#comediansofinstagram

[laurafaritos]

HDMS025. Metrics & Mic Drops: The Numbers That Matter for Building Your Audience

Welcome back to another episode of Harvard Kicking My Ass: The Blog Edition. This week, we’re diving into marketing metrics—aka, the math of making it.

If you’ve ever wondered, Am I actually growing, or am I just vibing?—congrats, you already get why tracking metrics matters. Businesses don’t just throw ads into the void and hope for the best (at least, the successful ones don’t). They track key performance indicators (KPIs) to measure what’s working and what’s a money pit.

Harvard’s module on goal-guided marketing metrics broke this down into three key stages of the funnel:

Awareness: Does anyone even know you exist? (Measured by impressions, brand recall, and CPM.)

Consideration: Are people interested enough to learn more? (Measured by clicks, CTR, and CPC.)

Conversion: Are they actually buying? (Measured by sales, ROI, and lifetime value.)

But here’s the kicker: not all numbers matter equally. Just because something looks successful (like getting a viral post) doesn’t mean it’s driving real results (like ticket sales or bookings). That’s the difference between vanity metrics (things that make you feel good) and impact metrics (things that move the needle).

In this post, we’ll break down:

✔ What I learned from this Harvard module and why brands don’t just track revenue. ✔ How I’m applying these lessons to my comedy career—from ticket sales to sponsorships. ✔ How I track growth without burning out as an AUDHD creator (spoiler: systems > vibes). ✔ What comedians can learn from marketing metrics—and why likes don’t equal bookings.

By the end, you’ll see how a little bit of strategic tracking can make a massive difference—whether you’re running a brand or trying to sell out your next comedy show.

I. Harvard Recap: The Math of Making It

Marketing isn’t just about throwing content into the void and praying for virality. It’s about tracking what actually works—so you’re not wasting time and money on things that look good but don’t convert.

This Harvard module introduced the concept of goal-guided marketing metrics, meaning every metric should directly connect to your business goals. If your goal is brand awareness, your numbers should reflect that. If your goal is revenue, you better be tracking actual purchases—not just engagement.

Harvard broke this down into three core funnel stages, each with its own key performance indicators (KPIs):

1. Awareness: Does Anyone Know You Exist?

At the top of the funnel, the goal is to make people aware that you exist. The key metrics at this stage are: ✔ Impressions – How many times your ad/content is displayed. ✔ Brand Recall – How many people actually remember seeing your brand. ✔ CPM (Cost Per Mille) – The cost per 1,000 impressions (to see how efficiently you’re reaching people).

Companies measure this phase with brand surveys, ad reach, and social media analytics. It’s less about immediate sales and more about long-term presence. If no one knows you exist, they can’t buy from you.

2. Consideration: Are People Interested?

Once people know you exist, you need to get them interested. Are they clicking on your content? Checking out your website? Googling your name?

Key metrics in this stage include: ✔ Clicks – How many people clicked your ad or website. ✔ Click-Through Rate (CTR) – The ratio of clicks to impressions (higher CTR = better targeting). ✔ CPC (Cost Per Click) – How much you’re paying per click (lower CPC = better efficiency).

This phase is all about getting people closer to buying—but not necessarily closing the sale yet. It’s also where a lot of marketing money gets wasted if you’re attracting the wrong audience.

3. Conversion: Are They Actually Buying?

Finally, the bottom of the funnel is where the money is made. Here, companies track: ✔ Conversion Rate – The percentage of people who actually buy after clicking. ✔ Cost Per Order (CPO) – How much you had to spend to get one sale. ✔ Customer Acquisition Cost (CAC) – How much you spent to gain a new customer. ✔ Return on Ad Spend (ROAS) – How much revenue you got for every dollar spent on marketing. ✔ Customer Lifetime Value (LTV) – How much a customer is worth over time.

Big brands care about profitability, not just short-term wins. If your customer acquisition cost is higher than what they spend, you’re losing money—even if sales look good.

Why Revenue Alone Isn’t Enough

At first glance, you might think, Why not just track revenue? Isn’t that the most important number?

Yes—but money doesn’t magically appear. People have to:

Find you. (Awareness)

Care enough to check you out. (Consideration)

Make the decision to buy. (Conversion)

By tracking all three stages, companies can see exactly where they’re losing potential customers. If impressions are high but clicks are low, the problem is bad targeting. If clicks are high but conversions are low, something is turning people off before buying. Without this data, companies are flying blind and hoping for the best—which is a terrible strategy when you have a budget on the line.

Now, how does all of this apply to me, comedy, and the absolute chaos of being a full-time creator? Let’s talk about that next.

II. How I’m Applying These Lessons in Comedy

Marketing a comedy career isn’t that different from marketing a brand—except instead of selling a product, I’m selling me. My voice, my style, my content. The challenge is figuring out where I’m losing people along the way, just like in a traditional marketing funnel.

1. Awareness: Do People Know I Exist?

The first hurdle for any comedian (or creator) is visibility. If no one knows who I am, how will they buy tickets to my show, listen to my podcast, or engage with my content?

For this stage, my key metrics include: ✔ Social Media Reach – How many people see my content. ✔ Follower Growth – Are new people finding me? ✔ Podcast Listens & YouTube Views – Is my audience expanding? ✔ SEO & Search Traffic – Are people looking me up?

What I’ve learned:

Posting regularly on Threads and Instagram has been key for organic discovery.

TikTok’s algorithm used to be great for reach, but now it’s inconsistent.

SEO matters more than people think. The right keywords in a video or post can keep content alive for months.

Press features, collaborations, and guest spots on bigger platforms help borrow audiences from others.

If I don’t keep feeding this awareness machine, my content disappears into the abyss.

2. Consideration: Are People Actually Engaging?

Once people find me, are they interested enough to stay? Or am I just another piece of internet clutter they scroll past?

My key metrics here: ✔ Engagement Rate – Are people liking, commenting, sharing? ✔ Watch Time – Are they actually watching my content or bouncing after 3 seconds? ✔ Website Clicks – Are they curious enough to check out my projects? ✔ Newsletter Signups – Do they want to hear from me again?

