Charge a fee and give the some money to the bar owner.

Avoid setting up your open mike at a family restaurant or anywhere else
where many kids are present.

If you do end up somewhere need food or kids, make it clear to the
performers what the limits are.

  Yes, censorship is bad, but there is nothing worse than a bad comic doing
stupid enema jokes while people are eating. Especially when it's the same
bad enema jokes you've hard 50 times before.

Q:  Is gender a problem in stand-up, Cathe?
A:  The problems I have found most in clubs is that there is a quota of how
many women will get booked because  "They're just not popular."  The worst
problem is the ability to break that wall of "woman = same old shtick" that
glazes over owners and managers eyes.  No man has ever been passed over for
a gig because there was "already another man on the bill".

Q:  What's a hack?
A:  Stolen material. There's nothing lower or more reprehensible than
someone who steals your material - - especially if they do it better than
you. A hack also refers to material done to death, e.g. Cops in Donut shops,
7-11 jokes, Clinton-Lewinski jokes, Viagra jokes,
differences between cats and dogs, airline food, etc. etc.  Bits about "The
Crocodile Hunter" and the phrase "Who's your Daddy?" are rapidly approaching
their entry into the hack lexicon.

  There is an entire FAQ, called the " Hack FAQ"
(http://members.aol.com/comedyfaq/hack.html) which gets posted periodically
to alt.comedy.standup and was originally written by Steven Rosenthal.

Q:  Who's a hack?
A:  Sorry, FAQ's are limited in size.

Q:  Why are there so many hacks?
A:  In the case of stolen material, very few comedians maliciously hack
others (some do though!). Most comedians have an uncanny ability to
unconsciously store and catalog almost every bit they've ever heard. Often,
they'll write a bit, forgetting that they heard something similar 4 years
ago

  Sometimes, comics will write the same joke independently of each other.
You can usually both continue doing the bit. However, if this happens and
the other comic does the bit on TV, you're screwed and should abandon it.

  Comics who use stock premises do it because it's easy. Furthermore, you
can connect with more audience members when pontificating about themes
common to everyone. If you really want to do comedy about stock premises,
ask yourself, "What can I bring to this topic that thousands of comics
haven't already explored?"

Q:  Why would anyone ever resort to hack, Stu?
A:  The crowd laughs at what the crowd laughs at. It's our JOB as
ENTERTAINERS, not as artists, but as ENTERTAINERS to entertain. I and many
others on this NG make our living making the Yahoos laugh. The amount of
work we get is often directly proporsional to the laughs we get, so in my
case, yes if I sense the audience isn't going to understand
my clever edgy well written material (for whatever reason) I go right to the
hacky crap I keep in my back pocket and I clench my teeth as I do it.  And
sure it might be Men V. Women or some assortment of dick jokes du juor, but
A) they're my dick jokes, and B)I'm not doing fart jokes. So I guess
everyone has a line in the sand that they won't cross.

Q:  I have a bit I think may be similar to someone else's - what should I
do, Ralph?
A:  The general rule is "When in doubt, leave it out."  You don't want to
get labeled a thief.

  The main reason that comics use material from other sources (I didn't say
'steal' - I'm talking about book jokes, stuff their non-comedy buddies came
up with, etc.) is that they are trying to fill a void, either a
dissatisfaction with their own material (let's face it, our stuff gets old
to us a lot quicker than to anybody else) or dissatisfaction with our place
on the comedy ladder (and I don't care who you are, everybody is
dissatisfied), and we subconsciously think that the 'new' joke will somehow
help us.

Q:  What's "the light"?
A:  At some point while you're on stage, someone will shine a light in your
eyes. This is the owner's/manager's way of saying "Your time is over, wrap
it up." You then have about a minute to get off the stage. Generally, the
light is used to make sure a show runs smoothly and on time. However it can
also be used to tell you that your performance bites or that the person with
the light has a petty vendetta against you.

Q:  What is "working blue"?
A:  Working blue refers to using off-color, not suitable for TV material.
While four letter words certainly fall into this category, working blue is
not limited to expletives. For instance, describing various secretions in
great detail can also constitute working blue, despite the fact that you may
have used acceptable medical terminology only.

Q:  Should I work blue?
A:  The short answer is to get up on stage and speak your passion. If you
cannot possibly get your point across without using four letter words, then
use them. If your personality is such that you use four letter words as a
matter of course, then use them. But using them gratuitously is a crutch
that should be avoided at all costs, especially if you have TV aspirations.

  It's not always desirable to change your personality for the audience.
Speak your truth. You can say what you think an audience wants to hear, and
they may think you're funny, but you won't pioneer anything new unless you
use that one thing that makes you different, your own personality.

  So if your passion is to tell people that you think date rape is funny,
why censor yourself? I personally do an awful lot of religion jokes. Many
people hate it, but those are the types of things I want to tell people.  I
have no burning desire to tell people what I think the difference between
cats and dogs are.

Q:  Will studying other comedians help me do quality comedy?
A:  There's no right or wrong answer.  Some people feel studying others is a
must do, for some, it's a must don't.

  Even those who feel that they really learn by studying others, have to be
vigilant about not copying them. Not the "I'm gonna rip that joke off" copy,
but the kind of thing where they recycle a joke or premise without even
realizing it.

  For me, I'm a student of comedy, and enjoy watching other professionals
at work.  I also find that there are occurrences of "parallel thinking",
where I may have shared an idea with someone from another part of the
country.  If I see something like this in someone else's act, I have the
opportunity to weigh my bit out, and remove it, if they're too similar.  I
don't want to sound like anybody else, so I try to watch everybody else.

Q:  What seven things does a good emcee need to know, Kid Dave?
A:  1)  The emcee's function is to get the attention of the audience, do the
announcements, introduce the other comics.  Get those three right and work
should come your way.  If you can be mildly amusing in the process, that's a
bonus.  Fuck up the announcements, you won't be back.  I know you're a
comedy genius, but at this stage of the game, just do as they ask.

2) Never go over your time.  Ever.  It doesn't matter if you're killing.
The show lasts an hour and a half.  The club is paying the headliner the
most money, the clubowner wants to see him up there working, not you.  Not
to mention, it pisses off the other acts, who, at this point in your career,
you need desperately to like you for networking purposes.

3) Tip the bartenders.  Especially if you have a free bartab.  They have
more input than you think.

4) Leave the waitresses alone.  If one wants your attention, she'll let you
know.  Most are there to work, not be bird-dogged around by some horned-up
comic.  They have more input than you think.  Again, if one wants your
attention, she'll let you know.

5) The condo is not a frathouse, unless by mutual consent.  You are not the
only person staying there, but you are lowest on the totem pole.  Sorry.

6) Get the other acts' names right when you do their intro.  Write it down
if you have to.

7) Tell the other comics they RULE!!!!  Even if they suck.  Remember -
networking.

Q:  Is that all I have to do, Mr. Arrogance?
A:  If you have friends and family who are coming just to see you, have them
sit towards the back so the other acts don't have to hear your drunk Mom
say, "These other comics aren't as good as my kid."  Watch the other acts to
see if you're burning premises that they have actual punchlines for and are
too nice not to mention it to you.  If you respect the other acts, ask them
to watch your set and see if they'll offer some advice.  Just be prepared to
hear things you may not wish to hear.  Be careful who you rag on in front of
the other acts when you're offstage, it may be one of their friends.  If the
headliner likes you, see if he or she has the power to bring their own
opener when they work other clubs.  Or see if they'll recommend you to other
clubs.  You may still have to send a tape, though.

Q:  Anything else, KlownHuntr?
A:  Put the mic back on the stick.  It's ungainly as hell to try to take the
handoff.  If you have enough time, tailor your set to be a good setup for
the feature and headliner.  I know, I know, you want to blow them away so
you can move up, but if you can't do that in a way that doesn't hurt the
show as a whole, then it's either a HORRIBLE booking, or you aren't ready to
move up yet.  Play for the team.  Please try not to work scatological
(dirty).  You took the MC gig, and it carries certain implied
responsibilities which include not throwing the show out of balance.  And be
on time.

Q:  Is there any  more advice that could be offered, Knope?
A:  Emcees that are warm, friendly and generally show enthusiasm for being
onstage really add a spark to the entire package.  I hate it when an emcee
is introduced from off-stage and as soon as he/she hits their mark - BOOM! -
material.  Welcome the crowd, explain how a live show is never exactly the
same two nights in a row - create an EVENT in the audience's mind...then
segue into some material to get the laughs rolling.

  Finish your set and get your applause.  At the end of your last bit get
your name out there one last time and tie a ribbon around the little package
you just delivered..."My name is (your name here) and I'll be your host the
rest of this evening.  Thank you!"  Step away from the mic and give the
audience a little wave of acknowledgement.  They will applaud.  At that
point, give whatever announcements may be required at that time and segue
into a Letterman/Leno type intro..."Our next comedian has been seen on blah,
blah, blah...please help me in welcoming - BLANK!"

  Remember, if the emcee has done the job - THEY WILL BE READY.

Q:  Wow.  That's everything, right, Prince Myachislav?
A:  AND - the MC should always be in the room in case one of the acts goes
short (either bails, or gets an early light, or gets sick, etc.).  Nothing
more awkward than a couple of minutes of dead stage time because the MC
didn't know someone came down.

