THE EIGHT MOST

POWERFUL WAYS TO
TURBOCHARGE YOUR
STAND-UP COMEDY

E-Book by Alfie Noakes

www.wearefunnyproject.com
 Testimonials
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onthisplanet...BigupAlfieandbiguptheWeAreFunnyProject.
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https://linktr.ee/wearefunnyproject
 About
The Author
Alfie Noakes has been a feature of the London comedy
circuit for over a decade. His shows pack out venues
several nights a week and have featured thousands of
new and established acts.

Following a successful career as a national BBC reporter

and TV Writer, Producer and Director, Alfie moved into
promoting live stand-up comedy.

Over the years, Alfie has produced over 1800 shows,

MCed more than 1000 himself, run gigs in a dozen
venues, provided stage time for over 10,000 performers
and created around 30,000 spots.

Alfie has watched literally hundreds of people perform

their first gig, and observed hundreds more work their
way up the comedy ladder.

He has watched and helped acts develop to 10 and 20

minute sets, moving up to headlining, hosting and
gaining fame across media platforms.

Having seen the obstacles faced by comedians, Alfie

and the We Are Funny Project launched a series of live
comedy Workshops - since attended by more than
1,000 performers - to help creative people develop new
material, master new skills, and accelerate their
comedy careers.

Now, fun and structured lessons are available online.

Whether you are a new act or a budding MC, or ready to
move towards paid and gigs, these custom-made
Courses can be studied at any time, place or pace.

Every session has a practical "Step" and rewards

students as they play through the stages. Each lesson is
a stride towards confidence, improved jokes and
enhanced performances.
 Contents
THE EIGHT MOST POWERFUL WAYS TO
TURBOCHARGE YOUR STAND-UP COMEDY
PAGES 5 - 6
INTRODUCTION

PAGES 7 - 8
NUMBER 8

PAGES 9 - 11
NUMBER 7

PAGES 12 - 16
NUMBER 6

PAGES 17 - 20
NUMBER 5

PAGES 21 - 23
NUMBER 4

PAGES 24 - 25
NUMBER 3

PAGES 26 - 28
NUMBER 2

PAGES 29 - 32
NUMBER 1

PAGE 33 - 34
MORE TESTIMONIALS AND ABOUT THE PROJECT

PAGE 35
ALL THE LINKS

www.facebook.com/wearefunnyproject

www.wearefunnyproject.com
4
 Introduction
Note: Many of the images within this
E-Book are "Clickable" and take you to
an informative Blog, Page or Video

This is an eight-part countdown through

the most powerful tactics to improve
your stand-up, build up your chops.

Naturally, the rankings are subjective,

although entirely correct!

Regardless, feel free to re-order them.

Whichever way you think of it, these will
demonstrate the ways to improve your
stand-up writing and performances.
Following more than a decade running
open mic gigs I have gleaned a lot. At
least, when it comes to acts improving in
their chosen art of stand-up comedy.
Allow me to be clear about my
appreciation for anyone who is starting
off in stand-up comedy.
These brave and creative souls have a
significant amount in common.
Sometimes echoing similar traits, these
folk are often ardent admirers of stand-up
comedy. Often they are able to quote from
their favourite comedians at length.
A common experience is to watch a Pro act
and think, “I could never do that."

Then, at some point they stumble in to

watch an open mic gig, and having
assessed some of the performers, quietly
murmur, “I can do better than that”.

These bold people have often had some

success in making people laugh in the real
world, in their day-to-day life. Swiftly
recognizing that if laughing feels great,
then being the one to generate the laughs
is bloody wonderful.

Maybe. Just maybe...

www.wearefunnyproject.com
5
 While they often do not recognize it within
themselves, these are daring and
courageous people.

It takes a lot of spirit to get on the stage the

first time. To step so far outside of a
comfort zone is relentlessly impressive.

Merely mention to a regular person, a non-

comedian, that one is in the stand-up game
and they will typically respond with, “I
could never do that."

Making a room full of strangers laugh is

fraught with the prospect of (apparent)
failure and humiliation. Yet an incredible
and diverse range of people do it anyway.

Doing well in a performance, getting

Only later, many more gigs down their
comedy path, are they able to realize that
almost everyone fails the first time(s).
The first gig(s) is really about crossing the
psychological barrier of getting up and
having the stones to “Just Do It."
Guts before Gags!
Once the essential first steps/gigs have
been undertaken, the mission changes. It’s
no longer about simply “Having a Go."
It evolves into developing beyond merely
raising a few chuckles. It’s about acquiring
more and bigger laughs.
Both the positives and negatives are
baked-in.
lots of laughs and seeing how happy you
made the crowd is a glory moment. The
endorphin and adrenaline rushes are
simply exquisite. Real feeling like a rock
star stuff!
On the downside, solitary late-night
journeys home, lamenting a stinging,
laughter-light performance can be
brutal. It's a roller coaster of a journey!
And so, here, I provide you a series, of
the most powerful ways to improve your
stand-up.
Whether planning your debut, or you’ve
a few hundred open mic gigs
under-your-belt, I know there’s some
solid information for you within.
Enjoy!

www.wearefunnyproject.com

6
 8. Watch Other Comedians

Most open mic performers started their comedy journey because they adored
high-end Pro comedy. Regularly going to Professional gigs, or at very least,
devouring prerecorded comedy specials from the most lauded comedians on the
planet.

