“The Nightly Show” with Larry Wilmore Canceled by Comedy Central Provides New Opportunities

larry-wilmore-the-nightly-show-canceled

It was only a matter of time before Larry Wilmore’s “The Nightly Show” on Comedy Central got the axe.

Following that brutal appearance at the White House Correspondents Dinner where Wilmore looked like a new comedian trying to get one laugh before he got the light, it seemed like it was just a countdown to Wilmore’s show being struck from the programming board.

Quite frankly I don’t know what Comedy Central was thinking giving Wilmore his own show in the first place. Yes, he’s smart and funny and a great writer, but that doesn’t convert to that on-camera gusto that is needed to develop, let alone compel and retain an audience. Especially an audience of 18-34 males. (Comedy Central’s main demographic).

Sure, Wilmore’s great. But he lacks pizazz and on-camera comes across as dull.

It seems like Comedy Central has been struggling to grab an audience in the variety talk show space since Jon Stewart took his exit.

According to Deadline Hollywood, now that Wilmore is gone, Comedy Central plans to fill the slot with @Midnight until they find a replacement.

That’s a Bad News–Great News Scenario

That’s great news, creatives! Think about it… what’s been missing since Jon Stewart left the Daily Show? The energy, the edge, the razor sharp and laser-quick wit and instincts of Stewart.

Sure Trevor Noah is funny and smart. But he doesn’t have that contemporary, modern high-five-me-at-bar type of gusto. Neither did Wilmore.

I think Comedy Central made a huge mistake allowing John Oliver and Samantha Bee to flee to HBO and TBS. Have you seen either of those shows? They have the edge and the energy that is totally missing at the Daily Show.

And I mean really? TBS? That’s like the ‘witness protection program’ of television; nobody knows they’re there!

Isn’t that right Conan?

If you haven’t seen these two shows, watch ’em. They’re filled with that attack-the-status-quo-energy that the Daily Show currently is missing since Stewart left. In my view the secret sauce comes from the contemporary and relatable analogies the hosts draw to the misgivings of the targets of their ridicule.

They’re not only entertaining us, they are informing us and increasing awareness.

That’s exactly the pattern that was used when Jon Stewart was at the helm.

I’ve got to tell you, that when stuff like this is happening in our industry, I get all charged up!

I mean sure, a show got canceled, but you gotta look at the bright side. The show wasn’t sustaining any numbers.

Where some people see failure, I see amazing opportunity!

I mean what a perfect time to self-produce a show that has that edge.

If I was new writer trying to break in, not only would I be writing and submitting packets every three to six months, I would be collaborating and self-producing a 5 min. edgy variety/talk show just like the Daily Show with the same type of enthusiasm and gusto that was ever-present at that show.

Why would you self-produce?

*Because with the technology we have today, it’s easy. You can download Wirecast (http://www.telestream.net/wirecast/) and produce a multi-cam show using your iPhones.

Want to do it cheaply get the FREE TRIAL of wirecast, then upgrade to eliminate the watermark for $9.99

Better yet, use Open Broadcast Software (http://obsproject.com/). It’s a little less user-friendly, but I’ve heard good things. One of the really good things I heard was that it is FREE! *

**(The asterisks indicate an update since the post was first published).**

The simpler, the better because you don’t want to get bogged down in the editing bay.

Better yet, rehearse a tight 5-minute, well written show and live stream it! Then develop an audience and a subscriber base, then you can create pressure on the the industry to the point where they have to take notice of you.

Think about it. If you develop a really strong following that’s watching you because you stream solid content on a daily or semi-daily basis, somebody in the industry will take notice.

You can put it up on Twitch.tv and build your fanbase. There are gamers on there right now with 30-thousand + subscribers. Subscribers who pay 5 bucks a month to be there.

Even if you have a rusty calculator in your head, it doesn’t take but a second to realize that that’s bank.

Who’s Gaming on That Platform?

Twitch.tv has over 100 million monthly users and they just added a comedy category on that platform. Can you say, “ground floor opportunity?”

Here’s the kicker… 75 percent of the users are male and 73 percent are ages 18-34; Hello? are you listening? That’s the exact demo Comedy Central is coveting!

That’s how you work outside the system to develop notoriety inside the system.

Besides, what an amazingly cool thing to do while you write and develop your Late Night TV packets for (in-system) submission.

