comedy advice

(Repost) Don't Roll with the Punchlines

When I started comedy, the first lesson I learned was that I was supposed to ignore the men's bad behavior around me. In my 3rd month at open mics, a very drunk male comedian wouldn't leave me alone, and the host told me to ignore it because "he gets like that." Later that night, the drunk comic cornered me in a booth and put his hand up my dress, something I'd later find out he had done to other girls.

A few months later, I had to tell a male comedian to stop whispering sexual things in my ear. When I left my phone on the table to record my set, he whispered into the camera that there was nothing I could do to stop him from "beating up that pussy” if he wanted to. When I told the host, he said, "he's just joking around."

Over the years, I would have this experience repeatedly: I'd see a man doing something inappropriate, I'd say something and be told to get over it. It left me with a feeling of otherness. Maybe I was too being uptight about being a comedian? So I tried to be one of the guys and pretend it didn't make me furious when they made jokes where a woman's consent was the punchline. That silence lasted all of six months. I spent the next two years standing on every soapbox I could find and trying to convince people to change, which was exhausting, combative, and ineffective.

It wasn't until a male host told me to quit coming to his show if I didn't like how he touched female comics that it dawned on me: I was going about this all wrong. Here I was trying to change the way people were when I needed to change the people.

So, I started an open mic. But then I realized how few women were signing up and that dudes were extra raunchy because there were hardly any women there. When a room full of overly confident young men are making jokes about murdering the slut who dumped him, you have an environment where most women don't want to spend their time. It is a cycle most people don't bother to break, saying, "It is what it is," but if you ask me, we made it that way, and we can change it.

So I started trying to make my open mic comfortable for everyone. I didn't tell people what to say, but I did start letting them know how what they said made me feel. I butted heads with a few people that don't signup anymore, but most seemed to grow from the experience. My open mic has a culture where other people feel empowered to speak up but rarely need to. After almost four years, we have set a new standard for what is acceptable, and the room self-regulates.

My next opportunity to work on things from the bottom up came when a theater invited me to teach a stand-up writing class. Teaching that course allowed me to intervene before someone got it in their head that a trans-phobic joke was hilarious. It gave them the chance to learn where the line was in an environment where not just one person but a whole class would make sure they didn't cross it again. It taught the entire group how to speak up, something crucial to changing our industry's "get over it" attitude before signing up for an open mic.

Now I run several showcases where I work with the next comedian level. I can influence what passes for acceptable behavior. I have a pipeline of opportunities to share with the comics I've been working with at my open mic and classes- AKA people who have learned to be funny AND respectful.

Overall, I feel pretty good about the community I have created around myself and don't often feel like an "other" anymore. It took some trial and error, but I realized the key to overcoming the feeling of otherness I had wasn't trying to go with the flow. It was to break out of the current. Being visibly true to yourself is like a beacon that calls to other "others," and if you give the signal, they'll find you. Then, little by little, you can cultivate your community and reshape even the most toxic environment.

If you are a person facing harassment, discrimination, or need an ally, email me at Sam@windypeach.com or visit a Windy Peach Comedy open mic. I promise you'll be welcome.

Comedy may not have an HR department, but that doesn't mean you don't have resources.

“Ask not what the booker can do for you, ask what you can do for the booker”

If the comedy community had an FAQ page, "How did you get that?" would be at the top of the list. Asking isn't always popular because everyone wants to be chosen, but in my experience, asking for what I want has always gotten better results than waiting. 

Before I did comedy, I worked in the music industry, interviewing bands and reviewing albums. 

Before I worked in the music industry, I was a person that wanted to work in the music industry but wasn't sure how to break in. I started by writing an email to a local radio station that played the kind of music I wanted to write about and asked if they would consider me for an internship. I was 15, and there wasn't an actual internship I was applying for, but I knew I wanted to be part of what they were doing at 98.3FM. I pitched an idea of what I wanted to do, why I thought I would be great at it, and when I was available to begin doing it. I got lucky, and the right person read my email, and over the next several years, I worked my way from intern to full-time host. Once I had honed my industry skills a little, I knew I wanted to interview more prominent bands and review major release albums. When I was 19, I started a blog next to nobody read, but I kept posting 2-3 times a day. Eventually, that blog became the portfolio of writing I submitted to significant publications. By 21, I freelanced for people who granted me access to the influential names I wanted to interview.

I've approached comedy pretty similarly: I decided I wanted to do it, I found ways to practice, and once I felt confident, I started asking the people to consider me for opportunities. As silly and fun as comedy is, if your goal is to do it at any level beyond open mics, you have to treat it like a job- and it is pretty rare to get a job without applying.

If you have been consistently developing your act at open mics but haven't gotten booked on a show, the person running that show probably hasn't seen you yet. Even in a minor comedy scene, many faces cycle in and out, so it is ridiculous to expect anyone to pay attention to your growth.

