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laurafaritos · 2 months ago

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PD001. Haunted Comedians: How I Pulled Off My First Live Show in Years (And What I’m Building Next)

For years, I’ve been a comedian, a performer, and a creative trying to carve out a space in an industry that often feels impossible to break into. But in 2025, I’m doing something different. I’m not just chasing gigs—I’m building something of my own.

This post is the first entry in my Producer Diaries, where I document every step of running my own comedy shows—what works, what flops, and how I’m figuring out how to turn this into something sustainable.

If you’re a comedian, producer, or just someone trying to create something from scratch, this series is for you.

In this first post, I’m breaking down:

📌 How I produced my first Haunted Comedians show in years📌 What it took to sell tickets and pack the venue📌 How I balanced marketing, money, and pure chaos📌 What I learned, what I’ll never do again, and what’s next

This isn’t just a recap—it’s a real-time case study of how to build a successful show from the ground up.

And you’re coming with me!!!!

I. Introduction

I have spent years in and around comedy, bouncing between performing, producing, and trying to figure out where I fit in this world. For a long time, I thought the answer was simple: get booked on shows, build a name, keep climbing. Right???

But the more I worked in comedy, the more I realized something: I don’t just want to be booked on other people’s lineups. I want to build something of my own.

And on January 31, 2025, I did exactly that. I produced my first Haunted Comedians show in Toronto—a stand-up event where comedians shared their real-life paranormal experiences.

It was my first time running a live show in years, and if I’m being honest? I had no idea if it would work.

I was mentally preparing to bomb.

Would people actually buy tickets??? Would I lose money??? Did I forget how to host??? Could I even record the show properly???

I had no idea. But I did it anyway. Because what else was I gonna do—wait for someone else to book me???

It felt like that Elevator Dog meme:

She’s so brave, she’s well behaved, she is not afraid.

^ Me as fuck!!!

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And the show turnout, you ask???

🚨 IT. WAS. PACKED. 🚨

I mean PACKED!!!!!!!!!

At most, I saw five empty seats. There were easily 30+ people in the audience. DO YOU KNOW WHAT THAT MEANS???

I ran a real-ass comedy show, and people actually showed up!!!!!

Sound the ALARM!!!!!!!! She's FOR REAL, people!!! She means BUSINESS!!!!!!!

So here we are, at my first Producer Diaries blog post.

This post isn’t just me reminiscing about a great night—it’s a breakdown of what it actually takes to put on a comedy show from scratch. Because listen, I’m not some seasoned producer who has this all figured out.

I’m literally learning as I go!!!!!!!

So if you’ve ever thought about running your own show, or just wondered how the hell comedians actually make this work, this blog post is for perfect for you!!!!

I’ll tell you what worked, what flopped, how I tricked people into coming with organic marketing, and what I’m doing next to make sure this turns into something bigger than just one event!!!

Because I’m not just building a show. I’m building a career :)))

🚀 Let’s get into it.

II. THE SHOW RECAP: WHAT HAPPENED AT HAUNTED COMEDIANS?

On Friday, January 31, 2025, I produced and hosted my first Haunted Comedians show at Comedy Lab (298 Brunswick Ave, Toronto).

Going into the night, I genuinely thought this show might flop. I hadn’t run a live event in years, and even though I tried my best to promote it, I wasn’t confident in my marketing skills yet.

Was I about to spend the night performing to an audience of three confused strangers and a bar staff that secretly hated me?????

Nope.

By the time the show started, the place was PACKED!!!!!!

I don’t know how it happened, I don’t know if a ghost possessed people into buying tickets last-minute, but it worked. The room was full, the audience was engaged, and suddenly, I wasn’t spiraling over whether this was a massive mistake.

Instead, I was standing on stage, hosting a show that felt like the beginning of something bigger.

The lineup for the night featured two absolute comedy powerhouses:

🎤 Harpreet Sehmbi – A Toronto-based comedian, writer, and actor who’s performed all over North America, including Just For Laughs, CBC, and major comedy festivals in the U.S. and Canada. She co-produces The Darjeelings of Comedy and The Anti-Token Comedy Show, spotlighting South Asian and diverse comedians. Her debut comedy album, Irregular Harpbeat, dropped in 2022.

