#ComedyTips

[laurafaritos]

HDMS034. Boosted, Branded, and Broke: A Comedian’s Reality Check on Paid Social Ads

Okay, so we’ve all done it. You post a flyer for your next comedy show, Instagram asks if you want to boost it, and you think: "you know what??? Maybe this is the moment I finally go viral!!!!"

You throw $20 at it..... Maybe even $50.... You feel like a business baddie... And then… NOTHING!!! A handful of likes!!!! Maybe a comment from a bot!!!! No real spike in ticket sales!!! No DMs begging to know when your next show is!!!!

That's why paid social ads aren’t magic... but for some reason, social media platforms market them like they ARE!!!! Rude.

The reality is, most comedians, podcasters, and indie creators are spending money on boosted posts without a clear strategy, without understanding targeting, and without setting a real goal. We’re boosting because we hope it helps, not because we know it will.

This Harvard module (3.3.3. Paid Social) helped me zoom out and look at paid social from a higher level—not just as a button to press, but as a channel with real tools, real data, and real risks!!!!!

So let’s take a beat. Let’s talk about what paid social actually is, why it can work, and how to stop wasting money on ads that look good but do nothing.

Because if I’ve learned anything from doing this full-time, it’s this: There’s nothing more expensive than a cheap strategy!!!!!

I. What Is Paid Social Advertising (According to Harvard)

Paid social is what happens when you stop posting for free and start paying the platform to do something with your content. But here’s the catch: not all paid posts are created equal, and boosting alone isn’t the whole picture.

According to Harvard, paid social includes any kind of ad space that a brand pays for on a social media platform—Instagram, Facebook, Twitter/X, LinkedIn, TikTok, you name it. It’s not just about boosting—it’s about strategically placing ads that are built to serve a specific function.

And there’s one major difference that’s worth underlining:

A boosted post is not the same thing as a paid campaign.

A boosted post usually starts as something you created organically, and then you pay to show it to more people. A paid social ad campaign is built from the ground up—with an objective, a target audience, and a measurable goal in mind.

Social media platforms give you tools like:

Audience targeting (based on interests, behaviors, age, location, etc.)

Lookalike audiences (users who are similar to your followers or past ticket buyers)

Retargeting (ads shown to people who’ve interacted with your content but didn’t take action)

Custom objectives (reach, engagement, link clicks, conversions, and more)

It’s not just about views or likes—it’s about using paid social to move people down your funnel: From “Who is this?” → to “This is funny.” → to “I’m coming to the show.”

When done well, paid social can:

Introduce you to new fans

Reconnect you with people who forgot to buy

Turn passive scrollers into paying ticket holders or loyal subscribers

When done poorly, though???? It just makes Meta richer and you... poorer?? Broker??? Worse off than before you spent money on this???

II. Why Paid Social Is So Popular (And So Misunderstood)

Paid social is seductive. Platforms like Instagram and Facebook make it feel so easy. You hit “Boost Post,” pick a goal like “More Profile Visits,” throw $10–$20 at it, and boom—you’re an advertiser.

But here’s the thing: just because it’s easy to spend money doesn’t mean it’s easy to get results!!!!! Boom. Mind = blown.

So Harvard points out why paid social has become such a popular channel nowadays:

Platforms like Meta have billions of users and tons of data.

You can target hyper-specific audiences, including people who are similar to your current followers.

You can run campaigns for all stages of the marketing funnel—from broad awareness to final conversions.

It all sounds great in theory... but in practice??? It’s a LOT messier!!

Because everyone is using paid social now. Every brand. Every podcast. Every show. Every lipstick. Every sneaker. Every TikTok guru!!! Which means the space is crowded, attention is expensive, and you can’t just show up with a random clip and expect to cut through the noise!!!!

That’s why so many comedians feel like paid ads “don’t work.” It’s not because the tool is broken—it’s because most of us are:

Running vague ads without goals

Boosting posts with no real targeting

Paying for reach with no idea who we’re reaching or why

And let’s not forget: the more people that use paid social, the more expensive it becomes. Which means if your ad isn’t strategic, specific, and valuable, it’s just DIGITAL CONFETTI, girl!!!! It's just some colourful, fast, and forgotten nonsense!!!

III. What Comedians Get Wrong About Paid Social

Let me say it plainnn and simpleee: 👏 Boosting 👏 your 👏 show 👏 poster 👏 on 👏 Instagram 👏 is 👏 NOOOOT 👏 THE 👏 SAMEEE 👏 as 👏 executing 👏 your 👏 marketing 👏 strategy 👏

It’s a start, sure. But it’s also one of the most common traps comedians fall into when trying to “do marketing.” I've been guilty of it, LITERALLY THIS YEAR!!! I made that mistake with my comedy show Haunted Comedians, and didn't really learn the lesson until after I already made that mistake for the upcoming Foreigner Diaries.

So I get why we think that. I truly get it. We think that if we toss $10 at a flyer, it’ll magically sell out the venue. But without the right audience, message, or timing… that $10 just evaporates!!!!!!

So here’s what comedians (myself included) have been getting wrong about paid social all along:

1. We Boost Without a Goal We hit “promote” just because the platform suggests it!!!!! But what we gotta start asking ourselves is:

What am I actually trying to achieve with this?

Do I want ticket sales? More followers? Podcast listeners? When there’s no clear goal, there’s no way to measure if the ad actually worked.

2. We Target Too Broadly—or Not At All A lot of us boost to “People similar to your followers” or worse: “Everyone in Canada.” But comedy isn’t for everyone!!! Your style, tone, topics—all of it is niche!!! If your content is smart, weird, dark, chaotic, sweet, or absurd���then your targeting should reflect that.

The best paid ads are precise.

Targeting “people who love stand-up” isn’t enough.

Try “women 25–35 who follow other comedians, live in Toronto, and have engaged with event pages in the past month.” Now that’s strategy.

3. We Promote the Wrong Thing Not every show or clip deserves an ad. Harsh but true. Sometimes the reel is mid. Sometimes the flyer is too text-heavy. Sometimes the show is too last-minute to convert new fans.