Alas, far too many performers make the error of getting wrapped up in
exclusively performing in the amateur world and stop attending the Pro shows.

While there are great jokes and performers in open mic, clearly, the median
standard is below that of the Professionals. Those exceptional acts are, after all,
Professional for a reason.

Observing the other acts on a show in

which you will perform has value, for
sure.

You can get a sense of what works and

what does not, gauge yourself against
your developing peers.

Enjoy some laughs, observe a diverse

range of approaches and catch up
with some friends.

However, the limits are considerable.

www.wearefunnyproject.com

7
 Most open mic acts are performing for
shortened periods and so there is little
opportunity to witness a sustained and
paced performance of, say, 20 minutes
or more.
Further, if you are performing on the
stage that night, you are surely
somewhat dis-engaged as you are
quietly focusing on the material you’ll
soon be delivering. Thus, not really
paying full attention to the other acts.
Even after you have performed, the
adrenaline rush/relapse inevitably
skews your take.
Joke theft is utterly forbidden.
Nonetheless, while watching a Pro
show, one can take inspiration from a
more advanced style, technique, topic.
It's possible to consider craft and
morph influences into something
personal, specific and fresh.
Can I Click It? Yes I Can
8
The wonderful standard of
Pro performers offers a fine night out.
Having gained some stage experience
yourself, maybe the previous,
seemingly unattainable quality will no
longer seem so very far away?
There are tricks and techniques in
stand-up, and once you have
performed a little, the strategies can
become more apparent to you than to
the average punter. Watching the Pros
can only be of benefit to the amateur.
Ensuring you attend quality events,
observing superior comedians, with
nothing expected of you beyond being
a good audience member is liberating,
instructive and simply good fun.
Watch, laugh, learn.
www.wearefunnyproject.com
 7. Take a Workshop
A “Workshop” is not to be confused with a
“Course". Though in fact that kind of
muddling regularly happens.
For clarity, a Workshop is typically wrapped
up in a day, or part of a day.
A Course, that’s a longer commitment.
I’ll be addressing Courses later in this
countdown (is it too late to say “spoiler
alert?")
Workshops are typically specialized and
relatively brief.
Which is one of the reasons why they rank so
high in the means and methods for
catalyzing comedic potential. Workshops are
highly efficient.
I teach some Workshops myself; on MCing,
Punching Up Your Stand-Up and Comedy
Storytelling.
9
However, I still routinely
produce Workshops led by a range of
experts on aspects of comedy that I just
do not have the insights to teach.
I always take delight in pointing out that
one of my teachers, Dave Thompson, is
the man who played Tinkie Winkie in
Teletubbies. The brilliant Dave teaches
our Clowning Workshop.
Over the years, I have also staged the
following, each, more than once.
· Musical Comedy
· Character Comedy
· NLP for Stand-Up Comedy
· Writing Clean Comedy
· Clowning & Physical Comedy
· Sit-Com Writing and Development
· Writing Comedy for the Radio
· Welcome to Stand-Up Comedy
· Improv Games
 The Workshop runner/tutor must be an
expert. Otherwise, they have no place being
there.
The title of the Workshop is all-important,
it states what the focus will be. It ensures
potential students have a clear sense of
what they are paying for, signing up to.
Workshops must be laser-focused as time is
short and the topic more niche. They are
ideal, for people who wish to get an
introduction, or knowledge booster, in a
distinct arena.
Dip in, soak up the knowledge, leave. With
laughs.
Many years ago, when I began producing
Workshops, it took some time to iron out
the issues. My tutors were always top-notch.
Nonetheless, like most new material, the
first versions were often the worst versions.
Can I Click It? Yes I Can
10
The tutors earned their insights the
hard way. Being asked to pass their
wisdom and experiences down to
palatable essentials and indulge
frequently nieve questions can be a big
ask. It takes a certain quality of person
to teach really well.
Personally, I have enjoyed the privilege
of working with some stonking talent.
Of course, by virtue of producing the
events, I learned a ton myself.
The fact that I was MCing shows several
times per week, meant that I could test
many of the “do’s and don’ts” I was
hearing about.
It was so heartening to realize that
every single tip was on the money.
www.wearefunnyproject.com
 Once we have run an event more than a
couple of times, it’s all golden.

We have gleaned what the students are

most interested in, defined what they
absolutely must know and picked up on the
most common false assumptions.

Very importantly, we provide practical

techniques to employ while developing,
well, whatever the student has opted to
learn.

It's interesting to note that considerably

more females than males sign up to learn at
a Workshop. Draw your own conclusion as
to why that may be…

Lessons are backed up by lively group

exercises, often performing with instant
feedback from the tutor.

