The New Zealand Comedy Guild Incorporated was established in March 1999 to promote and protect the interests of the professional stand-up comedians and live comedy performers in New Zealand’s entertainment industry.

Rhys Matthewson is the 2010 Billy T Award winner.

Wilson Dixon is the 2010 winner of 'The Fred'

Home > Services > Guide To Dealing With Corporates

GUIDE TO DEALING WITH CORPORATES

1. Check out the marketplace and decide where you should focus.

These are just some of the different types of 'corporate gig':
- social clubs which operate separately from the firm, manage their own funds and have one or two leer-ups a year, usually at a venue. Performing at one of these isn't a million miles from a typical pub or Classic show. Chances are comedy wasn't a unanimous choice of the committee and the group that wanted karaoke won't initially be on your side.
- a function organised and paid for by the firm, of a primarily social nature and held at a venue
- a function organised and paid for by the firm, still of a primarily social nature but held at the firm and a tad more constrained as a result
- a function for an association (eg Podiatrists Society) These are excellent as they present you not only with a gig but also a showcase for yourself in front of an audience chocka with people who might also be in a position to hire you in future. Every time you perform or chat with audience members, consider yourself to be in a sales situation. Try and work in some customised material. It doesn't take much and they appreciate it. ("Why did the podiatrist cross the road?" sort of thing.)
- a segment in a business-related event like a team building day or motivational gathering. Sales teams often have get-togethers to set goals, review performance etc but fling in a bit of entertainment along the way. These clients tend to want the 'entertainment' to make it business-related.
- speaking / presentations at conferences
- MCing awards / conferences. Here you're not the centre of attention so don't try to be.
- after-dinner show. Your Classic comedy content will do fine but there's is rarely a stage, lighting, warm-up etc like you'd get at The Classic. These are harder work than they appear on the surface. It is essential that you do your own 'warm-up' during the dinner. Break that ice before you get on stage. (Assuming there is a stage which there may not be as many of these are in booked-out restaurants.)
- non-performing 'gigs' like writing for business journals etc

Hit the internet. Chat in the green room. Find out who does what with what sort of clients. Compare that with what you do. It's rather difficult to be all things to all people. Focus on one market segment. Prove yourself, then expand. Don't pre-judge. Some of the most hard-case shows are often those you'd least suspect like high-flying suits who work hard and play hard.

2. Build a portfolio and whatever reputation you want.

If you imagine that an agent or bureau will discover you and peddle your wares on your behalf for fantastic sums of money then you'd be right - right out of your tree! Once you are good, well known, proven and already charging large sums of money for gigs you've generated yourself, then agents and bureaux will "discover" you. Generally, they're wonderful people to deal with on a personal and business level but there's no incentive for them to invest time, money or energy in someone who is essential unknown and a risk. These folks are extremely risk-averse. You stuff up and you see a lost gig. They stuff up and they see a lost gig, no repeat business and no referrals. Repeat business and referrals are where the easy money comes. It takes time and guts to cold call to get these gigs but once you get one and do well then you can generally expect something else to fall out of that deal within twelve months. You may have to shake the tree to get anything to fall but it's far more likely and far less difficult.

So when the gig is done and the happy client has paid, get a happy-client-quote at the very least. Also ask, "Is there anyone you know who'd be in the market for a comedian?" Follow-up with a letter implying the same thing with a business card, flyer and whatever else you've got that looks professional and can be filed for the time when this person's drinking buddy or colleague mention's they're looking for a comedian. Send two business cards so they can keep one and give one to a friend.

Often clients are iffy about letting you video or tape record a corporate gig. Confidentiality, privacy, commercial sensitivity are often cited as reasons and often they're right but you need to get a video of you doing a corporate gig. If you do more than one type (eg comedy and speaking) then you need to video both. Agencies and bureaux particularly want these. The presence of a camera can often stilt the show and it's a real hassle but very much worth it.