You’re basically repurposing your writing, using it on your self-produced show while you’re still submitting it in your packet.

That’s just cool!

You want a quick show that’s well-written with cutting jokes and with a host that has a strong and dynamic identity; preferably with an edge of sarcasm or cynicism.

In other words, someone who’s not afraid to call ‘bullshit,’ and make it relatable and funny.

So if you don’t know how to write comedy in that fickle Late Night TV structure, then now’s the time to get those skills so you can begin to participate at a level that just 2 years ago was unheard of.

So get to work on your shows, creatives!

Comedy Central is dying to see it!

3 Reasons Why Firing My Manager is the Best Thing I Did for My Comedy Career!

 phone firing my manager
In September of 1993 I was in the comedy condo of a comedy club in Dallas, TX. It was the morning after my third night there and the phone rang.
“Hello, it’s Jerry.”
“Jerry? It’s Harry…” Harry was a manager I had just signed with a few months before.
He saw me at a showcase at Igby’s in West L.A. on the same night that Ray Romano and Kevin James did their network showcase for NBC.
Harry had some big names in his stable and I thought it was a good move to work with him.That’s good news, my manager’s calling. Maybe he’s got some work for me…
“Hey Harry. Tell me some good news.”

“I just wanted to let you know that I get 20% of whatever work you’re doing, regardless of if I book it.”I know, right? I’m thinking to myself, this guy doesn’t even ask how the shows are going. He just gets right to the money. The money he thinks he’s entitled to.

For the last couple years, I had been methodically making phone calls and sending out videos. Since I already had an one-hour act under my belt, a full 60% of my day was dedicated to booking work and developing new contacts and 40% to writing material.

That work had paid off because I was booked for the rest of the year and the first 2 months of the following year. For this manager to call me and tell me he’s gonna get 20% of that just seemed ridiculous.

So I said, “I’m sorry, Harry. I don’t think I heard you right. Can you repeat that?”

“I just wanted to let you know that I get 20% of whatever work you’re doing, regardless of if I book it.”

I straightened up, took a breath and said, “Harry, I’ve always wanted to say this. (It was a throwback to the movies from the 40’s), ‘WE’RE THROUGH!’”

… and I hung up the phone.

About 10 seconds later, he called again. He said, “You have a problem with me making money?” I said, “I don’t have a problem with you making money, Harry. But I do have a problem with you trying to take money from me that you haven’t earned. I might as well give 20% to the homeless, because they’re doing as much for my career.”

I hung up and never heard from Harry again.

That phone call scared me. It scared me, but it also inspired me into truly lighting a fire under my ass and figuring out how to take my act and make real money.

I got to work and the next year I made nearly 3x as much as the previous year. I learned how to leverage my comedy and turn it into a product. I learned how to double, triple and even quadruple the amount of money I made per night, per show.

Then I learned how to tap into markets that were paying me more in one night than I was making in an entire week at a club.

Then I learned about something called “Idle Capacity…” (Hint: It adds a lot of money to your bank account)

Hanging up on my manager was scary but empowering, because when you do something like that your only choice is to go prove yourself.

Not only that, consider the opposite: This guy’s integrity was questionable so how do I expect that to reflect on me?

That phone call was life changing and it helped motivate me to really kick ass in this business and turn my comedy career into a comedy enterprise where I’M the BOSS and I can choose what gigs to take.

Being able to feel like you are in charge of your destiny rather than waiting for someone to call you or book you is more than just empowering, it’s life changing.
Don’t get me wrong, a great manager or agent is invaluable, but one who doesn’t do anything is shit.

You may have heard that I’m teaching a comedy success seminar next Saturday, August 6th, at my studio in Burbank, CA. It’s called “How to be the Richest Comedian Nobody’s Ever Heard Of.It’s going to be a powerful event with killer tools you can use to gain more leverage in your career and really get paid for your comedy.

Click the link and get in because at minimum it will light a fire under your ass. And if you actually apply the information and execute, it will change your career or your life.

Jon Stewart’s May be Back Before the Election, but Don’t Expect to See Him

jon-stewart-daily-show

Earlier this year you we learned that Jon Stewart wasn’t retiring. He was actually very busy. His next project found him landing at HBO where he signed a 4-year production deal.

But don’t expect to see Stewart’s face on the screen anytime soon.