Lectures are a mainstay, but it does no one

any good to just be sitting and listening.

Good Workshops feature “doing” stuff,

applying some of what has just been shared,
even if in a hastily assembled first draft.

I am so happy when students ultimately

leave the event with some unique new
bonds with fellows on the circuit. Plus, a
head full of fresh ideas and inspiration.

All hail the well-produced, fact-filled and

fun Workshop.

I suggest you check out what options are

available in your area, wherever you are in
the world.

www.wearefunnyproject.com

11
 6. Comedy Courses
There are different Courses, platforms, teachers and topics. All are not created equal.

My focus here is primarily on “Beginners” Courses.

“Beginner” in my opinion, includes those with fewer than a hundred gigs experience.

One hundred gigs break down as 2 gigs per week for a year. That’s barely 8 hours stage time…
plus the writing, rehearsal and admin. Actually, it’s rather a lot. Yet still Stand-Up Stage One,
IMHO.

I believe that any person who has only been

playing guitar, or studying a martial art, for
less than a year, would likely still consider
themselves a “Beginner”.

If a budding comedian has never performed

before, then they have little framework to
assess the quality of their classes.

Many new acts over-focus on what they have

done, rather than what they still need to do.

There are in-person group Courses. And then

there are online, doing-it-solo, video Courses.

Can I Click It? Yes I Can

12
 Let’s begin with the live, group Courses…
I am fortunate to have the benefit of
being in a truly global city, London.
We have one of the biggest, brightest and
healthiest stand-up scenes on the planet.
It also affords me the opportunity to
consider several local reference points. I
will try to honestly weigh-up the pros and
cons for a global readership.
There are, without question, a good
number of genuinely solid, talented and
informed Course runners.
I know, because pretty much every one of
their students asks me for a spot to
perform. I get to witness the initial
results of their learning.
Clearly, I haven’t always known if any
new act has taken a Course at all.
Or indeed, whom it was with.
Can I Click It? Yes I Can
13
However, I regularly
chat with acts at the bar,
after the shows, and they
often paint me a picture.
Over the years, I have been able to assess
the tutored background of an act debuting
on my stage.
Very often I can tell, from only their
5-minute set, which teacher they have come
from. I have also seen how the results vary
wildly, even, madly.
One of my favourite tutors is a pure killer.
He is rightfully successful, highly lauded
and broadly loved within the comedy
community. He is definitely worth listening
to, hey, just being in his company is an
utter joy.
Most teachers are solid and informed. They
run Courses that aim to convey essential
information for writing jokes and
performing them. And they deliver.
www.wearefunnyproject.com
 Clearly, there are variations in the course
models.

I’d say a typical course requires 2-3 hours per

week, on the same night, for several weeks.
Plus, homework.

EG: 7 – 9pm, every Wednesday, for 6 weeks.

Possibly adding another hour or two of
homework between classes.

The cost is typically north of £200 ($230

USD). That comes in at approximately £15 an
hour.

I believe that is very reasonable for

specialized, expert advice delivered in an
entertaining fashion.

The experience should help bring the laughs,

boost confidence and quite possibly
introduce some new friendships.

It has been pointed out that very often, by the

time the course finishes, fewer than half of
the original number of attendees are present.

Now, we can of course acknowledge real life

gets in the way sometimes. London people
are busy people. Being available at the same
time 6 weeks in a row, whether due to family
or professional responsibilities, can be a real
challenge.
I think it can be safely assumed that some of
the original group may simply decide they
are not “into it”, had made a mistake, and
just drop out.
I can easily imagine a course of, say, pottery
students, will end with fewer students than it
began with. It’s not a shocking factor.
Whichever way you cut it, for those who did
not run their full course, it’s rather a lot of
wasted money.
14
10
Most tutors routinely offer sound theory,
quality advice and often a live “showcase”
for the students to strut-their-stuff on
stage as the climax of their Course.
Friends and family of the students gather
to watch a priceless batch of stand-up
debuts. There are a lot of nerves, laughs and
all with an especially friendly and forgiving
audience. I think these events are just
8 Problems That Comedians
wonderful.
Run Into and How To Handle Them
The course ends, the byclass unleashes
Alfie Noakes
itself upon the scene, and the
students already have a
small support network in
www.wearefunnyproject.com
place. It's very cool!
 When it comes to an online Course, there are different Pros and Cons. The
recently mentioned “Social” element is just not there. It always comes down
to a student in front of a screen taking notes, absorbing advice and
undertaking solo challenges.

There is no option to ask the tutor direct questions. While the creator of a quality online
course, such as myself, will have worked tirelessly to preempt every reasonable question
and include maximum pertinent information, it’s just impossible to cover every variable.

Equally, there is no immediate opportunity to perform some of the course-inspired

writing and get a real-time response from the tutor and fellow students.

On the upside of online... such Courses can be taken at any time, place or pace.

Got a family drama? A crazy work week? No problem. Take a break and jump back in as
soon as life allows.

Can I Click It? Yes I Can

These days, everyone, and everything, must have online reviews. Which is a reasonable way
of assessing which Courses seem to be of suitably high quality.

