Bill Burr Reveals His Approach To Success

Bill Burr 2014

Have you ever wondered what the secret to success in comedy is? 

Ever feel like it’s just this massively intimidating idea, like this enormous blob of ectoplasmic goop that has no shape or form? 

Building a career in comedy can be so daunting.

School is so much easier! In school they tell you what to do. You know when to take your SAT’s. You’re told how many units you need to graduate, what you’re GPA needs to be.

In college, you’re told that in order to become a teacher, you have to take certain classes, get so many units, take an internship at a company and if you graduate with the right GPA and honors, you have an opportunity to have a job waiting for you when you finally graduate. 

It’s a process and it’s similar for a lot of careers. It usually goes something like: High School-College-Internship-Job-Career. That’s organized and easy to conceive; maybe there’s some variation or advanced degrees for specialties like law, medicine or engineering, but it’s still a process that’s pretty well defined.

When you start out doing comedy, there is no obvious process and nobody tells you what to do. You have to find your own way as you go. You can talk to others, but there’s still no real map.

Or is there?

Comedians always ask me, “what’s the secret to success?”

My favorite response? “It’s not a secret.”

There are successful comedians and artists out there all the time telling you what they did in their careers.

I tell all my students exactly what I did to hit my financial and artistic goals.

The success guru Tony Robbins said, “If you want to be successful, find someone who has achieved the results you want and copy what they do and you’ll achieve the same results.”

By that he means copy their methods not their products. In other words, find out how they got successful and do the same thing.

That’s pretty much it in a nutshell. I can’t tell you how to succeed. I can only tell you what I did to reach my level of success in this business. I’m still learning and still achieving and some years are better than others.

I don’t just try to figure it all out on my own. I look to others, study their careers. I read biographies of other successful artists and listen or read their interviews. Sometimes they can reveal some pretty awesome things that they did to succeed. I jot them down and see if it might work for me too.

One of the keys to success in this business is to realize that show-business is two words and whether you’re a writer, performer or both, if you start thinking of this as building your business you’ll find that it’s a little less daunting. After all, building a business has a simple formula.

The basic formula to building a business is:

  1. Find an Idea
  2. Have a Plan of Action
  3. Secure Funding to Implement that Plan
  4. Sell That Idea to Customers on a Recurring Basis.

Most Comedians have step 1, the idea, (perform stand-up), but they want to jump immediately to step 4 without digging in to step 2 or 3.

In fact most comedians don’t even want to think about step 3, because it means they have to spend money, but let’s leave that aside for now. Let’s focus on steps 1 and 2.

Step 1: The Idea. Comedians have the idea; it’s their comedy or the idea that they want to do stand-up. But what’s really missing with most comedians is the plan of action.

The problem is that it’s missing both creatively and economically.

One of the things I suggest is to read and listen to what other comedians did in their career to get where they are.

Here’s a fabulous article from Splitsider about Bill Burr on his success.

Bill Burr is one of my favorites.  His blend of honesty, passion and emotion in his material is what has propelled him to the status he enjoys today and what will continue to keep him on top.

What’s important to understand is that Bill wrote jokes for the first few years of his career. “I knew I had to know how to write jokes,” he says.

It might not have been his plan of action but looking back at his paper trail, a smart comedian might get some ideas from that plan. He then said, “I still wrote out jokes for the first ten or eleven years of my career. I was always kind of writing onstage. About six years in, I was riffing and doing that type of thing…”

If you read closely, can you see that Bill is kind of giving you his plan of action? His method? His secrets to success? 

Remember what Tony Robbins said, “find someone who has achieved the results you want and copy what they do…”

So go here and check out this interview with Bill Burr on Splitsider by Phil Stamato.

You might discover that suddenly that enormous blob of ectoplasmic goop might just start to take shape.

In the End, It’s Just You That Crowd and That Microphone

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.

The Make-It-Or-Break-It Importance of Remembering a Name

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! 

How Robin Williams Saved My Life

Robin-Williams

The Lessons; In Life and in Comedy

The life and comedy lessons that I learned from the brief encounters I had with Robin Williams came flooding back to me since I got the news of his death.

It was 4:00PM Monday August 11th, and I was sitting at the computer writing jokes; ironically, only nineteen hours after we wrapped an Anti-Suicide Benefit Show at the Hollywood Improv to raise awareness for Depression and Suicide. That’s when I got the call from a friend and fellow comedian.