Paid social works best when the content is already doing some of the heavy lifting.

If it’s not scroll-stopping or emotionally compelling on its own, no amount of budget will save it.

4. We Think Paid Social Will Save a Weak Launch This one stings. I’ve been there. You launch something—an episode, a live show, a new segment—and it doesn’t take off. So you scramble: Maybe if I throw money at it… But here’s the truth: ads amplify momentum. They don’t create it. If the project isn’t landing, your energy is better spent reworking the creative or rethinking the rollout—not draining your budget trying to force hype.

That’s not to say comedians should never use paid social. We absolutely should. But we have to stop thinking of it as a magic wand. It’s a tool. A smart, data-rich tool that works only if you know what you’re trying to do and who you’re trying to reach.

IV. How I’m Rethinking Paid Social in My Comedy Business

I’ve wasted money on bad ads. Let’s just start there. I’ve boosted posts that didn’t deserve it, targeted everyone and their grandma, and convinced myself that $15 would change everything. Spoiler: it didn’t.

But once I stopped treating paid social like a magic button and started treating it like a strategic tool, things shifted. Not overnight. But enough to start seeing patterns—and progress.

Here’s how I’ve changed the way I use paid social as a comedian, producer, and content creator:

1. I Don’t Boost for Vanity—Only for Strategy If I’m promoting a show, I don’t boost every flyer. I pick the one that has a hook. A theme. A lineup with faces people might recognize. Then I run a real ad—not just a boost—with a clear goal:

Click to buy tickets

Visit my profile to watch a full clip

RSVP to the event

The difference between a general “awareness” ad and a targeted “conversion” ad is huge. And I’m learning to pick my moments.

2. I Use Ads to Warm Up Cold Audiences I don’t just target people who already follow me—I run ads to people who follow similar comedians, podcasts, or shows. That’s how you grow. Not by screaming into the void, but by quietly stepping into someone’s feed with a clip or graphic that feels familiar—but fresh.

Sometimes the goal isn’t an immediate sale. Sometimes the goal is getting on their radar. And that’s enough for now.

3. I Only Promote What’s Worth Promoting I’ve had to get brutally honest with myself. Some clips just aren’t strong enough. Some graphics are too busy or not visually scroll-stopping. If I wouldn’t stop and watch it myself, I’m not spending money on it.

Instead, I wait until I have something that hits—and then I support that post with an ad that knows exactly who it’s trying to reach.

4. I Match My Ads to the Funnel Stage This was a huge mindset shift. Now, I ask:

Is this ad for someone who’s never heard of me? → Then the goal is awareness and vibe.

Is this ad for someone who knows me but hasn’t come to a show yet? → Then it’s time to build trust. Show clips. Testimonials. BTS.

Is this ad for someone who’s visited the ticket link but didn’t buy? → Then I retarget them with urgency. “Tickets are 80% sold.” “Last call.” “Your seat’s waiting.”

Not every ad has to convert. But every ad should have a purpose.

Paid social stopped being a money pit when I started treating it like a creative experiment—with data. Now, I’m not throwing money at everything. I’m investing where I know the story, the audience, and the goal actually align.

That’s the difference between just being seen… and being booked.

TL;DR + Action Steps for Comedians

Youuuuu've made it to the end, dawg!!! Good job <3 so what did we learn about paid social and how it applies to comedians??? Well, we learned that:

Paid social = ads you pay to place on platforms like Instagram, Facebook, LinkedIn, TikTok, etc.

They’re not the same as organic posts or random boosts. These ads are targeted, goal-driven, and designed to move people through the funnel—from strangers to fans to ticket buyers.

You can use them to:

Reach new, similar audiences (lookalike targeting)

Reconnect with people who interacted with your stuff but didn’t follow through (retargeting)

Promote specific moments like launches, premieres, or live events

What Paid Social Is Not

A replacement for strong content

A guaranteed way to sell tickets

A last-minute solution to a weak rollout

Something you can do without strategy

Paid social is powerful—but only when you know what you want it to do, who you’re speaking to, and how to speak their language.

Comedian-Specific Action Steps

And what action-steps should you take, specifically, as a comedian??

1️⃣ Stop boosting blindly. Ask yourself: Is this content scroll-stopping? Is this goal clear? Is this audience specific?

2️⃣ Learn the platform’s ad tools. Use Meta Ads Manager instead of the “Boost Post” button. Target specific interests, locations, or lookalike audiences.

3️⃣ Create ads that match your goal. Are you trying to sell tickets? Grow podcast listeners? Build general awareness? Don’t run one-size-fits-all campaigns.

4️⃣ Retarget like a pro. Use pixels to re-engage people who viewed your ticket page or watched your clips. Remind them to take action—without begging.

5️⃣ Test and learn. Start small. A/B test headlines. Try video vs. image. Compare targeting. Don’t just “set it and forget it”—treat it like a comedy set. See what lands.

IN CONCLUSION... You don’t need to be rich to run ads. You just need to be smart!!!!! Because in this digital landscape, visibility is currency—and paid social is your billboard, your trailer, and your hype machine… IF YOU DO IT RIGHT!!!

I'll see you in the next one. Tchau tchau <33

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Shortcut to Success | Best jokes of the day | Funny stories

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British Royal etiquette step the f*ck aside.

[comedian-jerroldb]

5 #comedytips takem or leavem #comedyadvice #howto #guru #standupcomedy #realtalk #justsaying #advice #inspirationalquotes #meme

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[leevalentin]

5 Sites That Offer Killer Standup Advice

As I write this, I'm half asleep. Doesn't take away from these sites that I share but I want to point out that I'm just impaired. I wanted to post a pic with this but I can't even do that.

1. Jonas Polsky on Bombing

Jonas gives his honest take on how to bomb gracefully and take it as a learning experience. Take a look at some of his posts on topical jokes.