Q:  Should I pander to the audience?
A:  Only to save yourself from stinking up a place. There are 2 types of
comedians. Ones that are in it just for the ego stroke they get from
audience laughter, and the other that wants to get a message across. It is a
rare individual that can do both well.  Pandering to the audience will help
your ego, but won't help you develop as a professional.

Q:  Do you ever buy your material?
A:  Some comics perform comedy to transmit their point of view to the
audience and hopefully make people laugh. If they bought/stole/used someone
else's material, they'd be no more than a talking monkey on stage
regurgitating other people's thoughts. Of course, some people find the only
thing that matters is for
people to laugh at them, regardless of whether the material was theirs in
the first place.

  Personally, I don't buy material...but I certainly have nothing against
an entertainer who does, especially if he/she buys it from me.

Q:  I'm too freakin' lazy and vapid to write my own material. Where can I
buy material so that people laugh at me and stroke my ego?
A: Comedy Writing Service (http://heylady.com/comedy)

Q:  Is anything in comedy off limits, Aloo?
A:  Any TOPIC is fair game for comedy.   However,
different circumstances determine the topics that are appropriate. For
instance, people who are sensitive should see comedy that's billed as a
clean/non-offensive show- and the comics who agree to do that show should
abide by those parameters. Many corporate events/ private parties fit into
that category and therefore the comic's comments should reflect that.

  There is also a difference between a comic discussing a particular topic
in general and picking on an audience member. A comic may do a joke that
makes fun of handicapped people, black guys, homosexuals, ugly chicks,&nbsp;
retards, aborted fetuses etc., but when they apply it to a particular person
in the audience, the joke changes from a general quip to a personal attack..
I've never been fond of comics who harass audience members- especially if
the person didn't instigate it.

Q:  What kind of material should I do, Tim?
A:  You are perfectly free to collect and perform jokes such as those where
various improbable combinations of people and animals go into bars, or you
can muse philosophically about the rubbery skin on pudding, or you can ask
those thought provoking questions about why men must dominate the remote
control... But why not get a real performance rush by letting your audience
know your most secret thoughts? Let the audience know who you are and what
you think. Talk about your own fears and faults.

  By presenting what is most personal for yourself, you actually touch a
common chord among more people. You can illuminate what it means to be
human, and bring more humanity out of yourself and others. And that's what
great stand-up is all about ... or you could just do dick jokes.

Q:  What's a dick joke?
A:  See "Working Blue".

Q:  What's alternative comedy, Eugene?
A:  Alternative comedy is just another kind of outlet. The reason it exists
and the reason it survives is because some of it is incredible. People must
like alternative comedy to keep coming back every week or every other week.
A lot of the performers write new stuff for every show, and there is a great
deal of unpredictability.   Alternative comedy should be a risk and is based
on surprise. A lot of people don't want to see a bunch of middle age white
men talk about how truly difficult it has become to find a date or whether
everyone has noticed how people blah blah blah.

Q:  Are comedy classes useful?
A:  No one can teach you how to be funny.  However you can be taught to be
less nervous on stage. You can also be taught some body language, how to
handle the mike, and how to phrase jokes. Unfortunately, you can also be
taught a "formula" for jokes.

  Comedy classes are useful for building confidence, and sometimes getting
showcases and gigs. However, if you're not funny, comedy classes won't make
you funny. And they can be expensive.

  One of the selling points of a comedy class is that your class is a built
in support mechanism. Improv works on this concept. So do jockstraps.

  So the answer is yes, comedy classes are useful, especially if you're the
teacher.  If you're a student, it depends.

Q:  Tell me about tapes, Dave
A:  Tapes should be from 5 to 15 minutes.  From different shows, if
possible. Club owners that have to see a 30 minute tape are more concerned
with quantity than quality. YOU know whether you can do 30 minutes or not.
The owner of Guffaw's Pizza 'n' Comedy Castle may have a different
perspective, but too many clubs have comic's tapes
as doorstops, coasters, etc. And see if you know a headliner that works the
club regularly. Maybe they can recommend you OR bring you in as their
middle. Better not suck, though, or you'll lose a booking and a friend.

Q:  Is it better to risk all and do a showcase at a new club or send tapes
until they decide they want you,  KlownHuntr?
A:  I've never NOT gotten booked from an audition set, never HAVE gotten
booked from a tape.

Q:  What should I put on a bio, Dave?
A:  Bios should be a list of clubs where you KNOW you've done well.  Try not
to have too many Holiday Inn's listed. Include your current address and
phone number and an agent, if you're unlucky. Have some references of
headliners and club owners that think highly of you. You should ask them if
you can put them on your bio so someone doesn't call them up and catch them
off guard.

Q:  What's a head shot?
A:  A head shot is a photo of you. You often need to send them to agents and
club owners before an upcoming performance.  A goofy headshot will not get
you work. It will still be up at the club in 10 years and will make you
regret wearing those handcuffs and a hula skirt.

Q:  What does a manager do? How about an agent? What's the difference?
A:  A manager keeps your name in the loop.  He guides your career and helps
you make choices that are difficult for a performer to make because he/she
can't step back and look at the whole picture. He keeps your name in the
mix, so when something comes up people already have you on their mind. An
agent just tries to sell you to anyone. The manager is (or should be) more
selective. If you are looking for a manager, look at his/her clients and see
what they are doing and if they are going to have long term careers, etc. A
lot of the so called " best" managers in comedy today are selling their
clients out so they can get ahead and look good.

Q:  What do bookers do, Pepperskul?
A:  Bookers schedule comedians, send photos and bios on the comedians to the
club, arrange radio interviews, send press releases out on new club openings
and special comics, and above all...get the comics the information they need
to get to their gigs.

  Bookers who book mainly COMEDY CLUBS are hired because the club owner
simply has gotten fed up with trying to book the room. In all honesty, I've
talked to MANY comedy club owners that say that dealing with all the comics
is just a big fat pain in the ass. That's not to say that ALL comics are a
pain, it's just sometimes taking the calls from everyone looking for work
and dealing with schedule changes and whether or not you have
pictures for the ad becomes a gruesome task. If a club were to try and do
this all themselves, they might find it cost prohibitive because they can't
route dates together and they don't have enough contacts.

  There are also many bookers out there who book special events for a
variety of other clients - not just clubs. People call bookers or agents all
of the time looking for talent for an event they are having.  Without these
bookers, many road comics would not have the extra work that comes from
these sources simply because the availablity of sources for these
"special clients" would not be as accessible.

Q:  Where can I find bookers, Bret?
A:  Comedy Bookers  (http://members.aol.com/bookerlist/comlist.html)

Q:  I'm about to go out on the road.  Any tips, Lawrence/Steve??
A:

Get delivery menus to the nearest pizza place, chinese place or whatever.

Have a calling card because most condos don't have phones you can dial out.

Ask the desk clerk for a room on the top floor, away from the housekeeping
closet, vending machines, and elevators. That will be the quietest room in
the hotel.

Carry a fan for "white noise" so it is easier to sleep if the hotel or condo
is loud.

When the gig's in the hotel, and they try to stick you in a meeting room
with a murphey-bed, and they try to use the line "Sorry, but this is what we
assign as 'comp' rooms", try politely replying, "My room is not comped, it's
part of my compensation, just like my paycheck." 9 times out of 10, that
will work.

When you bring some chippie back to the hotel/condo for a one-night stand,
hide your jewelry and wallet while she's in the bathroom.

On Saturdays The Instant Oil Change place is usually managed by a young
assistant manager. They will usually trade passes for an oil  change.

Eat at alot of happy hours.

Become a AAA delux member. You may need the free 100 mile tow.

You can pull the corner of carpet up in most hotel rooms and hide money, it
can easily be put back on the tack strip.

Tip the bartender or waitstaff that serves you.

Bring your laptop to the show. No telling how many people have keys to the
condo.

Before you go buy smut, check under the mattress in your hotel room,
salesman buy mags, and don't want to take them home so they put them under
the nattress where the maid can't reach.

Be polite to the staff at the club, not only is it the right thing to do,
but many club owners listen to them about the comics. If two comics are of
equal talent, one is a dick and one is a good guy, who do you think is
coming back?

When a club offers you a fistful of free passes to give away to promote the
show, there are creative ways to distribute them. If you are aware of how
the barter system works, you can often trade free passes to one of your
shows for pizza, sandwiches, games of bowling, old magazines, discounts in
the mall and more.

Write your name on the passes you distribute, and tell them they need to use
it this week. People are more likely to come out that week, giving you a
bigger crowd. And all those passes with your name on them at the box office
tends to impress the management.

Q:  What does it mean when a club owner/bar manager says, "We don't have
enough cash to cash your check.", Kevin?
A:  This often means it's going to bounce or be cancelled, so go to HIS bank
at opening time the VERY NEXT DAY and present the check. He will probably
sleep late and try to cancel it around noon, by which time you'll already
have the $$$. If it bounces at the bank,
go see a local attorney. It's illegal to bounce a check, and you can often
recover triple the amount in damages, however, it usually doesn't get that
far. A letter from an attorney usually does the trick.