In an interview this summer, Stewart said that he’s done doing television.

More specifically he meant that he was done appearing on television on a regular show. Being on TV 22 minutes a night, 5 nights a week is grueling. Stewart did it for 17 years, it’s easy to see how he could burn out.

But now he will be producing animated shorts that he hopes will hit the HBO screens by September.

HBO’s programming chief Casey Bloys said at the TCA’s that it will be an animated parody of a cable news network. These animated shorts “allows (Stewart) to comment on events in real time,” Bloys said.

Stewart is also slated to voice some characters.

Rumor has it it’s going to be “Onion-like.” Not sure what that means. But it might mean that the show is going to present exaggerated fake news in response to real news that’s happening in real time.

Jon Stewart led a revolution that changed the face of TV comedy. As a comedy writer, it would be wise to follow Stewart and keep up with what’s happening.

How Can You Prepare for This as a Writer?

Once again, the landscape for writers is continuing to expand, presenting more opportunities than ever before in history.

So How can you prepare for this as a writer?

I would suggest working your short-form current events jokes on a daily basis. Work your joke writing like you would work out at the gym. Set a schedule. Instead of arms and back day, why don’t you make it current events one and two-liner (monologue-style) jokes. Instead of ‘leg day’ why don’t you make that Seth Meyers ‘Weekend Update’ style day. Instead of cardio why not set that day to work short sketch.

Find out what’s on TV now. What’s hot. What gets people going and copy it in your practice so that you can be prepared for any opportunity.

Better yet, get your writing packets together, get them out there on a regular basis and make your own opportunity.

Because remember, “luck” is simply opportunity meets preparedness.

Keep your eyes open and your ears to the ground. Or better yet just keep your eyes on the internet.

Go get ’em!

What Does Apple Stock Teach Us about Writing for Late Night TV?

apple_logo_nyc

Watching for opportunity to write for Late Night TV is sort of like following the NASDAQ or NYSE.

In the market, every time there’s movement in a company’s management, the stock fluctuates.

Fluctuation means opportunity.

When you pay attention, it could be life changing. If you purchased 2000 shares of Apple stock at this time in 2005, at $5.60, it would’ve cost you $11,200.

Today, even as Apple stock is down from its highs, that same stock would be worth $197,320.00

Screen Shot 2016-07-24 at 4.43.21 PM [Chart courtesy of Google Finance]

That’s a huge profit on your money.

Which is why stock market investors watch the market and study a company’s maneuvers with an eagle’s eye; for that opportunity to turn $11k into $200k.

When a good brand is having some bad luck it’s a great time to move in.

 

So what does that have to do with writing for Late Night TV?

The same thing that happens at Apple happens in Late Night TV all the time!

A writer interested in writing for Late Night TV, should be paying close attention to the movements that happen behind the scenes just like a market investor eyes the NYSE or the NASDAQ.

Because turning $11k into $200k over a period of 11 years is a sweet investment, but a job writing in Late Night TV can turn $0 into $200k in a year, because that’s the minimum salary for a staff writer working in Late Night.

So a writer should be paying close attention to the Late Night TV market, because drama is happening big time over at CBS.

A new showrunner coming to “The Late Show with Stephen Colbert” and rumors flying around that James Corden might be tapped to replace Colbert as host, add fuel to the fire that there is going to be huge movement in late night TV, especially at The Late Show.

Shows like this are always in flux. The average tenure of a Late Night writer is 2 years so the staffs are always somewhat fluid, but you know the network has real concerns when they bring aboard a new showrunner.

Those facts alone are something to pay attention to, but add to that the fact that Colbert’s ratings at The Late Show are less than promising and The Late Show not getting any Emmy nominations this year are a huge concern.

I mean, that hasn’t happened since 2003.

Consider that Colbert brought most of his writing staff from The Colbert Report to The Late Show. Some heads are bound to roll.

That means opportunity!

When the Audience Tunes in to Watch the Character

Interestingly enough, none of that surprises me. When CBS president, Les Moonves, gave the cold shoulder to Craig Ferguson and opted instead to offer the Late Show position to Colbert, I lambasted him.

I didn’t think that Colbert was a proper fit for the throne previously occupied by David Letterman.

He’s especially not a fit because the person that made The Colbert Report so successful was NOT Stephen Colbert, but his character; that buffoon conservative who was parodying a talk show host.

