The dream is to stand on stage, hold that mic and tell your jokes, do your bits, get some laughs.
Then you usually want to do it again… and again. But after doing the mics around town and getting in more than your fair share of ‘bringer’ shows, something gnaws at you to move beyond that. You want to do it in front of a ‘real’ audience.
Some of you might even have the desire to take your act on the road for a spell.
And get paid.
So how do you do get to go on the road and get paid? In a word, the answer is ‘work.’
Getting the Gigs is About Work and Relationships
Usually in order to hit the road these days you need to have about thirty minutes of material. Being able to get up in front of an audience and do thirty minutes, a solid thirty, qualifies you to work as a ‘feature act.’ A feature act is usually the comedian who goes on after the emcee and before the headliner.
So Byron writes and he writes and he writes. He’s got all his jokes organized in his Evernote app. Every class he brings in the new material he’s working on along with some of his older stuff.
We tweak the new material, tighten the structure, clarify the associations that sometimes keep the joke from tracking clearly, we add act-outs, tags, toppers, etc.
Taking the notes from the feedback in class and adding it to the material helps the material develop faster and helps you reach your laugh-point goals. The class also gives Byron a weekly writing goal.
The second thing that Byron does well is he goes out to the mics. He mingles. He meets people. That’s how he got this gig.
In my classes, I also hook up comedians (who are ready) with some of the bookers I have relationships with, who book these gigs.
Sometimes, just a word to the booker can help that booker feel like they are making a more informed decision to book a new comedian.
Getting the gig is only one step. Now you gotta hit the road, shake off the nerves and get up on stage in a strange place with a new kind of pressure.
A Comedian Must Learn to Take Some ‘Bullets’
On the road, the feature act has to take some bullets.
In an ‘A’ comedy club, there is usually a house emcee who does about ten minutes and warms up the audience.
But in a one-niter club, it’s a little different. You’re usually in a converted bar, or showroom of some sort and the emcee is a bartender or a local guy who gets up and tells a joke or two (if you’re lucky), then introduces the feature act; sometimes in a way that barely resembles and introduction.
Most of these guys haven’t had any training, they haven’t really warmed up the audience… they just bring you up to a cold room and a cold stage. As a result, the feature comedian is now responsible for warming up the audience, getting some laughs and keeping their attention.
Sometimes it takes a few minutes; in some cases, thirty minutes.
That’s why we call it ‘taking bullets.’
But if you’ve done your work, if you’ve put in your time and you display your showmanship; never letting them see you sweat, following through with your professionalism and your ‘A’ material, then you could do really well…
… and if you’re smart, you’ll learn a thing or two.
Or a million things.
Byron Hits The Road
Mill Casino Coos Bay, Oregon
That’s what Comedy Clinic student, Bryon Valino did last week. He hit the road, went up to Oregon and performed at the Mill Casino in North Bend. His first ‘road’ gig.
The feedback was solid. He got good laughs in the early show, with the older crowd and didn’t get as many laughs in the later show, with the younger crowd.
Byron’s worked other show situations in town and out to get him prepared for the road gig. He did some college shows for Cal State Northridge and he booked a local comedy club with comedian and friend Tony Ming and they put butts in the seats and did 20-30 minutes each to get prepared.
Byron’s got some solid material. His delivery is somewhere between a version of Steven Wright and Anthony Jeselnik. It’s not fast, it’s not super edgy or tremendously energetic. But he is funny.
It’s one of those acts that needs the audience to pay attention. He’ll do great in ‘A’ clubs where the audience is there to do one thing; watch comedy, but in some of the road rooms, the comedy show is just a way to kill time, maybe get drunk before going dancing or to a party or to ‘hook up.’ In those rooms, you learn to work a lot harder.
Why Do Those Gigs?
Some people ask if those gigs aren’t as great, why do them? For that answer we might ask the mountain climber why he climbs Kilimanjaro; ‘Because it’s there.’