2. 50 Best Comedy Tips 

Jared Volle is giving away some great information. Specifically about not picking on audience members which I was guilty of just once

3. Simon Dunn on Performance

Simon Dunn has some great performance specific steps for new standup comedians. Be yourself, have no fear and read all of his posts with a british accent

4. David Deeble on Starting Comedians

David Deeble, short in stature but tall on confidence thinks 'good looks are considered an occupational hazard' and ends his blog post with 'winners are boring'. Good tips here, David.

5. Ross Simmonds on Public Speaking

Although this is catered to public speaking and presentation, (which after all, isn't that what comedians do?) Ross likens comedians to hustlers and gives a great tip on dealing with hecklers.

That's my list and if you suck now, keep going. You can't possibly suck for ever. If you do, move back in with your parents and live off of their retirement money.

If you like this post, share it, reblog it or tweet it to your friends. 

[laurafaritos]

HDMS029. The Paid Media Playbook: How Comedians Can Use Ads to Get Booked & Sell More Tickets

Aiaiai!!! I'm back with yet more Digital Marketing Strategy insights from Harvard Business School combined with my own experiences as a comedian. Remember how we talked about the ways comedians can include paid, owned and earned media in their portfolio???

Well, today we’re diving into paid media—aka, spending money to get people to notice you. If you’re a comedian, creator, or performer, chances are you’ve never thought about running an ad in your life. Maybe you think ads are only for big brands or influencers who are already famous. Maybe you think paid promotions feel cringe. Or maybe you’ve just never had the budget to even consider it.

But here’s the reality: the internet is crowded. Your Instagram clips, your show posters, your podcast promo—it’s all getting buried under a never-ending stream of content. If you don’t have a strategy to break through the noise, you’re relying on luck.

So in this post, we’re breaking down:

What paid media actually is (without the marketing jargon).

How comedians & creators can use it to book more gigs, sell more tickets, and grow an audience.

When paid media works (and when it’s a waste of money).

A simple way to test ads without feeling like you’re selling your soul.

By the end, you’ll finally understand how ads work and how they can be a tool—not a sellout move—to get more gigs, more fans, and more control over your career. Let’s rock and roll babyyyyy!!!

I. Paid Media 101: What It Is & Why It Matters for Comedians

Paid media is exactly what it sounds like: media exposure you pay for. Unlike organic reach (where you just post and hope for the best), paid media guarantees that your content gets seen by the right people—whether that’s potential fans, bookers, or industry folks.

Traditionally, paid media meant things like TV commercials, newspaper ads, and radio spots. But digital marketing changed the game. Now, paid media includes:

Search ads – When someone Googles “best comedy shows near me,” and your show ad pops up at the top.

Social media ads – The Instagram, TikTok, and Facebook ads you scroll past daily.

Sponsored content – Paid promotions on YouTube, blogs, and newsletters.

Streaming ads – That unskippable ad before your Hulu show or Spotify playlist.

If you’ve ever seen a stand-up special trailer pop up while scrolling YouTube or an event listing on Instagram for a comedy show in your city—that’s paid media in action.

So here’s the thing: the internet is FLOODED with content!!!!!!!!!!!! The days of just posting a flyer or clip and expecting people to show up are OVER!!!!!!!!!! The algorithm ISN'T your friend, and only a FRACTION of your audience sees what you post!!!!!!!!!!!!!!

Trust me. I know it sucks. I wish it wasn't that way. But it is. And since that's the way it is, we have to figure out how to reach people. This is where paid media comes in and cuts through the noise!!!! It ensures that the people who actually want to see your content GET TO SEE IT!!!! I can't stress it enough. Paid media (when done right, that is) can quite literally determine whether potential fans discover your clips or local comedy lovers find your next show.

But before you start throwing money at Instagram ads, let’s talk about when and how to use paid media effectively—so you don’t waste your budget on ads that flop.

II. The Paid Media Landscape: Where Should You Advertise?

Now that we know paid media is essential for getting seen, the next question is: Where should you spend your money?????????

Paid media is not a one-size-fits-all situation. Each platform has its own strengths, audiences, and best use cases. Let’s break it down.

Search Ads (Google & Bing)

Best For: People actively searching for comedy shows, stand-up clips, or related topics.

Example: Someone types “best comedy shows in [your city]” and your show pops up at the top.

Why It Works: These people are already interested, like you’re just putting yourself in front of them at the right time.

Downside: You need good keywords & targeting; otherwise, you’ll waste money on random searches.

Social Media Ads (Instagram, Facebook, TikTok, Twitter/X, LinkedIn, Twitch)

Best For: Promoting shows, growing your fanbase, and getting clips seen.

Example: A 30-second stand-up clip appears as a sponsored post in someone’s TikTok feed.

Why It Works: Social ads let you target super specific audiences (comedy fans, locals, people who follow other comedians).

Downside: Algorithms change constantly, so ad strategy requires testing & tweaking.

Display Ads (Banners, Video Ads, Native Ads)

Best For: Retargeting and brand awareness.

Example: Someone visits your event page but doesn’t buy a ticket—later, they see a banner ad for your show on another website.

Why It Works: Keeps you top of mind for people who already showed interest.

Downside: Can feel spammy if not done right, and click-through rates tend to be low.

Streaming & Digital TV Ads (YouTube, Hulu, Spotify, Podcasts, OTT, CTV)

Best For: Larger shows, tours, and personal branding.

Example: A short ad for your comedy special plays before a YouTube video or Hulu show.

Why It Works: People actually watch/listen to these ads (especially podcasts).

Downside: Expensive & best suited for bigger campaigns.

Influencer Marketing & Sponsored Content

Best For: Tapping into someone else’s audience.

Example: A TikTok comedian with a big following features your clip or show in their content.

Why It Works: Feels organic & trustworthy, like people love recommendations from creators they already follow.

Downside: Influencer rates vary, and ROI depends on their audience engagement.

Bottom Line???? The best paid media strategy depends on your goals. If you want immediate ticket sales, search & social ads are your best bet. If you’re building long-term brand awareness, influencer marketing & streaming ads might be the move.