What I’ve learned:

Comedy clips perform best when they feel relatable or controversial (in a fun way).

Longer watch time = better reach. If people stay engaged, the algorithm pushes it.

Email marketing still works. People who sign up for my newsletter are WAY more likely to buy tickets than random social media followers.

This is where trust is built. If people feel connected, they stick around. If not, they move on.

3. Conversion: Are People Paying for Tickets & Supporting My Work?

At the end of the day, comedy is a business. Likes and follows are great, but if no one is showing up to my live shows, subscribing to my Patreon, or supporting my work in tangible ways… what’s the point?

My key conversion metrics: ✔ Ticket Sales – How many people actually buy? ✔ Podcast Sponsorships – Am I attracting brands that want to work with me? ✔ Merch or Subscription Signups – Do people want to invest in my content? ✔ ROI on Paid Ads – If I put money into promoting a show, is it paying off?

What I’ve learned:

FOMO (Fear of Missing Out) sells. Limited-time offers and exclusive content push people to commit.

Personal connection matters. The people who feel like they "know me" online are the ones buying tickets.

Live show recaps boost ticket sales. Posting highlights from past events makes people more likely to come to the next one.

Tracking what works helps avoid burnout. If a strategy isn’t converting, I drop it instead of wasting energy.

In comedy, you can’t just hope people show up. You have to guide them through the process, making sure every step—from discovering you to actually purchasing a ticket—feels seamless.

III. How I’m Avoiding Burnout with AUDHD

Burnout is a constant battle when you’re trying to build a creative career, but throw autism + ADHD (AuDHD) into the mix, and it’s an even bigger challenge. My brain craves structure but resists rigid routines. I thrive on deep dives but get overwhelmed by context switching. And worst of all? My hyperfocus mode makes me feel invincible until—boom—I crash for days.

For a long time, I didn’t know why I was so all-or-nothing in my work habits. I’d be on fire one week, then completely exhausted the next. But now that I understand how my brain works, I’m actively designing a system that keeps me from burning out while still making progress. Here’s how:

1. Planning Around My Energy, Not Time

Traditional productivity advice says to schedule blocks of time to work on different tasks. That doesn’t work for me. I don’t know how I’ll feel at 3 PM on Thursday. My energy is unpredictable, but my patterns are not.

Instead of forcing myself into a strict schedule, I work with my natural energy cycles: ✔ High-focus days = Deep work (writing, recording, strategy) ✔ Low-focus days = Admin work (emails, editing, scheduling, graphic design) ✔ Social energy days = Filming, meetings, networking ✔ Zero-energy days = Rest, guilt-free

I don’t force myself to "push through" bad energy days. I swap tasks instead of skipping them entirely.

2. Automating & Batching to Reduce Context Switching

Switching between tasks kills my momentum. If I have to write an email, then record a video, then update my website, my brain short-circuits. I work best when I batch similar tasks together and automate as much as possible.

✔ Content batching: Filming multiple videos in one go so I don’t have to set up again later. ✔ Automated scheduling: Pre-writing social media posts so I don’t waste time thinking "what should I post today?" ✔ Template systems: Using pre-made email templates for outreach instead of writing from scratch every time.

The less mental effort I need to switch gears, the more energy I have to actually create.

3. Using Dopamine Wisely (Instead of Letting It Use Me)

ADHD brains chase dopamine, which means I’m more productive when I’m excited. But if I let dopamine control my workflow, I’ll start 10 new projects and finish none of them.

I’ve learned to "trick" my brain into staying on track by: ✔ Turning boring tasks into a game (timed sprints, reward systems, mini-deadlines) ✔ Pairing high-dopamine activities with low-dopamine ones (editing while listening to a podcast, admin work while drinking coffee from my ✨ designated productivity mug ✨) ✔ Reframing urgency – If something needs to get done, I turn it into a challenge ("Can I finish this before the song ends?") instead of an obligation ("Ugh, I have to do this.")

Instead of waiting for motivation, I’m learning how to create it on demand.

4. Protecting My Creative Energy Like a Precious Resource

I can’t afford to waste my energy on stuff that doesn’t move the needle. If I spend too much time on things that don’t matter, I won’t have anything left for what does.

To me, this means: ✔ Saying no to unpaid gigs that drain me ✔ Prioritizing projects that align with my long-term goals ✔ Blocking out "creative recovery" time so I don’t burn out

I used to think I had to hustle 24/7 to succeed, but I’ve learned that rest is a business strategy. The best ideas come when I give my brain space to breathe.

IV. What Comedians Need to Know About Metrics

For most comedians, the idea of "tracking metrics" feels... corporate. Like something a tech startup would care about, not a stand-up comic trying to get laughs. But if you’re trying to build a career in comedy, not just treat it as a hobby, you need to know what’s working and what’s not.

Think of metrics as comedy’s version of audience feedback—except instead of relying on how drunk the crowd is on a given night, you’re looking at actual numbers that tell you whether your marketing is working. Here’s what actually matters:

1. The Funnel: From Obscurity to Sold-Out Shows

A marketing funnel is just a fancy way of saying how people go from "Who is this?" to "I’m buying a ticket." Understanding this can change the game for independent comedians.

The 3 key stages of the funnel are: ✔ Awareness – People discovering you exist (social media growth, impressions, engagement). ✔ Consideration – People deciding if they like you (video watch time, email subscribers, website clicks). ✔ Conversion – People spending money on you (ticket sales, Patreon members, merch purchases).

If you’re struggling to sell tickets, the problem isn’t just the tickets—it’s likely somewhere earlier in the funnel.

2. The Most Important Metrics for Comedians

Not all numbers matter equally. Here are the ones you should actually track:

✔ Engagement Rate > Follower Count Who cares if you have 10,000 followers if only 10 people interact with your posts? High engagement tells platforms, "This is good content," which leads to more reach.

✔ Video Watch Time > Views A 10,000-view video sounds great... until you realize people scrolled away after 2 seconds. Watch time (especially on YouTube & TikTok) is a stronger signal that people are actually interested in your content.