However, online courses bring the added opportunity to check out video “Tasters” of what
can be expected. All from the comfort of the phone/laptop/home.

The format of a crafted series of pre-recorded video sessions means that a student can dip in
and out. Need a reminder about a certain technique? Watch Session Seven again.

www.wearefunnyproject.com
15
 Want some pointers on building rapport
with the audience? Watch Session 11 and
gleefully claim that wondrous Mojo.
My Courses feature a practical challenge
laid down at the end of each session.
Generating a solid step-by-step towards
comedic achievement.
This means that a student can opt to
immerse themselves in their comedy
mission precisely as they so choose.
Maybe it’s a session per week for 3 months
or so?
Some prefer to go full-tilt and thrash
through it all in a few days… the luxury of
absorbing sage advice on all sorts of key
comedy skills, are entirely in the hands of
the student.
Online Courses are considerably less
expensive than the live versions because the
overheads are lower.
Once purchased, the student can return to it
again and again. Forever.
Can I Click It? Yes I Can
16
10
There are a litany of tips,
tricks and techniques when
it comes to stand-up.
Quality Courses gather this
essential advice and share it with
the right people at the correct time, in an
entertaining way.
All the same, comedy Courses are not
essential. Plenty of acts forego them and still
find their way. My observation is that these
folks often develop more slowly as they
personally have to figure out significant
"do’s and don’ts", gig after tough gig.
Naturally, the student can select which
pieces of advice to adopt, test or revert to.
Of course, there are a range of Courses for
different degrees of experience, or tastes,
such as "Advanced" and even for the all-
important art of MCing.
In-person, or online, savvy help is at hand.
I enthusiastically suggest acts boost their
laugh rates, side-step the minefield of rookie
errors, and take a comedy Course.
www.wearefunnyproject.com
 5. One-to-One Coaching
Anyone pursuing a past-time, hobby or
activity will benefit from some personal
attention and advice from an expert.
An emerging guitar player, promising
distance runner or a budding chef would
obviously improve their skill set with some
one-on-one attention from a subject-specific,
experienced Professional.
Their teacher would quickly observe what
they are doing well, and still have every
chance of showing their charge methods of
how to do it even better. Equally, they would
be quick to notice the gaps in their game and
provide advice on how to fix those problems.
Identify and strengthen what is working.
Eliminate, or fix, the not-yet-so-good.
When advising fresher enthusiasts, Coaches
bring a world of experience, passionately
earned insights and fast tracks to swifter
successes.
Can I Click It? Yes I Can
17
Experts are just that. Expert.
They have a keen eye for elements that non-
experts may not even know to think on, to
look for.
Some enlightened advice is universal.
Certain great information might be eternal.
These are very much the domain of
instruction provided in a Course or
Workshop, often delivered with delightful
and funny flourishes.
Yet the reality is, every student, of any
subject, is their own unique person. They
have their own tastes, ambitions, doubts and
life experience/pressures.
An effective Coach, working one-to-one,
aims to understand the goals and concerns
of their individual student, and advises them
accordingly.
One of the many beauties of the modern
world is the ease of recording and sharing
video.
 The Coach, can take time to consider the output from a comedian,
from anywhere in the world, and prepare their compelling feedback.

The Coach can undertake a close review of the recorded set, generate
notes, observe nuances, track the good and not-so-good. Ruminate on potential
fixes, ponder helpful exercises, contemplate improved punchlines and delicious tags.
They may consider potentially dramatic changes through to a most subtle refinement.

One-on-one attention allows for a connection to be formed that just cannot be present
in a Workshop or on a Course. The student can take all the time they choose to outline
their wishes and worries. The Coach has the option to ask laser-focused questions that
might be near irrelevant in a group setting, yet priceless one-on-one.

Everything that an act presents to an audience is their “on-stage” self. Our world that
features simple video calls provides for the other part of the Coaching equation, being
an opportunity to appreciate more of the “off-stage” character.

Friendly chats and incisive questioning can be extremely empowering. The decision as
to which advice to accept is always in the control of the student. Delving into ideas,
thrashing out jokes, finding the feeling, can be big parts of the Coaching experience.

Acknowledging the history, tastes and desires of the performer is all-important.

A comedy Coach can, at times, present as a blend of therapist and personal movie
Director, all for the good of their Patient/Star.
Can I Click It? Yes I Can
The Coach will chew on the very mission of
helping the act become more authentic,
more captivating, more entertaining. To
help their charge to bag more, bigger
laughs.

Some performers seek out a Coach at the

very beginning of their comedy journey.

Personally, I feel that a good Course is the

best way forward for a very new
performer. Because a good Course will
inevitably feature many of the key ideas
and processes. Which, having accessed the
most essential tips, tricks and techniques.
www.wearefunnyproject.com
allows the student to rapidly get into it all.