Develop some visible point of difference. Unfortunately very few comedians are household names and given the drinking and other distractions, even audiences that truly love you and appreciate you for the genius you are will probably not remember your name the next day. But you still need them to be able to track you down to hire you again somehow. Maybe you're the comedian with the glasses or the balloon animal lady or the clipboard guy or the flipchart cartoonist. Speakers do this all the time. Blue jacket, red spectacles... I'm not saying that you be a prop comic or Bozo the clown or anything else demeaning to your art. I'm just observing that it helps you get tracked down (assuming you want to get tracked down.)

3. Price accordingly

Quoting often turns into something of a game as the client would rather you named a figure first while ideally you would prefer that they indicated their budget. ("You go first." "No, you go first.") If you mention a number and they say "yes" straight away, then kick yourself because you just undercharged. It's a fine line though for beginners. To charge $x when everyone else they're speaking to has said $3x implies you're a grunt amateur. To charge $3x and prove you're not worth it when you show up is not helpful to anyone in the long term. It's a small country and people talk. Ask the comedians. Ring bureaux and ask. Offer a range. "Well for a quick twenty of off-the-shelf stand-up I charge $x but for a longer more customised set I charge $3x. Alternatively I could organise a two hour showcase of comedians for $5x..." It's horses for courses too. Chances are Timmy's Plumbing and Mowing can't afford as much as ABC Global Megacorp.

Try to turn limitations and client objections into strengths. If you can't do a full hour solo yet, develop a relationship with other comedians in your situation and work together when it suits. If you can't do a gig, put the promoter or client onto a chum who may one day return the favour to you. The Classic often sells out an entire show for a corporate function or social club. If you're getting in over your head, consider getting them involved and striking a deal. They're very open to that.
Do the paperwork. Big money clients don't do the 'sly envelope' thing so don't ask. A GST invoice is expected. If you can handle an email application you should be able to muster up a simple invoice document. If you're not GST registered and it's almost certain that you're not, you are able to pop your IRD number on the invoice and note the price as "GST exclusive." The IRD will track you down sooner rather than later. You don't necessarily have to get an accountant but keep receipts. Start a separate account and keep enough in there to pay your marginal tax.

Make sure they budget for a sound system at the very least. They're often doing speeches anyways but check. I don't know many comedians who can do their act from behind a lectern.

4. Confirm the client's expectations

The Guild has a proposed contract and letter of confirmation. Corporate clients are rarely put off by these, save for some of the dodger social clubs. Once you've tweaked one to suit yourself, it's a useful tool. Sending a letter or email confirming what you believe the client's expectations of you are does three things:

a. it confirms the client's expectations of you
b. it reinforces your professionalism
c. it gives you another chance to get your name under their noses and into their memory for the next time they're hiring

If the guy paying you has asked that, in addition to being funny, you also mention the product they're launching, it would be wise to mention the product they're launching. Also, and so obvious it's worth mentioning, dress accordingly. (Ask.)

It's often worth "working the room" depending on the type of gig, before or after the show, or both. If you have to stick around to the end to get paid, you may as well schmooze. Punters in a comedy audience are likely fans who may have jobs or roles that involve organising social functions that may one day require a comedian. Think more like Charlotte Dawson. (Not too much though please.)

Ensure the client has briefed you fully and you've asked the right questions. You can rightfully charge more for a customised set than your standard off-the-shelf twenty minutes. If it's Tony's birthday, a fundraiser or a sales team meeting their target, find out and work it into the act. For corporates, check what areas are genuinely "no go" areas. Don't be too fussed about political correctness but mental health gags, regardless of their genius-funniness can result in no repeat business if the CEO's wife has just been committed.

5. Follow-up

Try to keep track of the material you used in case you do get repeat business from a client so next time you do different material. Make a diary note for NEXT YEAR to get back in touch on the off-chance that if they repeat the gig annually, you'll be included.

Consider investing some of that gig money in a set of business cards. (Yet another comedy parallel with the world of plumbing. My plumber is hilarious., particularly his invoicing.) When it is a more upmarket client and you think it's worthwhile, try writing a follow-up letter / email politely commenting on the genius of the organisers for coming up with such a great idea as a comedy night which was such an obvious success. This :

a. reinforces the client's opinion of themselves which is rarely a bad sales tactic
b. gets your name in front of them again

Ask the promoter / client how you went. Always be open to feedback. Address issues as soon as practicable.