Those gigs give you chops. They give you a great place to practice doing your thirty. They build you stronger and faster and sharpen your instincts like nothing else. And like climbing Kilimanjaro, you could die.
In a nutshell, when you learn to play the road, you can play anywhere.
It Helps to Work with a Good Headlining Comedian
When you play the road, you come back a better performer. Instantly more seasoned and with a fire to do more, work harder and get back out there. Especially if you were lucky enough to work with a good and helpful headliner.
Bryon worked with Tommy Savitt. Tommy is an award-winning comedian who’s been on the road almost as long as I have. Tommy has done T.V. and toured all over the world. Tommy’s got chops. He’s also got compassion and he chatted with Byron both before and after his sets.
So Byron did the work, developed his set, hit the road and did his thirty minutes.
Can’t wait to see him again in class. He’ll be sharper, stronger, fearless and ready to develop more material. Because something tells me he’s got a new goal; to get to sixty minutes.
You Rock, Byron! Keep up the solid work, soon it will be your name on the Marquis!
Take a moment to leave a comment below and send a shout out to Byron!
Doing your stand up on Late Night T.V. can be your big break as a comedian. Well, unless you’re Madonna doing stand-up on The Tonight Show with Jimmy Fallon.
I won’t get into that face-plant into a steamy pile of dog food by-product. I think that gimmick–at least for me–dropped my opinion of Fallon’s show; certainly with regard to it’s appeal for comedians.
When Johnny Carson was still on the air. The Tonight Show was the pinnacle. If a comedian could get on the Tonight Show and get that nod from Johnny to sit on the couch, then you could almost write your own ticket.
Currently, for comedians and their futures, it seems that Late Night has lost that sizzle…
Or has it?
Here’s a great article over at Paste Magazine that gives you a glimpse, from the inside, of how Conan OBrien’s show has now become a “stand-up’s best friend.”
This little post is not to imply that none of the other shows give a comedian that extra boost on their resume, because they do, but Conan seems to be the only one of the Late Night hosts who has followed Carson in his avid support of stand-ups.
Letterman doesn’t have that many on, Fallon would rather have famous people on the show than give a new comedian a shot, James Cordon hasn’t been on the air enough to gauge his propensity and Kimmel–well, Kimmel does support stand-ups, in my view, and seems to give them the freedom to bring a little more bite to Late Night, a little more edge than some of the others, but still doesn’t have as many stand-ups on his show as Conan.
But Conan, hands down, takes it win it comes to the real showcasing of new stand-ups. He’s even booked two stand-ups on one episode, more than once. Not as a double-booking, but as part of the production.
Who does that?
I think every comedian should groom their four-and-a-half minutes to get it prepared for Late Night. That should be a target goal.
Getting a set on T.V. is a game-changer.
When you get into the article you’ll discover how many comedians got other breaks in the business once they got their set on Conan.
But before you run over there to Paste to check out the article consider these suggestions:
- Make note of the Talent Coordinator at Conan, (Put him into your contact database)
- Read attentively and look at the suggestions of what they look for at Conan
- Run over to TeamCoco’s page on YouTube and study the comedians and their Late Night sets.
- Notice their structure and their pacing. (Late Night pacing is a lot slower than you might imagine; bigger pauses)
- Start putting together your own idea of what your 4.5 minutes will look like.
- Be sure to keep in mind that on Late Night, that first joke is crucial. Gotta be tight.
- Finally, realize that the sets use tight structure.
So set your goals and your target for Conan (or any Late Night show), and get to work.
In the meantime, give a shout-out to comedian, Grant Pardee, (the article’s author), and follow him on Twitter @grantpardee.
It Starts with Rejection.
Rejection. We’ve all had our fair share, right?
Being in the business of entertainment; being a comedian a writer, an actor, exposes you to more than your fair share, I believe.
Some of us are more affected by rejection than others. We take rejection as ostracism and we can do damage to ourselves and our careers if we take it too deeply to heart. I don’t know about you but I know some people who have given up after too much rejection.
The problem is sometimes too much is only once.
