Starting an Open Mic.

I recently found an old sound clip of my standup. I listened to it and it was very painful. Then I listened to it again and I saw potential. I thought of ways I could improve the jokes or the attempts at jokes I was telling. This led me to think of advice I would tell Bjorn back in March of 2012. The advice I wish I could give myself is this: yes, get as much stage time as possible. You are doing everything exactly right, but there is one thing you should also be doing and focusing on. Start hosting a regular open mic and keep trying to make it better.

“A wise man will make more opportunities than he finds.” ~Francis Bacon

When I started comedy I looked up to all the hosts of the open mics. I did not realize the reality. Anyone at any level can start an open mic. I wanted to wait until I was good enough to host my own. It’s the job experience dilemma: how do I get experience to get the job? But the awesome thing about comedy open mics is that anyone can do it! You can and will learn how to run or how not to run a comedy show just like how comedians are learning to do comedy. It’s never too early to start an open mic, as long as you continue to strive and improve it and still go to other shows and open mics. I treat my shows like I do my jokes. Try things, keep doing what works and cut what doesn’t work. If the show fails, then just start a better one at another venue. Learn from the mistakes and make a better one next time. Shows get canceled all the time and they should if they suck. Shows can end, but the knowledge and experience you have forever.

Aspects of a successful comedy open mic.

Hosting.

Not being a good host yet is not a reason to wait start your open mic, it is the reason you start it. This one you can suck at but as long as you just make the show about setting up the performers and improving as a host it’s the best thing for you. That being said, a good host can really make an open mic great (I will be writing another article devoted solely on how to be a great host so stay tuned).

Professionalism.

This is so important but gets overlooked. Yes, an open mic is incredibly hard — no reason to make it harder. I see so many people being so disrespectful of the venue or the hosts or other comics. I know that when I am treated with professionalism it's not lost on me. This one will keep your show going longer. If the venue likes you, likely they will not cancel the show and comics will keep coming back.

Time Slot/Day.

For the day and time slot one must consider a few things, like what other shows or open mics are happening that day? What time are they? Can I have my show before or after this? Is there a mic that is extremely popular at the same time? When I choose a day and time I always look for an underserved night and time. Fridays and Saturdays are best for real booked showcases rather than open mics, though I have seen some work at odd hours on those days like afternoon or late night.

Frequency.

If you are doing an open mic, I strongly encourage going weekly. I personally am so bad at remembering monthly or every other week open mics, that I will stop going. I believe that to be successful with an open mic weekly is key. You are making this the place that everyone goes on that day of the week. Make it a habit. It’s not like you are booking it, so make it weekly!

Location.

This varies, but what I look for in a good location is proximity to other open mics on that day. I want to be sure that comics can get to my mic on time. Are there a lot of shows in this part of town already? How far out of the way is this location? Thing is, if the show is good, comics will go further.

The space.

The most ideal spaces are side rooms or small event spaces. Low ceiling and intimate is better for comedy. I like to use small spaces because it’s much easier to make them feel full. Comedy is better when people are close. This allows them to merge into an audience more easily and people can’t hide. I have done so many open mics at huge venues. It’s hard and doesn’t work. The dream space: small stage, low ceiling, lights and sound ready to go. All separate from the main bar. But no venue is a deal breaker. I've found ways of making things work for me, I just have to carry and set up a lot of stuff.

No TVs!

This one is important. I try to do all my shows in spaces that do not have TVs. The reason for this is when competing with sporting events, comedy shows always lose. If it's not football season, it's basketball or hockey or the world cup or world series or some college made it to the final four bla, bla, bla. If the bar has a TV then people go there to watch games. I had a show canceled because a presidential debate was on. So the best way to prevent this is find a venue that doesn’t have any TVs.I am so a.d.d. if there is something going on or a tv or sign I will be looking at that and not the comedian.

Presentation.

Stand up comedy does not require a lot. At its most basic level, you must be able to see and hear the performers. So lighting, sound, and a place for the audience. It never ceases to amaze me how many comedy shows and especially open mics have only one or none of these. For my current open mic what I did was try to create the comedy club experience. I go all out with lights, a backdrop, and a light up sign. I will be honest, I was very nervous when I started my open mic Dueling Beardos. I wanted to have lights and set up a curtain. The whole time I was so embarrassed to set it up thinking, “everyone is gonna make fun of me.” And you know what? They did, but more comics liked it and kept coming back.

Marketing.

People need to know about your open mic. In Portland, OR we have this amazing blog that keeps an up to date list of all the comedy open mics and how to sign up (www.pdxstandup.com). Most cities have a list like this so get your mic on that list. I have found posters are still an effective tool to get audiences and performers to come to open mics. I created a specific atmosphere so that when comics see photos or video they feel they missed out on an event. I know that whenever I miss my own shows and see photos I get sad I missed such a cool show.

Get Paid.

If you want longevity in this show really try to get some compensation for your time. I always try to get some pay. I like to do a percentage of the bar sales during the show so that if they make more I make more. It’s a great incentive for me to encourage purchasing. If you start doing the show for free, why would they ever pay you? Get a deal right away of some kind to prevent resentment later. Also you ruin the venue for comedy things down the road because when you do the show for free that is the expectation from the venue owner. Oh we don’t have to pay for this person to drive all this business? What a deal.

My strategy for pitching a venue.

When I find a venue this is what I do:

1. Become a regular, get and use staff names.

2. Go every week on the day at the time I want to do the show.

3. See how busy it is (I’m looking for not busy as the pitch is much easier.)

4. Find out who I need to talk to and the best way to contact them.

5. Contact that person with my pitch.

6. Follow up regardless.

7. Follow up again a week later, until I get a definitive answer.

The last thing I have on this is that for a successful open mic you are serving the comedians first because if they show up then it works — audiences will come and go for open mics. Focus on making a great show the comedians want to go to and the audience will follow. Most shows take a little to really get going. The first one is usually busy, then slows, then finds its stride. Show the venue you are working to build it and keep making it better. I know that I am posting this at a time when we are all stuck at home, but it is my belief that when we are allowed to gather and laugh together again people will want to do more. So I think it is more important than ever to get this information out there. I believe more good shows are good to make all of comedy better.

“If opportunity doesn’t knock, build a door.” – Milton Berle.

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Thank you for reading, You’re doing great.

Bjorn RG.