✔ Email List Growth > Social Media Likes Social media is unpredictable. Your email list is yours. If you ever get banned, hacked, or shadowbanned, your audience still exists somewhere you control. If people are signing up, it means they actually want to hear from you.

✔ Ticket Sales & Conversion Rate If you’re getting views but no ticket sales, something is off. Are your calls-to-action clear? Is your show page easy to navigate? Are you reaching the right audience? If conversion rates are low, your messaging might need work.

What This Means for Me (and Other Comedians Who Want to Make a Living)

I used to think "If I’m funny, people will find me." That’s not how this works. Being funny is step one. Making a living from comedy means figuring out where your audience is, how they find you, and what makes them stick around.

✔ I’m tracking engagement, not just views. I want to know what kind of jokes people share and which posts get the best responses. ✔ I’m making my email list a priority. I want direct access to my audience, not just a rented space on social media. ✔ I’m studying conversion rates. If my shows aren’t selling out, I need to know where the bottleneck is and fix it.

Most comedians rely on "vibes" to tell them if they’re growing. I’m using actual data—because I don’t just want to be funny. I want to be successful.

V. The Data-Driven Comic—Why This Matters

Aaaaand that was the post!!! You've made it to the end!!! To recap what we've learned today: comedy is an art, but making a career out of it is a business. The biggest comedians aren’t just funny—they understand how to build and keep an audience.

✅ If you’re not growing, the data will tell you why. Struggling with ticket sales? Check your engagement and email list. Struggling with engagement? Look at your content performance. The numbers don’t lie.

✅ It’s not about being famous—it’s about being sustainable. A million followers mean nothing if they don’t show up for you. But 1,000 true fans who actually buy tickets? That’s a career.

✅ You don’t have to be a marketing expert. But you do need to stop ignoring the data. Comedy isn’t just about making people laugh—it’s about getting them to care enough to show up.

And if you can track that???? You’re already ahead of the game!!!

I hope this lesson was as life-changing for you as it was for me. See you in the next one!!! Tchau tchau <333

[the-crow-caws-witch]

"I'm hung, but not as hung as you're about to be"

[sethshead]

h/t stanzi potenza

[dankcharnley]

OVERSLEPT #sleep #sleepy #comediansofinstagram #dannycharnley #standup #comic #dank #charnley #comedian #danny #whohurtyou #comedy #tour #laugh #share #meme #memes😂 #memeoftheday #dankmemes #dankmemez #saturday #studio #style #fashion #love https://www.instagram.com/p/Ce_Jl9buHgZ/?igshid=NGJjMDIxMWI=

[ecuafriki]

Solo les recuerdo que no hay vacuna para los efectos destructivos de una relación tormentosa. Un abrazo y tomen agüita! #elmagomeme #standupcomedyecuador · · · · · · #comedia #comedy #comediante #memeslatinos #memes #instameme #teatro #comediantes #ecuador #420 #comediansofinstagram #momos #humornegro #toptags #comedianlife #instagram #memesdank #memesitos #cuencacity #memesdiarios #momazo #alv #vacúnate https://www.instagram.com/p/CRgzJoWFSyh/?utm_medium=tumblr

[laurafaritos]

HDMS022. What a Milkshake Taught Me About Branding—And How Comedians Can Use It to Build Their Audience

Soooo… as we’ve established, I’m a comedian, and Harvard is kicking my ass. I survived 35 hours of Module 1. I’ve spent 40 hours on Module 2. And now, as I write this? I’m barely starting Module 3—even though Module 4 is due in two days.

I am chronically behind, debating whether to request an extension. But… do I need official paperwork? A doctor’s note? By the time I get an appointment, the course will be over.

So, screw it. No weekend plans. No distractions. Just me, my laptop, and my blind Brazilian ambition.

Anyway. What’s today’s post about, you ask??? Milkshakes. Yes. Milkshakes. Stay with me. I promise it's worth it.

Today’s Harvard lesson just shattered everything I thought I knew about branding. And not just for businesses—for comedians, too.

So this blog post is for YOU if you’ve ever struggled with:

Standing out in comedy

Getting booked for shows

Building an audience that actually comes back

Then this milkshake lesson might just change the way you approach your career. It surely affected the way I'm going about it moving on.

Because branding is not about what you think makes you special. It’s about what your audience actually needs!!! And that realization hit me harder than any comedy school critique ever did.

I. Harvard Recap: The 3 Cs of Brand Positioning—And What a Milkshake Taught Me About Branding

Harvard introduced me to the 3 Cs Model of Brand Positioning, a framework that helps businesses figure out how to position their brand in a way that actually matters to their audience. It’s not just about having a cool product or service; it’s about making sure people understand why they need it, why they should choose it over the competition, and what makes it truly different.

The 3 Cs stand for:

Consumer Analysis – Is your product relevant to the people you're trying to reach? Does it solve a real problem for them?

Competitive Analysis – How do you stand out from others offering a similar product? What makes you different?

Company Analysis – What does your business do better than anyone else? What unique value do you bring to the table?

Each of these Cs plays a major role in shaping a brand’s positioning. Harvard used milkshakes to explain how this all works, and honestly? It was one of the most unexpectedly genius branding lessons I’ve ever come across.

1. Consumer Analysis: Why Are People Buying Your Product?

One of the biggest mistakes businesses make is assuming they already know why customers choose their product. They focus on things like features, prices, or deals, thinking that’s what matters most. But in reality, people often make purchasing decisions for reasons that have nothing to do with the surface-level benefits a company advertises.

Harvard introduced this concept through Clayton Christensen’s “Jobs to Be Done” framework, using the milkshake example to prove the point.

A fast-food company wanted to increase milkshake sales, so they followed what seemed like common sense: they made the shakes thicker, experimented with flavors, and ran promotions. But sales barely moved.

Then Christensen and his team asked a different question:

👉 What job are customers “hiring” the milkshake to do?