Q:  What can you tell me about corporate gigs, Laphboy?
A:  Corporate gigs can range anywhere from a banquet hall in the Four
Seasons to an area cordoned off by an accordian pull-divider in the back of
a Shoney's.  The one consistent
element is that no one ever thinks you'll need a microphone or lighting,
because you're a professional. If there is a mic, it's usually attached to a
podium, leaving you delivering your act like a White House Press Secretary
at an official briefing.

  You're generally stuck into the program immediately after a large meal
has been consumed, during what is traditionally the 'drinking and napping'
hour.  If they aren't dining, you will follow a Senior Vice-President with
no sense of timing who would walk half the room, if they were allowed to go
anywhere.

  You can do well at corporate gigs if you stick to your act (if it's not
overly offensive), but that they'll gladly carry you around the banquet room
on their shoulders if you slam The Boss.  It's as simple as that.  Learn his
name, and at some point in your act, use it where you would normally say the
word "asshole".  NOTE:  Don't use this tried and true
technique in conventions held by religious organizations.

  In closing, corporate gigs do very little to enhance the edginess of your
act, but they pay anywhere from 2 to 10 times better than the average one
nighter, less 40% for the booker who answered the phone and then called you.

Q:  Hey Stu, real comics should be spending their time working on their acts
instead of reading the newsgroup!
A:  Most, if not all, of the comics here are not quite as busy or successful
as they would like to be. Most will take responsibility for their lives, and
are doing what they can to be as successful as they can be. They look to the
future, and the present is seen as a stepping stone.

  There are some other whiners, however, who just get angry. They want to
blame everyone but themselves for whatever has gone wrong in their lives.
Instead of trying to make things better, they run around complaining that
things aren't better.

  The first group are, to me, a joy to interact with, even when things are
not going well or I don't agree with them. Even at their lowest they have a
spark of optimism that can't be missed, a knowledge that where there's life,
there's hope.

  The second group, however, are a pain, and I would prefer to do without
them.

Q:  Any interesting Web pages?
A:

Cathe B, Internut Comedienne  (http://www.catheb.com)
Rabbi Bob Alper   (http://www.bobalper.com)
Alternative Entertainment Network   (http://www.aentv.com)
Ask Mr. Hack  (http://members.aol.com/IMPROVFOOL/AskMrHack.html)
BBC Comedy Writing  (http://www.bbc.co.uk/tventertainment/comedy.html)
Rob Bartlett   (http://www.robshow.com)
Sandra Bernhard  (http://www.internetcity.com/bernhard/)
Albert Brooks  (http://members.aol.com/shmuggs/abrooks.html)
Brother Theodore's Dark Humor
(http://www.geocities.com/Hollywood/Academy/8135/)
Lenny Bruce  (http://member.aol.com/dcspohr/lenny/lenny1.htm)
Christopher Cannon  (http://www.comediancannon.com)
John Carfi  (http://www.johncarfi.com)
Jim Carrey  (http://pages.prodigy.com/jcarrey/tojc.htm)
Rodney Carrington  (http://www.rodneycarrington.com/rodney.htm)
Judy Carter  (http://www.judycarter.com)
CBC Comics  (http://www.tv.cbc.ca/comics/)
Chicago Comedy Festival  (http://www.comedytown.com)
Chortle: Your Guide To Stand-Up Comedy In London  (http://www.chortle.co.uk)
Ian Cognito  (http://www.netvision.co.uk/cognito/)
Comedian Web Ring  (http://fp.iserve.net/khoffman/comweb.htm)
The Comedy Bit Network of Australia  (http://www.comedy.bit.net.au/)
The Comedy Catch  (http://bertha.chattanooga.net/comedy/)
Comedy Central  (http://www.comcentral.com/)
Comedy-o-Rama  (http://www.comedyorama.com)
Comedy Town  (http://www.comedytown.com/menu.htm)
Comedyzine  (http://www.comedyzine.com/)
The Comedy Zone  (http://bcsdesign.com/comedyzone/)
Billy Connolly  (http://btinternet.com/~sarsen/billy/billy.html)
Bill Cosby  (http://www.netwalk.com/~hammer)
Bob Crawford  (http://members.aol.com/Comic228/crawford.html)
Steve Curtiss  (http://www.geocities.com/hollywood/hills/8970)
Rodney Dangerfield  (http://www.rodney.com/)
Tanyalee Davis  (http://home.earthlink.net/~tanyalee)
Matthew Dean  (http://hometown.aol.com/lafnrhino/index.html)
Doctor Demento  (http://www.ns.net/~densibb/drd.html)
Denmark Stand Up Comedy  (http://www.stand-up.dk)
Nick DiPaolo  (http://www.nickdipaolo.com)
Dona Ana Repertory Theater  (http://www.barking.com/comedy)
Will Durst  (http://www.willdurst.com)
Dame Edna  (http://users.aol.com/dameedna2)
Bill Engvall  (http://www.countrystars.com/artists/bengvall.html)
Will Everett  (http://1home.wnm.net/~wehjr)
FREE comedy web page  (http://www.comedy.com)
Janeane Garofalo  (http://biz.swcp.com/synth/janeane.html)
Steve Gelder  (http://hometown.aol.com/Laphboy/homepage.html)
Wally Glenn  (http://www.halcyon.com/gwally/www/wallpage2.html)
Allan Goodwin  (http://exit1.com/al/)
Linda Haggar  (http://www.ozemail.com.au/~madstove2)
Bill Hicks
(http://www.auschron.com/issues/vol16/issue5/xtra.billhicks.side.html)
Bill Hicks Sound Archive  (http://www.geocities.com/TimesSquare/Alley/5190/)
Keith Hoffman  (http://fp.iserve.net/khoffman)
Bob Hope  (http://www.bobhope.com)
Humor Links  (http://humorlinks.com)
Interactive Humor Database  (http://humor.ncy.com)
Eddie Izzard  (http://www.izzard.com)
Richard Jeni  (http://www.richardjeni.com)
The Amazing Jonathan  (http://www.amazingj.com)
Andy Kaufman  (http://andykaufman.jvlnet.com/)
Dan Kaufman  (http://home.att.net/~danielk)
Sheila Kay  (http://www.sheilakay.com/)
Lauire Kilmartin  (http://www.kilmartin.com/)
Sam Kinison  (http://www.kinison.com/)
Bill Kirchenbauer  (http://www.legendsofcomedy.com)
Steve Kravitz  (http://www.freeyellow.com/members2/sjk56/index.htm)
LA Performance Venues
(http://www.breakaway.org/openstudio/danasnow/wr/act/where la.htm)
The Laugh Dome  (http://www.laugh.com)
Laugh Traxx E-Zine  (http://www.cartooncrossroads.com/traxx)
David Letterman  (http://www.cbs.com/lateshow)
Wendy Liebman  (http://www.wendyliebman.com)
Dave Little  (http://www.lovedavelittle.com)
London Comedy Venues  (http://www.cool-stuff.co.uk/cgi/Venues.pl)
M2C Comedy Links  (http://www.surfinglinks.com/comedy.htm)
Norm MacDonald  (http://www.thefakenews.com)
Kathleen Madigan  (http://www.kathleenmadigan.com)
Steve McGrew  (http://members.aol.com/stevmcgrew/mcgrew.html)
Steve McGrew  (http://www.steve-mcgrew.com/)
Steve Marmel  (http://www.marmel.com)
Steve Marmel, non-sanctioned  (http://www.threedee.com/news/marmel.html)
Jackie "the Joke Man" Martling  (http://www.jackiejokeman.com)
Mark Matusof  (http://www.matusof.com)
Dobie Maxwell  (http://www.dobiemaxwell.com)
Tim McIntire  (http://www.cris.com/~macadoo)
Brian McKim  (http://www.sheckymagazine.com)
Shayne Michael  (http://www.swiftsite.com/shayne-michael/index.htm)
Dennis Miller  (http://www.hbo.com/dml/)
Scott Miller  (http://home.earthlink.net/~limpet/)
Tim Mitchell  (http://www.graphicacts.com)
John Moloney  (http://www.cool-stuff.co.uk/Moloney/)
Bob Newhart  (http://www.bob-newhart.com)
Open Casting  (http://www.opencasting.com)
Open Mic U.K.  (http://www.openmic.co.uk)
Sue Paluh  (http://www.eskimo.com/~comic/)
Mike "Wheels" Parise  (http://www.angelfire.com/ca2/wheelsp)
Phalliqua  (http://members.aol.com/PHALLIQUA/index.html)
Prairienet British Comedy Clearinghouse  (http://www.prairienet.org/britcom)
Rick Presley  (http://www.geocities.com/Broadway/Stage/5191/index.htm)
Greg Proops  (http://members.xoom.com/Greg_Proops/main.html)
Daniel Rosen  (http://members.aol.com/ucanjuggle/misc.html)
Mort Sahl  (http://www.geocities.com/TelevisionCity/3217/)
Mark Saltveit  (http://www.realchange.org/funnystuff)
Adam Sandler  (http://www.adamsandler.com)
Saturday Night Live  (http://www.nbc.com/snl/)
Mark Scalia  (http://members.aol.com/Msxprs/index.html)
Jerry Seinfeld  (http://www.seinfeld.com)
Seinfeld Sound Archive  (http://members.aol.com/~croifer/sein/index.htm)
SHECKY Magazine!  (http://www.sheckymagazine.com)
Todd Shilkin  (http://www.iinet.net.au/~funnyguy/)
Traci Skene  (http://www.sheckymagazine.com)
Leif Skyving, Sweden's Funniest Export  (http://www.leifskyving.com)
Bobby Slayton  (http://www.shamash.org/jb/bk980814/etayid.htm)
Steve Smith  (http://members.aol.com/IMPROVFOOL/index.html)
South African Standup Comedy and Comedians  (http://comedyclub.co.za)
Stand-Up Comedy Bingo  (http://www.fadetoblack.com/bingo.htm)
Stand-Up Norge As (Norway)  (http://www.standup.no/)
The Stand Up Show  (http://www.comedyzone.beeb.com/standupshow/)
Ben Stiller Show  (http://members.tripod.com/~stillershow/)
Strauss-McGarr Entertainment  (http://www.straussmcgarr.com)
Gary Thison  (http://www.metrodetroit.com/comedy)
Ty's Humorous Domain  (http://www.geocities.com/hollywood/7462/index.html)
UK Laughter Links  (http://www.linkit.com/comedy)
UnCabaret Page!  (http://www.uncabaret.com)
The Van Gogh-Goghs!  (http://www.vgg.com)
We're Funny That Way Comedy Festival
(http://members.aol.com/werefunny/index.html)
Mike Welch  (http://members.tripod.com/~mwelch/index.html)
Kevin Bloody Wilson  (http://kevin.bloody.wilson.com.au)
Steven Wright  (http://www.newbie.net/JumpStations/StevenWright/)
Bob Zany  (http://www.bobzany.com/)
Joel Zimmer  (http://joelzimmer.com)
Adrienne Zurub  (http://hometown.aol.com/azurub7950/myhomepage/index.html)