🎤 Rena Taylor – A Toronto comedian, writer, and former producer turned performer who’s been part of Just For Laughs, OFF-JFL, and multiple comedy festivals across North America. She performs stand-up, sketch, and everything in between, including as one-half of the sketch duo Joy Provision.

Me? I was just hoping I wouldn’t bomb.

And yet—against all my own anxious predictions—we were off to an incredible start. The audience ate it up. They were gasping, laughing, and fully locked into the stories. I could feel the energy in the room shift from comedy show to spooky campfire séance.

And that was exactly what I hoped for. But I knew the comics were going to crush it. I just didn’t know if the show itself would hold up. Because here’s the thing: a lineup means nothing if the show doesn’t work, you know?

I wasn’t just producing another stand-up showcase where comics come up, do their set, and leave. Haunted Comedians was different.

The second half of the show wasn’t traditional stand-up—it was a structured Q&A where comedians shared their own ghost stories.

I was banking on the idea that people wouldn’t just come for the comedy, but for the storytelling, the weirdness, the haunted shit.

And the only way to find out if that was true??? Was to actually do the damn show!!! I didn’t just want this to be a regular stand-up night—I wanted it to have a hook. Something that made it different, something that made people want to come back next time.

And it worked!!!!!!!!

III. The Producer's Journal Recap

A. THE 100-SHOW COUNTDOWN: WHY I’M GAMIFYING MY CAREER AS A PRODUCER

When I decided to produce my first Haunted Comedians show, I wasn’t just thinking about that one night.

I was thinking about the bigger picture—the long game, the body of work I want to build over time. Because one show? One show is just a moment. But one hundred shows? That’s a career. That’s a legacy.

This image—the 100 Shows Produced countdown—is the system I’m using to track my progress. It’s simple: every time I produce a show—whether it’s a live event, a podcast episode, or a deep-dive solo project—I fill in a new circle.

🚀 Show #1: Haunted Comedians, Jan 31, 2025. Done. Logged. Locked in.

WHY 100? WHY THIS? WHY NOW?

For years, I worked in creative spaces without a clear sense of ownership over my work. I was performing, producing things here and there, but I never had a system to visually measure my progress. And if you’re a creative person with a brain like mine, you know how easy it is to forget your own growth.

So I built a gamified system for myself.

Instead of thinking about this as “just another comedy show” or “just another podcast episode,” I reframed it as part of a larger mission—100 completed productions, each one stacking on top of the last. It turns my career into something I can track, measure, and physically see evolving.

100 means I’m committed. I’m not just experimenting, I’m building.

100 means I can’t stop at one. Each event is another step forward.

100 means proof. It’s the difference between “I think I’m doing well” and I can literally see my progress in front of me.

If you’ve ever struggled with feeling stuck in your creative work, this kind of system is game-changing.

And it’s not just for me. Comedians, producers, podcasters—anyone trying to build something from scratch—should be tracking their own version of this.

Because at the end of the day, we’re not just making shows.

We’re building careers.

This 100-show countdown isn’t just a personal motivator. It’s the foundation for something much bigger.

I’m already logging my journey in real-time, tracking every win, every failure, every lesson learned. Imagine what this archive will look like by the time I hit Show #100.

Which is why I’m building a structured journal system for comedians and producers—a way for anyone in this industry to document their own career milestones, track progress, and actually see their evolution over time.

Because if there’s one thing I’ve learned?

Your work deserves to be documented.

So, let’s start. Show #1 is done. 99 to go.

B. THE PRODUCER’S LEDGER: TRACKING SHOW DETAILS LIKE A BUSINESS, NOT JUST A HOBBY

If there’s one thing comedians don’t do enough, it’s treating their career like a business.

A lot of comics treat gigs like some vague, floating thing—you get booked, you show up, you do your time, you go home. Maybe you remember to track how much you got paid. Maybe you don’t. Maybe you have no idea how many shows you’ve done in the last year because you’ve never written any of them down.

I refuse to let my career be built on maybes.

That’s why I track every show like a business transaction.

