I hear far to often that (unsigned) comedians and comedy writers never really have a career, most from what I see and hear have simple... "for the money" type jobs.
Why is this?
Is it to hold out for the big break?
Is it because nothing else appeals to them more than comedy?
Do they simply want more time to concentrate on comedy and having a simple job gives them that time?
Just a curiosity of mine.
Do they simply want more time to concentrate on comedy and having a simple job gives them that time?
Yep. I'm not a comedian, I'm an artisty writer type, but I have one of them there crappy day jobs because it requires no brain power and I don't have to take it home with me, so I can concentrate on the artisty writery stuff.
I'm in the Marketing trade it's very mind numbing stuff I gotta get something comissioned soon or I'll do something unsavoury to someone
Quote: Gavin @ May 7, 2007, 7:16 PMI gotta get something comissioned soon or I'll do something unsavoury to someone
Amen to that. Err, I'm trying to say that I'm in the same boat. I have a shit job. I need to get something comissioned or I think I'll aklways have a shit jon. 
I work in a bloody opticians during the day and they keep mentioning the 'c' word to me.
By that I mean 'career' which I don't really want, not in optics at least.
I'm a bit of a writer too, and I have a day job. I wish I didn't as I'd love to concentrate on my writing, and give myself time to carve out a career, but I have a wife, two children and a credit card to support, so needs must, as they say.
The trouble is in all creative work there's loads more people think they can do it than really can. It's just so competitive so we all have to keep going and trying. I've had a day job for 28 years (sorry to be demoralising) but I started thinking I was a brilliant songwriter and that I'd only be there for a few months. To be fair though it's only the last three or four years I've started up again.
The answer really is keep on writing, performing or whatever. Practise makes better and you may get spotted eventually.
It's probably more true for actor/comedians than writers. Flexible shifts for auditions etc. There are some jobs that could be good experiences for a writer, say if you work in a bar you'd meet lots of interesting characters.
that's true. at least we can do our stuff whenever we like - or inspiration comes. My son wamnts to act but has to find time off work for auditions.
It's because it's insular and temporal.
Humor is difficult to write because you don't know if it works until you try it.§ All too often, someone can be at the top of their game, churning out really good material, seemingly without any loss of quality, and then...I know one guy, a chemist or something, great writer. He sold sketches to everyone in a career which lasted almost a year. Earned a fortune. But then...he just burned out. He sat down for months trying to write and nothing happened. Eventually he went back to working in a lab. But at least he can say he did it.
The other issue is that when you are struggling, you tend to be aware that you are writing better material than if you are not. The reason being you have a target, you're ambitious. There's another big issue with some comedians and comedy writers that when they become successful or rich or whatever, it glazes over. The desire becomes less because you have 'been there, done that'. There are a few, well, more than a few comedians who frankly should stop writing and performing comedy because they have lost their edge and are simply living on their names.
Also, especially with this last group f people, I think greed plays a major part.
Quote: ShoePie @ May 8, 2007, 12:17 PMIt's probably more true for actor/comedians than writers. Flexible shifts for auditions etc. There are some jobs that could be good experiences for a writer, say if you work in a bar you'd meet lots of interesting characters.
I'm considering getting a job in a bar after college for that reason... and bar work looks kinda fun... and I would end up in a pub anyway so I may as well get paid for it.
Peter Kay by any chance Ed...
And I agree I can't think of a job outside of comedy really... just doesn't come into the equation really
I run my own business... which requires a LOT of attention... so the writing thing for me is just for fun. Ultimately, I don't care for 'making it'... I'm happy to just write because I enjoy it.
With that kind of attitude, I realise I'm not likely to get anywhere anyway but, as I say, it doesn't bother me. If I can write something that entertains me and my friends, I'm happy!
Who cares if the BBC don't like what I write... or even look at it?
I don't go in for the whole struggling artist thing. If you are, indeed, struggling... you should ask yourself why.
Don't struggle. Don't write to chase the dream... write because it's fun and nothing else comes close to making life worth living.
I reckon most, if not all, people here are like that anyway... but sometimes it helps to remind yourself why you do a thing.
Years ago, I was a session player (bass and vocals) and although I didn't become famous or anything, I earned a great deal of respect from fellow musicians... and, more importantly, I had a blast. When it stopped being fun though, I stopped doing it.
I figure if I haven't got anywhere by about September I should get a proper job, I'm a student at the moment.
My timetable is this
Finish final year exams
Do every gig possible
Get rave reviews
Get Agent
Become professional comedian
Quote: paul watson @ May 8, 2007, 3:00 PMPeter Kay by any chance Ed...
If you like. I don't know enough about his live stuff, though I do know some people were very aggrieved by one of his DVDs, which was virtually the same as another one.
This may turn into a rant. Here goes...
As with any profession, there are people who are good and there are people who are not so good. For a few years I eeked out a living doing bit parts. What annoyed me about it was this; and you can check this out yourself, there are about 150 actors who are in regular work. They are baddies, murderers, policemen, whatever. In most dramas at some point you will see the same faces. Nothing intrinsically wrong with that; except the other parts are cut back because of the large fees these people command. Therefore, if you see - say John Simm in a part, you know he is going to be a major factor in the story. Not because it's a good part, but because he's John Simm. You know they are not going to spend that kind of money to have him serving a burger or pushing past in a queue. John Simm is a bad example, really, because everything he is in is uniformaly good, but my point is in acting there are certain people who are in everything, and for me it ruins it, slightly. It also makes the job listing of 'casting director' laughable, because all they have done is flip through the previous months' radio times and picked a few names, or so it seems.
Comedy is - or until recently was - in danger of going the same way. The same people called upon to do everything, regardless of their actual level of funniness. Jonathan Ross is a good presenter, but to my mind, not quite good enough to warrant his almost constant appearance on everything comedic. It smacks of greed and arrogance. Jennifer Saunders did some great stuff with Ab Fab, but since then has really done nothing of note. Dawn French tends to be a little more subdued in her appearances, though it does irk me a series can run and be a success, yet people say 'such and such has Dawn French in it tonight', as if she is somehow rescuing the project. Ben Elton was a fantastic comedian and writer when he first appeared. His work was inventive, fresh. With the passing of time he's managed to become more and more reliant on material which needs work. Get A Grip milked gags for all they were worth, when the mental picture conjured was enough. Not that the gags were strong enough for either, really. Harry Enfield and Paul Whitehouses' show is so beyond poor. It's painful for me to watch such talent wasted in a project which doesn't develop in a logical way; you know what is going to happen. To me, Little Britain wasn't all that funny. It had moments, but seemed to rely on hype and repetition of the same gags rather than actually coming up with anything fresh. The radio show was very funny, but I thought it got lost in translation; a lot of the energy went.
Comic Relief is another bugbear. Although they need big names, maybe they could have some people who are not so big doing stuff, regionally? It's not like they'd be paying for it. I dislike this thing where people whoop it up saying how generous they are, giving up their time for charity and asking us to donate, when they've just had a contract which pays them £500 per word.
The point I am making is this; It can become apparently too easy for people to fool themselves into thinking something is much better than it is, simply because of the name on the front cover. Although this like any other is a business, you can't help thinking there are a lot of Harrods turning into happy shopper writers, simply because they become less focussed.
I don;t know if this makes what I think clear. Even I am confused.
Same sort of thing as you AJP...I'm already thinking of going to the fridge next year... just to do all the open mike nights and meet people more than for a career type thing but... as they say at my hell hole of work... every little helps!
I just want to get a really good set together and become bookable.