I've been using e-junkie.com as shopping cart software for my site FunnyEmployeeAwards.com for six months. After doing extensive research on shopping cart software, I chose and have stayed with e-junkie primarily for the following reasons:
ease of implementation into my current site,
ease of delivering downloadable products (ebooks, software, etc),
As far as I can tell, e-junkie was developed for selling downloads. It really excels in this area, making it as easy as possible to integrate a simple shopping cart onto your site. You simply create an account, upload your digital files, add in the product info, and then e-junkie gives you the code to install the shopping cart buttons onto your site.As for payment, it seamlessly integrates with Google Checkout, PayPal, or Authorize.Net.
When someone buys my eBook, e-junkie delivers the file and payment gets routed to my bank account. I don't have to do anything.
Recently I've decided to sell a tangible good on the site, Funny Trophies. This has been a breeze, as well. E-junkie integrates with the USPS shipping calculator to make calculating tax and shipping via USPS Priority Mail extremely simple.
E-Junkie Cons
However, there are some notable drawbacks for potential e-junkie users. Most notably, e-junkie generates a thank you email for every item sold. I currently sell my trophies in a pack of 10. If I offered them individually, a buyer would receive a thank you email for each individual trophy. So if they bought 6 trophies, they'd get 6 emails. Cleary, that is not ideal. The user forums seem to indicate a change is coming, but no timetable is offered.
And unlike some other more robust offerings, e-junkie does not automatically generate packing slips, invoices, or receipts. PayPal offers some good resources, provided that your customers check out using PayPal. I offer both PayPal and Google Checkout as options, and I'd say 80% or more of my customers use Google Checkout, which as far inferior to PayPal as far as post-sale resources.
E-Junkie Verdict
So what's the final verdict on e-junkie.com? If you have multiple tangible products for sale, you may want to look elsewhere. But as the owner of a site that sells only 3 products, I have been extremely satisfied. E-junkie is absolutely perfect if you have software, an eBook, or other digital download for sale. Try e-junkie today!
If you've ever wondered what it takes to become a writer for Saturday Night Live, the April 30, 2008 cover story from Richmond, VA's Style Weekly has an excellent in-depth look. The article, Live from New York, chronicles the rise of Richmond-born writer and my long-time friend Bryan Tucker, and includes insightful behind-the-scenes commentary from the recent Ashton Kutcher show. Here are a few choice excerpts as it relates to comedy writing:
Since moving to New York in 1997, Tucker, 36, has gone from unknown stand-up comic to a hardworking comedy writer. He’s worked for such shows as “Late Show With David Letterman,” “The Chris Rock Show,” “Mad TV” and “Chappelle’s Show,” where he solidified his reputation as the white chocolate of comedy...
For Tucker, a joke can start as anything: a news story, something he observes or something he hears in passing. There are no hard rules. “One thing I’ve learned after doing this a few years: inspired ideas only come once in a while,” Tucker says. “The more professional you are, the more you learn to write something funny whether you have a great idea or not. You just do it so often you can make something serviceable out of things that are assigned to you.”
Usually, he’ll have an idea and run it by another writer or cast member. If that person likes the idea, they will try to write it together, sitting in a room and wracking their brains to come up with jokes or “beats” in a sketch. “Sometimes we come up with the script as we go, but that’s usually harder because you tend to second-guess every line as it goes. It’s better to figure out what it’s going to be, then have one person turn it into a script,” he says. He adds that he can always tell if a sketch is going to be successful if the camera guys are laughing during dress rehearsal. None are right now.
Sudeikis steps away and a hush falls over a small crowd of producers and stage managers. A woman yells “Quiet!” while Sudeikis walks onto a nearby set made to look like the deck of a cruise ship, joining Forte, Wiig and Kutcher. They’re working on one of several sketches that will be cut from the show, but nobody knows that yet. Losing your baby is a normal thing at “SNL,” a feeling all writers get used to: working madly on something all week only to see it disappear without a trace.
Even if a sketch makes it through to Saturday night, however, writers may have to significantly change things during the show. Once, while writing a show’s closing sketch, “Wine Lovers,” for host Antonio Banderas, Tucker had three minutes to take the four-and-a-half minute sketch, cut it to two and a half minutes, and make sure everyone understood the changes: the director, the actors, the cue-card holders...
If you have any interest in pursuing a career in comedy writing, this article is a must-read. It painstakingly details Bryan's beginnings from high school, though college, through touring with Selected Hilarity, temping, hitting open mics in New York, and every step in between. Plus, as an added bonus, it includes lots of quotes from me.
Veteran comedy road-warrior Frank King successfully made the transition from club act, to college act, to corporate comedian. Frank graciously shares what he's learned over the years as part of Larry Weaver's exclusive ongoing series, "How to Be a Comedian".