Instead of just looking at the product itself, they observed people actually buying milkshakes. The patterns were surprising: most milkshake buyers came in early in the morning, alone, taking their shakes to go. They weren’t treating themselves to a dessert—they were using the milkshake to make their long, boring commute more bearable.

Compared to other breakfast options, the milkshake had some unexpected advantages. Bagels were too messy. Bananas were gone in two bites. Coffee disappeared too quickly. But a thick, slow-to-drink milkshake? It lasted the whole ride, was easy to consume one-handed, and provided enough energy to keep them satisfied until lunch.

The fast-food chain had been marketing flavors and quality, but their customers weren’t buying milkshakes because of the taste. They were buying them because they made commutes easier. When the company shifted its branding to highlight this, sales took off.

This was a huge eye-opener for me. It’s so easy to focus on what you think makes your product or service great without stopping to ask, what are people actually getting out of this?

2. Competitive Analysis: How Do You Stand Out?

Understanding why people buy from you is only the first step. The next question is:

👉 Why should they buy from you instead of someone else?

Every market is packed with competition. No matter what you’re selling—whether it’s shoes, apps, or even stand-up comedy shows—you’re competing with tons of other options. If you position yourself exactly like your competitors, you disappear into the noise.

Harvard used OOFOS, a shoe company, as an example. OOFOS had a challenge: they were competing in the comfort footwear market against giants like Nike, Adidas, and Crocs. If they tried to sell themselves as just another comfortable shoe, they would blend in.

Instead, they chose a different path. Instead of marketing themselves as comfort shoes, they positioned themselves as recovery footwear—shoes designed to help people’s feet heal after workouts or long days standing. This made them unique and gave them a strong selling point.

By narrowing their positioning, OOFOS avoided the trap of trying to appeal to everyone. They weren’t just another “comfy shoe” brand; they were the brand for people who needed real foot relief.

This clicked for me as a comedian. If I try to be everything to everyone, I end up being forgettable. But if I lean into what makes me different? That’s where the magic happens.

3. Company Analysis: What Do You Do Best?

The last C is about looking inward. What is your brand’s unique strength? What do you do better than anyone else?

For OOFOS, it wasn’t just comfort—it was their patented foam technology that genuinely helped with foot recovery. For Amazon, it wasn’t just low prices—it was the combination of convenience, speed, and selection. For Apple, it’s not just tech—it’s design, user experience, and brand loyalty.

This step is about identifying what you do best and doubling down on it.

The Takeaway: The 3 Cs in Action

By analyzing:

✅ Consumers (Why do people actually buy from you?) ✅ Competition (How do you stand out?) ✅ Your Company (What’s your biggest strength?)

You can create a brand positioning that actually works.

This isn’t just for businesses—it applies to creatives, freelancers, and anyone building an audience, too. If you know what makes you different, you can attract the right people and build something with longevity.

What This Means for Me as a Comedian

Comedy might seem like an art form, but it’s also a business. And if I’m being honest? For a long time, I had no idea how to position myself within it.

For years, I struggled with my comedic identity because I was constantly trying to fit into what I thought a comedian should be instead of embracing what made me unique. I let industry professionals, other comedians, and even my own doubts shape my material, thinking that if someone told me something once, it must be an absolute rule.

Spoiler: It wasn’t.

It took me years to realize that I was treating comedy the way businesses treat their products before they understand branding. I was ignoring my strengths and instead trying to be palatable to everyone.

The moment I started applying the same branding principles Harvard teaches businesses—understanding my audience, figuring out what makes me different, and leaning into my strengths—everything started to click.

It was the difference between trying to make jokes everyone would like and telling the stories I actually cared about. The difference between awkwardly forcing myself into a mold and fully embracing my style. The difference between feeling like an outsider and realizing that my niche was my strength all along.

Branding isn’t just about selling a product—it’s about making people connect with what you offer. Whether that’s a milkshake, a pair of shoes, or a stand-up set, the same rules apply. And when you understand them? That’s when things finally start falling into place.

II. My Comedy Identity Crisis and Finding My Voice

1. The First Three Years: Why I Sucked at Comedy

I’ve been doing comedy since 2016, but if we’re being completely honest? I sucked for the first three years. The next three years, I was okay—good enough to get booked, but still feeling like something was off. It wasn’t until the last two years that I finally started to find my voice again. And this year—2024—is the first year I feel like I’ve fully come into my own.

So what went wrong in those early years? Why did I struggle for so long? Looking back, the biggest issue was that I let other people define what comedy was for me. I assumed that because they had more experience, they must be right. If they told me something once, I took it as an absolute rule instead of just an opinion.

At the time, I had no idea that this was part of being autistic. I didn’t know I was AuDHD (Autism + ADHD), so I never questioned why I had such a strong need for rules and structure. I thought if someone with more experience than me gave advice, it was because they knew better—so I should follow it. I didn’t realize that not all advice is law. Just because someone says, “Comedians should do X,” doesn’t mean every comedian must do X. But I couldn’t see that back then. I was so eager to be good at comedy that I let other people rewrite my entire approach, even when it went against my instincts.

2. Throwing Away What Made Me Funny

When I started stand-up, I already had some of my best stories lined up. I had the man with the milk bag, the time I fought a raccoon for a bag of Doritos, the stupidest questions Canadians asked me about Brazil, and countless bizarre moments from my immigrant experience. These stories were already funny. They made people laugh in real life, and they felt natural to me. But my professors told me these weren’t “stand-up”—they were storytelling. And according to them, real comedians tell quick jokes and tight one-liners.

So instead of refining what I had, I scrapped everything and started from scratch. I stopped telling my weird, longform stories. I tried to force myself into a format that wasn’t natural for me. And as a result, I lost what made me unique. For three years, I struggled because I was following rules that weren’t actually rules.

Another issue was that since I’m Brazilian but don’t look or sound Brazilian, my professors told me my entire act should revolve around that. They thought that was my biggest “hook.” So for three years, I did what they told me—I went on stage and forced myself to joke about how I didn’t look Brazilian, about people’s confusion when they heard my accent, about the stereotypes I didn’t fit.