WHY I TRACK EVERY SHOW IN DETAIL

These pages from my stand-up show planner aren’t just for fun—they are my official show records.

This is where I log:

The venue (because booking a space once doesn’t mean you’ll remember all the details next time).

The date and time (so I can track which time slots work best).

The comedians booked (so I know who I’ve worked with before).

Payment records (because forgetting to pay comics is a surefire way to burn bridges).

Production notes (because I won’t remember every lesson if I don’t write them down).

This system makes my job easier, repeatable, and scalable.

Because let’s be real: it’s one thing to produce a single show, but if I want to hit my 100-show goal this year, I can’t afford to be scrambling for information every time I put an event together.

WHY COMEDIANS NEED TO START DOING THIS

Comedians love to act like show production is some mystical, chaotic thing that just happens in the moment. But the best producers don’t wing it.

Keeping a proper record of your shows, lineups, and payments isn’t just about being organized—it’s about treating your career like a real business.

📌 If you’re a comedian: Start tracking your gigs, payments, and who booked you. It’ll help you negotiate better rates, build stronger relationships, and see your progress over time.

📌 If you’re a producer: Keep a detailed show log. You’ll save yourself so much time when it comes to booking, budgeting, and refining your format.

THE FUTURE OF THIS SYSTEM: THE PRODUCER’S JOURNAL

I’m not just logging these details for myself—I’m building a system that other comedians and producers can use, too.

The Producer’s Journal I’m developing will help comics and showrunners:

Keep track of every gig, every lineup, and every payment.

Log their best venues, best nights, and best crowd responses.

Plan their marketing, production, and budgeting like pros.

Because at the end of the day?

This isn’t just about comedy.

It’s about running a sustainable creative business.

C. SHOW LOGS: WHY TIMING, TRACKING, AND STRUCTURE MAKE OR BREAK A LIVE SHOW

Every producer knows this: A comedy show is a living thing.

You can plan it down to the second, write out a perfect run-of-show, and still, something will go sideways. That’s just the nature of live performance.

But the difference between a smooth, professional show and a chaotic mess is whether you have a strong structure in place.

This is why I log every show in detail.

WHAT A SHOW LOG LOOKS LIKE

This page from my Haunted Comedians planner is my real-time breakdown of the show schedule—who performed when, what segments happened, and how long everything ran.

📌 Key segments in my show log:

7:10 PM – Show Opening (Danton Lamar warms up the crowd)

7:15 PM – Show Intro (I introduce the theme and set the tone)

7:25 PM – Comedian Set #1 (Rena Taylor)

7:40 PM – Comedian Set #2 (Harpreet Sehmbi)

7:55 PM – My Stand-Up Set (Just before transitioning to the Q&A)

8:10 PM – Q&A Segment #1 (Harpreet)

8:20 PM – Q&A Segment #2 (Rena)

8:30 PM – Show Outro & Closing Remarks

On paper? A clean, tight show with a clear structure.

In reality? I ran 10 minutes over.

Which brings me to what went wrong—and how I’m fixing it next time.

SHOW MISTAKES & WHAT I’M FIXING NEXT TIME

Mistakes are inevitable. But learning from them is what makes you a better producer.

Here’s what I noticed in my own show log that needs to be fixed for next time:

❌ 1. I Let Comics Run Over Time

I didn’t set a hard 8-minute cap for comedian sets, which meant the show ran over. By the time we got to the Q&A, we were already behind.

✅ Fix:

Moving forward, sets will be capped at 8 minutes.

I’ll light comedians at 6 minutes to give them time to wrap up.

I’ll keep a timer on me so I can manage set lengths properly.

❌ 2. No Check-In System for Comics

One of my booked comedians never showed up. I only realized this once the show was starting, which meant I had to adjust the lineup last-minute.

✅ Fix:

I’ll do a check-in at the beginning of the night to confirm every comic is present.

Comics will fill out a pre-show form with their bio, headshot, and payment details so I’m not chasing them for info later.

❌ 3. The Break Between Stand-Up & Q&A Killed the Momentum

In my mind, a small break before the Q&A would let the audience reset. In reality? It slowed everything down and made it harder to transition smoothly.

