Different mics will work differently. Most of them you sign up, and they make a list. Getting there early generally gives you a better shot at getting on the list. Bringing people guarantees a spot at most mics, but it can backfire as they’ll sometimes put you up real late so the people you brought don’t leave. Usually the comedians hang out at the back of the room to watch each other’s sets.
Take advantage of this opportunity to meet other comics. Say hello, introduce yourself. Let people know when you like something they did. The networking at open mics is almost as important as the stage time, and most of my early gigs came from other comics who I met at mics.
Most places will give you five minutes on stage. Increasingly I hear of places doing shorter sets than this and I kind of hate it, but I understand they’re trying to get a lot of people on.
Check the list, know when you’re on, and be backstage, or close to the stage as your turn draws close. When you hear your name hop on stage and shake the hosts hand, or give ‘em a fist bump. The stage is yours now. Don’t leave the stage without getting that handshake or fist bump from the emcee. You’re giving the stage back to them. Do not leave the stage empty. This is important. If you say, “Thank you, goodnight.” and nobody comes up to relieve. you (this is very rare and will probably never happen to you) just acknowledge to the audience that something weird is happening, and hold the stage until the host is found, and able to relieve you.
You’ll get the light when you have one minute left. This just means someone in the back will shine a flashlight on the wall, hold up a cell phone, or in some rooms even turn on a special light, to let you know you have one minute to wrap up. Find out in advance where the light is so you don’t miss it, and confirm that it’s a one minute light. Running the light will not make you friends in the comedy scene. Going a minute over your time might not seem like a big deal but when they’re trying to get 20 people up, it ads up quickly.
Avoid chatter at the top of your set. This is an easy mistake to make. “Hi, how are you, nice night, you guys drinking”, this is all your brain avoiding getting into your material. I find it helps to even plan my hello, and then stick to the plan. “Hi my name is Keith Lowell Jensen and I write autobiographical fan fiction” is my favorite greeting, especially when I’m working on stories, and then I jump right in to my first joke. That opening chatter can serve as a tell that you’re nervous, an amateur, whatever, and make it harder for you to win them over. Likewise, don’t just run to the mic and start spitting out jokes. Say hello. Take a breath. Tell your first joke.
“Boy, that last guy sucked, eh?” Don’t do this. Don’t shit on the comic before you. It’ll get you a cheap laugh, but it’ll create bad will, it’ll hurt feelings, and it goes against the whole point and philosophy of an open mic where people should be able to bomb and still feel supported and proud of themselves for having the guts to get up there in the first place. Also, don’t shit on the venue. Be appreciative, be polite, and you’ll continue to be welcome.
Never yell into the microphone, and treat the microphone like its valuable and breakable, because it’s both of those things. Leave the mic drops to Chris Rock, he can afford to replace them after each set.
Make your first joke one of your best, one that you believe has the best chance of winning the crowd over and setting the table, earning you some good will for the rest of your set. If you have two jokes you feel really good about, the shorter one is often the better choice for opening. The sooner they know you’re good, the better.
When you see the light, give a nod or point to acknowledge to the person lighting you that you’ve seen it, otherwise they’ll keep lighting you and it’ll distract you. When you see the light, don’t panic. A minute is a long time. Hopefully you can finish the joke you’re on and then do your closer. Your closer is one of your best jokes that you chose to close with to leave on a good note. You can bomb most of a set and be remembered well if you close with a banger. Of course you can also have a great set and be remembered poorly if you blow your closer. I’ve been witness many times to a comedian running the light because their closer didn’t hit and they’re searching frantically for a hit to exit on. If I’m being honest, I’ve been that comedian. Try to end on the joke you’ve chosen as your closer, not just whatever joke you happen to be on when you get the light.
If your closer is a minute long or longer, it’s especially important to time out your set, Make sure to account for most sets being longer on stage than in front of your bathroom mirror. The audience will take up some time laughing, and you’ll probably say some hilarious stuff you hadn’t planned because the brain goes into a creative panic mode on stage that is wonderful for writing (see last week’s post about the Creative Process for more on this).
A quick note: there are mics that have each comic introduce the next comic, rather than using a host/emcee. I’ve heard this called Boston style. Personally I strongly prefer having an emcee to keep the evening moving. If you do run into this format write down the next comic’s name and put it in your pocket, just in case. You’ve got a lot on your mind and you don’t want to be overly distracted worrying about remembering their name.
Say hello, best jokes for your opener and closer, don’t run the light, don’t leave the stage empty.