18
 Some opt for a Course and a Coach. This can
be a potent blend.
The Course helps the new comedian
generate their first material, drives those
very earliest performances. The Coaching,
coming (not too) soon after the Course has
been completed can help to tune-up the
early gags, punch up the freshman
performances.
Certainly, the Coach can help to eliminate
bad habits or distracting traits before they
can ever become an embedded issue.
It’s not unknown for a Coach to veer, albeit
briefly, into Cheerleader territory. They can
bolster the confidence of their student by
loudly celebrating their forward steps in
stand-up.
Coaching can come in many forms. Perhaps
just a couple of sessions for a short, possibly
sharp, injection of insights and suggestions.
Can I Click It? Yes I Can
19
Others prefer a
regular series of multiple
sessions. Perhaps to build
momentum. The Coach can help
to keep the comedian honest, accountable,
working hard and constantly developing.
They offer earned praise for the successes
and equally challenge evident shortfalls.
Many acts who seek out Coaches are very
seasoned.
These performers can be motivated by any
number of reasons; seeking success in an
upcoming competition, wanting to
maximize a TV opportunity, recognizing
the need for a kick up the arse, or maybe, a
purist desire to keep developing…
Whatever their motivation, a check-in and
a check-up with someone who knows a lot,
and cares, will often be the catalyst for…
something. Something better.
www.wearefunnyproject.com
 Perhaps the effect will be for the student
to snap out of a rut, or smash through
writer's block.

Coaching can help comedians expand

their material, drill deeper into topics
and fund fresh inspiration.

Clearly, the singular focus on one talent

and how to improve is extremely potent.

Students often enjoy new-found pride in

their success and status on the circuit…

Earlier in this chapter, I wrote, “every

student, of any subject, is their own
unique person”.

Comedy Coaches provide individualized

support for unique performers.

No two Coaching sessions are the same.

For anyone.

Ever.

Can I Click It? Yes I Can

The 8 Most Powerful Ways

to Turbocharge Your Stand-Up Comedy
by
Alfie Noakes

www.wearefunnyproject.com

20
 4. Write Here, Write Now
Stand-up comedy is a spoken word art-form.
Yet, almost without exception, the spoken
words are developed in the written form,
until they are suitably advanced, readied for
the verbal.
Writing is a discipline. It is not necessarily
easy. There are many ways to make it easier.
Indeed, make it real fun.
Meet the premise for number 4 in this
countdown… Write. And Write often. It’s free.
It's also essential.
The writer will often get in their own way by
setting some arbitrary standard for
themselves, for example, “I’m going to write
for an hour every day”.
Such a high bar invites failure. When the
budding writer fails to meet it the ambition
fades some and quite possibly, frustrations
bloom a little. The simple and effective
way is to… “Just 10 minutes” it.
Can I Click It? Yes I Can
21
One can always find
“Just 10 minutes” in a 24-hour period.
At worst, something got done. Frustration
should be absent/reduced.
“Writing Time” doesn’t mean you actually
have to write. It helps if you do, but it’s not
essential. It’s just that you can’t do anything
else either.
No phones, no films, no doodling… Use this
time to ponder. Consider notes in your book
of observations/brain droppings.
Think on some of your concepts. Feed your
subconscious with contemplation.
You will often be happily surprised with a
luscious “random” angle that pops into the
head a day or two later.
Give subconscious genius an opportunity to
intervene later, by focusing for “Just 10
minutes” sooner.
 Quite likely, having settled into allowing oneself to sit down to 10 minutes of actual
writing, the juices will start to flow, an idea emerges, an image amuses… and off we go...
often happily scribbling away for some time longer than “Just 10 minutes”.

After a few weeks of “Just 10 minutes” action, the likelihood is a habit will have developed.

Further, since this is now a routine part of the creative process, one will be much more
attuned to the world, savvy to new inspirations, sharper to new observations… meaning
more good stuff going through our funny filtration system.

Can I Click It? Yes I Can

A typical process of developing a joke/bit might run as follows:

An idea emerges in the mind of the comedian... premise is identified... some skewed idea
or observation is the seed. The comedian then writes the premise down.

Then, or later, maybe in "Just 10 minutes" they begin to flesh out the originating
idea/observation by asking themselves questions, such as…

What associations are there?

How is it commonly understood?
What’s it like?
What would the inversion of that be?
What’s the logical conclusion?
How could it be described/explained?
What unusual “angle” can be brought to bear?
What does it make people feel?
Etc. Etc. Etc.
22
 Writing is the critical second step in
generating stand-up.

The first is the originating idea/observation.

Regular writing is essential for:

· Identifying ideas
· Developing some of these premises
· Dropping many of them
· Finding better ideas
· Fleshing them out into new territory
· Returning and realizing something really
wasn’t so good as you first thought… yet it
sparked something new and promising.

The improved takes will more easily reveal

themselves when written out, re-directed on
paper, stand-up skills applied… The written
word and the spoken word are twins.
However, they are not identical.

You can edit a page of ideas, good or bad.

You cannot edit a blank page. You can only
fill it up.

Editing your ideas and material is arguably,

every bit as important as writing those ideas
down in the first place.