Ten Things That Worked To Build My Corporate Comedy Biz
Joined the National Speakers Association (national and state)
Joined Meeting Professionals International
Created a web site with promo and video
Created an identical web site without any contact info, for bookers' clients
Offered to customize the show to the client, industry, or association
Offered to fly in day early to make sure I'm there for the show
Work with speakers bureaus and entertainment bookers
If the client is unhappy, gave some or all of the money back (excluding travel)
Helped other comics that I know and respect to get corporate work
Mailed, not emailed, all the bookers a promo piece and candy every quarter
Ten Things That Didn't Work to Build My Corporate Comedy Biz
Joined Kiwanis
Tried to make and sell audio tapes, VHS tapes, and finally DVDs
A Google Ad
Worked with a number of shady bookers and bureaus (call for a list)
A John Edwards impersonation (would have worked if he'd have won)
A Bill Clinton impersonation (would have worked if Hillary had won)
Last Comic Standing (turned down four times in row)
Comedy contests (won one in 1985 and haven't won one since)
Joined several Convention and Visitors Bureaus
Joined several Chambers of Commerce
Frank King is a corporate comedian, public speaker, and now a John McCain impersonator (seriously). He's done hundreds of shows for companies and associations, and can be reached at http://www.whitecollarcomedy.com
“The Lord gave, and the Lord hath taken away. Blessed be the name of the Lord.” - Job 1: 21
The following is a true story.
Rhonda Byrne’s book, The Secret, has hovered at or near the top of the New York Times Best Seller list for 65 weeks. I must admit I was a little late joining the party. But a cultural phenomenon like The Secret can’t be ignored by someone who claims to be up on pop culture. I bought the book at Target (keeper of all of life’s great mysteries) and enjoyed the read. I even watched The Secret DVD.
The premise of The Secret lies within the “Law of Attraction.”
Ask: Know what you want and ask the universe for it.
Believe: Feel and behave as if the object of your desire is on its way.
Receive: Be open to receiving it.
I wholeheartedly believe in the Law of Attraction. But it’s not exactly groundbreaking stuff. In Matthew 7:7, the Bible reads “Ask, and it shall be given you; Seek, and ye shall find; Knock, and it shall be opened unto you.” Sounds familiar, right?
One particular passage of The Secret caught my eye. In the chapter "The Secret to Money", David Schirmer told the story of visualizing checks coming in the mail instead of bills: "I just visualized checks coming in the mail... today I just get checks in the mail." Byrnes goes on to add, "we have received hundreds and hundreds of letters from people who have said that since watching the film they have received unexpected checks in the mail."
Huh?
I decided to give it a try. As Q1 drew to a close, I needed quite a bit of money to meet my financial goal for the quarter. I knew it was possible, but I wasn’t sure where the money would come from. I went to The Secret website, printed out their "Bank of the Universe" blank check (to help me visualize the money coming in), and filled it out. I posted it on my refrigerator so I would be reminded every day that it was coming. Then I waited...
Let me be clear about this. I fully believed that I would receive this money. As the month passed by, I never doubted.
Sure enough, the money came. I opened my mail to find an unexpected check in the amount of... $108,559.00!
But why did I get this check? And what was it for? Certainly my bank wasn’t about to cash a check in this amount without some investigation.
I called up the organization who sent the check and left a voicemail inquiring about the purpose of the payment. I never mentioned the amount, just the invoice number. I posted the new check on my refrigerator in front of The Secret check. I wondered what I would do with the money.
After a few weeks, the phone call finally came. It turns out the check should have been for $25.00, and it was a monumental clerical error. The lady was gracious that I hadn’t cashed the check, and asked me to return it so she would not get in further trouble. I gladly obliged.
The end of quarter came. I did not meet my goal.
Is that the end of the story? I don’t think so. I still believe the money is coming. Maybe someone will read this story and be inspired to prove The Secret correct.
Just in case, my mailing address is: Larry Weaver PO Box 14313 Durham, NC 27709
Over the past 20 years, I've had experience as an entertainment booking agent, performer, and purchaser of entertainment. Being on all three sides of the fence has given me a unique perspective on how to simplify the entertainment booking process. I've identified several ways to improve relationships between presenters, artists and agents, and summarized some ways to improve the process.
1. Offer Promotional Materials Online for Review Event presenters get no shortage of mail. They are asking for more information online, presented in a consistent, easy-to-review fashion. Performers need to have press kits in PDF format, headshots, and video clips on their site. More importantly, the information needs to be quickly identifiable through simple, clear site navigation. Agencies need to create artist pages with consistent layouts and all of the information necessary to make an informed booking decision. At Larry Weaver Entertainment I've opted for a one-page layout for artists, although we do have a separate online video player page.
2. Return Requested Paperwork on Time When presenters ask for a contract, invoice, or W-9 form, they want it quickly - not weeks (or months) later. Likewise, agents and artists want the paperwork executed and returned in a timely fashion. It's incumbent upon the agent or artist to have a CRM (customer relationship management) system in place that alerts them when to follow up with a Presenter. We've developed our own in-house computerized tracking system to get contracts out faster and make sure they're processed efficiently.