Q:  Any Improv Web pages?
A:  Who cares?

Q:  No, really.
A:

Dizzy Squid  (http://www.worldlink.ca/~dzsquid/welcome.htm)
General Improv Page  (ftp://ftp.crl.com/users/ro/zot/improv.html)
The Improv Page  (http://sunee.uwaterloo.ca/~broehl/improv/index.html)
Fourclaps  (ftp://ftp.crl.com/users/ro/zot/fourclaps.html)
Laughing Matters  (http://www.mindspring.com/users/bsack/lam.html)
Part Time Theater Company  (http://members.aol.com/QWikLaff/index.html)
Second City  (http://www.secondcity.com)
The Toasted Marshmallows
(http://www.ozemail.com.au/~liamcody/toasted.home.html)


Q:  Any ancillary web sites of interest?
A:

Comic Press News  (http://www.comicpress.com/)
SHECKY! A magazine about standup... (http:// www.sheckymagazine.com)
The World Wide Willie  (http://www.WorldWideWillie.com/)
You Can Juggle  (http://members.aol.com/ucanjuggle/)

Q:  Any related news groups?
A:

alt.fan.howard-stern
alt.fan.letterman
alt.fan.letterman.top-ten
alt.fan.chris-elliott
alt.fan.conan-obrien
alt.fan.dave_barry
alt.fan.dice-man
alt.fan.j-garofalo
alt.fan.jay-leno
alt.fan.monty-python
alt.fan.mst3k
alt.fan.woody-allen
alt.comedy.british
alt.comedy.firesgn-thtre
alt.comedy.slapstick.3-stooges
alt.comedy.vaudeville
alt.tv.comedy-central
rec.humor


Q:  How about comedy chat?
A:  Yes, there is a comedy chat line.  To find out more, E-mail the founder,
Richard Scott ([email protected]) or the current host David Kelman
([email protected]). The server is irc.superlink.net and the room is
#greenroom. Chat is regularly schedule for 9PM - midnight EST on Mondays.


3. Tips for comedy writers:

Obtain the Comedy USA directory.  Send material to comics listed in the
directory in advance of an appearance at a club or hotel. They may buy your
material.

Agents generally prefer a project such as screen play, script or book which
is a moneymaker for them, however they may send material to Letterman, Leno
or a sketch show for you as well.

People become staff writers after selling a few one-shot scripts to a
series.

People almost always get those jobs from pitch sessions after hearing many,
many times "We've already done that" or "We have that idea in the works
already."

People get pitch sessions after a recognised, licensed agent -- a list of
them is available from the Writers' Guild of America West -- usually someone
IN L.A. or Hollywood --- has sent out a sample script.

You usually do a sample script for Series A to sell to Series B.

Usually "they" only buy pilots from people who have already been staff
writers for an existing series ("of Cheers" helps sell a series).

Don't bother attempting to sell a premise or treatment: that game is
reserved for proven writers and that's because they have a track record of
delivering a tight, polished script.

Agents must represent your WRITING, therefore they must see your WRITING,
like in a finished script, to sell your skills.

Most of the time, that wonderful spec script idea will NOT be what you
(THELMA & LOUISE a notable exception that proves the rule) but your writing
skills will be what that agent will sell to most likely get you an editing
or rewriting job.

Consider collaboration. Writing by yourself can be fun and you are ultimate
master of your work, but you tend to get tunnel vision. The work can end up
suffering.

Two people can write a script together, but you tend to reach an impasse
rather quickly. e.g. One thinks the bystander should say "Grape Nuts" and
the other thinks the bystander should say "intestinal wall".

Three people shouldn't write a script together, however having three people
in a "riff" session can be optimal. Plus, there's always someone to break
the deadlock.

Four people is too many to get anything done.

Always know who you are sending material to. Unsolicited material sent to a
general address shows the intended recipient that you're not connected.
Thus you can't touch them.

If you write for T.V/Film - Writers Guild the stuff. (See address below)

Write as often and as much as you can. Find a network of comics (always know
the names) and work with them. They may not be famous now, but in a couple
of years... $$$. Trust me.

Have a really dysfunctional background.

Probably the single most important thing about collaborative writing is
LEAVE YOUR EGO AT THE DOOR.


4. Protecting your work:

Copyright your work.


Visit http://www.aimnet.com/~carroll/copyright/faq-home.html

Or, get a form TX (free from your local public library, or downloadable from
http://www.loc.gov/copyright/reg.html) and fill it out. Send it, with $30,
to:

Copyright Office
Library of Congress
101 Independence Avenue, S.E.
Washington, D.C. 20559-6000

Send it certified mail.


For more info, call the U.S. Copyright Office
(http://lcweb.loc.gov/copyright/) at 1-800-688-9889.


Register it with the Writer's Guild of America  (http://www.wga.org/)

Registration is valid for five years and may be renewed for an additional
five years at the same registration rate.

To register by mail, send

One unbound, loose-leaf copy of your material on 8 1/2" x 11" in. paper.

A cover sheet requesting registration that contains the title of the
material and all writers' full legal names.

Your social security number, return address, and phone number.

The registration fee ($20 per script for non-members).

to:

WGAw
Registration Department
7000 W. 3rd St.
Los Angeles, CA 90048


They'll send back a receipt.  Save the receipt -- it's your official proof
of registration.


For more info, call (323) 782-4500 or visit
http://www.wga.org/manual/registration.html


5. In order to appear in any major motion picture, you must have a Screen
Actors Guild (SAG) card. It's a catch-22, though. You can't appear on screen
until you get a card, and you can't get a card until you appear on screen.
There's more info on their "So ya wanna be an actor?" page
(http://www.sag.org/wannabe.html).

You can contact the Screen Actors Guild's main HQ (http://www.sag.org/) at:

5757 Wilshire Blvd.
Los Angeles, CA 90036-3600
323) 954-1600

[email protected]

The Screen Actors Guild also has a New York branch. You can contact them at:

1515 Broadway, 44th Floor
New York, NY 10036
(212) 944-1030

nypr@sagorg

6. Here is a list of comedy clubs by city.  Addresses, phone numbers, show
times, and open mike opportunities are listed if available.

ATLANTA
Punchline
Sandy Springs, GA
(404) 252-0394
Open Mike Tuesdays @ 8PM.
Lottery drawing for spots. Call if you are from out of town.

AUSTIN, TX
Velveeta Room
6th St.
A rite of passage. Open Mike Thursdays @ 10 pm. Call by 9 to sign up
512.469.9116

Capitol City Comedy Club
Formerly know as The Laff Stop
Open Mike Mondays (sporadically). Call for details 512.467.2333

AUSTRALIA
Crazies  (http://www.powerup.com.au/~crazies)
Cnr CAXTON & JUDGE STREETS
PETRIE TERRACE
Brisbane
(07) 3369 0555

Sydney Comedy Store
Cnr Parramatta Rd
Crystal Street, Petersham
Open Mike on Wednesdays

Harold Park Hotel
Harold Park Racecourse, Glebe
Open Mike: Monday nights (call early)

BIRMINGHAM
The Star Dome
Hoover, AL
Open Mike - Sporadic - call club.
Contact Tim Spinosi or Deena. (205) 444-0008

BOSTON
Comedy Connection
Faneuil Hall
617-248-9700
Showcases Sun-Wed. Hypnotist Thurs. Headliners Fri &amp; Sat.