Your ideas are a numbers game. What seems

Ideally there is now a flow of fresh ideas and
really promising the day you thought of it,
time spent developing the best.
Sunday, can invite a “What the hell was I
thinking of..?” response when you review it
It’s a reassuringly bright prognosis for
on Tuesday.
creating some solid stand-up.
Good. That’s personal quality control in full
A writer writes. Even if for brief periods.
effect.
Allow space for ruminating. Delight at what
your subconscious delivers.
If you write ten ideas down on Sunday and by
Tuesday just 2 or 3 of them aren’t
Your brain is a muscle and requires
embarrassing, then hey, you have some new
exercising to produce beautiful laughter.
ideas that have passed the first-round filter.

www.wearefunnyproject.com

23
 3. Rehearse, Record, Review
I feel that it is very important to focus on
what comes before, and after, your
performances.
As, presumably, an amateur comedian, often
you will have just 5 or 10 minutes of stage
time. Meaning, in a quality set, something
like 15 – 30 big laughs is the target.
While the stage time may be rather brief, the
prep before, and the post-gig analysis, should
be somewhat more time-consuming.
Every new rehearsal will help the material
sink deeper into your brain. Thus making you
better prepared to deliver a professional
looking set.
You can go wild with act-outs that no one else
can see. Perhaps discover if a manic
representation better suits the material.
Or perhaps something a little more nuanced?
Such as a simple raising of the eyebrow.
Can I Click It? Yes I Can
24
Perhaps the wording doesn’t
flow when spoken out loud as
opposed to how it reads on paper?
By the time you hit the stage many negative
issues ought to have been ironed out.
The rehearsal process will bolster both your
material and your performance. Naturally,
the wise comedian will be certain to record
every gig in front of an actual audience.
Then be committed to reviewing that
recording soon after the show. Studying the
set, breaking it down.
What were the laughs like?
Smaller or bigger than anticipated?
Did a joke fail only because, for example,
the punchline was accidentally mumbled?
Are stage nerves making you speak too
quickly?
The 8 Most Powerful Ways
to Turbocharge Your Stand-Up Comedy
by
Alfie Noakes
www.wearefunnyproject.com
 Was there an unexpected laugh that you
can contemplate and keep?
Are your act-outs lacking clarity? Etc. Etc.
The crowd response is obviously one of
the most sharply tuned indicators of what
is working and what is not.
Recording your set, and the response, is
entirely wise.
Clearly, the fixes won’t all happen in one
rehearsal or one gig. It’s an incremental
series of powerful steps forward, review
by review, enhancing the strong stuff and
eliminating the weak.
Perhaps it will prove to be a case in which
you have to cogitate upon which bits to
develop further and which jokes to
approach from a new angle. Because
sometimes you just know there’s
something good there, it just needs some
work.
Can I Click It? Yes I Can
25
The discipline to review
our rehearsals and
performances is a means to
catalyze comedic development.
The difference between an act who follows
this process, and one who does not, will
almost certainly produce, in just a matter
of months, a sizable gulf in ability.
You get to see what the audience sees.
You can hear what they hear.
Often something unexpected will happen in
a performance; you riff a new line, a
misunderstanding turns out to be funnier
than the original idea, a confusing element
can be fixed... It's entirely likely that while
your brain is focused on the performance,
any realization will most likely be forgotten
after the gig. Unless you record and review.
Take advantage of recordings to sharpen
performances, enhance charisma and
develop your audience rapport.
www.wearefunnyproject.com
 2. Gig Like Crazy
We’re at the penultimate part of the
countdown.
I’m aware that many would argue that this
Number Two really ought to be Number One.
The “many” are wrong. I am right.
Because as the mighty Bill Burr once
beautifully noted about humans, “I like what
I think”.
Almost, the very best way to get better at
stand-up is to gig. Gig hard. Gig regularly.
Gig as often as you can. Get that essential
stage time and gig, gig, gig.
It is absolutely true. There is no replacement
for stage time.
It doesn’t matter if you have 18 notebooks
full of premises, observations and half-
formed gags. Nor is it relevant that you have
written 20 perfect jokes if they are never
heard by an audience.
Can I Click It? Yes I Can
26
It is, however, essential to
get on that stage, be the only
person in the room facing in that direction,
be the solo figure under a spotlight and enjoy
some amplified sound.
Gigging is the only method to get a sense of,
and latterly a handle on, those nerves.
Performing is the only way to appreciate the
influence that variables such as the MC, the
nature of the audience, the size of the crowd
or the style of the venue itself can wield over
your performance.
Equally, figuring out how your place in the
line-up is significant. Or, how the standard
and style of the act on before you can have
some consequence. And on and on and on.
Every single gig brings a lesson(s).
Performing is where “the rubber meets the
road”.
 So many people delay making moves to get up on stage, almost entirely out of
understandable nerves and fear. However, if you want to do comedy, then just do it.

The reality is, no one cares how you perform anywhere near as much as you care. And
that’s as it should be. If it goes badly then yes, it stings. However, it is almost certain that
the MC (if they are even remotely good) is not going to mock you when you leave the stage.