✅ Fix:

No more breaks. We go straight from stand-up into the Q&A.

I’ll give comics a heads-up that the moment their set ends, they’ll be sitting for the interview.

❌ 4. Recording Setup Wasn’t Ideal

I relied too much on my phone for recording both audio and video, which wasn’t great for quality.

✅ Fix:

Separate devices for audio and video. One mic for sound, one camera for visuals.

Do a tech check before the show to make sure everything is working.

❌ 5. I Didn’t Keep My Phone On Me

During the show, I didn’t have my phone in hand, which meant I missed messages in the comedian group chat. If someone had an issue, I wouldn’t have seen it until after the show.

✅ Fix:

Keep my phone on me at all times.

If any last-minute issues come up, I’ll be able to handle them in real-time.

WHY A SHOW LOG IS A GAME-CHANGER FOR ME (AND FOR MOST PRODUCERS)

Most comedians wing it. Most small show producers just hope for the best.

But if you’re serious about running a great show—not just once, but over and over again— you need a system.

That’s why I track everything in a structured show log.

This system will eventually be part of the Producer’s Journal I’m developing, so other comedians and producers can use it to streamline their own shows, track their growth, and build something sustainable.

Because if you’re not keeping records?

You’re just guessing.

And I’m not here to guess. I’m here to build.

D. PRE-SHOW PRODUCTION: HOW A SHOW COMES TOGETHER BEFORE IT EVEN BEGINS

Most people think a comedy show starts when the mic turns on and ends when the last joke lands.

That’s cute.

A comedy producer knows the real work starts weeks before showtime.

Pre-show production is the backbone of any event. If you don’t get this part right, it doesn’t matter how funny your comics are or how many people show up—your show will feel messy, last-minute, and unprofessional.

I don’t do messy.

THE SHOW DOESN’T EXIST UNTIL THESE TASKS GET DONE

This page from my Haunted Comedians journal lays out my pre-show workflow. These are the absolute essentials—the things that make a show real.

✅ Booking the venue. A show without a venue is just a concept. This step is priority #1 because everything else depends on it.

✅ Booking the lineup. Once the venue is set, I start reaching out to comedians and locking in performers.

✅ Collecting headshots & bios. I make sure to gather high-quality photos and short bios from every comic because I refuse to promote a show with pixelated screenshots.

✅ Creating the promo materials. Show posters, Instagram graphics, promo reels—I design all of these to make sure the event looks professional and appealing.

✅ Adding comics to a group chat. If I’m booking them, they need to be in the loop. The group chat ensures everyone gets the same updates, schedule details, and expectations.

✅ Creating event listings. Eventbrite, Facebook, Link in Bio—everywhere the show can be listed, it should be listed. If it’s not easy to buy a ticket, people won’t.

✅ Scheduling social media posts. Because posting about the show once isn’t enough. People need repetition before they commit to coming.

THE MISTAKES I MADE THIS TIME & WHAT I’M FIXING NEXT TIME

Even though I did all these steps for Haunted Comedians, I still found gaps in my system.

Here’s what I’m improving before my next show:

❌ 1. I Didn’t Have a Standardized Form for Comics

I spent way too much time chasing performers for their bios, headshots, and social handles. Some comics sent them quickly, others forgot, and I had to keep reminding them individually.

✅ Fix:

Moving forward, all comedians will fill out a standard submission form before they’re officially booked.

This form will collect their bio, headshot, social media links, and Interac email for payment.

No more back-and-forth emails. No more wasted time.

❌ 2. I Didn’t Schedule Social Media Posts Early Enough

I knew I needed to promote the show consistently, but I didn’t set up my posts in advance. That meant I was scrambling to post manually every day, which drained my time and energy.

✅ Fix:

I’ll schedule all social media posts in advance using Metricool.

I’ll set up a promo timeline so posts go out automatically leading up to the event.

Because marketing should be systemized, not stressful.

❌ 3. I Didn’t Submit Listings Early Enough

I created event listings, but I didn’t submit them as early as I should have. This meant less lead time for potential audience members to buy tickets.