3. Provide Downloadable Show Promotion Resources After the show is booked, Presenters need access to online materials to promote their shows. Artists and agents must offer full-color photographs that are camera-ready for print in brochures or for local media. Posters, press releases, and bios are also a nice touch.
4. Supply More Responsive Communication Channels When issues arrive, Presenters want immediate contact with the agent or artist. Presenters and Agents should exchange cell phone numbers as well as the cell phone number and emergency contact information for every Artist. Make sure your Contact page has several methods for communication listed.
5. Deliver Professional Follow-Up After the show, artists and agents want to know how they did. Presenters want a place to share their thoughts on the performance. Offer an Post-Show Review Form to allow Presenters to address any issues and leave a glowing review. Client satisfaction should be your top priority!
Presenters, Artists and Agents all want the same thing: a worry-free partnership that leads to a successful performance. Let's continue to work together to make each other's lives easier.
Got an idea to simplify the booking process? Please leave your thoughts in the comments section. We want to hear from you!
I'm trying to produce a video that will show how quick and easy it is to make your own custom printable award certificates. Please watch this 60 second video and let me know if it gets the point across:
I would appreciate your feedback in the comments section on content, pacing, production, and anything I may have left out. Here's the voiceover script:
Hi, I’m Larry Weaver. I’m going to show you how to create your own Printable Awards in just sixty seconds. We’ll be using my book, Funny Employee Awards and free Adobe Reader software. The book contains dozen of hilarious awards and because it’s in PDF format, you can type directly onto the certificates. Just pick an award you like, type in the recipient name, date, and presenter’s name. Choose print. Select your printer, and hit OK. It’s really that easy. Now you may have your own ideas for awards and we’ve given you some blank templates to create your own. Just type in the award name, what the award is for – customize it any way you like. These awards are a lot of fun and they’re perfect for any employee or type of business. Visit FunnyEmployeeAwards.com to get your copy today!
As part of an ongoing series on "How to Be a Comedian", Larry Weaver brings exclusive insights from influential comedians, writers, and insiders from the world of comedy. Enjoy these "Guidelines for Corporate Comedy" from the First Lady of corporate comedy, Jan McInnis.
Five of Jan's Guidelines for Corporate Comedy
Be clean. Just taking the F word out of a joke, doesn't make it clean. You need to have clean, funny material before you get booked. And that means you should be able to do a 45 - 60 minute show without even saying the word "crap." And the subject matter, even if it's clean, should try to stay away from sex and drugs.
Find out about the group. Even if you don't plan to write jokes about them, and just want to do your boilerplate act (mistake in my opinion!), you should know your audience. If nothing else, it'll keep you out of trouble by not bashing gas companies at the WPMA meeting because that is the Western Petroleum Marketers Association, you know, the people who make their living selling gas. AND it'll give you ideas for marketing - like how about the Eastern Petroleum Marketers Association.
Tell them how to set the show. You're not dealing with a comedy club owner who knows how to make comedy work, this is a meeting planner who's concerned with a thousand other details, like getting 500 people fed on time. They may not know that comedy shouldn't be going on while the waiters are serving the 5-course meal, or that a big dance floor moat between you and the audience kills the intimacy of the show. Heck, they may even have you performing behind a podium. You need to take charge and tell them how to set the room, when is the best time to bring you on (after dinner, before awards), etc.
Show 'em you've done this before. Unlike comedy clubs, who want to make sure you've got the time if you say you can headline, companies are more concerned with making make sure you've done this for other companies - they don't want to be your test animal in the corporate market. So give them names and quotes from other companies for whom you've performed. If you're new to corporate shows, then start doing as many shows at whatever price that you can get, just to get those testimonials.
You don't always get to win. This is a hard one for comics, because in the comedy club, we're paid to be funnier than the heckler. In the corporate market, the heckler may just be the drunk boss. And if he starts in on you, you need to goof lightly, and then let it go.
And your extra bonus guideline... It's not about you. This is about these people and their event. They didn't choose to come to a comedy show, the entertainment was decided for them, and you were brought into their world. So running over your time, being a prima donna backstage, etc. . . are big no nos.
These are just a few of the many things you need to pay attention to in the corporate market. Some comics think the corporate market is too stuffy and they can't be themselves. And they might be right. The only really hard and fast rule of comedy is that you must be true to yourself. If you cuss a lot, then by all means do it in your act . . .you'll find your market and be a success. If you try to clean it up just to make a buck, then you won't think it's funny and your audience will agree. There are tons of different types of comedy avenues, from bar gigs to churches. Find the one that fits you first, and then work hard to become a star there.
Jan McInnis is a corporate comedian and comedy writer. She was featured in the Wall Street Journal as one of the most popular convention comedians, and she's done hundreds of shows for companies and associations. She can be reached at http://www.theworklady.com/
, has hovered at or near the top of the New York Times Best Seller list for 65 weeks. I must admit I was a little late joining the party. But a cultural phenomenon like The Secret can’t be ignored by someone who claims to be up on pop culture. I bought the book at Target (keeper of all of life’s great mysteries) and enjoyed the read. I even watched 
.