In my experience, the people who book rooms are much more likely to consider your booking request if they've seen you watch their show before. Comedy is often a give and take, but it is essential to remember that attending a show is not a bargaining chip. You don't get to say, "I came to your show, so now you have to put me on." but you can tell the showrunner, "I think your show is great, and I would love to be part of it. How can I be considered?". Try saying hello in person (aka put a face to your name) and then send a polite follow-up message to the show's social media or booking email expressing your interest. 

There is a vast difference between asking, "Can you book me?" and submitting your work for their consideration. Never ask a booker how to get on their show during the show. It isn't polite, and they 100% also will not remember you asked- they're busy!

If you see a show or comedy festival posting about needing volunteers, offer your help. Shows often need someone to work the door, help set up chairs, and post flyers- a ton of work goes into running a successful comedy show. Offering your help gets you face-time with people who can book you, shows your investment in making the show a success, and your respect for the showrunner's work. Not to mention it's a free lesson in show running!

A great message to send a show you have already been out to support: 

Hey (booker's name OR name of show), 

Last night, I had a great time at (Name of Show OR venue ). You run a fantastic room! I wanted to send a tape for your consideration and hope to perform with you sometime soon. 

Thank you, 

(Your first and last name) 

(Link to a video/website/media kit/etc.) 


If they don't reply to your message, wait a few weeks and follow up. If you still get ignored, do everyone a favor and leave it be until you have a new tape. Sometimes, no answer means no. Once you have submitted your information, you have no more power over the process- trust that they'll have you on if it is a good fit, and if not, there are plenty of shows out there. 

A good video should be well lit, easy to hear, and 5-7 minutes long (unless told otherwise, this is pretty standard). Most bookers want to see unedited tapes (not a highlight reel) and are not interested in your crowd work, so keep that in mind as you try to get a new clip for submissions. 

Final recap: 

-Attend the shows you want to be on. 

-Be present and be pleasant.

- If you are funny, you're going to get booked- eventually. 

Remember: It's nice to be asked to do a show, but if you sit around waiting for people to discover you, you'll be doing more sitting than stand-up.

Don't just roll with the punchlines

When I started comedy, one of the first lessons I learned was that I was supposed to ignore the men's bad behavior around me. In my 3rd month at open mics, there was a very drunk comedian who wouldn't leave me alone, and the host told me to just ignore it because "he gets like that." Later that night, the drunk comic cornered me in a booth and put his hand up my dress, something I'd later find out he had done to other girls.

A few months later, I had to tell a comedian to stop whispering sexual things in my ear. When I left my phone on the table to record my set, he whispered into the camera that there was nothing I could do to stop him from "beating up that pussy” if he wanted to. When I told the host, he said, "he's just joking around."

Over the years, I would have this experience over and over again: I'd see a man doing something inappropriate, I'd say something, and I'd be told to "get over it." It left me with this feeling of otherness-maybe I was too uptight about being a comedian? So I tried to be one of the guys and pretend it didn't make me furious, but that lasted all of…6 months. I spent the next 2 years standing on every soapbox I could find and trying to convince people to change, which was exhausting, combative, and ineffective.

It wasn't until a male host told me to quit coming to his show if I didn't like how he touched female comics that it dawned on me: I was going about this all wrong. Here I was trying to change the way people were when I needed to change out the people.

So, I started my own open mic…but then I realized just how few women were signing up and that because there were hardly any women there, dudes were extra raunchy. When a room full of overly confident young men are making jokes about murdering the slut who dumped him, you have an environment that most women don't want to spend time in. It is a cycle most people don't bother to break, saying, "It is what it is," but if you ask me, we made it that way, and we can change it.

So I started trying to make my open mic comfortable for everyone. I didn't tell people what to say, but I did start letting them know how what they said made me feel. I butted heads with a few people that don't signup anymore, but most seemed to grow from the experience. My open mic has a culture where other people feel empowered to speak up. Y, they rarely need to because, after almost four years, we have set a new standard for what is acceptable.

My next opportunity to work on things from the bottom up came when a theater invited me to teach a stand-up writing class. Teaching that course allowed me to intervene before someone got it in their head that a trans-phobic joke was hilarious. It gave them the chance to learn where the line was in an environment where not just one person but a whole class would make sure they didn't cross it again. Most importantly, it taught the entire group how to speak up, something crucial to changing our industry's "get over it" attitude.

Now I run several showcases where I work with the next comedian level. I can influence what passes for acceptable behavior. I have a pipeline of opportunities to share with the comics I've been working with at my open mic and classes- AKA people who have learned to be funny AND respectful.

Overall, I feel pretty good about the community I have created around myself and don't often feel like an "other" anymore. It took some trial and error, but I realized the key to overcoming the feeling of otherness I had wasn't trying to go with the flow. It was to break out of the current. Being visibly true to yourself is like a beacon that calls to other "others," and if you give the signal, they'll find you. Then, little by little, you can cultivate your own community and reshape even the most toxic environment together.