All the other comedians know how it feels to die up there. They understand that new
material often doesn’t work that well, until it does. They are fellow travellers and are not
likely to give you any grief, more likely, quietly empathize.

Or, silently take joy, wallow in some schadenfreude from the fact that they won’t be the
worst act on this bill. After all, comedians are gonna be comedians.

The audience will already be focused on the next act up. The sting of failure is exclusive to
the performer. Shake it off and get up again, with amendments, as soon as possible. This is
character forming. Learning to not care (or most likely, care less), pick oneself up, rise
above it, and try try again... these are the characteristics that will see a new performer scale
the ranks of stand-up. Tenacity is a super power. The laughs will follow.

Once the sets start going well, the jokes find their groove, the stage experience starts
showing, other acts will indeed start offering kind and complimentary words.

Regular practice, like any other skill, will bring rewards relatively quickly.
Bigger problems can be identified and swiftly smoothed out.
Really bad gigs can be a thing of the past, in short time. Then there
follows the longer period of turning an OK performance into a great set.

27
 For the fixes and improvements on “OK”
sets are not so clear or so fast. They are
more nuanced.
Changes need several performances to
assess whether they are making the kind of
difference that the comedian is seeking.
Calibration is critical.
Running something just once and making a
hard judgment on it, can often be a mistake.
Certainly, follow any strong gut instinct.
Otherwise, I recommend running the new
shift/change/punch several times in a
variety of venues.
It would be a terrible waste if a good gag
were discarded simply because a
momentary mumble sabotaged an
otherwise hilarious piece of stand-up.
The bigger changes come first. The finer
adjustments come later.
Can I Click It? Yes I Can
28
Every time you go on
stage it’s another chance
to build some psychological
armour to manage your
nerves. To be excited about what
you are about to do. It is, after all, a short
distance between nerves and excitement… a
notion worth keeping in mind the next time
you might endure pre-show jitters.
Your next gig is a chance to test if your
tweaks and topics are effective. It’s an
opportunity to tune-up and zero in on the
ideal tone. Every gig is a chance to
understand what does not work. An
opportunity to appreciate what is effective.
See it as stepping forward in your stand-up,
every time you perform.
Stagetime. Is. Priceless.
Book up as much of it as you can.
Use it to learn and have fun as you do so.
 1. Comedy Cocktail
Here we are. The finale. The climax of the
countdown.
The Number One way to improve your stand-
up is... your own recipe of the previous 7
installments in this series.
There is no single silver bullet. More, a blend
of what is effective.
Further, you need a formula to keep you
personally engaged and moving forward.
Too often, I am sorry to report, I have
observed an act pick a single tactic to
improve and then make snail-like progress.
For example, only gigging all the time. Never
adjusting the material or delivery. Indeed, I
have actively banned acts from telling
certain jokes in my room because they are
boring the tits off me, their MC, with utter
repetition. Worse, it is apparent they
themselves are “over” delivering their mid-
range material once again.
Can I Click It? Yes I Can
29
If an act is bored of their
own set, especially when it does
not get a huge audience response, then it’s
clear that some new material is required. So,
tick off number 4 in this countdown and
write more.
It seems to me that most open mic
comedians start performing because they
love the stand-up comedy that they have
seen from the Professionals. Sadly, too
many, when they get on their circuit, forget
to continue to watch experienced, talented
comedians do their thing.
Once an act starts performing, they begin to
absorb insights into how comedy is
performed. Maybe it’s learning “the rule of
3” or perhaps, the art of “misdirection”.
Early days on the circuit is an ideal time to
go and watch masters at work, in a pro room,
and pay attention. Observe through a new
prism. It’s not just a class. It’s a laugh-filled
series of inspirations.
The 8 Most Powerful Ways
to Turbocharge Your Stand-Up Comedy
by
Alfie Noakes
www.wearefunnyproject.com
 Attending a comedy Workshop, won’t do that much for you in isolation. Having
fun, with like-minded people, absorbing the ideas and then inserting it all into
your next round of creating will bring improved results.

In this example, numbers seven and four and two of my Countdown are in effect.
Workshop, Writing and Gigging. Any one of these without the others is of very limited
potency.

Clearly, Writing and Gigging are practically unavoidable and essential.

All the other elements in this series are powerful boosts to this core duo. They are not
essential. They are in fact each complementary. Very complementary.
One can choose to exclusively write and gig. It
will simply take longer to deliver comedy at a
higher standard. More hard "Quiet" gigs would
be likely. Nonetheless, the upside is that facing
such harsh experiences can help in building up
the psychological armour.

A Beginner's Course can be an ideal starting

point for a creative person who wants to
perform but doesn’t know where to start.

Such a Course can help an act hit the stage

running and with greater confidence and
better jokes (than they might otherwise have
generated).

Can I Click It? Yes I Can

The 8 Most Powerful Ways

to Turbocharge Your Stand-Up Comedy
by
Alfie Noakes

www.wearefunnyproject.com
30
 An act that has been running a while and
feels in a rut, might opt to take an Advanced
Course, maybe some one-to-one attention
from a Coach, to help them break through
whatever is holding them back.