Comedy Studio
Hong Kong Restaurant
1236 Mass Ave
Cambridge, MA
Open Mike Sundays @ 8:00

Dick Doherty's Comedy Vault at Remington's Restaurant
(http://www.dickdoherty.com)
124 Boylston St., Boston, MA.
800-401-2221
Showtimes: Thur, Fri and Sat 9:00pm Sunday Open Mike 9pm, $10 per person

Giggles
Prince Restaurant
Rt. 1
Saugus, MA
Try the scorpion bowls"

The Kowloon
Nick's Comedy Stop
Route 1
Saugus, MA
Call Mike Clark.

Nick's Comedy Stop
Warrenton St.
Boston, MA
Call Vinnie Favorito. 617-482-0930.
Showcases Wednesday night

Ramada Inn lounge
Rt. 1
Norwood, MA
617-341-5101
Showcase Fri @ 9. Call Jeff

The Vault at Remingtons  (http://www.dickdoherty.com)
Open Mike on Sundays
Contact Dick Doherty. 617-729-2565. 800-401-2221.
Call on Wednesday, ask for Tom. Bring 2 or 3 people at $5 each for the show.

Jimbo's South Restaurant
405 Franklin St.
Braintree, MA
617-848-0300.

BRISTOL, UK
Virginmirth  (http://www.desirable.demon.co.uk)
Le Chateau (Basement Bar)
Park St, Bristol, UK
(+44) 0966-175-530
Open shows every second Wednesday.

BUFFALO
Comedy Trap
874-5233
Open mike nites on Thurs.

Comix Cafe
835-4242
Open mikes on Thurs Nite. Call Sunday at midnight. The first five messages
left on the answering machine will get a spot.

Funnybone
838-2800

Hiccups Comedy Club  (http://www.rochesterny.com/mall/21b2.htm)
120 E Main St (in the Rochester Riverside Hotel)
Rochester, NY
325-YUKS

CALGARY, ALBERTA
Yuk Yuk's Komedy Kabaret
Blackfoot Inn
5940 Blackfoot Trail SE
403-258-2028
Open mike on Thursdays, but allots time to amateurs according to how well
the staff knows you. This is 2-3 minutes if you're new to them, and more if
they like you.

CHATTANOOGA, TN
The Comedy Catch
For booking call (423) 629-2233 Steve Plemmons (423) 855-1052 Open mike
Sunday nights. Local openers during the week.

CHICAGO
The Subterranean Cafe & Cabaret 2011 W. North Avenue (Wicker Park)
Chicago, IL
312-878-6898

CINCINNATI
Go Bananas
(513) 984-9288
Shows every Thursday @ 9:00. Guest sets available if you call.

COLORADO SPRINGS
Loonee's
1305 N. Academy Blvd.
Colo. Springs, CO 80909
(719) 591-0707

COLUMBUS, OH
The Lobby
2390 S. Hamilton Rd.
(614) 863-0650
Mondays @ 10:PM

Clancy's Down Under
520 S. High St.
(614) 863-0650

CONNECTICUT
Treehouse Comedy Club
Norwalk, CT
203-371-5696

Treehouse Comedy
Longhorn Cafe, I-84 Exit 15
Southbury, CT 06488
Shows Saturday night @ 9:00. 203-264-4343. 203-794-1222

DALLAS, TX
Backdoor Comedy Club
Don Carter's East, Skillman &amp; NW Highway
Dallas, TX
Showcases Thu - Sat 9PM.
Contact Jan or Linda. 214-601-2204

Comics on Tap
The Village Clubhouse
Southwestern Ave
Dallas, TX.
Thursdays 10:00.
Contact Bill Cheek ([email protected])
214-891-8267

Hyena's Entertainment Showcase
604 Main St.
Fort Worth, TX
(817) 877-LAFF
Wed-Sun 8:00. 2nd show Fri & Sat 10:30
Sign up during the week for Wed & Thurs.

Improv Comedy Club
4980 Beltline #250
Addison, TX
(214) 404-8501 (214) 404-0323
Shows every night 8:30. 2nd show Fri & Sat 10:30.
Best of Dallas on Wednesdays, call at noon to get a spot.
Tough to find stage time here. Easier if you're from out of town.

DAYTON, OH
Joker's

DENVER, CO
The Comedy Club
Aurora, CO

Comedy Works
1226 15th St.
Denver, CO
(303) 595-3637
Open mike every Tuesday

Wits End
Harlan St
Westminster, CO

DETROIT
Joey's Comedy Club/ Kickers All American Grill
36071 Plymouth Rd.
Livonia, MI 48150

FLORIDA
Coconuts
Lakeland, FL
Friday nights @ 8:30 Call Wed. before show (941) 687-2678


GEORGIA
Comedy House Theater
Savannah, GA
Tuesdays @ 8:30 Call that morning for spots.
(912) 356-1045
3-5 CLEAN minutes. NOTE: This room is ALWAYS packed, including open mike
night.They seat 300, and usually turn people away due to overcrowding.

Love's Downtown Jazz and Comedy Club
610 S. Lee St.
P.O. Box 1541
Kingsland, GA 31548-1541
912-729-2727

HOUSTON,TX  (http://www.houston-press.com/1997/current/lcomedy.html)
The Comedy Showcase
Gulf Freeway

HUNTSVILLE, AL
The Comedy Club
Shows Fri &amp; Sat 7:30 and 9:45. Second show Friday is Open Mic
Contact Darlene Jolley

INDIANAPOLIS, IN
Crackers at Broad Ripple
6281 N. College Ave.
Indianapolis, IN 46220
317-253-4211
One show Tues.-Thurs., 2 shows on Fri. and Sat.
Manager:  Ruth Ann Herber

Crackers Downtown
247 S. Meridian Street
Indianapolis, IN 46225
317-631-3536
One show Tues.-Thurs., 2 shows on Fri. and Sat.
Elaine from the Ice House makes most of the booking decisions for both
Crackers rooms.

One Liners Comedy Club
50 Airport Parkway
Greenwood, IN 46142
317-889-LAFF
Started by Dave "The King" Wilson. Dave used to work regularly at Crackers
as a headliner. When he opened this club, the other clubs in town refused to
hire anyone who worked for him. Comics who don't work for  him can work both
of the other clubs.

IRELAND
City Limits
Coburg St., Cork
Tel/Fax: +353 21 501206
Contact Brian Coughlan

JOHANNESBURG, SOUTH AFRICA
Hysterix Comedy Bar

LAKE TAHOE
Thirsty Duck
Elk Point Rd.
Stateline, NV
Ask for Dick Clark. 702-588-3899

Just For Laughs
Reno Hilton
Shows 7 nights @ 8:30, plus Fri & Sat @ 10:30.

LAS VEGAS
The Beach
Open Mike on Sat.

Buzzy's Espresso
Open Mike every other Thursday @ 9PM.
Sign up @ 8 PM. 5-10 min.

Cafe Copioh
Open Mike on Sat.

La Bombadier
Open Mike on Sat.

Melrose Bar and Grill
2327 S. Eastern Ave.
(702) 641-7673
Fri. and Sat. nights, in between band sets 10 min.

They're Nobodys Comedy Club
Thu &amp; Fri 8:30. 15-20 minute showcases

World Trade Center Casino
1067 Griffith Avenue
(702) 387-5581
Tues. nights 7:00 sign up for 8:00 show 5-10 min. PG material preferred.

LOS ANGELES
A regularly updated list of L.A. clubs and open mics is available at Twohy &
Klein's Open-Mic List.
(http://www.heylady.com/tk/open_mic/CA.htm#California)

The Comedy Store
Alternative Comedy Show every Monday.

The Ice House
24 N. Mentor Ave
Pasadena, CA
Open Mike 2nd and 4th Saturday of every month
818-577-1894

LA Cabaret Comedy Club
17271 Ventura Boulevard
Encino, CA 91316
(818) 501-3737 Fax: (818) 501 3749

Velveeta Underground
(213) 882-1986
OPEN MICS: Call first, stop by, to check on their policy for comedy. Some
may require advance sign-up; some may only allow music.

The Basement Coffeehouse
Echo Park United Methodist Church
1226 Alvarado St.
(213) 413-9111
Saturday open mic (comedy okay)

Coffee Junction
19221 Ventura Blvd.
Tarzana, CA
(818) 342-3405 Sunday open mic 3-5 pm (comedy?)

Common Grounds
9250 Reseda Blvd.
Northridge, CA
(818) 882-3666
Thursday comedy open mic w/ Stacey Jill Jackin

Darkwater Cafe
10780 Jefferson Blvd.
Culver City, CA
(310) 839-6739
Wednesday, Circus de Cafe, open mic (comedy?)

5th St. Dick's Coffee Co.
3347 1/2 w. 43rd Place
Leimert Park Village
(213) 296-3970
Monday: comedy night (could be open mic)

Greens & Grounds
124 N. San Fernando Blvd.
Burbank, CA
818-238-9100
You get 5-7 minutes. Not exclusively comics.

The Horseshoe Coffee House
14568 Ventura Blvd.
Sherman Oaks, CA
(818) 986-4262
Every Wed "Wise Guys" Comedy Open Mic Sign up: 8:00 Show 9:00 p.m.

Hyperdisc music store and coffeehouse
2623 Main Street
Santa Monica, CA
(310) 581-3545
Monday open mic night with Maureen Davis-Russak 6:30 sign-up (comedy?)