But none of it felt real to me. I didn’t care about those jokes. That wasn’t where my comedy brain naturally went. And audiences could tell I didn’t believe in what I was saying. My performances lacked energy, confidence, and connection—because I wasn’t being me.

3. The Night Everything Changed

Then, in 2022, something shifted. I threw out all the advice I had absorbed like gospel, went on stage, and told a single story—the Milk Bag Story.

And I killed.

To this day, people who were in that audience remember that story. Not the stale, forced jokes I spent years trying to make work. Not the generic, “palatable” material. They remembered the moment I stopped following rules and started following my instincts. That night rewired my brain.

For so long, I treated other people’s feedback as unchangeable truth. If someone said, “Comedians should do X,” I’d assume all comedians must do X. But now that I understand my neurodivergence, I’ve realized that their feedback wasn’t a law—it was just their opinion. I wasn’t obligated to agree with them. I was allowed to say, “Thanks, but no thanks.” I never had to start over from scratch. I could have said, “This is my voice—help me shape it into stand-up instead of erasing it.” I wish I had known this years ago. But now that I do, I’ll never let it happen again.

4. Reclaiming My Identity as a Comedian

Since reclaiming my comedic identity, everything has changed. I lean into my natural style. I’m a longform storyteller, not a one-liner comic. I focus on what excites me. I don’t force myself to write jokes about topics that don’t interest me. I embrace my neurodivergence. My brain works differently, and that’s not a weakness—it’s a strength. And most importantly, I don’t try to be “palatable” anymore.

One of the biggest lies I was told in comedy school was that you have to be likable to the general audience. That if people find you even slightly controversial, your career is doomed. But trying to be everything to everyone makes you forgettable. Trying to please everyone makes you inauthentic. If I have to water down who I am to be “palatable,” then I’m not doing my job as a comedian.

5. The Pretty Privilege Myth in Comedy

I also wasted years believing another lie—that if I looked too pretty on stage, people wouldn’t take me seriously. For the first five years I did comedy, I never recorded my shows or posted clips online because I looked ugly on stage. Why? Because other comedians told me that if I looked too pretty, people wouldn’t think I was funny. Then I saw Matt Rife go viral for being both funny and hot, and I realized that people love comedians who are attractive and talented.

So why was I holding myself back?

Now, I’m fully embracing the hot vampire aesthetic. Because at the end of the day? Comedy is showbiz—and in showbiz, looks do matter.

6. No More “Rules”, Only "Opinions"

I spent years trying to shape myself into what I thought a comedian should be. But the moment I stopped listening to the rules and started listening to myself, everything changed. This is the first year I feel like I’ve truly come into my own. And I can’t wait to see where it takes me.

III. The AuDHD Creative Experience: Why I Took Rules & Opinions Too Literally

For the longest time, I thought my struggles in comedy were just a “me” problem. I assumed I just wasn’t talented enough, that I wasn’t getting it, that I had to work harder to fit into what comedy was “supposed” to be. But now that I know I have AuDHD—Autism and ADHD combined—I realize that my struggles were actually a direct result of how my brain processes information.

Why I Took Comedy “Rules” as Gospel

One of the biggest signs of my autism is my tendency to take things literally—especially rules. When someone tells me, “This is how things are done,” my brain immediately assumes it’s an absolute fact. I struggle with that grey area where things are actually just suggestions, interpretations, or personal opinions.

So when comedy professors, bookers, and veteran comedians told me:

���Real comedians tell short jokes, not long stories.”

“If you’re Brazilian, your whole act should be about being Brazilian.”

“If you look too pretty on stage, people won’t take you seriously.”

I didn’t question any of it. I didn’t even stop to think, Wait—do I actually agree with this? My brain just accepted it as truth, and I reshaped my entire approach to comedy around it. Even when those changes felt wrong—even when I bombed because I was forcing myself into a style that didn’t suit me—I still assumed the issue was me, not the rules I was following.

This is a common autism experience. Many of us take authority figures at their word because we struggle to differentiate between guidelines and laws. When someone presents something as a universal truth, we absorb it as such—even if that thing is actually just their personal take.

The ADHD Side: Hyperfixation and Trial-and-Error

On the flip side, ADHD made my journey even more chaotic. My brain loves hyperfixation. When I’m obsessed with something, I want to know everything about it, and I will deep-dive into research until I feel like an expert. But ADHD also means that if something isn’t clicking for me, I can get frustrated and drop it entirely.

For years, I kept hyperfixating on “fixing” my comedy, thinking that if I just followed the right formula, I’d finally break through. But I was constantly hitting walls because I was applying the wrong methods. Instead of fine-tuning what made me naturally funny, I was trying to “fix” myself by forcing myself to write and perform in a way that didn’t work for my brain.

Once I stopped trying to force myself into a neurotypical approach and embraced my natural strengths, everything changed. I realized:

My comedy is storytelling, and that’s not a weakness—it’s my LITERAL FUCKING BRAND!!!!! It's my unique value proposition!!!

I don’t need to cater to the “general audience”!!! I am not for everyone—and that’s a good thing!!!

I don’t have to change my delivery or stage presence just because someone thinks I should!!!

This is the first year I feel like I fully understand who I am as a comedian. And a huge part of that is because I finally stopped trying to fit into a box that wasn’t made for me.

IV. My Saga to Finding My Voice: Why I Sucked for 3 Years

Now that we've talked about all the things that affected me as a late-diagnosed AuDHD girl who was not aware she was exhibiting autistc traits by taking advice, opinions and rules far too seriously...

Let's talk about what was going on during those first 3 years that I sucked at comedy. As we've established, why did I suck? Because I relied on other people to tell me what comedy was, what comedians “should” and “shouldn’t” do, and I took everything I was told as if they were absolute, unshakable rules. But they weren't!

1. The Danger of Taking Advice as Law

So, what were these so-called “rules” that derailed me for years?

“Your jokes should be 2-3 minutes long. Anything longer is storytelling, not stand-up.” → Guess what? My natural comedic rhythm is 5-7 minute stories. That’s just how my brain works. But instead of owning that, I forced myself into short joke formats that felt unnatural and unfunny.