✅ Fix:

Event pages will go live at least 30 days in advance.

This gives more time for early promo and word-of-mouth to build.

PRE-PRODUCTION IS THE DIFFERENCE BETWEEN AMATEUR & PROFESSIONAL SHOWS

Comedians love to complain about badly-run shows.

But the truth is, a good show is built long before the doors open.

A producer who doesn’t take pre-show production seriously is a producer who is setting themselves up for stress, last-minute scrambling, and inconsistent quality.

I’m not here for that.

And if you’re serious about building shows that people actually want to come to, neither should you.

This is why I’m developing The Producer’s Journal—a tool for comedians and producers to organize their bookings, pre-show prep, and marketing in one place.

Because the difference between a fun night and a career is how well you plan before showtime.

E. PRE-SHOW MARKETING: WHAT I DID, WHAT I MISSED, AND WHAT I’M FIXING

No one cares about a comedy show they’ve never heard of.

No matter how funny the lineup is. No matter how cool the concept sounds. No matter how hard you worked on it.

If people don’t see it, they don’t buy tickets. If they don’t buy tickets, the show doesn’t happen.

This is why marketing is everything.

And for Haunted Comedians, I did some things right, but I also dropped the ball on key strategies that could have made the show even bigger.

THE MARKETING STRATEGY THAT ACTUALLY WORKED

Looking at my pre-show marketing checklist, I executed the basics:

✅ Promoted on Instagram (Feed & Stories). Social media is the bare minimum when it comes to marketing, and I made sure to post about the show consistently.

✅ Promoted on Facebook Groups. Toronto comedy & events groups helped reach a wider audience beyond my usual followers.

✅ Created a press release kit. This was essential for making the show look legit to both potential audience members and future collaborators.

✅ Launched a paid ad campaign. I ran paid ads on Instagram and Facebook to expand reach, but—here’s the kicker—I have zero idea whether they actually worked.

✅ Word-of-mouth & Threads promo. The biggest success factor? Organic word-of-mouth and talking about the show on Threads. People were already engaging with my content, so when I mentioned the show, it felt natural to them to check it out.

WHAT I COMPLETELY FAILED TO DO (AND WHY IT MATTERS)

Now, let’s talk about the grayed-out tasks on my marketing planner—the ones I should have done but didn’t.

These aren’t just “nice-to-have” things. These are essential steps that could have improved ticket sales, visibility, and sponsorship potential.

❌ 1. I Didn’t Create a Sponsorship Kit

I knew I wanted sponsors for my shows, but I didn’t actually put together a kit that outlined:

What the show is about

Audience demographics

Sponsorship tiers & pricing

What sponsors get in return

✅ Fix:

I’ll create a standard sponsorship kit template that I can quickly customize for every show.

This way, I can start pitching sponsors early and increase my chances of getting funding.

❌ 2. I Didn’t Do Email Marketing

I completely ignored email marketing, even though I already have an audience who follows my work. This was a huge mistake because:

People check their email daily.

Email subscribers are already interested in my content.

It’s a direct way to remind them to buy tickets.

✅ Fix:

I’ll build an email list for my shows and send targeted promo emails leading up to each event.

❌ 3. I Didn’t Submit PR & Sponsorship Pitches

This one stings because I know media coverage and sponsorships could elevate my shows long-term.

✅ Fix:

Before my next show, I’ll submit PR pitches to Toronto-based media outlets, comedy blogs, and entertainment newsletters.

I’ll also send out my sponsorship kit to brands that align with my themes (Haunted Comedians = horror brands, paranormal podcasts, indie bookstores, etc.).

LESSONS FROM THIS ROUND & WHAT I’LL DO DIFFERENTLY

The biggest takeaway from this experience?

👉 Organic marketing is powerful, but it’s not enough.

Yes, the show still sold well because I talked about it constantly and engaged with my audience. But to scale this into a sustainable operation, I need to:

Be proactive about sponsorships. I can’t wait until the last minute to think about funding.

Use multiple marketing channels. Social media alone isn’t reliable—I need email, PR, and partnerships.

Track paid ad performance. If I’m spending money, I need to know if it’s working.