It was the character he played who was popular.

So when you move to The Late Show and decide that you’re not going bring the character with you, your fans probably won’t follow.

Because the audience is tuning in to see the character.

Imagine hearing this: Ladies and Gentleman, heeeere’s Dan Whitney! How would you respond? Probably not excited right?

But what if I said, “Ladies and Gentlemen, heeeere’s Larry the Cable Guy!” Those Larry the Cable Guy fans would go crazy… even though Larry the Cable Guy and Dan Whitney are the same person. Dan Whitney plays a character called Larry the Cable Guy. And it’s Larry the Cable Guy who we’ve tuned in to see.

But even if we choose a performer with a character that has the same name as the performer and that performer decides not to do the character we’ve grown to love, it usually ends up in failure or imminent career demise.

When Steve Martin took the podium at the New York Public library in front of a sold out audience, then lectured about his art collection, fans were bored to bits, to the point where the event goers were given refunds.

They did that because they paid to see Steve Martin, that “wild and crazy guy!,” not an art historian.

Usually known for his high energy, shirtless performances, glam rocker Billy Idol did a concert about a year ago where he sat on a stool and played acoustic guitar. The audience–his biggest fans–booed and heckled him.

I mean, come on, Billy, at least take your shirt off!

Or like when Jim Carrey decided he wanted to be taken as a serious dramatic actor–well, how many of you just furrowed your brows and said, “I’m sorry, who?”

The fact is, when you build a career based on a character and that character builds a frenzied fan base, then you decide that you don’t want to do that character anymore, chances are–or at least history shows–that your fans are not fans of you, they are fans of your character.

Moonves should’ve seen this coming, based on the trail of Hollywood road kill that lay before him.

Did I just go on a rant?

Late Night Writers Should See This as Opportunity

My point is this: Writers who want to get into Late Night TV should be paying close attention to what’s happening in behind the scenes in Late Night TV.

There’s amazing opportunities happening and right now anyone who’s interested should be preparing their writing packets and sending them into their favorite shows.

Why your “favorite” show and not just Colbert?

Because, The Late Show with Stephen Colbert is going to probably fire some writers and replace them with other writers; some will no doubt, be from the staffs of existing shows.

Those shows will now also have openings that will need to be filled.

This creates opportunities all over the the Late Night landscape.

So, writers, get your packets written and take advantage of these incredible opportunities.

You never know, it could turn out to be your Apple.

Sign Me Up for Late Night TV Writing Industry Updates!

What’s Your Point of View and What does a Booker Mean When they Ask for One?

What is a comedian's point of view? who are you?

As a comedian, have you ever been asked to refine your point of view?

Have you ever wondered what your point of view is? Your persona? Your voice?

Or, like me, has a booker said to you, I’m looking for an “internal thru-line, a golden thread of continuity.”

WTF?!

I heard that one from Mark Lonow, former talent coordinator and co-owner of the Improv in L.A., (years ago) immediately after I did an audition that I thought I rocked.

It was disheartening because not only did I not get a spot at the Improv from him, I didn’t know what the hell he was talking about!

Two days later I said, “screw that!” I went right to Bud Friedman, (the founder of the Improv), pleaded for an audition and with the same act got booked in Vegas and on T.V.

What is a Point of View?

So what is a point of view? And what does a booker mean when he says he wants to see a stronger one?

A point of view is how you look at the world and the situations around you that you include in your comedy.

Basically answer the question: “Who are you?”

Can you say in a couple of sentences who you are?

Are you a cynic? Do you have a quirky way of looking at life? Do you like to pick out life’s minutia and point out those observations in a funny way? Are you a liberal? A conservative? Gun lover? Trump voter?

You’re point of view doesn’t have to be extreme.

Who Are You?

20_comic_maks_150x183From scholar to buffoon, there are about 20 Major and distinctive comic masks, but each comedian can have only one. Download the 20 Comic Masks PDF Chart and see where you fit in!

Click to Download the PDF

Amy Schumer is known for her subversive feminism and addressing various social issues through a character who is seemingly promiscuous and a little ditsy.

Schumer has described herself as just someone who goes in and out of being an irreverent idiot. (Although I think, and her bank account surely reflects, that she’s more than that).