“If you’re Brazilian, your comedy should focus on not looking or sounding Brazilian.” → This one was extra painful. I spent years trying to craft material around the fact that I don’t fit people’s stereotypes of a Brazilian woman. But I never actually cared about that as a defining trait. And the audience could tell I wasn’t connected to my material, so those jokes flopped.

“If you’re too pretty on stage, people won’t take you seriously.” → This one kept me from recording my sets, posting online, and even allowing myself to look good for the first five years of my career. But then I saw Matt Rife blow up for being hot and funny, and I realized... they were wrong. People love a hot comedian. And even if they didn’t—I love looking good, and I’m not going to make myself ugly for laughs.

2. The Moment Everything Changed

Two years ago, I did a set where I scrapped all the forced “short-form” jokes and just told one long story: The Man With the Milk Bag. And I killed it. It was the first time I felt like I truly connected with the audience. People still bring up that story to me years later. That was the night my brain rewired itself—I realized that all the “rules” I had been following were wrong for me.

Then, on January 31, 2025, at Haunted Comedians, I performed a set that everyone agreed was my best ever. My friends had heard me tell these stories before, but they saw a difference: my delivery was sharper, my confidence was stronger, and for the first time ever, I felt like I truly owned the stage.

So now, when people give me comedy advice, I remind myself:

Their opinion is not law.

I don’t have to change my style to fit their expectations.

I can reject advice that doesn’t serve me.

It took me almost a decade to get here, but I finally found my comedic voice. And I’m never letting anyone take that away again.

V. Why Do I Keep Bringing Up My AuDHD

When I look back on my comedy journey, so many of my struggles make perfect sense through the lens of AuDHD (Autism + ADHD). My brain wasn’t just struggling with the typical challenges of learning stand-up—it was also navigating:

Rigid Thinking (Autism Side): Taking advice as absolute, unchangeable rules. When someone said, "Comedians should do X," I didn't see it as an opinion—I saw it as law.

Rejection Sensitivity (ADHD Side): The deep fear that if I didn’t follow the rules exactly, I’d be seen as a failure, rejected by the industry, or worse—laughed at for the wrong reasons.

Masking & People-Pleasing: Trying to shape my comedy to fit what others expected instead of trusting my instincts.

1. Rule-Taking vs. Rule-Breaking

One of the hardest things about being AuDHD in a creative field is that the same brain that hyper-focuses on storytelling, structure, and pattern recognition can also cling to structure too hard—even when it’s not serving me.

I spent years trying to “fix” my comedy based on what professors, bookers, and other comedians told me. I thought if I just followed the formula, I’d become successful. But that formula wasn’t for me. It was designed for neurotypical comedians.

The moment I stopped trying to be “the kind of comedian I was told to be” and started leaning into the kind of storyteller I naturally am, everything clicked.

2. The Importance of Niche Over Mass Appeal

Comedy schools taught me that I had to be palatable to the general audience, which meant:

Cutting anything that might alienate someone (even if it was authentic to me).

Leaning into the most surface-level aspects of my identity (“You're Brazilian, so talk about that!”).

Avoiding anything “too niche” because it wouldn’t sell.

But here’s what I’ve learned: I don’t need to appeal to everyone—I just need to find my people. The reality is, mass appeal is a myth. Even the biggest comedians don’t appeal to everyone. Instead, they dominate their niche.

As someone with AuDHD, I was always going to have a niche audience. Neurodivergent people tend to have:

Specific humor styles that not everyone “gets.”

Passionate special interests that become central to their work.

Unfiltered honesty that might alienate some, but deeply resonate with others.

So instead of trying to be watered-down enough for everyone, I realized I should embrace the traits that make me different. If someone doesn’t like my comedy, that doesn’t mean I need to change—it means they’re not my audience.

And that’s okay. Because the people who do get it? They really get it.

3. Letting Go of the Fear of Being "Too Much"

The final lesson I’ve had to unlearn is this: I don’t have to be less of myself to succeed. For years, I tried to shrink my personality, tone down my humor, and make myself fit into a mold that wasn’t mine.

But now?

I tell my long-ass stories.

I wear whatever the hell I want on stage.

I don’t cut my jokes down to “acceptable” lengths—I make them work in my natural style.

Because the goal isn’t to be universally liked—it’s to be unmistakably me. And if I build my career around that? The right audience will find me.

VI. Milkshakes, Milk Bags & Microphones: On The Power of Knowing Your Brand

So, what did we learn today?

Branding isn’t just about what you sell—it’s about what problem you solve. Just like that milkshake wasn’t just a drink, but a solution for long, boring commutes, my comedy isn’t just about jokes—it’s about storytelling that resonates deeply with people who connect with my experiences, my neurodivergence, and my humor.

Knowing your audience is more powerful than trying to appeal to everyone. Comedy school told me to be “palatable.” But palatable often means forgettable. The most successful comedians (and businesses) lean into their specific voice, not a watered-down version of themselves.

AuDHD has shaped the way I process advice, rules, and expectations. And now that I know this, I can work with my brain instead of against it.

The biggest shift for me? I’m no longer trying to prove myself to the wrong people. Instead, I’m building an audience of the right people.

And if that means some people don’t get my humor? That’s fine.

Because the ones who do? They’ll remember me forever.

Now, if you’ll excuse me, I have a Harvard module to catch up on.

TL;DR: Final Thoughts

A milkshake became a top seller because the brand figured out why people were really buying it.

OOFOS is struggling with its branding because it doesn’t know whether to be the “comfort shoe” or the “recovery shoe.”

I struggled with my branding as a comedian for years because I let other people define it for me.

Knowing my niche (neurodivergent storytelling + longform humor) helped me stop fighting against my instincts and start thriving.

You don’t have to be for everyone. You just have to be unmistakably you.

Thanks for reading. I hope this has been as life-changing a lesson for you as it is for me. See you in the next one!!!