Marketing is not just about hype—it’s about strategy. And Haunted Comedians taught me that I need to take this part of production as seriously as booking the lineup itself.

F. LIVE SHOW PRODUCTION: WHAT WORKED, WHAT I MISSED, AND WHAT I’M FIXING

Once the marketing is done and the tickets are sold, the real work begins: running the actual show.

A comedy show isn’t just about getting people into the room—it’s about making sure everything flows seamlessly from the first mic check to the final applause. The experience in the room dictates whether people come back, whether comedians enjoy performing on your stage, and whether the next show builds on the momentum of this one.

For Haunted Comedians, I had the venue covering most of the technical setup, which saved me a lot of stress. But I also dropped the ball on key things that I’ll need to correct for future shows.

A. WHAT THE VENUE HANDLED (AND WHY THAT MATTERS)

One of the biggest advantages of producing a show at Comedy Lab was that the venue already had:

Sound technicians handling the mic and audio setup.

A door concierge managing ticketing and audience flow.

Built-in mics & amps, so I didn’t have to worry about renting equipment.

Lighting & seating setup already arranged before I arrived.

✅ What this meant for me:

I didn’t have to worry about setting up tech, which saved me time and mental energy to focus on running the show.

I didn’t need to hire extra crew members, which helped cut costs.

Having a venue that takes care of the technical aspects is huge for indie producers. It allows you to focus on the creative and logistical elements instead of stressing about whether the mics will work.

But… that doesn’t mean I didn’t have things I should have done better.

B. WHAT I ACTUALLY DID RIGHT DURING THE SHOW

✅ I filmed the comedians on stage. This was non-negotiable—I made sure to record their performances so I could have footage for social media and future promo.

✅ The show ran smoothly overall. Despite my usual pre-show anxiety, the audience was engaged, the comedians were great, and the event had a solid flow.

✅ The venue setup made it easy. Since the sound, lighting, and seating were all handled, I didn’t have to run around adjusting things before the show started.

So far, so good, right?

Not exactly. Because I also made some major mistakes that I need to correct for the next show.

C. WHAT I FORGOT (AND WHY IT WAS A MISTAKE)

❌ I didn’t film audience reactions. One of the biggest missed opportunities was not capturing crowd shots, audience laughter, and testimonials.

Why this matters:

People trust social proof. Seeing other people enjoying the show makes future audiences more likely to buy tickets.

Reaction shots = better promo videos. Having cutaways to the audience laughing makes reels way more dynamic.

Testimonials build credibility. I should have asked audience members on the way out, “Would you come back?”, and filmed their answers.

✅ Fix:

At the next show, I’ll assign someone (a volunteer or hired videographer) to film crowd reactions and audience testimonials.

❌ I didn’t record behind-the-scenes content. I was so focused on making sure the live show itself ran smoothly that I forgot to document the experience of running it.

Why this matters:

Behind-the-scenes content helps sell future shows. Audiences love to see what goes into making an event happen.

It makes content feel more personal. Showing the real experience of producing a show makes it more relatable to other comedians.

I need a record of my progress. Part of Producer Diaries is about documenting growth. If I don’t capture these moments, I lose out on showing my own journey.

✅ Fix:

Before my next show, I’ll create a content checklist to ensure I get:

Crowd shots

Audience testimonials

Behind-the-scenes footage of setting up & running the show

D. LESSONS FROM THIS ROUND & WHAT I’LL DO DIFFERENTLY

The biggest takeaway?

👉 The show itself is just one part of the production process.

Running a comedy show isn’t just about what happens on stage—it’s about how you capture and document the experience for future growth.

For my next Haunted Comedians event, I’ll make sure to:

Assign someone to capture audience reactions & testimonials.

Take behind-the-scenes footage so I have content for my Producer Diaries.

Improve my show flow (no breaks between stand-up and Q&A).

I got the performance footage I needed. But I didn’t get the promotional footage I should have.

And next time? I won’t make the same mistake twice.

G. POST-SHOW PRODUCTION: MAKING SURE THE SHOW EXISTS BEYOND THE ROOM

A live comedy show only lasts for one night—but the impact of that show can (and should) last much longer.