Little Frida's Coffee House
8730 Santa Monica Blvd
West Hollywood, CA
(310) 854-5421
Wednesday: Women with Balls comedy showcase (don't know if this is open or
not, don't know if this is lesbian club or not, but...)

Sacred Grounds
399 West Sixth Street
San Pedro, CA
(310) 514-0800
Wednesday open mic (comedy?)

San Gennaro Cafe
9543 Culver Blvd.
Culver City CA
(310) 202-8132 (Night)
(310) 813-8332 (M-F, Day)
(310) 836-0400
Sign up 6:30pm show at 7:00pm Tuesdays. Showcase night: Friday.

Tsunami
4019 Sunset Blvd.
Los Angeles, CA
Every Wed. Open Mic hosted by Pammy Sue Comics
(213) 661-3476 to pre-sign Show at 8:15 pm

Un-Urban Coffee House
3301 Pico Blvd.
Santa Monica
(310) 315-0056
Thursday: Comedy Crunch comedy open-mic

LONDON, ENGLAND
Barracuda Comedy Club
38 Hampstead High Street
London NW3
0171-586 0674

The Comedy Store
Haymarket House
No 1 Oxendon Street
London SW1

LONDON, ONTARIO
Yuk Yuk's Komedy Klub
(519) 680-1090. (519)680-1091
Open Mic last Thursday of every month. Contact Gerry Blais.

LOUISVILLE, KY
Comedy Caravan
502-459-5532 (ask for Sueann). 502-459-0022 (Bret)
Booked by: TSM artists P.O. Box, 4129 Louisville, KY 40219

MANCHESTER, ENGLAND
The Laughter Lounge  (http://www.personal.u-net.com/~zy/comedy.htm)
Steve Vernon on 0374 978634

MEMPHIS
Bonkerz
inside Bally's Casino
Robinsonville, MS (20 min. from downtown Memphis)
Shows at 8PM & 10PM Friday & Saturday and 5PM Sundays

MIAMI
Cheers
Fort Lauderdale, FL
Open Mike on Tuesdays

Christopher's
Fort Lauderdale, FL
Open Mike on Tuesdays

The Comedy Corner
West Palm Beach, FL

The Comedy Zone
Miami Beach, FL
10 minute spots on Wednesdays.

One Night Stan's
Hollywood, FL
Tuesdays 8:30 Just show up

Uncle Funny's
Davie, FL
(305) 474-5653
Open Mike on Sundays. Call on Wednesday.

MINNEAPOLIS
Knucklehead's Comedy Club
Located in the Mall of the Americas
Bloomington, Minnesota.
Mostly major national acts.

Acme Comedy Co.
708 N. 1st Street
Minneapolis, MN 55414
(612) 378-6393
National headliners and features Tue-Sat.
Open Mike / Showcase Monday nights, 6:30 - 7:00 signup, 8:00 showtime.
Performance comes down to a random drawing. Out-of-towners who want to
audition for a feature spot contact Greg Langer and ask for a guest set.

Laughing Cup
18th & Nicollet
Tuesday nights open mike. Show up around 7:30 and ask for Dave Basham.

Scott Hansen's Comedy Gallery
St. Paul, Minnesota.
(612) 331 5653

MONTREAL, CANADA
The Comedy Nest  (http://www.iti.qc.ca/iti/users/sean/cn/cnhome.html)
E-Mail:  [email protected]
514-982-9644

NASHVILLE, TN
Coconuts

Zanies

NEW JERSEY
THE LAUGHING LADY OPEN MIKE
Mixed Grill
516 Jersey Ave.
Jersey City, NJ
5:30 p.m. to 8 p.m. Thursdays. 201-332-9023

Stress Factory
New Brunswick, NJ
(908) 545-HAHA. Open Mike Wednesdays. Call first.

Rascals  (http://www.rascalscomedyclub.com/sitemap.html)
425 Pleasant Valley Way
Ocean Township
West Orange, New Jersey
(973) 736 - 2726
Open Mike on Mondays in warm weather.

NEW MEXICO
Dona Ana Repertory Theater  (http://www.barking.com/comedy)
PO BOX 8437
Las Cruces, NM 88006-8437
(505)525-0904. Contact Mark Kuker  ([email protected])

NEW YORK CITY
Boston Comedy Club
82 W. 3rd St.
212-477-1000

Caroline's
1626 Broadway
(212) 757-4100

Catch 22
East Village
Send material to Steve Po
PO Box 515
Millrift, PA 18340.
Please do not call the club.

Catch a Rising Star
1487 First Ave. near 77th Street.
(212) 794-1906. (212) GO-CATCH.
Shows: Sunday -Thursday 9pm, Friday 8:30pm and 11pm, Saturday 8pm and
12:30am.

Collective Unconscious  (http://www.weird.org/) --Reverend Jen's Anti-Slam
145 Ludlow Street between Stanton and Rivington
Open Mic Wednesday nights 7:45-11:15, signup at 7:30

Comedy Cellar
117 MacDougal Street between W. 3rd. and Bleecker.
(212) 254-3480
Reservations  (http://www.ComedyCellar.com/reserve.htm)

The Comic Strip
1568 Second Ave. between 81st and 82nd St.
(212) 861-9386
Shows: Monday - Thursday 9pm, Friday 8:30 and 10:45, Saturday 10:30pm and
12:30am.
Open mike on Mondays.
You have to wait in line every 3 months or so to get a number which
determines your night. Your night can be 4 months down the road.

Creations
21st St. between 5th & 6th Ave
Monday 8PM.

Dangerfield's
1118 First Ave. between 61st & 62nd St.
(212) 593-1650
Shows: Sunday - Thursday 8:45pm, Friday 9pm and 11:30pm, Saturday 8pm,
10:30pm, and 12:30am.

Down The Hatch
179 W. 4th St.
Greenwich Village

Gladys Comedy Room (In Hamburger Harry's)
145 West 45th
(212) 832-1762
Open Mike on Wednesday @ 8:00.
Open Mike Tues & Thurs 4:30-7:30 PM.
Other shows Fri & Sat.
Call Club Manager, Chris.

Gotham Comedy Club
212-367-9000
34 W. 22nd St. between 5th & 6th Ave.
Open Mic Tue &amp; Thu 5PM- 7:30PM

The Improv
358 W. 44th St. between Eigth and Ninth Ave.
Shows: Sunday - Thursday 9pm, Friday - Saturday 9pm and 11:15pm.

The New York Comedy Club  (http://members.aol.com/nycomclub/index.html)
241 East 24th Street
212-696-5233
Open Mic Mondays, 4PM. Ask for Steve or Al.
Two Drink Minimum. 1-800-32-FUNNY

Rebar
8th Ave & 16th St.
Open Mike Mondays 7-midnight. Sign up 6:45.
NOTE: This open mike is NOT the famous Rebar show

Spoon
Open Mike Monday @ 9PM.
12 Avenue A
Contact Bill Sherman  ([email protected])

Stand Up-NY
236 West 78th Street, near Broadway.
(212) 595-0850

Surf Reality--Faceboy's Open Mike Night
172 Allen Street between Stanton and Rivington
Open Mic Sunday nights, signup at 7:45. Show runs until 4 AM.

Talk of the Village
Bleecker St. between Thompson &amp; Sullivan
Contact Jim McCue

West End Gate
Broadway between 113th & 114th
Open Mike Tue & Wed 4-8PM
Tough room. Easiest room to get time in.

OAKLAND
Dorsey's Locker
5817 Shattuck
Oakland, CA
510-428-1935
Monday night - 10PM
Host - Leunell

End Zone
1466 High Street
Oakland, CA
Open Mike Tues @ 9:00 PM
510-536-9332

Geoffrey's Inner Circle
410 14th St.
Oakland, CA
Open Mike Wed @ 8:30 PM
510-839-4644

Mambo Mambo
1803 Webster
Oakland at 19th
510-832-9422
Friday 9PM
Host - Tony Sparks

Emery Bar and Grill
5800 Shellmond Street
Emeryville, CA
(510)-653-0444
8-10 PM Monday Nights M.C. Deborah Douglas

Borders Books
Emeryville, CA
Showcases Monday Nites. Must be clean.

Carribean Spice
Berkeley
510-843-3035
Thursday 9PM
Host - Norman Hazzard
(Also see listings for SAN FRANCISCO)

OKLAHOMA CITY
Bricktown Joker's
229 E. Sheridan
Oklahoma City, OK
405-236-JOKE (5653)
Free Comedy workshop every Sunday at One O'Clock. Laff It Off Showcase,
first Tuesday of the month.

OMAHA, NE
The Funny Bone
402-493-8036

ORLANDO, FL
Adventurer's Club
Address: Pleasure Island at Disney Lake Buena Vista
Phone: (407) 934-7781.
Seven shows nightly from 8:15 p.m., stage shows and comedic characters.

Bonkerz
Address: 25 S. Orange Ave., downtown Orlando
Phone: (407) 629-2665
Shows at 8 PM every Friday & Saturday

Coconuts Comedy Club
Cappuccino's Restaurant Address: 927 W. State Road 436, Altamonte Springs
Phone: (407) 682-0071.
Hours: 8:30 p.m. Fri. & Sat.