Tchau. tchau <3

[sadisticscribbler]

Reposted from @bizarredoctor Bombs Away. . Created by BBH Ad Agency ฿Ɇ₴₮ ł₦ ฿łⱫ₳ⱤⱤɆ ₣ØⱠⱠØ₩ @bizarredoctor . . . Comments. Tag a friend who likes fireworks #bombsaway #rockets #rocketsredglare #fireworks💥 #firework #fireworks_lovers #hysterical #comical #lolpost #funnystuff #laughing #laughinggas #toofunny #comedians #comediansofinstagram https://www.instagram.com/p/CPgX8oglH23/?utm_medium=tumblr

[theonlybritishbombshell]

I’m an absolute fool 😂😩😂 cash app me though 😜😜😜 I do not own rights to this music!!! @candice 🔥🔥🔥🔥 #cashapp #quarantineandcashapp #candicecashappchallenge #cashappbae #cashappme #cashappmeplease #quarantinelife #quarantineandchill #funnymemes #viralvideos #oldgrandma #shakedat #model #actress #personality #influencer #comedian #funnyvideos #comediansofinstagram #comedians #funnyshit #stayhome #stayhealthy #dance #dancechallenge #dancersofinstagram https://www.instagram.com/p/B-nPyd8n0YM/?igshid=1xr0hrry0sbkj

[dankcharnley]

DROP #dank #meme #standup #comediansofinstagram #comedy #comic #dannycharnley #dankmemes #comedian #standupcomedy #laugh #vape #vapelife #weed #pot #dankmemez #memes😂 #memeoftheday #jokeoftheday #jokes #love #life #cars #repair #viral https://www.instagram.com/p/CefnFIuOo3a/?igshid=NGJjMDIxMWI=

[theminutewithkirknoland]

In this world of madness and chaos you have to remember the important things in life. Everybody is Beautiful is a song created by @DavidSantoMusic. I listen to it every day. It is an anthem for the Zeitgeist. A reminder of who we are and that we need each other. In a world constantly trying to force people to become something that they’re not. EBB reminds me each day that in the insanity of it all. We are all beautiful just the way we are. Well at least most of us are. 😂Some of you are gonna still need to keep wearing those mask long after the pandemic. 😳 Click Like Follow I LOVE ❤️ YOU My Tribe! #THEBOX #covid19 #pandemic2020 #comediansofinstagram #detroit #wakeup #truth #mytruths #K2.0 #THENEXTBIGIDEA #STORYTELLING #DETROIT #THEWORLD #HUMANITY #EVERYONESBEAUTIFUL⁣ ⁣#KirkNoland #videoproducer #instagram #follow #interviews #detroitartist #detroitdirector #creativedirector #THEBOX #comedian #The Box #mentalhealthawareness #suicideprevention #pandemic2020 #quarantinelife #coronavirus #quarantinelife #THETRUTHSTANDSALONE @davidsantomusic https://www.instagram.com/p/CD4Vk37jlxc/?igshid=11hwxn8e1jk7i

[troyweekesjr]

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#fun #times jumping on @kerwin_claiborne #tiktok like....#laugh #laughter #laughing #comedy #comedian #comedians #comediansofinstagram #funny #funnyvideos #funnyshit #funnyaf #create #trend #explore #follow #look #mensfashion #menstyle #menfashion #hair #haircolorist #haircolor #locs #coloredlocs #dreads #dreadlocks #dreadstyles https://www.instagram.com/p/CCG-zx2JXTV/?igshid=caucy58z9j9o

[realillwill]

Uncle Tony just can't go to the gas station @bigg_sheem #uncletony #biggsheem #comediansofinstagram #comedians #comedy #funny #baltimorecomedy #baltimore #justcomedy #viral #viralvideo #trending #explore #justjokes #justfunny Reposted from @bigg_sheem #CaliRealWill #ThisIsMeCali209 https://www.instagram.com/p/CExs-_BHLre9RbpcvrSyt-Wq5et3QtI-1kZQkk0/?igshid=lsg7ing1x4q8

[laurafaritos]

HDMS017. What a Marketing CEO Taught Me About Selling Comedy Shows

Soooooo, my world has turned upside down since I started this Harvard digital marketing course. Module 1 took me 35 hours, and I wrote 15 reflection essays along the way. I’m 20 hours into Module 2, only halfway through, and realizing this course is basically a full-time job.

If this were any other year, I’d be beating myself up for taking so long. For eight years, I convinced myself that next time, I’d finish things “on time.” That if I just tried harder, I’d magically function like everyone else. And every time I failed, I thought I was the problem.

But I’m done with that.

The difference between then and now is a diagnosis. I am not broken—I have two disabilities that affect how I learn, and I’m doing all of this in another language. So if it takes me four times longer to study, then it takes me four times longer. What matters is that I’m learning.

One of the biggest game-changers so far? The GAMMA Strategy. I can physically feel it rewiring my brain chemistry. I cannot look at my comedy shows the same way. And honestly? I don’t understand why comedy schools and media programs don’t teach this.

But I think I know why—those programs train us to be employees, not self-employed creatives. And GAMMA? It’s a fundamental concept for anyone trying to run their own career like a business.

I’ve been in entertainment for 12+ years and a comedian since 2016, and this is the first time I’m hearing about this.

So in this post, I’ll break down what the GAMMA Strategy is and how it’s making me rethink everything about my comedy career. If you’re struggling to sell out shows, this post is for you.

I’m not the same comedian I was before this module, and I can’t wait to see who I’ll be when this course is over. Hope this changes your life too.

I. What is the GAMMA Strategy? (And Why Didn’t I Learn This Sooner?)

The GAMMA Strategy is a framework for marketing planning, and once you learn it, you can’t unsee it. It breaks marketing down into five essential parts: setting clear goals, defining your audience, crafting the right messaging, tracking what works, and optimizing for success. It’s a simple system, but the way it reframes business decisions is a game-changer.

It made me realize how often comedians, including myself, approach marketing completely backward. We don’t think about who we’re trying to reach, why they should care, or how we’re positioning ourselves. We assume that if we’re funny enough, the right people will find us, buy tickets, and spread the word. But that’s not how it works.