But the good news is I think we can learn to smash through rejection and overcome it.
In order to help overcome rejection, it would first help to have a handle on what it is so that it doesn’t seem so ominous and out of our ability to control it.
Understanding the Science of Rejection
Psychologists say that the fear of rejection is hard-wired into our brains and was established as some sort of survival mechanism.
Not to dwell too much on the primaeval science of rejection and the fear of it but for the sake of understanding and overcoming it, here it goes:
Back in the day when we were hunter-gatherers, we relied on tribes to survive. If you were rejected by the tribe it meant ostracism, which meant you would lose access to the fire, the food, etc. Which would lead to your ultimate demise.
Therefore the rejection mechanism is sort of an “early warning system” according to Psychologist and author, Guy Winch, Ph.D. When our behavior might get us ostracised we feel rejection and that feeling is supposed to trigger us to change our behavior so we stop being rejected.
To top it all off we humans are social animals, so the rejection can really be harmful. So much so Winch has actually labeled rejection as a psychological “injury.”
He’s not too far off considering that rejection affects the same brain regions and neurotransmitters as does physical pain. Which explains why during a break up you can actually feel physically ill, get a headache, collapse.
Also during rejection, our brain produces natural painkillers; Opioids, that can help us cope with the pain and continue on… or like me, make me sleep.
How Not to Let Rejection Get the Best of You
I was fortunate to have very supportive parents. They encouraged me to get up and face the day, despite rejection. I grew up in an actors’ family and got to see my Dad go to auditions, not get the part and not let it affect his tenacity, and belief in himself. I was able to witness him bounce back the very next day and book two out of three auditions.
So when it came time for me to audition, I didn’t allow the rejection part of it to knock my self-worth. And without conjuring up visuals of Al Franken’s Stuart Smalley and “Affirmations,” the popular sketch on Saturday Night Live back in the day, I would tell myself that I’m good enough and that the reason I didn’t get the part is not that I couldn’t act, but because I just wasn’t the right match.
Psychologists have a similar approach. They say you can prepare for rejection better by identifying the qualities you believe you bring into this world. Write them down.
Hell, write them down several times! Own them and know them. That way when you do receive some rejection, you can walk away from it a little stung, but with your head held high, ready to tackle the next challenge.
You should really take a moment–right now– and write down five to ten values you bring to this world! No really. Right now!
When it comes to rejection, I like to simply say to myself, “No is not an answer and it’s unacceptable.” Of course this is when dealing with the industry of show business, (getting a script approved or getting an audition), and not when I’m with a woman trying to get to third base! And why am I still trying to get to third base with my wife? When you’re married, isn’t third base where you start?
But wait, we were being serious in this blog post, Dude!
You are ‘Perfect’
I think psychologists have a point when they say you should write down your valuable traits. I believe it’s something that will help you deal with rejection.
I tell my students and myself that they are ‘perfect.’ I’ve said it so much to myself that I inherently believe it.
Now before you get weird on me on that, let me explain…
What I say is, you must believe you are perfect in all your flaws. I encourage my students to own that of themselves.
I honestly believe that about myself and I have a ton of baggage. There are stores in the mall that wish they had as much Samsonite as I do. I have skeletons and massive failures. But I believe that has made me who I am and I’m pretty freakin’ happy with that because I am constantly trying to learn from my mistakes, sometimes I succeed, sometimes I don’t.
But that’s okay, because if I take the time to assess and evaluate, I can probably learn.
Your biggest mistakes are your greatest lessons. So when you do screw up and you do fail and you are rejected, you learn valuable lessons and if you walk away from that rejection focusing on what you learned rather than focusing on the rejection and self-talking yourself into depression, you’ll do much better with rejection and succeed more often.
Yes, focus on what you learned, move on, continue believing in yourself. Psychologist have determined that rejection is real. It exists, but how deeply we let it affect us is up to us.
We Can Cower or We Can Conquer.