PALO ALTO
Rose & Crown
University & Emerson
Palo Alto, CA
650-327-7673
Mondays 8PM
Host - Greg Bedford

PENNSYLVANIA
CARROLL VALLEY COMEDY CLUB
Call Sheree  ([email protected])
717-642-8211

PHILADELPHIA
The Comedy Cabaret
Best Western
Roosevelt Blvd (Rte 1)
Open Mike Wednesday at 8:30 - be there before 8:15 to get on the list.

PHOENIX, AZ
The Star Theater
(602) 423-0120
Ask for Louis

PORTLAND, ME
The Comedy Connection
Portland, ME

PORTLAND, OR
Harvey's Comedy Club
436 NW 6th
Portland, OR
(503) 241-0338
The owner is Barry Kolin.  Or call David Tribble, he has a bunch of one
niters around the area
(360) 693-2613

It's A Beautiful Pizza
33rd & Belmont
Phone: 503-233-5444
Open Mic Sunday 9PM; signup around 8:30PM
Host:  Joel Clemmens

Jimmy Mak's
NW 10th and Everett
Phone: 503-295-6542
Open Mic Monday at 9PM
Host: Randy

Portofino Caffe Italiano
8075 SE 13th Ave. (in Sellwood District)
Phone: 503-234-8259
Open Mic Thursday at 8PM
Host: Rob Lewis

Suki's Open-Mic Comedy Thursdays
2401 SW 4th Ave.
Phone: 503-226-1181
Thursdays at 9PM

RALEIGH, NC
Charlie Goodnight's Restaurant-club
861 W. Morgan St., Raleigh, NC
919-828-5233. 919-833-8356.

SAN FRANCISCO, CA
A web page for the latest San Francisco standup information is available at
BayComedy.com  (http://www.baycomedy.com)

Cameron's
108 Cabrillo Hwy. N.
Half Moon Bay
Open Mike, Thursdays @7:30 PM
Talk to Aury - 415-726-1304 or 415-726-5705

Cobb's Comedy Club  (http://www.webcom.com/shownet/cobbs/)
2801 Leavenworth (at The Cannery)
San Francisco, CA
(415) 928-4320. (415) 928-4445

Ireland's 32
3920 Geary at 3rd
415-386-6173
Alternate Tuesdays at 9:30PM
Host - Gary Cannon

Java N' More
Open Mike on Saturday @ 7:30 PM
Church St. & Clipper St.
Jean Armstrong 415-824-6601

Java Source
Clement and 5th Ave
San Francisco, CA
Open Mike, Tues & Sat. 9:30 PM

Lost & Found Saloon
1351 Grant
415-392-9126
Tuesdays 8PM
Host - David Kleinberg

Luggage Store
Open Mike on Tuesdays @ 7PM
1007 Market St.
415-255-5971

The Marshs Mock Cafe (http://www.saber.net/~mearth/MockCafe.htm)
1074 Valencia Street
SF, CA 94110
(415) 826-5750 #2
Contact Mike Spiegelman  ([email protected])
Open Mic 9-10 pm every Saturday (sign up as early as 7 pm) followed by  Late
Night Laughs  with featured stand-up comics, 10 p.m. $5-7.

Nervous Laughter
252-9697

One World Cafe
1799 McAllister St.
SFCA
Open Mike on Friday @ 7:30 PM
415-776-9358

The Punchline
444 Battery St. SFCA
(415) 397-7573
Open Mike on Sundays @ 9:00.
Ask for Melissa 415-397-4337

(Also see listings for OAKLAND)

SAN JOSE
Knuckleheads
San Jose, CA

SAN RAFAEL
Belrose Dinner Theatre
1415 Fifth Avenue
San Rafael, CA
415-454-6422
Thursday 7:30PM
Mostly singers, Clean Comics Only
Host - Maggie Belrose

SANTA MONICA
123 Broadway
Upfront Comedy Classics
Fridays and Saturdays at 11:30PM. Contact Cash Landy.
(310) 319-3477
(310) 572-6373

SEATTLE, WA
Belltown Theatre Center
115 Blanchard
Seattle, WA
206-728-7609
Open Mike 1st & 3rd Friday of the month, 11 PM

Club Broadway
Everett, WA
Open Mike Thursday

The Dubliner
3405 Fremont N
Seattle, WA
206-548-1508
Open Mike Sunday, 9 PM

Giggles Comedy Nite Club
53rd & Roosevelt
Seattle, WA
206-526-JOKE
Open Mike Sundays, 8 PM

Swannie's Comedy Underground  (www.comedyunderground.com)
222 S. Main
Open Mike Monday and Tuesday 8:30
206-628-0303

University Sports Bar & Grill
5260 University Way NE
Seattle, WA
206-526-1489
Open Mike Wednesday, 8:30

SARASOTA, FL
McCurdy's Comedy Club
Sarasota, FL
Contact Les McCurdy

SUNNYVALE, CA
Rooster T Feathers Comedy Club  (http://www.roostertfeathers.com/)
157 W. El Camino Real
Open Mike Mon @ 8:00 PM
Talk to Jessica (408)736-0921

SYRACUSE, NY
Wiseguy's

TOLEDO, OH
Connextions Comedy Club
(419) 867-9040 (recording)
(419) 867-9041 (person)
Amateur Showcase Wednesday Nights Be one of the first 3 callers that Monday
before noon.

TORONTO
The Ben Wick's Pub
24 Parliament St.
Toronto, Canada
(416) 923-6089
Alternative Comedy Thursdays at 9PM. An open stage to any and all comedians.

Comedy Handbag
Red Spot Lounge & Bar
459 Church St.
9 PM.
Contact  David MacLean  ([email protected])

Comedywood  (http://webhome.idirect.com/~comedywd/)
800 Steeles Ave. W. Unit 11B
Thornhill, ONT L4J7L2 Canada
(905) 761-0543
Contact Boris Chernak

Yuk Yuk's Komedy Kabaret Superclub Toronto
2335 Yonge Street
Toronto, Ontario
(416) 967-6431 ext. #228
Sink or Swim Mondays. Call 10:00 AM Monday morning to be one of 14 comedians
that night.

TUCSON, AZ
Laff's
520-323-8669
Open Mike Tuesdays at 8:00. Call Dave (?) Tues. afternoon to get on list.

TULSA, OK
Tulsa Comedy Club
71st & Sheridan
Tulsa, OK
Open Mike most Tuesdays 8pm, no call ahead needed

UTAH
The Comedy Circuit
Midvale, UT

Johnny B's Comedy Club
177 West 300 South
Provo, UT 84601
(801) 377-6910
Showtimes: Thurs 9, Fri &amp; Sat 8 &amp; 10.
Contact Johnny Biscuit (owner), Terry Taylor
TV clean comedy in the heart of Mormon country. Open Mike Thursday only.

Mildred's
Roy, UT
Once a month showcase primarily for local talent.

David's
2324 S. Redwood Road
Salt Lake City, UT 84119
Call Carmen @ (801) 972- 9688 or (801) 531-8280 for showcase or booking.

VANCOUVER, CANADA
Lafflines
Corner of 4th & Columbia
New Westminster (Columbia Street Skytrain Station)
Phone: 604-525-2262
Contact: Mark Dennison

Urban Well
1516 Yew Street
Jazz Bar/Cafe with 2 shows Tuesday.  Open mic available.
Phone: 604-737-7770
Contact:  Jamie Hutchison ([email protected])

Yuk Yuks
750 Pacific Blvd. South
Phone: 604-687-5233
Open mic Wednesdays
Contact: Dave Copeman  ([email protected])


7. Agents and Promotional Agencies
UNITED KINGDOM AVALON
25 Litchfield Street, London. WC2H 9NJ.
Tel: 0171 497 2656 Fax: 0171 379 0325
Avalon is one of Britain`s leading comedy management and promotions agency.
Avalon is credited with the National Comedy Network, Britain's largest
network of regional comedy clubs.

INTERNATIONAL ARTISTES
Mezzanine floor, 235 Regent Street, London. W1R 8AX.
Tel: 0171 439 8401 / 0171 872 0089 Fax: 0171 409 2070
Established in the entertainment biz for 50 years.

OFF THE KERB PRODUCTIONS
The Old Bakery, 6a Philip Walk, London. SE15 3NH.
Tel: 0171 732 4018/1473 Fax: 0171 639 7021
Off the Kerb Productions has been providing the best alternative comedy
since 1993. It programmes comedy for a variety of festivals including
Glasgow Mayfest, Reading, Phoenix and Manchester.

RBM Garden Studios
11/15 Betterton Street, London. WC2H 9BP.
Tel: 0171 379 0344 Fax: 0171 379 0801
Multi-award winning agency - one Perrier winner, four Perrier nominees,
three Time Out winners - RBM has presented a varied and stimulating number
of acts over the last seven years.

RICHARD STONE PARTNERSHIP
25 Whitehall, London. SW1A 2BS.
Tel: 0171 839 6421 Fax: 0171 839 5002
RSP represents performers, writers and producers.


8. Books about being a stand-up comedian.

Be a Stand-Up Comic, or Just Look Like One. A Comedy Career Guide.
Bob Stobener, R. Scott Edwards.
Laughs Unlimited. 1989 ISBN 0-9624792-0-9
Decent how-to book. Small book 120 p.