The difference between a comedian who simply runs a one-off event and a comedian who builds something sustainable is what happens after the show ends.

If a show isn’t documented, archived, and shared online, it may as well have never happened. Nobody cares about the amazing show I put on five years ago if there’s no proof it even existed.

Which is why post-show production is just as crucial as the event itself.

For Haunted Comedians, I had a clear checklist of what needed to happen after the show—but I also ran into the same problem a lot of independent producers do: time, money, and labor.

A. THE POST-SHOW CHECKLIST: WHAT I DID RIGHT

After the show wrapped, I needed to:

✅ Back up the audio & video files. This is non-negotiable. If footage is lost, corrupted, or deleted, the entire event becomes a ghost story of its own. No record, no proof, no legacy.

✅ Upload highlights to Instagram Stories. Quick, bite-sized clips keep the momentum going. People who didn’t attend get FOMO, and people who did get to relive the night.

✅ Create a show album/slide deck. This is something I want to refine moving forward—an organized place where all the best moments from the show live, so I can use them for marketing, promo, and future sponsorships.

✅ Send out payments to comedians & venue. No one likes chasing down payments. I made sure Harpreet was paid the next day, though I had to wait on Rena to send me her email. Moving forward, I need to streamline this so I’m not relying on people to send me their info last-minute.

✅ Send a recap to the email list. Not enough people talk about how valuable email recaps are. Even if someone missed the event, a well-written email makes them feel like they were there—which makes them more likely to buy a ticket next time.

✅ Upload highlights to IG/FB/YT. Because if a stand-up show happens in a room but no one sees it online, did it even happen?

B. WHAT I DIDN’T DO (AND WHY IT MATTERS)

❌ I didn’t send a formal thank-you note to sponsors. This one stings. I didn’t have sponsors for this first show, but if I had? I should have sent a follow-up email with highlights, engagement metrics, and a thank-you message.

✅ Fix:

When I start landing sponsors, I need to build a post-show sponsor report that includes:

Show attendance

Video views (once posted)

Social engagement

Key audience reactions

Keeping sponsors looped in on success makes them more likely to come back and invest in future shows.

C. THE REALITY OF BEING TOO BROKE TO HIRE AN EDITOR (FOR NOW)

In a perfect world, I would have sent my raw footage to an editor immediately after the show and had a polished highlights reel ready within a few days.

But right now? I don’t have the budget to outsource editing.

✅ What that means:

I have to edit all the highlights myself.

I need to build a streamlined editing system so I’m not overwhelmed every month.

✅ What I’m doing to fix it:

I’ll develop editing guidelines for when I eventually hire an editor.

I’ll batch-process highlights so I’m not constantly scrambling.

This is the reality of indie production. You wear every single hat until you can afford to pass one off to someone else.

D. LESSONS FROM THIS ROUND & WHAT I’LL DO DIFFERENTLY

The biggest takeaway?

👉 A show doesn’t end when the lights go out—it ends when it’s archived, shared, and documented online.

For my next Haunted Comedians event, I’ll make sure to:

Create a better content pipeline. I need to schedule and automate highlight uploads so I don’t get overwhelmed.

Document post-show impact. Engagement metrics, audience reactions, and show performance all matter for sponsorships and growth.

Find a way to offload editing. Even if it’s just a small portion, I need to start the process of delegating work.

Because I’m not just running a show.

I’m building something that lasts.

IV. WHAT I LEARNED & WHAT’S NEXT: BUILDING A SYSTEM THAT WORKS

Every show is an experiment.

Haunted Comedians wasn’t just about putting on a great night of comedy—it was about proving to myself that I could build something from scratch. It was about learning, iterating, and figuring out how to make this process smoother, stronger, and more sustainable moving forward.

Because running one show is easy.

Running 100 shows? That’s the real challenge.

A. THE BIGGEST LESSONS FROM SHOW #001

1. SYSTEMS ARE EVERYTHING.

When you’re a performer, you focus on the art. When you’re a producer, you build the infrastructure that allows the art to thrive. And right now? I’m balancing both.

The biggest lesson I’m walking away with is that a repeatable system is the only way to survive.