The reason I wrote this blog post is that I’ve seen people–friends of mine–give up their dreams because they were rejected… even once. Then when they hit middle age, they shoulder this huge burden of regret.
When I first auditioned for the Improv, I was rejected three times by co-owner Mark Lonow. If I let that rejection get me down I might never have continued. But on my third rejection from Lonow, I looked him in the eye and said, “You’re not the only way into the Improv, Mark.”
I don’t recommend ever saying that, by the way! I did it because I was hurt (one of the side effects of rejection) and I stupidly lashed out.
But the very next day, I went into the Improv, waited three and a half hours to see Bud Friedman. When I finally saw him, I introduced myself and begged him to let me audition for him.
He said, “Come down tonight and do twelve minutes.”
I thanked him and came back that night with my twelve.
When I was up on stage, after six minutes, out of the corner of my eye, I could see Bud Friedman walk out of the showroom.
My heart sank.
When I finished my act, audience members high-fived me. I heard compliments. I was confused. Why did Bud walk out of the room?
I went up to the bar and waited for Bud. When he finally showed up, these are his exact words: “Very nice set, Mr. Corley. I tell you what we’re going to do. We’re going to start you in Vegas and go from there… Oh, and I want you to do the show.”
“What show is that, Bud?”
“A&E’s ‘An Evening at the Improv,’ of course.”
On the night of the taping of the show, I was in makeup sitting in a chair right next to Bud… as I looked into the mirror, creeping up to me was Mark Lonow, the co-owner, who rejected me three times before.
He leaned into my ear and said in this disdain-filled voice, “How’d you slip through the cracks?”
Bud Friedman looked at him in the mirror and said, “Mark, the last time I checked, my name is first on the Marquis.”
I did the show that night and had a really solid set and after that set, my first T.V. set, my career changed. I haven’t stopped working since.
I share this with you because rejection is a part of this business. We must learn to cope with it and not let it get us down.
And just like the picture way up at the beginning of this post, when we encounter the obstacle of rejection when can either give up, go around or break right through.
There are few things I love more than this business. One of those things is the artists who journey through it. If this blog post gave you some inspiration, drop me a comment. I would love to hear your thoughts and your obstacles and how you overcame them.
I would also like to share with you the article that inspired this post. It is a post that shows original rejection letters to famous people. The post is very appropriately titled:
“10 Painful Rejection Letters To Famous People Proving You Should NEVER Give Up Your Dreams”
it’s by Averi Clements at Distractify.com.
I hope it inspires. Go get ’em!
You have been toiling on your act for a while. You’ve written. You’ve tightened. You’ve rehearsed. You’ve sweat. You’ve honed. You feel you’re beginning to find your voice.
You’ve developed a crystalized point of view and a through-line that’s on steroids and you’re ready to flex it like a 20-year-old with a well-earned six-pack.
You’re beginning to feel like you don’t just have laughs, you may just have a purpose!
Then you get a booking at a club you’ve worked in previously and the booker drops this bombshell: “I don’t like this new style of comedy you’re doing. I think you should go back to the old you.”
What do you do?
Several comedians have asked me about this over the years. How much do you adjust your act when a booker doesn’t dig your style?
My answer is “That depends.”
In my career as a comedian, I have walked away from gigs, I have fired managers and I’ve made other decisions–both good and bad–that go against the grain of the take-any-gig-that-comes-my-way attitude.
And although I probably would’ve never considered doing that in the early part of my career, when I finally started to feel my voice, to really express myself, to come from a place that meant something to me, that’s when I decided to be my own man, my own artist, my own company.
Basically I made a decision that I’m going to succeed or fail based on my own brand, my own goals and my own business model.
It was both freeing and frightening. But then I got the best advice ever from a surprising source… George Carlin.
When I started out, I emulated a variety comedians. I was studying George Carlin, Jerry Seinfeld, Bill Cosby, Eddie Murphy and Richard Pryor. I was also a big fan of Bill Hicks.
I’ll admit it, I went with the trend at the time and I was very quirky. I was very “Seinfeldian.”
