One of the biggest complaints I’ve heard from comedians is how difficult is has become to get booked. Most comedy clubs have a “Don’t call us, we’ll call you!” attitude after receiving Electronic Press Kits (also known as “EPK”). Comedy clubs and booking agents are not likely to contact if you did not meet their requirements. They have a business to run, and usually don’t offer reasons why you were not selected to work at their location. Based on the volume of submissions they receive, the simplest mistake could prevent them from watching your submission.
Recently, I began assisting a local comedy club with booking their talent. I agreed to do this if they were willing to use as much local talent as possible. The only prerequisite was submitting an EPK. What I discovered was several errors in how comedians chose to communicate via email. I’m not an expert in booking comedians, so I reached to one of the most respected experts in this business: Eric Yoder of Funny Business Entertainment Agency. They are a national entertainment agency booking comedians and entertainers nationwide for corporate events, colleges and comedy clubs.
When novice comics believe they are ready to start working showcases, they often reach out to promoters. What suggestions would you offer on how to get their attention?
I’d say the easiest way to grab attention of a promoter/manager/booker right off the bat is to mention any comedians or performers, that you know are willing to vouch for you, that you know have a positive history with the promoter. Highlighting these relationships brings you directly connected to them, and gives you a quick ounce of credibility.
How important is providing a booking agency or promoter with an EPK?
EPK’s are important, but what’s more important is making sure it contains the right information that bookers are looking for. They all have different requests for info they want from you. The first contact with a booker should be asking if they are looking for new talent, and what you should provide them. Tailoring your EPK to each individual booker shows attention to detail and a genuine interest in working for that particular booker.
There are comedians who can’t afford expensive recording equipment. Will the quality of the video influence your decision on who may get booked?
Quality of video can certainly effect a booker’s first impression of you. Booker’s want professional comedians, and part of that is doing the work to get professional materials to provide them with. On top of that, a lot of gigs especially corporate and college, require video from the agent/booker so that would absolutely effect getting that type of work. Getting quality clips/video should be a high priority on your list.
Can you discuss the importance of email etiquette for comedians who submit EPKs?
As I mentioned above, ask the booker what he needs before sending. Don’t mass email bookers, clubs, etc. It looks impersonal and like you don’t have real interest in working with the individual booker. Learn about the agency/booker first, and see if that’s even a booker that you’d want to work for or that even books things suitable for your type of act. Be polite, listen to what they ask from you, and provide them with exactly what they ask and you will have a better shot of actually getting reviewed and considered. Treat like you would any initial job interview, or application submission.
How often should a comedian contact someone after submitting their EPK?
They should have contacted them prior to sending their EPK, but after that typically I suggest three or four weeks at first, be patient as most agencies receive an intense amount of submissions, and that’s not always their first priority.
What are some of the mistakes you have noticed from EPK submissions?
Not asking what the booker wants to see in the EPK, or if they even want one at all. Having too many pictures, or way too much information to where it feels like bookers are spending 10 minutes finding what they are looking for.
If a comedian is considered for a future gig, how can they discuss salary options with a promoter or booking agent?
Unless they are working/discussing gigs with an independent promoter, it’s mostly typical that booking agents, and clubs, have a set budget for booking acts (outside of special event shows) and will offer you what they can. If that isn’t enough, unless you have some serious drawing power, or a very credible reason, I wouldn’t expect for you to have any negotiating power in regards to clubs. If it’s a door deal situation, do you homework and the math, see what it is worth it for you to do, and if you feel the outcome justifies the risk involved financially. I’d also be sure to do your homework on the promoter, see if they have had successful shows in the past, and if they are trustworthy to work with in a situation where you aren’t paid until after the show. But for booking agents, salary/pay for each individual is predetermined, and after you are offered what the pay/budget is, it’s up to you whether you want to take or pass on the offer.
How long should a comedian wait before resubmitting an EPK (i.e. – new material, different style of comedy, or just growth as a comic)?
Ask, otherwise you run the risk of annoying them if it’s too often, or run the risk of falling off their radar if it’s not often enough. With the sheer number of comedians looking for work, it can make a big difference asking the booker how often to contact and update them, and then sticking to that religiously. Set alerts on your calendar to send updates, avails, etc. and follow through with it. If you have considerable updates like new TV appearance, etc; always good idea to update bookers, clubs, etc. with this info to update your promo or let clubs know to use for promo in gigs you may have coming up.
For more information and examples on how to create an EPK, I recommend Dave Schwensen’s How to Be a Working Comic: An Insider’s Guide to a Career in Stand-Up Comedy
To hear more suggestions from Eric about working in comedy, please check Dave Nelson’s Comedy A-Go-Go: Episode 74.
Keep performing!
© 2013 Wayne Manigo