Comedy Writing Step By Step
How to Write and Sell Your Sense of Humor
Gene Perret
Distributed by Samuel French Trade
This book is full of useful tips from a veteran comic writer. Makes a good
addition to the comic's reference bookshelf.

Comic Lives - Inside the World of American Stand-Up Comedy.
By Betsy Borns, Simon & Schuster, 1987.
Great inside look at what it was like in the clubs and on the road for over
50 headline comics like Jerry Seinfeld, Steven Wright and Paul Reiser.

The Comic Toolbox
John Vorhaus

Ha Bloody Ha
By William Cook. Fourth Estate, 1994 ISBN 1-85702-180-0
Interviews with successful stand-up comedians, mostly British. The bulk of
the book is thirty comics talking about their life, experiences and art.

How To Be A Working Comic: An Insider's Guide To A Career In Stand-Up Comedy
(http://www.thecomedybook.com)
By  Dave Schwensen  ([email protected])
Back Stage Books

Hell Gig
By Andrew Llessat (Brad Tassell)  ([email protected])
527 N Greenriver Rd.
Box 176
Evansville, IN 47715
Send $10 to get a signed copy.
Hell Gig is one mans journey through the business of stand up comedy.
Working on the road fifty weeks a year. It's funny, poignent and has been
called required reading for anyone interested in how much it takes for a
comedian to get his act to the stage, and more.

How to be a Stand-up Comic
Richard Belzer, Larry Charles, and Rick Newman.
Carol Publishing Citadel Book. 1988 ISBN 0-8065-1319-5.
Meant to be more entertaining then enlightening.

How To Be Funny. Discovering the Comic in You
Steve Allen with Jane Wollman
Prometheus Books. 1992 ISBN 0-87975-792-2
Good book about the stand-up as an art form. How it works, what not to do,
etc. Good to tap into his experience (which is vast). The Laugh-Makers.

How to Make 'Em Laugh 'Til it Hurts
Gerald Wolfe  ([email protected])
Wolfe Publishing
2514 34th St.
Santa Monica, CA 90405
This book details the secrets of 20 great comedians.

Make 'Em Laugh
Steve Allen
Prometheus Books. 1993 ISBN 0-87975-837-6
Good book written in a conversational style. As if you visited with Steve
and he talked about comedy. Lots of history and anecdotes.

The Penguin Book of Women's Humor
Talks about the differnce between male and female humor.

Slapstick: An Illustrated History
By Tony Staveacre

Stand-Up Comedy as Art, Business, and Life Style.
McGill-Queen's University Press. 1990
High-brow analysis by interview of many comics about the comedy business in
Canada. Kind of stuffy reading, but some good content and statistical
information about the business.

Stand-Up Comedy, The Book  (http://www.judycarter.com)
Judy Carter.
Dell Trade Paperback. 1989 ISBN 0-440-50243-8
Excellent book derived from her experience teaching a comedy workshop.
Highly recommended by some.

Successful Stand-Up Comedy Advice from a Comic Writer.
Gene Perret.
Samuel French Trade. 1993 ISBN 0-573-69916-X
Great book from one of Bob Hope's writers. Great insight into the inner
workings of stand-up.

Wake Me When It's Funny
Garry Marshall.
A good book worth reading, half of which deals with sitcoms.

Zen & the Art of Stand-Up Comedy
Jay Sankey.
Routledge: NY, London. 1999  ISBN 0-87830-074-0
"Great, great book." - Mark Saltveit


9. Comedy Periodicals

The Comedy USA Guide (A must for any comedian working the road)
I'm not sure which address is correct.

The Talent Directory: $45.95 (In The U.S.)
The Trade Directory: $35.95 (In The U.S.)
Or get both books together for only: $68.95 (In The U.S.)

COMEDY USA  (old?)
2107 Van Ness Avenue, Suite 306
San Francisco, CA 94109
(415) 749-0990

COMEDY USA  (new?)
PO Box 69-252
Los Angeles, CA 90069
(213) 658-7447

The Comic Bible  $10 per issue, $55 for six months.
718-548-7907
Primarily focuses on New York City, but useful for all comics.

Gene Perret's Round Table Newsletter
30941 W. Agoura Rd. #228
Westlake Village CA 91361
(818) 865-783

Gene Perret's Round Table And Comedy Services
2135 Huntington Drive, # 205
San Marino, CA 91108

LA Standup Directory
$10.

*Standup Comedy* (http://www.realpages.com/standup)
Newsletter Online and In Print
Contact: Craig Ralls   1-800-807-3828
1370 W Sixth St, Suite 305
Cleveland OH 44113


10. Comedy Software
COMEDY GYM  (http://www.instar.com/comedygym)
8413 Stillwood Lane
Austin, Texas 78757
(512) 467-0886
[email protected]

Milton Berle's Comedy Software
Beverly Hills, CA
800 645-8432

Improv Maker Software  (http://village.ios.com/~kassj/improv.html)
By James Kass  ([email protected])

Comedy Generator Software
(http://coulomb.uwaterloo.ca/~broehl/improv/cwdemo.html)
By Vince Constantino

Comedy Writer Software (http://members.aol.com/ideascapes/comedy.htm)
By Vince Constantino

ScriptWright - Script Writing Software  (http://www.columbia.edu/~gg2/)
Compuserve ShowBiz forum, Lib 14&

11. Miscellaneous

Bill Hicks' Mailing List
Sacred Cow Productions
Fossil Creek Studio
PO Box 26231
Austin, TX 78755

THE COMEDY COACH  (http://www.comedycoach.com/)
480 9th Avenue Suite A
San Francisco, CA 94118
Phone (800) LAUGH-OK (415) 668-7955
Contact Neil Leiberman  ([email protected])

Comic Relief  (http://www.comicrelief.org.uk/menu.html)
800-528-1000

Jay Leno's FAX line
818-840-2249
First, you have to have a contract with Big Dog Entertainment. You can get
paid from 1-50 dollars, but the going rate is 10 dollars a line, more for a
complete monologue

Judy Carter's Stand-Up Comedy Workshops
2112 Walnut Ave.
Venice,CA 90291
800 426-6427
310-915-0555

Just For Laughs
Montreal Comedy Festival
51 Sherbrooke Street East
Montreal, Quebec H2X 1X2
Andy Nulman ([email protected])
or
Andre Gloutenay
(514) 845-3155. (514) 845-4140 fax.

Humber Comedy Workshop  (http://admin.humberc.on.ca:80/~comedy/)

NewsJoke Inc. (http://www.newsjoke.com)
Seems to be a fax/e-mail  ([email protected]) service for morning DJ's and
the like.

Jim Richardson  ([email protected])
Coaching comics for 30 years.
ORGANIZED COMEDY (http://www.jimrichardson.com)
413 Furlong Road
Sebastopol, California 95472
Telephone: 707-829-1313

Al Rae's Online Comedy Workshop  ([email protected])

Greg Dean's College of Comedy Knowledge (http://www.business1.com/comedy/)
310-285-3799 (outside Southern California)
800-3STANDUP (inside Southern California)
Contact Greg Dean  ([email protected])

ON-LINE HUMOR course  (http://www.dialnsa.edu)
(212)229-5880 info &amp; free bulletin.
FAX (212) 989-2928
Prof. Elliot Tiber  ([email protected])

The Sitcom Writer's Workshop
Jack Gilbert
LA, CA
818-506-0429

Thanks go to:

Bernard Aboba  (legalese)
[email protected]
Cathe Alleger  ([email protected])
Alooohaha  ([email protected])
Dave Anthony
Mary Armstrong ([email protected])
BaldGuy  ([email protected])
Rick Barnes
Allison Bell  ([email protected])
Stuart O. Bronstein  ([email protected])
Kevin Burke ([email protected])
Bob Crawford  ([email protected])
Mark Farrell  ([email protected])
Nancy Gold  ([email protected])
Bill Harper  ([email protected])
Marc Hershon  ([email protected])
Paul "Peekay" Hooper
Chris Kania  ([email protected])
David Kelman  ([email protected])
Fred Kerr  ([email protected])
Jennifer Laurie  ([email protected])
Karen Lee  ([email protected])
Dave Little  ([email protected])
Sue Lyon  ([email protected])
Steve Marmel  ([email protected])
Liam McEneaney  ([email protected])
Kim Millwater ([email protected])
Eugene Mirman  ([email protected])
Billy Mitchell
Pepperskul  ([email protected])
Brent Piaskoski  ([email protected])
Tim "Swordfish" Mitchell  ([email protected])
John O'Connell  ([email protected])
James O'Connor
JustStu  ([email protected])
Sue Paluh  ([email protected])
Erik Passoja  ([email protected])
Robin Pike
Jim Robinson  ([email protected])
Mark Saldanha  ([email protected])
Mark Saltveit  ([email protected])
Dan Savage  ([email protected])
Tim Shell  ([email protected])
Siggy  ([email protected])
Dana Snow ([email protected])
Ralph Tetta  ([email protected])
Lawrence Thomas  ([email protected])
Mike Welch  ([email protected])
Jamie West  ([email protected])
Jim Wright

Author's Home Page  (http://rampages.onramp.net/~stevebo/)

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