I was booking a lot of feature work. My first audition for Bud Friedman resulted in being booked in Vegas at least 4 times a year and getting a spot on A & E’s “An Evening at the Improv,” my first television spot as a comedian.
It wasn’t until I met George Carlin that I got the best piece of comedy advice ever. He changed my approach and subsequently, my career.
Carlin said, “There’s a line. Cross it.”
At first I didn’t know exactly what he was talking about. Then he clarified: “Take the stuff that drives you crazy and make it funny. You ever watch T.V. or read the news and call bullshit? That’s your comedy. Use that. But make it funny…
Say something that means something to you. Otherwise you’re just one of those cookie-cutter comedians who ain’t sayin’ anything!”
Then he said, “You can mix it up with fluff, if you have quirky and observational stuff, because the audience needs that playful stuff too, but say something that means something.
Don’t just make them laugh, make them think!”
It was that coincidental meeting that changed my entire approach to comedy. I started building an act that came from a real personal perspective. I started taking the stuff that drove me crazy and started to make it funny.
I started watching the news and reading the paper and when I felt myself call ‘bullshit,’ I wrote it down and made it funny, using paradox and irony, word-play and incongruity. I used powerful benign retaliation like Carlin, Bill Hicks and Chris Rock, (a powerful form of payback-style comedy) that you can learn in my eBook, “Breaking Comedy’s DNA.”
I became more of a socio-political comedian. I also had my quirky, fun observational stuff, but most of my act was driven by my angst and strong point of view. I blended it when I needed to, dropped certain edgy stuff when I did corporates, but most importantly, I felt like I was me!
Ninety percent of communication is non-verbal. The rest is visual and emotional.
Shortly after that tip from Carlin, my act changed. I took it on the road. It was getting a good reception.
Then I played a club in Sacramento. It was a club I had performed in for years as a feature, then a headliner. I went there with my new act; a very powerful socio-political act with kind of an underlying theme of tolerance.
Five nights, seven shows; after the first show, the club owner said, “I don’t like this new Jerry. I like the smart, quirky Jerry better.”
I didn’t know what to say. I was stuck. I liked this guy. He booked me a lot. I liked the club. I liked the people.
The next night I came in and did my quirky act. He was happy. But I wasn’t.
In my hotel room that night, I decided that I was going to take Carlin’s advice rather than some club owner’s in Sacramento. I came to work the next night. Did my socio-political act and pulled out all the stops.
That night I received my first standing ovation. I was beyond surprised.
After the show, the club owner came up to me to congratulate me… or so I thought.
He said he wanted me to finish my week doing my quirky act. and that he already expressed his displeasure with my socio-political act and that if I wasn’t willing to do as he asked, then I wasn’t welcome to work there anymore.
WTF!? Did he not see that standing ovation?
I tried to convince him otherwise, but he wouldn’t budge. I’m not sure why, but I think the issues I was pointing out as ridiculous, he actually believed in.
I finished up that week giving him what he wanted. After all, it is a business and I live by the golden rule, (He who has the gold, makes the rules).
Besides, I had to remember, I’m a guest in his club.
But after my last performance, he cut me my check and I respectfully told him that I’ve made up my mind that the quirky Jerry is no longer true to me and I wanted to evolve–at least in the clubs–and if he didn’t approve, then I wouldn’t be working for him anymore.
When I returned home, the check bounced! Eight months later, that club went under.
The club closing had nothing to do with me. It was because the club owner was a bad business man. That wasn’t my point of view, but that of the IRS.
The lesson for me in all of this was clear; Be True To You!
In my collective business model, I know that all work in this business is a collaboration. The club owners are absolutely a part of that collaborative effort and as long as it doesn’t hurt the integrity of my act, I am always willing to make some adjustments to it.
But, once you hit that stage, it’s just you, that crowd and that microphone.
Think about it. Even if I did what he wanted rather than what was true to me, my check still would’ve bounced, that club would’ve still gone out of business, and there still would’ve been a gaping three-week hole in my schedule that I would’ve had to fill anyway.