Bill Burr is a bit of an edgy devil’s advocate. He approaches his comedy by challenging the status quo from a strong male point of view to the point where he appears at times to be misogynistic. But Burr always says “It doesn’t make sense. Somebody explain it.” Then he explains it, usually using analogies while making us think, “Oh I never thought about it that way.”

Larry the Cable Guy (Dan Whitney), is a simple guy, a bit of a buffoon trying to figure out how things work.”

Whitney Cummings is a woman fed up with the bullshit of men and relationships, but still trying figure out how to make relationships work.

When I first started I was just trying to write funny jokes and stories. I did wordplay, paradox and observation like Carlin, but with a strong Seinfeldian voice.

So much so that Seinfeld himself mocked me at a club after I did a set! Lol.

I was getting laughs but I wasn’t sure who I was or how to find myself. Then I got some advice from the most unexpected source…

I met a mobster when I was waiting tables in New York. He was one of my favorite customers. I told him I didn’t know what to be when I was up on stage. He said, “Don’t listen to your heart, it feels too much. Don’t listen to your head, it thinks too much. Listen to your gut, cuz your gut never lies to you.”

Shortly after that, I met George Carlin. He said to me, “take the stuff that drives you absolutely fucking crazy and make it funny.”

That’s when my voice turned more toward a socio-political irreverent style that felt cathartic and real to me.

It felt ‘right’ in my gut, you know?

I loved to watch and read the news and call bullshit. I like to look at the inequalities and the hypocrisies in the world and point them out.

My act evolved toward a message of tolerance of race, gender and sexual preference, but not religion because in my comedic view religion is the reason societies have created a fictitious hierarchy and division in the first place.

Basically I make fun of everyone, but in a way that unites and makes our various idiosyncrasies fun.

How do you define yourself?

How do You Find Your Point of View?

One way to find your point of view or voice is to ask people what they see when they see you.

Another way is to ask yourself how you want people to see you or get in touch with who you are around your friends and start with that.

Another way is to develop a character, refine it and perform material based on that character’s point of view.

For several years, I created a pretty refined character named Charlie Stone. Charlie was a quirky, long-haired surfer-type character. He wasn’t a stoner, because he didn’t do drugs, but he had a stoner approach to his world view…

“This gal comes up to me and says, Dude… are you a Christian? I said, ‘No… I’m a Catho-Christi-Hinuistic-Musli-Morma-Jew… I don’t want to miss out on Heaven cuz of a technicality!'”

Charlie was an interesting experiment. I used to go out on the road and open for me, Jerry Corley as Charlie Stone.

Basically I would wear a wig and these blue-tinted glasses and do 30 minutes as Charlie Stone then change while the emcee was up, come back to the stage as Jerry Corley and do another hour.

The interesting part was that even though my act would do well and many times end in a standing ovation, everyone would come up to me after the show and say, “Where’s Charlie Stone?!”

What I learned from that was that Charlie Stone’s character was so refined that he was memorable.

I’m positive that if I brought Charlie back today, because of the strong, refined character, he would place or win in competitions and book some T.V.

Talent coordinators and bookers often confuse the difference between character, persona, voice and ‘point-of-view.’

But usually what occurs is that if a character is well-defined, the point of view tends to just fall into place within that character.

Some People Say it Takes 7 Years or More to Find Your Persona. Is That True?

One of the reasons it takes people a long time to find their persona or voice is that the first several years of their journey into comedy, they are just trying to figure out how to write a joke and create an act, you know? Make something funny.

As they begin to develop material they begin to realize that some material seems to resonate more with them than other material and they start to focus more on the material that they’re more connected to, which helps to shape their voice.

Bill Burr said he spent the first 5-7 years of his career doing one and two-liner comedy. Then when he started to go up on stage and riff on ideas is when he found more of his cynical voice.”

Anthony Jeselnik said that he started writing comedy by study Jack Handy’s “Deep Thoughts” from Saturday Night Live. He started writing those down then writing his own. “Then I was up on stage and did a joke that was dark and it got a great response. And I knew that’s where I was going.”

There’s no one way to find your point of view. Just keep cognizant of who you are and what you’re trying to say.

Remember that your character can evolve, develop and change. Allow yourself to explore it. Try different things. Listen to the audience and how they respond, adjust and refine.

And also always, always listen to your heart–wait… your gut.