With that said, if you are a person facing harassment, discrimination, or just need an ally, email me: Sam@windypeach.com or visit a Windy Peach Comedy open mic. I promise you'll be welcome.

Comedy may not have an HR department, but that doesn't mean you don't have resources.

Popular is not the same as good

I have lived in two different comedy scenes and spent time traveling through dozens of others. I'm here to tell you: The best local show in your town is just the best local show in your town- so don't freak out if you're not on it. Every city has a display that becomes the goal of new comics. A show that is "the best" acts as some marker that tells people, "You're in, kid!".

It's easy to get caught up in the culture surrounding shows like that because it feels good to be part of what is popular. The downside to these shows is that, more often than not, we are having too much fun to recognize shitty behavior until something terrible happens.

Because sometimes those local heroes running the best show in town are not so great.

Some shows are run by ignorant people, like someone who still doesn't get why their joke about the worst thing you've ever heard isn't working.

Some shows are run by shady people, like someone who gets paid but won't pay their performers. [a real thing you will experience until you quit comedy or die]

Some shows are run by gross people, like someone who rarely books women and, when they do, introduces them as "a beautiful lady that would never fuck me, but did in my dream last night!" [a real thing that was said about me as I went onstage]

Some shows are run by struggling people, like someone who isn't dealing with their drinking problem, and you watch basically almost die every week. [a real thing you shouldn't ignore if you notice it.]

Sometimes the person running the show does something truly fucked up, like physically harm another person-level fucked up. Usually, this comes after all the other things we ignored because no one thought it was their place to say something. It's complicated to navigate comedy scenes because they are a space with many unwritten rules. Half of us treat it like a frat, and the other half treat it like a job, but either way, there isn't anyone to report to. Bad behavior slips through the cracks all the time because who wants to be the person complaining about everyone's favorite show?

There are shows I stopped supporting because of the things I see happening at them, and for a long time, I was anxious that it would hurt my success, but the thing I have learned is...it didn't. Every show that has a booker I'm at odds with over their sexual harassment, their racist jokes, whatever it may be, is still running their show, and I am still telling my jokes. We just don't do it together.

My point is: Just because it's a popular place doesn't mean it is a space you must support. Don't be afraid to confront bad behavior and if you're scared to, try bringing it up to a peer first. They have also noticed more often than not, and maybe together, you can do something about it. People will always use their position to get away with stuff, and just because you can't guarantee it will stop doesn't mean you shouldn't try. If it doesn't work and some sad loser that treats people poorly gets mad at you, there will always be other shows, so don't just settle for "cool" shows in your scene, demand that they be good ones too.

Time spent doesn’t always equal experience earned

You will meet an endless amount of people whose biggest credit is that they’ve “been doing comedy for (some number) of years.” This is information to be taken with a grain of salt.
The amount of time someone has done comedy does not solely speak for their ability and someone’s ability does not always reflect how long they’ve been doing comedy.  Appreciate the people who have put in the work for a long time but do not bow to anyone just because they’ve been around forever.
When I started doing stand-up someone told me that I wouldn’t get booked on anything that mattered for at least a year and I believed them. That seemed like a reasonable amount of time to have to work on being good enough for something, especially when someone who had done comedy longer than I had said so. But what ended up happening was that I worked really hard and I asked for opportunities instead of waiting for them. (More on that here.)
When I was around 7 months into stand-up I booked a gig doing 5 minutes of material to open for a national headliner at a club. I came home proud of myself for my accomplishment but within days I felt like I had done something wrong. People asked me, “How did you get that?” with a heavy inflection on the “you”. One person accused me of having a romantic relationship with the male comic that was hosting the show and said that must have been why I got the spot. The same thing happened the first time I got booked to do 20 minutes. I think I was about 2 years in at the time and once again this accusation of, “How did YOU get that?” made me wonder if maybe I didn’t deserve the things I had been given.

I spent a lot of that first year letting comics that had been around longer than me give me bad advice because I assumed they knew better. Once I posted a clip from an open mic set that I was proud of (In hindsight it wasn’t really that good but I was proud and who cares?) and another comedian told me it was stupid to post that on my blog because if anyone saw it they would think I was being too cocky for a new comic and wouldn’t like me. I had people tell me not to make a website or market myself because I wasn’t good enough to have a website or be marketed. All of these people were people whose opinion mattered to me greatly because I wanted “in” but none of those people are people who ended up actually affecting my career. You know what did affect my career? Having a website to refer people to. Having a clip available to send out when I wanted to book shows or submit to festivals. Having the ability to look at the results I was getting as a performer and to decide for myself what my value was.

While you try to find your footing as a comic,  you have to learn a lot. If you're any good you will never stop learning new things about being funny. Don't underestimate your own experience or let anyone make you feel inferior just because they’ve been at open mics a year longer than you or some other inconsequential qualifier. Every single comic is in a constant state of growth and anyone who tells you they’ve reached their final form is a liar. (They probably aren’t very funny either.)