It could be that such an act realizes that

some "fresh takes" are all the inspiration
they need to step forward in their stand-up.

Once again, simply watching a wonderful

Professional in full-effect may be all it takes
to help a performer break through their
writer's block, regain inspiration and batter
down whatever the obstacle may be.

It’s entirely plausible that an inquiring

conversation with a more seasoned
comedian or Coach can delightfully deliver
the required juice and insight.

At number 3 in the Countdown, I advocated

for Rehearsing, Recording and Reviewing.

Once again, not vital. Yet there is no

questioning that it is a powerful process to
gain swift improvements and greater
awareness of your “on-stage self”.

Can I Click It? Yes I Can

The 8 Most Powerful Ways

to Turbocharge Your Stand-Up Comedy
by
Alfie Noakes

www.wearefunnyproject.com
31
 Each comedian is a unique human being.
There is no single avenue to mastery, each
and every one of us must follow our own
path.
It could be, that one simply wishes to
become highly respected on the local open
mic circuit. There is glory in getting regular
fat laughs from an audience. Many, if not
most, are entirely satisfied with a hobby as
an amateur comedian. Enjoying drinks with
their entertaining peers after the show, is of
course, absolutely fine.
The reality is, regardless of character and
ambition, innate ability or work ethic, there
is a core objective for every comedian.
If one has decided to “do comedy” and taken
the time to book a gig, ponder ideas, write
material, rehearse and memorise, travel to
the venue and demonstrate the courage to
walk on stage… then one may as well strive
to be as funny as can be.
32
Whichever way we cut it,
without getting laughs, that
would be a lot of effort to
experience several awkward
and unpleasant minutes.
Just a little more effort can turn those
minutes into magic, potentially “feeling
like a rock star” in a way that non-comics
will never know or understand.
Writing/Gigging are the essentials. What
else are you doing to maximize the laughter
you generate?
As with all relationships, to keep the love
alive, one needs to fan the flames, shake
things up, play and experiment…
The world can never have too much
laughter. Which makes you part of the
solution!
Big Love and Good Luck
Alfie Noakes
www.wearefunnyproject.com
 Time for action
WChaaltl etnog ed y
oo n
u resxetl .f . .
Learn to be funnier than ever

First gig? Early days gig?

Personal challenge?
Want to boost your confidence?
Looking for a new hobby? Social scene?
Wishing to expand your skill-set?
Then Stepping Into Stand-Up Comedy
is the online course for you.

Have you performed stand-up

more than 100 times?

Do you wish to perform at an even higher level?

Looking for avenues to paid and pro work?
Wanting to expand your comedy range?

Check out the online course

Stepping Forward In Stand-Up Comedy
and/or
How to be a Brilliant Stand-Up Comedy MC

33
Kill more. Die less!
 Testimonials
"Alfiehasarealeyeforhowtoimproveupcomingcomedians
performance,frommaterialtopersona,andisasupportiveandkindCoach"
Joachim, London, UK

"Despiteperformingforquiteafewyearsnow(lostcount)thiswasthe
firstsuchCourseI'dtakenandtherewerealotofusefulnuggetstotake
onboard.Alfiepacksinahugeamountofinformation.Icandefinitely
recommend,especiallyifyou'reinthefirstcoupleofyearsofyour
stand-upjourney"
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timeiswastedatall.ThebestthingthatIcansayabouthisfeedbackis
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Louie, London, UK
34
 About
We Are Funny Project
We Are Funny Project was created by Alfie Noakes in 2013
with the aim of maximizing stage time and comedy
opportunities for open mic and pro comedians in London.

The best-of-the-best have ultimately garnered success on

the pro circuit and created huge online, radio and TV fame.

Alfie has learned much from being up on the comedy stage

first, last and longest, more than 1000 times.

The Project regularly runs live stand-up shows. Plus, a

delightful range one-day live workshops, all taught by
working comedy professionals.

Topics have ranged from "Clowning" to "Writing Comedy for

TV", "Character Comedy" to "Mimicry & Satire" and beyond...

Alfie has enjoyed a unique vantage point in seeing the trials

and smiles of thousands of new comedians.

He has earned his own insights and conclusions by closely

observing, and sharing company with, the broadest range of
stand-up performers.

His lessons are created with the notion of highlighting the

"You" in the material and delivery of each individual
student. These effective online courses can be studied at any
time, any place and any pace.

Stepping into Stand-Up Comedy (Beginner)

How to be a Brilliant Stand-Up Comedy MC
Stepping Forward in Stand-Up (Advanced)

Performers can access 1-2-1 personalized comedy Coaching

via Zoom. Or even add the 1-2-1 to an online Course for an
even fuller learning experience.

The YouTube channel and regular info-packed blogs add to

the ways that We Are Funny Project delivers support for
comedians.
35
 All the links
We Are Funny Project

All photos courtesy of

Steve Best at www.stevebest.com
Check out Steve's photo books Joker Face,
36 Comedy Snapshots and Comedians