The next ten articles are a series by a US Speaker, who works internationally, making people laugh, and ensuring they also remember his message. His articles are on using humour to get the message across, and will be most useful to those who have to, or chose to speak, but there is also plenty in there to think about when writing comedy. These are a ten part series excerpted from Tom Antion's new book, Wake em Up: How to Use Humor and Other Professional Techniques to Create Alarmingly Good Business Presentations. To find out more about Tom Antion, do have a look at his website: http://www.antion.com. To get in contact, e-mail him at: tomantion@aol.com

[Article # 1] - Why use humor?

Why should I bother using humor in my presentations? Can't I just deliver my information and sit down? You sure can and that's what most people do. The problem is that most people are not effective presenters. They are nighty nite, snooze inducing, say your prayers, hit the sack, unlicensed hypnotists. They are ZZZZZs presenters. They might be experts in their field and be able to recite hours and hours of information on their topic, but is that effective?

According to Bob Orben, Special Assistant to President Gerald Ford and Former Director of the White House Speech Writing Department, "Business executives and political leaders have embraced humor because humor works. Humor has gone from being an admirable part of a leader's character to a mandatory one."

A survey of top executives who earned more than $250,000 per year was conducted by a large executive search firm. The survey found that these executives believed their communication skills were the number one factor that carried them to the top. Mastering the use of humor and other high-explosion techniques puts a fine polish on your presentation skills which can help propel you to the top of the speaking profession.

There are many benefits you can derive from using humor in your presentations. Keep in mind that these benefits only help you reach your ultimate purpose for making the presentation. They are not purposes themselves unless, of course, you are only interested in entertaining.

Using humor does the following for you:

- HELPS YOU CONNECT WITH THE AUDIENCE.
- MAKES YOU MORE LIKEABLE.
- AROUSES INTEREST.
- KEEPS ATTENTION.
- HELPS EMPHASIZE POINTS AND IDEAS.
- DISARMS HOSTILITY.
- OVERCOMES OVERLY FLATTERING INTRODUCTIONS.
- GETS YOUR POINT ACROSS WITHOUT CREATING HOSTILITY.
- HELPS RELATE FACTS AND FIGURES.
- MAKES A POSITIVE IMPRESSION.
- SHOWS THAT YOU DON'T TAKE YOURSELF TOO SERIOUSLY.
- HELPS PAINT PICTURES IN THE AUDIENCE'S MIND.
- MAKES INFORMATION MORE MEMORABLE.
- LIGHTENS UP HEAVY MATERIAL.

And for your own sake:

- YOU WILL BE ASKED BACK.
- YOU WILL GET HIGHER EVALUATIONS OR MORE SALES.
- YOU WILL MAKE MORE MONEY.
- YOU WILL MAKE PEOPLE HAPPY.

This is my favorite benefit. I get great satisfaction from knowing that I have brightened someone else's life. I had an executive come up to me after one of my humor seminars and say, "You opened up a whole new world for me." I almost cried right on the spot. I'll never forget it.

(Author's note on the book: "Wake em Up teaches you to be irresistible as a presenter." Also, Foreword by: Mark Victor Hansen, Co-Author of the #1 New York Times Best-selling series, Chicken Soup for the Soul)

[Article # 2] - Learn Material Easily Using Bits (AKA Chunks or Series)

A bit is a section of material that is so related that it makes it easy for you to memorize. Each point flows naturally from one to the next so you can deliver the information without notes (if you know your material).

Until I learned about bits, I never thought I could be a professional presenter because I'm not great at memorizing long talks. I discovered that no one memorizes long talks. They have a mental or written outline consisting of key words that trigger the individual bit in their minds. Pros use this concept to be able to deliver long presentations without the use of notes.

Becoming less dependent on notes has several advantages. When you stand before a group and deliver information without using notes your credibility automatically rises. The audience thinks, "Wow! This person really knows the material." Since you won't be tied to a lectern or forced to hold notes, you can get physically closer to the audience, or actually enter the audience on occasion. The closer you are to them, the better you will connect. When you leave the script at home you can talk naturally to the audience rather than read to them. You will also be more confident because you no longer have to worry about your notes getting lost.