III. How to Make Paid Media Work for You (Without Wasting Money)

Now that we know where you can advertise, let’s talk about how to make sure your paid media efforts actually bring results. Spending money on ads without a strategy is like throwing cash into the wind—fun for a second, but ultimately useless.

Here’s how to maximize your ad spend and avoid common pitfalls:

Start with a Clear Goal

Before you even think about running an ad, ask yourself:

Do I want more followers? → Focus on brand awareness ads (video views, reach).

Do I want people to buy tickets? → Run conversion ads (event page clicks, sales).

Do I want people to watch my clips? → Optimize for engagement & shares.

Why It Matters: If you don’t define a goal, your ad won’t know what success looks like... AND NEITHER WILL YOU!!!!!!!

Target the Right People

You wouldn’t perform at a corporate gig for lawyers with the same jokes you use in a bar at midnight, right? Same logic applies to ads.

Geo-Targeting: Only advertise to people in your city (if promoting a local show).

Interest-Based Targeting: Target people who already follow comedians like you.

Retargeting: Show ads to people who already visited your page but didn’t buy tickets.

Why It Matters: If you target random people, you’ll burn through your budget with zero conversions.

Use Killer Creative (Hook Them FAST)

No one owes you their attention. Make sure your ad grabs them instantly.

For Video Ads:

Start with a STRONG HOOK (e.g., “This is the joke that got me banned from my mom’s house.”)

Use captions (most people scroll with the sound OFF).

Keep it short & punchy (15-30 seconds MAX).

For Image Ads:

Use a high-quality, eye-catching photo (you looking confident onstage > blurry screenshot).

Add a clear CTA (“Get tickets now!” “Follow for more stand-up clips!”).

Why It Matters: A boring ad = people scrolling past. You have 1-2 seconds AT MOOOOSTTT to stop them.

Test, Test, and Test Again

Ads are not a set-it-and-forget-it thing.

Always test different versions to see what works best:

Try different copy (“Get tickets now” vs. “Come see me bomb in real life”).

Experiment with different creatives (video clips vs. still images).

Adjust audience targeting (are your ads reaching the right people?).

Why It Matters: What works for one comedian might not work for you. Testing helps you find that #sweetspot!!!!

Optimize & Scale What Works

Once you find an ad that works, put more money behind it. But don’t throw cash at ads that aren’t converting.

If an ad is doing well? → Increase the budget.

If an ad is flopping? → Adjust or kill it.

Why It Matters: If you’re not getting results, don’t assume paid media “doesn’t work.” It just needs tweaks!!!!!

ALL OF THAT IS TO SAY that paid media can fast-track your growth.... if you do it right!! Set clear goals, target the right people, test everything, and only scale what works!!!!!

IV. Paid Media Strategies for Comedians & Creatives: How to Make It Work for You

Now that we know how to optimize paid ads, let’s talk about real-world strategies for comedians, content creators, and independent artists. If you’ve ever thought, "I should probably run an ad, but I have no idea where to start," this section is for you.

When to Use Paid Media (And When to Skip It)

Paid media isn’t always necessary, but here’s when it makes sense:

>> YES, Run an Ad If...

You’re promoting a ticketed event and need to drive last-minute sales.

You just posted a viral-worthy clip and want to boost it for more reach.

You’re launching a special project (a YouTube series, a Patreon, an album).

>> NO, Don’t Waste Money If...

You’re just starting out and don’t have a clear audience yet (focus on organic first).

Your social media is a ghost town—ads won’t fix bad content.

You haven’t optimized your website or ticket page (no point in paying for clicks if the page sucks).

Why It Matters: Ads work best when they’re pushing something people ACTUALLY want!!!!

Best Paid Media Platforms for Comedians & Creators

Not all ads are created equal. Different platforms serve different goals:

Instagram & TikTok Ads → Best for Getting Discovered

Use them for: Boosting stand-up clips, reels, podcast clips, or brand awareness.

Target: People who follow similar comedians (Matt Rife, Taylor Tomlinson, etc.).

Budget: Even $5/day can boost reach significantly.

Facebook & Eventbrite Ads → Best for Selling Show Tickets

Use them for: Promoting a live event (but ONLY if your page is active).

Target: Local audiences interested in comedy, nightlife, stand-up shows.

Budget: $50-100 per campaign for local events can drive solid conversions.

YouTube Pre-Roll Ads → Best for Promoting a Special

Use them for: Promoting a YouTube comedy special, podcast, or series.

Target: People already watching comedy specials similar to yours.

Budget: Higher cost per view, but good for long-form engagement.

Why It Matters: Each platform has strengths and weaknesses. You gotta assess what's right for you and pick the right one for your goal.

How to Create an Ad That Doesn’t Suck

Comedians fail at ads when they:

Use boring footage.

Have no clear CTA (call to action).

Throw money at ads without testing.

Instead, Follow These Rules:

Start with a STRONG hook → “This joke got me kicked out of a bar…”

Make it visually engaging → Bright colors, captions, and tight framing.

Keep it short → 15-30 sec is ideal (shorter on TikTok).

Have a CTA → “Follow for more,” “Grab your tickets now,” “Subscribe here.”

Why It Matters: Bad ads feel like ads. Good ads feel like content.

Retargeting: Your Secret Weapon

Ever look at a product once and suddenly see it everywhere? That’s retargeting.

If someone watched your clip but didn’t follow you → Show them another.

If someone visited your ticket page but didn’t buy → Remind them!

If someone liked your post but didn’t engage further → Hit them again.

Why It Matters: People need to see something multiple times before they take action.

Scaling Up: When to Spend More

Once an ad is working, increase the budget gradually:

Started with $5/day? → Try $10/day and monitor results.

Selling out a small venue? → Use similar targeting to expand to bigger shows.

Viral joke popping off? → Turn it into an ad campaign for growth.

Why It Matters: The best-performing ads deserve more money. If something’s working, double down.

Paid Media is a Tool!!!!!!!!!! It Is NOT a Magic Fix!!!!!!!!!!