To round it out, before the end of that year, I started working at the rival to that club in Sac. Many of the same people from the previous club came to see me there.
The rival club owner liked me. He liked that I brought an audience with me.
He liked when the audience gave up a standing ovation and…
He liked to have a comedian that wasn’t afraid to say something that means something.
Oh, and I liked that his check always cleared.
How often do you find yourself in this situation: You’re introduced to somebody, and literally seconds later, for the life of you, can’t recall their names?
Some people instantly chalk it up to their brains not functioning and go as far as convincing themselves that they have a bad short-memory or they’re simply “bad” with names; going so far as to affirm it, saying things like, “I’m bad with names, I can remember faces. I always forget people.”
Does this sound like you?
If it does sound like you–and I can actually see your head nodding as you read this–then you need to know that this tendency has more far reaching implications than you might think and I can tell you from experience, just read on!
Not remembering a person’s name can interfere with your ability to feel confident in meeting new people, or it can mean the difference between a gig booked or not booked.
Meeting New People
Being a stand-up can be isolating. After all, one of the reasons we do this job is because we don’t have to rely on other people. (I know it’s one of the reasons I got into stand-up). It’s just ourselves and the audience. We can get used to that I don’t need anybody attitude and it can reinforce our inability to remember names of people.
But we must remember that in this business, a high percentage of all work is gained through relationships. And what I mean by a “high percentage” is “almost all.”
In fact, Steven Spielberg said that “Any movie that ever made got made because of a relationship.”
I’m going to say that again, A high percentage of all work is gained through relationships and remembering someone’s name and repeating it out loud back to the person you just met can have a big impact and leave a lasting impression. You’ve probably heard examples of business and political leaders and one of the things people say about them is, he always remembered my name!
That person could’ve invented the printing press or saved the free world from it’s utter demise, that stuff gets recorded in the annals of history, but a person recalls that he remembered my name.
Are you starting to see how important this could be?
A handshake is an introduction, remembering someone’s name is the beginning of a relationship!
Confidence in Meeting New People
Did you know that this “forgetfulness” can sometimes cause people not to want to meet new people. They are so afraid they will embarrass themselves when they don’t remember someone’s name that they don’t put themselves in situations to meet new people.
This can totally impede your momentum in the business world of comedy so you can see that having a lack of confidence in meeting people can completely destroy opportunity.
The difference between remembering a name and not remembering a name is the difference between a stranger and a friend or even a job and no job.
Keep reading and I’ll address simple ways to fix this.
Take a Moment to Solve the Problem
If you’re one of those people who don’t seem to remember names of other people, take some time to think about why. How many of you, (I mean all three of you who read this), have stopped to ask yourselves, what was I thinking about when she was telling me her name?
You’d be amazed at how many people just accept the fact that they can’t remember names. They just think that that’s the way they are and that’s just the way it is.
But taking a simple moment to consider why you can’t remember names will help you target the problem. Once you do that, you can start to find solutions that work.
And the solution can be simple.
Change Your Attitude
If you’re convinced that you can’t remember names, then it’s time to change your attitude about your ability. If you tell yourself that you can’t remember names, you’re just affirming that notion and convincing your brain to do the exact same thing each time. In other words, it becomes a self-fulfilling prophecy!
So start taking charge and stop accepting that you just don’t remember people’s names and start trying.
Stop being embarrassed if you don’t know someone’s name. Take the initiative and ask!
Don’t worry so much if you forget someone’s name. Everybody does it. But when you have the good fortune to meet other people, don’t leave the scene until you have their name. And if you forget their name, use humor!
You could say something like, “I need you tell me your name again… you know, because I’m a good listener…
There’s an old saying, It’s impossible to dislike someone who makes you laugh. Besides when you take a moment to ask when you forget, you show the other person that you care enough to ask.
Really listen to a person’s name when they tell you. Imagine the spelling of that name. If you can’t imagine the spelling of that name, then ask them, how do you spell that?