He simply said: “Robin Williams is Dead.”

There was that long silence that follows that kind of message. Longer than normal. That kind of silence that seems to stretch forever. The kind of silence that would make you really uncomfortable on stage.

I did what I usually do when I hear news that I can’t totally process emotionally; I went to jokes: “Leave it to Robin to do this right after the Anti-Suicide Benefit. Ha! If the benefit didn’t raise awareness, this sure will.”

Then I cried.

I didn’t plan it. I didn’t feel it coming on. It was just one of those things that happened spontaneously, you know?

I didn’t cry when Carlin died. That news seriously bummed me out, but I didn’t cry… and Carlin mentored me.

At first I refused to believe it. Like a lot of comedians, I had worked with Robin several times. I even drove him in a limousine every day for a couple of weeks early in my career, when I was cutting down my road work to try to save my marriage.

I remember Robin said to me, “Save your marriage? F*@k your marriage. Save your life!”

Then in a character voice, almost disgustedly, he said, “You’re a comedian. A chauffeur YOU ARE NOT!”

“You think?”

He said, “Yeah Bitterman, you missed the turn about a half-mile back!” Then he launched into a Dudley Moore laugh from the movie “Arthur.”

It was a good laugh. But, that sunk in deep. And later that week after I dropped him off at his jet, I quit the limo and went right back out on the road for good.

I worked with him a couple of times after that. We weren’t buddies. We didn’t call each other or anything. The time I spent with the man was minuscule in a chronological sense, but his impact is eternal.  And each time I bumped into him or had the honor of working with him, he was always, ALWAYS kind.

That’s one of the things he taught me. That in this business, where sometimes people can be so back-stabbing, angry, resentful and use their success to try to diminish you, he was just Robin, all the time.

He taught me that synergy works better than enemy and that being kind to your fellow comedian, your fellow human doesn’t ever hurt your career. It always helps.

Robin Breathed Life Into Comedy

Robin’s career was, in a word, stellar. From the time he was picked up to do “Mork and Mindy,” he was off and running. He was a comedian, but a comedian who had goals beyond just doing stand-up. He started as a comedian in the Bay Area in the seventies, then went off to “study” at the The Julliard School of Drama in New York.

When he went back to the Bay Area, he was a different comedian. He was doing characters on stage. Characters were not new in comedy, Carlin did characters, but it was the way he was doing the characters; BIG, BOLD COMMITTED. He was blowing the doors off the clubs!

He was a pure entertainer. I know, he had a bit of a reputation for stealing jokes. Hell, he stole a couple of mine. But somehow that was different. He was “Robin.” He breathed life into comedy. I could always write new jokes.

He taught me the power of incongruous act-outs in comedy, (a version of solo-sketch comedy), that if you give the audience a clear premise: Like in this video, where he does his version of American soccer and South American soccer, then segues into American Football referees. The set up is clear cut. He sets up the characters, then just brings them to life.

You watch Robin Williams do comedy and you can’t help but feel a bit manic. Because, from the moment he takes the stage, that’s the way he performed and there’s a theory in theater science that the audience is in whatever state the performer is in. When you saw Robin perform, you had no choice but to leave that experience, charged up.

Depression and Suicide

Early reports coming in from the news is that his death was an apparent suicide. Now I think I understand why I cried when my friend called. The sheer dichotomy. In a weird way, Robin, who struggled with addiction and depression and was open about it, represented a certain hope for many.

I have never experienced addiction or depression. The closest I’ve been to that is drunk and tired.

Then it kind of hit me why Robin’s death made me cry when Carlin’s didn’t. Carlin died of so-called natural causes; a heart-related issue. Robin’s death was mired in a more profound tragedy. He died of something seemingly treatable, but obviously misunderstood.

There are close to 15 million people in the U.S. that suffer from depression. And if a man who had the resources to afford and access all the help he needed to deal with it can’t find a way out, what are the other 14 million nine-hundred and ninety-nine thousand going to do?

We need you back, Robin.

Today I’m going to Amazon to buy every Robin Williams comedy video I can get my hands on. Maybe Robin can still help play away the pain and give others hope.

Robin Williams affected us all in one way or another. For me, he was partly responsible for where I am today. One marriage down but still making a living doing comedy.

Save your life, indeed.