Comedy doesn’t operate in a vacuum. The biggest comedians aren’t just talented—they understand how to sell their brand. They know their audience inside and out, they test different ways to market themselves, and when they find what works, they double down. They’re not just throwing random promo posts on Instagram and hoping for the best. They’re following a strategy, whether they realize it or not.

I used to think talent was enough. It’s not. If you don’t treat your comedy like a business, you will always struggle to make a living. GAMMA is the business plan nobody teaches you in comedy school—and once I saw it, I couldn’t go back.

II. How I'm Applying the GAMMA Strategy to my Comedy Business

Once I understood the GAMMA framework, I realized that most comedians—including myself—have been flying blind when it comes to promoting our work. We think marketing means posting a flyer on Instagram, asking people to come to our show, and hoping for the best. But that’s not a strategy—that’s just wishful thinking.

Here’s how the GAMMA framework applies directly to comedy:

1️⃣ Goals & Strategy – Most comedians say they want to "get more people at shows" or "grow an audience," but those aren’t clear goals. A real goal is specific: Do you want to double your ticket sales in six months? Get 10K followers on Instagram to increase your booking potential? Sell out one show a quarter? Your strategy has to match your goal.

2️⃣ Audience & Targeting – Who are you actually trying to reach? Are you marketing to casual comedy fans, hardcore stand-up lovers, young professionals looking for a night out, or niche communities that connect with your material? I used to assume that my audience was “anyone who likes comedy,” but that’s way too broad. The better you define your audience, the easier it is to reach them.

3️⃣ Messaging & Creative – What makes your show different? If your promo is just “Hey, come to this comedy show,” it’s not enough. People need a reason to care. Are you the only Brazilian comedian doing a show about immigration? Is your event focused on horror comedy? Are you known for a specific style of humor? Your messaging needs to highlight what makes you unique.

4️⃣ Measurement, Testing & Learning – This is where most comedians fail. If a show does well, we celebrate. If it flops, we assume "people just weren’t interested." But did we actually track what worked? What kind of promo got the most engagement? What ticket price led to the most sales? Which social media platform converted best? If you’re not measuring, you’re guessing.

5️⃣ Acceleration & Optimization – Once you know what works, double down. If Facebook ads bring in more ticket sales than Instagram posts, invest more in Facebook. If a certain type of promo video converts better than others, make more like it. This step is about taking what’s working and scaling it up instead of starting from scratch every time.

For years, I thought selling tickets was just about being funny. But now I see it’s about building a system. GAMMA gave me a structure for marketing my shows, and it’s already changing the way I approach comedy as a business.

III. Managing This Process with AuDHD

Learning and applying the GAMMA strategy is one thing—but doing it while navigating AuDHD is a whole other challenge. For most of my life, I either beat myself up for struggling to keep up or I’d set delusional goals, thinking I could “just be more disciplined” if I tried hard enough. Neither of those approaches worked. What’s different now is that I understand how my brain works, and instead of forcing myself to work like a neurotypical person, I’m building systems that work for me.

Here’s how I’m managing this process in a way that actually supports my AuDHD brain:

1️⃣ Body-doubling & external deadlines – I don’t just set goals like "promote the show." I set external deadlines and social accountability. If I need to post about ticket sales, I’ll tell a friend I’m doing it by 3 PM so they check in. If I have to edit a promo video, I’ll book a coworking session with someone so I actually sit down and do it.

2️⃣ Working with momentum instead of against it – AuDHD means my energy levels are inconsistent. Some days I can work for 12 hours straight; other days, my brain refuses to engage. Instead of shaming myself, I plan around it. If I’m hyperfocused, I batch-create content so I have a backlog ready. If I know I’m low-energy, I schedule low-demand tasks like scheduling posts, updating my show calendar, or answering emails.

3️⃣ Automation & templates – Repeating the same task over and over drains me. So I’m creating plug-and-play systems:

A pre-made promo calendar so I don’t have to decide what to post every day.

Email templates for reaching out to venues, sponsors, and press.

A marketing checklist for every show so I don’t forget crucial steps (because I will forget).

4️⃣ Embracing "good enough" instead of perfectionism – Before, I’d get stuck trying to make the perfect promo video and end up posting nothing at all. Now, I remind myself: done is better than perfect. If a post isn’t flawless, it’s still better than silence.

For years, I thought my struggles with marketing were a personal failure—that I just wasn’t “disciplined enough.” Now, I see that my brain just needs a different approach, and forcing myself into a system that wasn’t built for me was never going to work.

By aligning my business strategy with how my brain actually functions, I’m finally breaking out of the cycle of burnout, avoidance, and shame. And honestly? This is the most sustainable I’ve ever felt in my comedy career.

IV. The Comedian I’m Becoming

Before this module, I thought marketing was just about promoting my shows. Now, I see that marketing is the strategy that makes the entire show possible. It’s not just about getting people in the door—it’s about making sure my comedy career is sustainable long-term.

For years, I relied on word-of-mouth and assumed that talent alone would be enough. Now, I’m treating my comedy like a business, because that’s what it is. Learning about the GAMMA strategy, audience targeting, and value propositions has completely changed how I approach my work.

I’m not the same comedian I was a month ago. And I can’t wait to see who I’ll be by the end of this course.

V. TL;DR & Final Thoughts

So, here’s the big takeaway: marketing isn’t just about promotion—it’s the foundation of a sustainable comedy career. Without a clear strategy, I was stuck relying on last-minute ticket pushes, hoping people showed up. Now, I’m building a system where every show, every project, and every piece of content works together to support my long-term goals.

This Harvard course is pushing me to think beyond just being funny on stage. It’s forcing me to step into my role as a producer, business owner, and strategist. And honestly? I love it. I’m not the same comedian I was before starting this module, and I know that by the time I finish this course, my entire approach to comedy will be transformed.

If you’re a comedian struggling to get people in the door, start thinking like a business. Your talent deserves an audience, but they won’t just appear—you have to bring them in. I hope what I’m learning here helps you, too.

Tchau, tchau!!!