Paid ads won’t make you funny or fix a bad set. But when used correctly, they can:

Sell more tickets

Boost your best content

Get your name in front of the right people

TL;DR: On Paid Media for Comedians

Alright, we’ve covered a lot in this post! Paid media is one of the fastest ways to get in front of new audiences, whether you’re selling tickets, growing your social media, or trying to get booked on bigger shows. We broke down search ads, display ads, social media ads, and even digital streaming ads, and we talked about how comedians can apply paid media without feeling like a sellout.

The key takeaway? Paid media is NOT just for big brands. If you’re strategic, even a small budget can help you find new fans, build credibility, and turn casual viewers into paying audience members. But not all paid media is equal, and you should always align your ad spend with your comedy goals—whether that’s growing your following, selling out a show, or getting on industry radars.

And of course, paid media isn’t everything. It works best when combined with owned and earned media, which we’ll continue to explore in this module. But before we move on, there’s one big question left to answer:

How do YOU know if your paid ads are actually working????

I'll see you in the next one. Tchau, tchau <333

[laurafaritos]

HDMS018. Not Just Funny—Profitable: How I'm Learning To Apply the Marketing Funnel to Comedy Shows

Listen, I am not a marketing expert. I’m a comedian who, until recently, thought “marketing” meant slapping a show flyer on Instagram, posting it on my story a couple of times, and hoping for the best. And if that didn’t work? Well… guess my friends didn’t love me enough!

For years, I ran shows that were objectively great—strong concepts, talented comedians, fun lineups. And yet, my audience was usually just other comedians, my friends, and whatever couple accidentally walked into the venue that night. I tried word of mouth, organic social media, and sheer blind optimism. But nothing worked consistently. Sometimes I broke even. More often, I lost money. And I had no idea why.

Then I started a Harvard Digital Marketing Strategy course, and I felt my brain rewiring. Marketing is a system, not a shot in the dark. There’s a structure to it. And more importantly, most comedians struggle to sell out shows because we are skipping steps. We promote, but we don’t market. We assume "putting it out there" is enough. And when people don’t show up, we blame everything except the fact that we never actually gave them a reason to care.

Nobody teaches us this. Not comedy schools. Not media programs. Not even “the industry.” But if comedians actually understood how audiences decide to buy tickets, we wouldn’t have to rely on clubs, bookers, or external gatekeepers. We could take control of our own careers.

So let’s break down the three stages every audience member goes through before they buy a ticket—Awareness, Consideration, and Conversion. If you’re only focusing on “getting the word out” (like I did for years), that’s exactly why you’re struggling to fill seats.

I. HARVARD RECAP: THE MARKETING FUNNEL & WHY IT MATTERS

Alright, let’s break this down like I just smuggled Harvard Business School notes straight to you. (Because, in a way, I did.)

A marketing funnel is a three-stage roadmap that explains how people go from “Oh, what’s this?” to “Take my money.” Every single person who buys something—whether it’s a pair of shoes or a ticket to your comedy show—goes through these psychological steps: Awareness, Consideration, and Conversion.

Most comedians (my past self included) completely ignore this. We assume that if we post a show flyer, people will magically buy tickets. The reality? Audiences move through these stages, and if you skip one, you’re just throwing spaghetti at the wall, hoping it sticks.

Stage 1: Awareness (Getting on Their Radar)

The first hurdle is simple: people can’t buy from you if they don’t know you exist. For brands, this means investing in ads, press coverage, influencer marketing, and viral content. For comedians, this means making sure people actually see your promo material before the day of the show.

Harvard explains that there are two types of brand awareness:

Unaided Awareness – When people can name your brand without being prompted. (Example: If I ask you to name a sneaker brand and you immediately say “Nike.”)

Aided Awareness – When someone recognizes your brand only after being reminded. (Example: If I show you a list and you go, “Oh yeah, I’ve heard of OOFOS.”)

Big brands like Nike don’t have to worry about Awareness. Small brands—and comedians—do. This means investing in the right places so more people hear about your show before it happens.

Stage 2: Consideration (Why Should They Care?)

Here’s where most of us screw up.

Just because someone knows about your show doesn’t mean they care about it. Consideration is where audiences weigh their options. They’re asking, “Do I really want to go to this? Why should I pick this over other plans?”

In the Harvard case study, OOFOS struggled because runners didn’t immediately see why they needed "recovery footwear." Just knowing OOFOS existed wasn’t enough—they had to be convinced it was worth their money. Similarly, comedians need to give people a reason to care.

If you post a flyer that just says “Comedy Show – 8 PM”, that’s weak Consideration strategy because it doesn’t tell anyone why your show is different. But if you post, “You love dark humor? My show mixes stand-up with paranormal stories. Here’s a clip of the last one where the audience lost their minds.”—that’s strong Consideration strategy because it taps into your audience’s specific interests.

At this stage, you need to sell the experience and differentiate yourself. Why should people come to your show instead of watching Netflix at home?

Stage 3: Conversion (Closing the Sale)

This is where money is made—or lost.

By the time someone gets to Conversion, they already know about you (Awareness) and they’ve considered their options (Consideration). Now, they’re standing at the door of your comedy show wondering if they should actually buy the ticket.

At this stage, your job is to remove friction and give them a final nudge. This is why businesses use one-click checkout, discount codes, and “only X tickets left” tactics. People hesitate before spending money, so the easier and more urgent you make it, the more likely they are to buy.

For OOFOS, their problem was that people interested in their shoes weren’t always buying. The fix?

Stronger messaging on why their product was unique

Targeted search ads to hit people right when they were actively looking to buy

Email marketing to re-engage people who visited their site but didn’t purchase

For comedians, conversion problems look like this:

People liking your promo posts but not actually buying tickets.

People saying they’re coming but bailing last minute.

People watching your stand-up clips but never showing up IRL.

The solutions?

A direct ticket link in every promo post (remove friction).

Limited-time discounts for early buyers.

Personal DMs to past attendees (retention marketing).

The more you make it easy and urgent to buy, the higher your ticket sales will be.