Ask Them to Spell It
Recently, immediately following a screening for my movie, (“STRETCH,” available on iTunes and Amazon October 7th; I know, shameless plug), a female producer came up to me to talk to me. She was a really attractive woman wearing Christian Lou Boutin shoes–about $700–so I knew I would have to stay focused.
She introduced herself and told me her name. She then introduced her boyfriend; “Kuldeep.”
Because the name was one I hadn’t heard before, I almost just let it go. I remembered by mind saying, Aaah! It’s not worth the effort, he’s only the ‘boyfriend.’
But I stopped myself and I put a smile on my face and said, “I’m sorry, would you say that again?” He repeated it and I looked him right in the eyes and said, “What an interesting sounding name. How do you spell that?” He told me and that brief interchange took an extra thirty seconds, but that name was now visually cemented into my brain. I could actually see it.
The producer’s boyfriend’s body language actually changed and he now looked like he felt like he was part of the discussion.
And the producer? Wow! She looked like someone just surprised her with her favorite flowers! That little gesture of really wanting to know her boyfriend’s name seemed to impress her. Either that, or she thought I was hitting on her boyfriend!
It was at that moment I felt the entire conversation shift from less of a formal gotta-meet-everyone-here, to a gotta-get-to-know-this-guy-better, type of thing and that’s when she asked the coveted question most writers want to hear at this type of thing: What else do you have?
This producer actually asked me what else I’ve written so can she read it! For a writer that’s huge. That’s like a booker saying, Send me your stuff, I’d love to have you in my club.”
I took her business card, took a moment to actually read her name on the card to add another layer of memory.
Before they left I shook their hands and said, “A pleasure meeting you, Kuldeep.” Then I shook the producer’s hand and I said, “It was so cool of you to come up and say hello, Nila. I will email the Christmas script so you can read it… I let a beat pass and I said, “Oh, and Nila… amazing shoes!”
Her face lit up, and she did a little pose, rocked her shoe a little bit and let out a genuine, “Oh my God. Thank you!”
Because, really? Nobody wears a seven-hundred dollar pair of shoes and doesn’t want to be complimented on them!
Evaluate and Follow Up
I felt pretty proud of that introduction. It actually went from a “glad-handing” obligation to a real opportunity, in good part to the extra effort of remembering someone’s name.
I took a quick moment to evaluate what I did; I actually took a moment to really listen. It became important to me to really listen and remember their names. Because I knew on a conscious level that I did not want to walk away from that introduction without remembering their names so I did.
Also because I did that, I initiated conversation, (how do you spell that, etc.), it kind of put me in control of that conversation. I felt like I was sort of running the show. It demonstrated a level of confidence we (including myself), don’t always have in initial greetings. I felt like I was on stage and they were looking to me for the answers.
Does that make any sense? Those new acquaintances looked at me differently and their respect level shifted instantly.
I met several other people that night. I had to remind myself consciously to stay engaged and stay cognitive of remembering their names. Really listening. Actively listening.
I also met a pretty famous director that night. He also asked What else do you have? He also liked the Christmas script idea and actually said, “I would love to direct that.”
I’m not really a big fan of those ‘schmooze fests,’ but I have to remind myself that they are part of the game. After all high percentage of all work is gained through relationships, as some guy once said way back at the beginning of this blog post.
So what happened with that producer and that boyfriend? When I got into my car to leave that screening, I immediately keyed the contact info into my smartphone, I sent her an email about what a pleasure it was to meet her and Kuldeep. I also attached the Christmas script she was interested in, (I keep all important docs in my phone!).
In the subject line I put: “[Director’s Name] said he wants to direct this!”
That script was read immediately by that producer with the great shoes, and the process has begun to get it sold. It has a good chance too, I think, because that guy Kuldeep? Turns out he’s a millionaire business mogul who finances films!
So when it comes to remembering names… don’t you think it’s time you make it a priority?
Let’s do this!