You’ll be missed.

Top 3 Things You Should Be Doing As a Writer Right Now

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If things weren’t interesting enough in the Late Night world, Chelsea Handler of “Chelsea Lately” has just signed to do a Late Night Show on Netflix.

Huh?

This immediately made me wonder: What is Netflix thinking?!

I think this can work, and if it does, what does it mean for you?

Netflix is on the cutting edge in original content with the super-successful House of Cards starring Kevin Spacey and Orange Is The New Black starring Taylor Schilling and a full cast of excellent actors.

Now they are taking on the world of Late Night, offering a show to the sassy and very funny, Chelsea Handler.

Kind of an interesting setting: “Late Night” on Demand. Not sure how it will do in this content delivery setting but considering the success DVRs, Amazon, Hulu and other content providers, and their ability to let viewers watch their favorite shows whenever they want really not only opens up almost endless possibilities for viewers but for writers as well!

Maybe that’s something that Conan O’Brien should’ve thought about, especially considering multi-million dollar disappearing act he seems to be doing over at TBS.

I don’t even know what channel TBS is on my DirecTV or even if it’s on their lineup at all. I just don’t pay that much attention any more. With 500+ channels on my DirecTV, nothing really stands out. Am I the only one?

The sad part is that I like Conan.

However, I know I go to Netflix all the time looking for something to watch at night when I’m having a cocktail or three.

But enough about my alcohol problem…

What Does This Mean For You?

There has never been this kind of movement in Late Night programming in television history. This means that there will be staff shake-ups and new staff hirings for shows.

Consider what’s happening in the next few months: Not only is Chelsea Handler starting a new show soon, Craig Ferguson is leaving CBS and David Letterman will be swapped with Steven Colbert. That’s three Late Night shows that are starting and staffing!

Makes you want to say HOLY CRAP! How do YOU spell “OPPORTUNITY?”

As a person who has been around this business for years as an actor, a comedian and a writer, I see this as a golden opportunity. This is the closest thing to pilot season a writer of Late Night can ask for.

Top 3 Things you should be doing right now:

  1. Creating or Refreshing a Submission Packet for Late Night
  2. Contacting The New Shows To Find Out Exactly What They are Looking for in a Packet
  3. Sharpening Your Skills to Write Sketches, Monologues, Desk Pieces, and Drop-Ins

Writing for Late Night is one of the few jobs in this town you can get without an agent or much prior television experience. In fact, The Tonight Show with Jimmy Fallon, the highest rated Late Night Show on TV right now, recently scooped up an IT Professional based on what he was posting on his Twitter feed.

Getting your stuff seen by the right people at Late Night is not that difficult.

The Head Writer is Looking For You

The Head Writer at any of these shows has a specific job. He has to make sure the writing team is producing the best content that fits the show and is right for the Host. At the same time, turnover in the Late Night world is big, so the Head Writer is always looking for talented writers who can produce material for his show.

So who do you think you need to contact to get your writing packet seen?

You guessed it; The Head Writer.

So get out there and get your stuff seen!


How Do You Do This?

There’s a specific set of skills you need to get into Late Night Comedy Writing.

  1. You can learn those skills by trial and error. Not a bad thing. The more you write the more you learn. You can test your jokes against Late Night Shows to see how they compare to the writers who are on the shows you are targeting.
  2. You can acquire knowledge & develop your skill by attending workshops: Joe Toplyn teaches an excellent workshop in New York City. I teach an excellent LIVE workshop in Burbank this Tuesday night and I have an online video course. (P.S. I don’t get any commission or kick-backs or anything from pimping Joe’s workshops. I just think he’s a talented guy who has a ton of experience).
  3. You can acquire the knowledge by reading books on the subject. Again Joe Toplyn has an excellent book, “Comedy Writing For Late Night T.V.,” available on Amazon.

Remember classes are not mandatory, but they will help you acquire knowledge from experienced professionals and help you develop your writing chops a lot faster. Workshops also help you light a fire under that writer’s butt and fill your head with new inspiration, goals and creativity.

So what are you waiting for?

Hit me back if you have any questions or if I can help you in any way to venture into the Late Night Comedy Writing world. I will give you my all to help you reach your goals.

Best if you leave a comment below and start a conversation. Maybe we can get Mr. Toplyn in to join us too!

Hey Comedy Writers! Join the Conversation!