For the next show, I’ll make sure: ✅ Every comedian fills out a standard form with their bio, headshot, social handles, and Interac email. (No more waiting on last-minute payment details.) ✅ I do a proper check-in before the show to confirm all comedians have arrived. (No more guessing.) ✅ Sets stay strictly at 8 minutes, with a 6-minute light to help comedians wrap up properly. (Pacing is everything.) ✅ We go straight from stand-up into the Q&A. (No breaks—just keep the energy moving.) ✅ Separate recording devices for audio and video. (And for the love of God, not my phone.)

The smoother the process, the more energy I have to focus on making the show great.

2. MARKETING NEEDS A STRATEGY, NOT JUST HOPE.

I managed to fill a room despite my marketing plan being mostly chaos, word of mouth, and last-minute promo. That’s great! But I don’t want to rely on luck to get people in seats.

Next time, I’ll: ✅ Build out an actual pre-show marketing plan—including emails, scheduled social posts, and direct audience outreach. ✅ Track ad performance. No more throwing money at Instagram and hoping for the best. If I’m going to spend money, I need to know what actually works. ✅ Create a press & sponsorship kit. If I want to bring in sponsors, I need to start treating these shows like a business.

3. CONTENT CREATION = LONGEVITY.

Comedy shows exist in a moment. But if I want to build something lasting, I have to think beyond that moment.

That means: ✅ Capturing better footage (not just the comedians, but also audience reactions and behind-the-scenes moments). ✅ Developing an editing system that lets me push out highlights quickly and consistently. ✅ Archiving every show so I can look back at how far I’ve come.

Because I don’t just want to be someone who ran some cool shows in 2025.

I want to build something that lasts.

B. WHAT’S NEXT FOR LAURA FARITOS?

One production down. Ninety-nine to go.

I’m serious about this.

I want to hit 100 shows produced in 2025—including live stand-up shows, podcast interviews, deep-dive video essays, and whatever else this journey throws at me.

That means every show is another chance to: 🔹 Improve my systems. 🔹 Learn what works. 🔹 Fix what doesn’t. 🔹 Build something bigger than just a one-night event.

This is just the beginning.

And if you’re a comedian, producer, or creative trying to figure out how to build your own thing from the ground up?

Then stick around.

Because I’m documenting everything.

Everything that works. Everything that fails. Everything I wish I had known when I started.

So whether you’re thinking of running your first show, or you’re deep in the trenches of trying to make this career sustainable, this journey is one you might want to follow.

Because I’m not just running a show.

I’m learning how to build something bigger.

And I want you to come with me.

Aaaand that was it!!! That was the post!!! Thank you for reading!!!

My first Haunted Comedians show was proof that I can build something from scratch—and now, I’m figuring out how to make it repeatable, sustainable, and scalable.

✅ Biggest lessons? Systems are everything, marketing needs real strategy, and content is what makes a show last. ✅ What’s next? 99 more shows in 2025—live comedy, podcast interviews, deep-dive storytelling, and more. ✅ Why follow along? Because I’m documenting every step of this journey, so if you’re a comedian or creative trying to go from side hustle to full-time self-employed, this is for you.

And speaking of figuring things out—

I’ve been deep in Harvard’s Digital Marketing Strategy course, but I’m not just learning it for fun. I’m breaking it down specifically for comedians and creatives who want to build careers on their own terms. I’ll be sharing insights, case studies, and practical strategies to help artists learn what schools (and the industry) don’t teach us.

I’m also launching Comedy Companions—a series of planners and production tools made for comedians to help streamline everything from booking shows to marketing and content creation. If you’ve ever wanted to run your own shows, build a brand, or just keep your comedy career organized, stay tuned.

And last but not least—

🚀 The Laura Faritos Show is coming back with a brand-new season, rebranded as A Brazilian Girl’s Guide to Love, Fear, and Foreign Places. This time, I’m diving deep into the big themes of love, death, and immigration, through interviews, personal storytelling, and dark humor.

If you’ve been following along, I appreciate you. If you’re new here, welcome.

This is just the beginning.

Tchau, tchau!!!

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