Why Most Comedians Fail at This

Most comedians don’t sell out shows not because they aren’t funny, but because they skip steps.

They assume Awareness = ticket sales. (Just because someone saw your flyer doesn’t mean they’re coming.)

They don’t nurture Consideration. (You need to convince them why your show is worth their time & money.)

They don’t optimize Conversion. (If you’re not making it EASY & URGENT to buy, you’re losing potential ticket buyers.)

Big companies have entire teams for this. As self-employed comedians, we are the marketing team, production team, and talent. That means we have to work smarter, not harder.

TL;DR Recap:

The Marketing Funnel is Awareness → Consideration → Conversion.

Skipping steps = struggling to sell.

If you want to sell out, you need strategies for all three stages.

If you think, “but I’m just a comedian, not a businessperson”—guess what? If you’re self-employed, you’re running a business.

Now, let me show you how I failed at every single one of these before finally getting my first (almost) sold-out show.

II. MY COMEDY SHOW GRAVEYARD: HOW I FAILED AT EVERY STAGE OF THE FUNNEL

If I had known about the marketing funnel earlier, I could have saved myself from years of failed shows. But hey—what is comedy if not turning your own disasters into something useful? I want to walk you through three key failures that showcase exactly how I ignored Awareness, Consideration, and Conversion in my early comedy shows. Spoiler: I was out here learning the hard way.

FAILURE #1: The Disaster Show (2017) – No Awareness, No Money, No Plan

The Disaster Show was my first attempt at running a comedy production, and I went into it with all the confidence of someone who had never heard the term "marketing strategy" in her life. I relied entirely on my classmates and comedian friends to fill the room, assuming that word-of-mouth and personal invitations would be enough. I put up a couple of posts on Facebook, told a few people, and hoped for the best.

What I did not do was create awareness beyond my immediate circle. There was no social media campaign, no email outreach, no strategic partnerships with other communities—just me assuming people would show up because the show existed. The result? A half-empty room, no new audience members, and no revenue.

It was a pay-what-you-can show, and the most I made in two editions was enough to give each comic $10. I made nothing for myself. Worse, I had no way to keep in touch with the few audience members who did come. No email list. No retention strategy. Just me, starting from scratch every single time.

FAILURE #2: Good Vampire Morning (2019) – Great Idea, No Consideration Strategy

By 2019, I had leveled up—I now had a unique and exciting show concept: Good Vampire Morning, a variety show where comedians had to perform in a vampiric accent. I thought the concept alone would carry me to success. I was wrong.

I made the classic mistake of assuming a cool idea was enough. I assumed people would see the show flyer, think it was fun, and automatically want to come. I did not think about my target audience, the competitive landscape, or the fact that people need a reason to buy beyond just "this looks cool."

The result? Two shows with nearly no audience. The lineup was killer. The performances were hilarious. And yet? I was performing to four of my friends, two comedians who weren’t booked, the bar DJ, and a confused walk-in couple. I failed to give people a reason to choose this show over any other way they could spend their evening.

I didn't build engagement. I didn’t offer any exclusivity, discounts, or compelling reasons to attend now instead of later (spoiler: there was no later). I didn't even reach out to niche communities—no horror fans, no goth groups, no vampire-loving weirdos like myself. I skipped the Consideration stage entirely, and the result was a completely empty room.

FAILURE #3: Haunted Comedians (2021) – The Conversion Catastrophe

At this point, I should have learned my lesson. Instead, I made a whole new set of mistakes.

The first time I tried to run Haunted Comedians, I intended for it to be a live show—but when I struggled to sell tickets, I panicked and pivoted. Instead of focusing on ticket sales, I reframed the event as a recording day, assuming that if I just got comedians together to film, I could at least create some content.

This was a huge mistake. Instead of doubling down on my marketing and actually driving conversions, I gave up on selling tickets altogether. I assumed that I could salvage the event by recording it. What I didn’t consider was that recordings only work if the production is solid.

The venue had originally agreed to let me use the space under the assumption that I could bring in at least 15-25 audience members. When I showed up with five, it was humiliating. They never wanted to work with me again. Worse? Our recording equipment failed halfway through the interviews, and we didn’t even notice. Half the footage was unusable. I walked away with no audience, no content, and another financial loss because I had to pay the comedians out of pocket.

I failed at the conversion stage. Even the people who had expressed interest never made it to actually purchasing a ticket because I never followed up, never created urgency, and never made buying tickets as easy and frictionless as possible.

THE TURNAROUND: HAUNTED COMEDIANS 2025

Fast forward to January 31, 2025—my first real success.

Was it perfect? No. Did it sell out? Not quite—80% sold. But compared to my track record, this was a HUGE win.

What changed? I used actual marketing strategies—consistent promotion, a clear value proposition, and targeted outreach. I made sure to capture audience emails for future retention. I created an experience, not just a comedy show, but a unique event that was worth talking about.

This show proved to me that marketing isn’t about luck—it’s about strategy. Now, my next step is making sure I build on this momentum and retain my audience. Because a one-time success isn’t enough—I need to turn first-time attendees into repeat customers.

III. WHAT I’M DOING DIFFERENTLY NOW: APPLYING THE FUNNEL TO MY COMEDY BUSINESS

So, what’s changed? Why did Haunted Comedians 2025 succeed when all my other shows flopped? The answer is simple: I finally started treating my comedy like a business.

This means I’m no longer relying on hope, good vibes, and a cool concept to sell tickets. I’m actually applying the marketing funnel to make sure my audience moves through each stage—from Awareness to Consideration to Conversion.

Here’s how:

1. Awareness: Making Sure People Actually Know My Show Exists

Before, I relied on posting a flyer and hoping for the best. Now, I take an intentional, multi-platform approach to brand awareness:

Consistent social media presence: Not just “promo posts,” but engaging content—clips, behind-the-scenes footage, audience testimonials, and memes related to my show’s themes.

Collaborations & cross-promotions: Partnering with other comedians, podcasters, and local businesses to tap into their audiences.

Press & niche communities: Reaching out to bloggers, newsletters, and community groups that align with my show’s themes (horror fans for Haunted Comedians, relationship bloggers for Failed By Sex Ed).

SEO & searchability: Making sure my show’s event page is optimized with keywords so it actually shows up when people search for comedy in Toronto.

2. Consideration: Giving People a Reason to Choose MY Show

People don’t just buy comedy tickets—they buy experiences. Instead of assuming that people will just “get” what makes my shows special, I’m actively showing them why my events are worth attending.

Clear branding & messaging: Every post, email, and promo reinforces what my show is about and why it’s different from generic stand-up nights.

Building anticipation: Instead of just announcing the lineup, I introduce the comics one by one, tease special moments, and create a sense of exclusivity.

Testimonials & social proof: Sharing audience reactions, post-show highlights, and feedback to build credibility and FOMO.

Storytelling: I don’t just say “Come to my show!”—I tell stories about the chaos, the comedians, the wild moments, making people feel like they’d be missing out if they don’t attend.

3. Conversion: Making It EASY for People to Buy Tickets

This is where I failed the hardest before—I’d get people interested, but they’d never actually make it to the purchase. Now, I’m making ticket sales frictionless:

Clear, frequent calls-to-action (CTAs): Every piece of content has a next step—“Get your ticket now,” “DM me for the link,” “Join the email list for early access.”

Urgency & scarcity: I highlight when tickets are selling fast and create limited-time offers. (Example: “Only 10 tickets left at early-bird pricing!”)

Email marketing & retargeting: Instead of relying on Instagram’s algorithm, I’m actually collecting emails so I can remind people to buy tickets.

Partnerships for added incentives: Offering free drinks, discounts, or giveaways through venue partnerships to make ticket purchases more attractive.

WHAT’S NEXT? KEEPING THE MOMENTUM GOING

I finally have proof that marketing works, but this is just the beginning. My next priority? Retention. Keeping track of my audience, building relationships, and turning one-time ticket buyers into repeat attendees and superfans.

I’ll be setting up a real email list, creating more content between shows, and making sure my marketing doesn’t just start two weeks before the event—it’s ongoing. Because at the end of the day, a sold-out show isn’t luck. It’s strategy.

V. THE AUDHD ANGLE: HOW I’M BUILDING A SYSTEM THAT WORKS FOR MY BRAIN, NOT AGAINST IT

Let’s be real—I didn’t struggle with marketing my shows just because I didn’t know the strategy. I struggled because traditional marketing approaches are built for neurotypical brains that can handle structure, discipline, and long-term consistency without a meltdown. That’s not me.

For years, I thought my inability to stick to a long-term marketing plan was a personal failing. That I just needed to “try harder” or “be more organized.” But newsflash: I have AuDHD. My brain doesn’t function the way business books tell me it should. And instead of fighting against it, I’m finally building a system that works with my brain.

1. Making Marketing Work for My Dopamine-Seeking Brain

Reframing marketing as content creation: Instead of treating promo as a chore, I frame it as “making funny or interesting content” because that is something I actually enjoy doing.

Batching & automation: If I try to post daily, I’ll fail. If I dedicate one hyperfocus day to scheduling a month’s worth of posts? That works.

Gamifying the process: I track ticket sales like a video game, celebrate every small win, and make it fun instead of overwhelming.

Micro-wins instead of massive tasks: “Write one social post” is manageable. “Build a 3-month marketing plan” is instant executive dysfunction. So I break it down into dopamine-friendly steps.

2. Beating Executive Dysfunction by Using My Strengths

Interest-based motivation over discipline: If I don’t find a way to make it interesting, I won’t do it. So I inject humor, storytelling, and creativity into everything.

Body-doubling & external accountability: Instead of struggling alone, I set deadlines with friends, co-work on marketing with other comedians, or even use public accountability like “If I don’t post about my show by 3 PM, roast me.”

Templates & structured flexibility: I use marketing templates so I don’t have to reinvent the wheel every time—but I also leave room for last-minute impulsive creativity because I know that’s how I work best.

3. Preventing Burnout by Pacing Myself (Instead of Going All-In and Then Crashing)

Building in rest & recovery: I no longer overextend myself with unrealistic expectations. I plan around my energy levels.

Working with my hyperfocus, not against it: If I feel a sudden surge of productivity, I lean in and create as much as I can. If I’m in a slump, I don’t force it—I work with what I already prepared.

Prepping for future-me: I leave breadcrumbs for my future self—easy-to-edit templates, clear next steps, reminders that make it easier to pick up where I left off when my motivation inevitably fluctuates.

VI. BUILDING A SYSTEM THAT SUSTAINS ME LONG-TERM

For the longest time, I thought my inability to “just be consistent” with marketing was a personal failure. I saw comedians around me grinding, posting non-stop, and selling out rooms, while I struggled to even remember to promote my shows until the week before. I assumed the answer was discipline. Structure. Forcing myself to stick to a rigid, long-term marketing plan like a real businessperson.

But that’s not how my brain works.

Now, after spending over 60+ hours studying this Harvard course and applying what I’ve learned, I see marketing differently. It’s not about willpower—it’s about building a system that works with my neurodivergence instead of against it.

What does that mean in practice?

Marketing = Content Creation. I’m reframing show promotion as a creative process, not a boring task I “have” to do.

Batching & Automation = My Lifeline. I build my promo in hyperfocus bursts, so I don’t have to rely on daily motivation.

Templates & Systems = Future-Me’s Best Friend. I create reusable marketing materials that make it easier every time.

Momentum > Perfection. I’d rather be consistently imperfect than perfectly inconsistent.

This shift in thinking is the reason Haunted Comedians (Jan 31) was 80% sold out, while past shows barely broke even. It’s the reason I’m finally tracking my audience, building a real marketing funnel, and making decisions like a business owner, not just an artist.

And the best part? This is just the beginning.

I can’t wait to see what happens when I apply this system to all my comedy shows in 2025. If this is what I’m learning from just two modules of this course, I can’t imagine how much my strategy—and my career—will evolve by the end of it.

So if you’re a comedian reading this, wondering if you’ll ever figure out how to market yourself, just know that I’m figuring it out in real-time too. And if you stick around, I’ll share everything I learn along the way.

VII. FINAL THOUGHTS

Aaaaaaaaaaaand that was the post! You made it to the end!

If you’ve made it this far, congrats—you now know more about marketing than 90% of comedians running shows right now. (Seriously. Most of us are out here hoping for the best and praying our friends show up.)

I’m documenting everything I learn from this Harvard course in real time and applying it to my own comedy career. If you want to:

Follow the full journey of me trying to crack the code on selling out shows,

Steal my marketing strategies without having to take a Harvard class,

See if I actually succeed or fail spectacularly,

Then stick around.

Tchau, tchau!!!

[comedyopkot-blog]

5 essentiële tips voor de ambitieuze comedians onder ons!

[comedyopkot-blog]

Kan je leven van comedy?

Een vraag voor vele aspirant comedians. Maar Bert Gabriëls, die nota bene ook ook zal komen spelen dit jaar, licht het voor jeuit op Vacature.com.

http://www.vacature.com/carriere/salaris/Kan-comedian-Bert-Gabriels-leven-van-zijn-job

(Bron: www.vacature.com)

[comedyopkot-blog]

Rick Gervais vertelt je hoe het moet.

 Enjoy!

[comedyopkot-blog]

Jerry Corley. Schrijver voor onder meer de Tonight Show vertelt je hoe je comedy moet schrijven.

[comedyopkot-blog]

Hoe word ik comedian in 10 stappen.

Een comedian worden is niet vanzelfsprekend. Het vraagt veel wilskracht en overtuiging om het te maken. De website About Entertainment maakte bijgevolg een overzicht van de belangrijkste tips die een comedian nodig heeft. 

1. Get On Stage Now

No amount of helpful tips or discussion can take the place of experience, and that's pretty much all that counts when it comes to stand-up. It's a true "learn-by-doing" art form, and you won't know what works (and what doesn't) until you've gotten on stage in front of an audience. The more chances you have to perform, the more you'll be able to learn. Many comedians perform multiple times a night in the early years, hopping from club to club or open mic to open mic. There is no substitute for stage time in comedy, so make sure you're getting lots of it.

2. Don't Be Afraid to Bomb

You're not going to bring the house down every time you step on stage, particularly in the beginning. That means, from time to time, you're going to find out what it's like to bomb. That's ok; bombing can be very useful. You'll learn which parts of your act aren't working and possibly why. You'll quickly find out how you react in these situations: are you fast on your feet? Can you recover the set? If nothing else, the experience of bombing will be unpleasant enough that you'll work that much harder on your act to avoid it ever happening again. Fear can be a powerful motivator.

3. Keep Up With Your Old Stuff

Even if you're working up new material, don't forget to keep your old stuff fresh. Maybe you've got a great setup, but there's a punchline or tag that will make a joke work even better. There's always room for improvement; go back every once in a while and punch up older jokes with new tags or punchlines. This can also be a great way to break out of a rut -- it gets your creativity going without requiring you to generate new material out of thin air.

4. Don't Steal

Don't steal. Just don't. Don't even "borrow" or "rephrase." It's never cool, and it will end your career as a stand-up very quickly. If you ever think you might be lifting a joke from another comic -- even if it's unintentionally or subconsciously or whatever -- just drop the joke. It's not worth being labeled as a thief and a hack, which is ultimately what could happen.

5. Stick to Your Time

Always be sure to stay within the time slot given to you by a promoter, club manager or open mic organizer. It's rude and unprofessional to go longer than your allotted time; remember, there are other comedians that are following you, and they should get every minute they've been promised. Conversely, it's also unprofessional to do less time on stage than what you're expected to deliver. That puts an unfair pressure on the comic after you to fill in the gap and perform longer than he or she had anticipated. Even if you're bombing, you're expected to fill a certain slot and should fill it. You want to establish a reputation for yourself as being a professional, and sticking to your time slot is a good way to do that.

6. Tape Yourself

If you're able to (depending on where you're performing), take video of your performance. Think of it like a football team's "game film"; you'll be able to go back and watch yourself to see what worked and what needs changing. Were you talking too fast? Did you step on laughs from the crowd? These are things you probably won't be aware of in the moment, when nerves and adrenalin may get the better of you. A videotape will give you the opportunity to examine and reflect on your performance so you can make changes for the future. Just remember not to obsess over it too much; if you over-evaluate, you may lose so of the freshness and spontaneity in your act.

7. Hit the Clubs

Even if you're not ready to get on stage at a comedy club yet (and you may be better off starting at open mic nights), you should still try to get out and see as much live comedy as you can. With every comedian, you're going to be learning something new; study the ones you like and learn from the mistakes of the ones you don't (just remember: NEVER STEAL JOKES). Plus, you may be able to start making connections with promoters, club owners and -- most importantly -- other comics. Comedy is a community, and the sooner you can become a part of it the better off you'll be.

8. Make Nice with the Audience

Just because you've seen other comics (like, say, Lisa Lampanelli) insult their audience doesn't mean you should -- at least, not yet. And it may be tempting, particularly if you're feeling strapped for material or if someone is heckling you. Of course you should respond in that instance, but watch how far you take it. It can be easily to alienate your audience, and you always want them on your side. Plus, you never know if an audience member is going to take a joke the wrong way; many a comic has a story about someone from the audience waiting for them after the show. If they feel humiliated and have been drinking (which, given the nature of the comedy club, is likely), you may be bringing trouble on yourself.

9. Carry a Notebook With You

You never know when or where comic inspiration is going to strike, and it would be a shame to lose the moment because you have no way of writing your thoughts down. Always be ready to take notes or jot down ideas; before you know it, you'll have the rough beginnings of an act. 10. Be Yourself

(source: http://comedians.about.com/od/breakingin/tp/breakintostandup10tips.htm)

Hopelijk ben je er iets mee!