Using bits has another big advantage. We are busy people. It's tough to find a spare hour or day to practice a full presentation. Bits can be practiced when you have a few minutes here and there. You will be more likely to practice your material (and we all need practice) if you can practice a three or five-minute chunk rather than the whole presentation.

(Author's note on the book: "Tom's materials will cut five years of a speaker's learning curve." - Cavett Robert, Founder and Chairman Emeritus, National Speakers Association)

[Article # 3] - In Fun

Sigmund Freud wrote: "The most favorable condition for comic pleasure is a generally happy disposition in which one is in the mood for laughter. In happy toxic states almost everything seems comic. We laugh at the expectation of laughing, at the appearance of one who is presenting the comic material (sometimes even before he [she] attempts to make us laugh), and finally, we laugh at the recollection of having laughed."

This concept has been termed "in fun" by people that study humor. If you want your audience to laugh, they must be in fun. You, the speaker, must be in fun. The MC or program coordinator must be in fun. The whole program should be designed in fun.

Don't do anything to take them out of in fun. Don't discuss controversial subjects like religion or politics and don't make unfriendly comments to audience members. If a problem occurs which must be dealt with, find an in fun way of doing so. For instance, if I'm at a presentation and someone asks me who I voted for I say, "I voted for the USA." That's a cute way to say that I really don't want to talk about it.

Retired NSA member and one of the greatest humorists of all time Dr. Charles Jarvis, told me about a friend of his who was an excellent speaker, but lost his audience when he forced someone to turn off a tape recorder. He was so nasty about the way he said it that the in fun audience totally turned against him.

An in fun audience is more critical for the speaker who is there to entertain, but the concept should be in the back of every presenter's mind. Your material may be controversial by nature, but that doesn't mean that you should go out of your way to do or say things that will take the audience further out of in fun.

Also, pay close attention to the total program. One friend of mine had to present comical material just after a passionate plea went out to the audience to collect funds for starving babies. He came on stage just after the teary eyed audience had seen slides of emaciated children. If you ever get caught in this situation, DON'T start right in with your humorous material. Start out gently with a sincere reference to what the audience has just seen. Cut most of your early humor and get to your subject to ease the audience's transition to your more lighthearted topic.

How do you put in fun into practice? One time I had a ventriloquist introduce me at an early morning meeting to wake up everyone and get them in fun. You could pass out fun snacks to the audience or put balloons on their chairs. Meeting announcements and agendas can be decorated with cartoon characters. Funny props are great for putting people in fun. Do anything you can to be sure your audience knows that it's OK to laugh.

(Author's note on the book: "At Hawaiian Tropic we believe that fun and excitement keep our corporate staff and distributors productive. Tom can teach you how to create this excitement every time you address a group." - Ron Rice, Owner and Founder, Hawaiian Tropic/Tanning Research Labs., Inc.)

[Article # 4] - Timing

Timing is one of the most important aspects of humor and NO ZZZZZs presenting. Not only is timing involved in an individual piece of humor, it is also involved in the placement of that piece of humor in the overall presentation. Timing is also involved in spontaneous reactions to "expected" unexpected developments during the presentation.

Jack Benny said, "Timing is not so much knowing when to speak, but knowing when to pause." He should know, because he delivered one of the funniest and most famous lines in the history of comedy after an extremely long pause. He was being held up by a robber at gunpoint. The robber said, "Your money or your life!" Jack didn't say a word for an extended period of time. The robber became impatient and said, "YOUR MONEY OR YOUR LIFE!!" Jack finally replied, "I'm thinking." His persona as a cheapskate, coupled with a long pause indicating he was having trouble deciding whether to give up his money, or die was hilarious. A pause lets the audience catch up and draw pictures in their mind. It is the audience's signal to imagine.

In joke telling, a pause just before and just after your punch line gives the audience a chance to laugh. Absolutely do not continue to talk when laughter is expected. Laughter is hard to get and easy to discourage. Hold eye contact a little bit longer than you think you should when delivering punch lines because time is hard to judge when you are pumped-up for a presentation.

The size of your audience will affect your timing. Your presentation will take less time to deliver to smaller audiences. Smaller audiences should mean quicker laughter. Conversely, presentations will take longer for extremely large crowds. Your pauses will be longer to compensate for the wave effect created because of the physical distance between you and the back row of the audience.

(Author's note on the book: "In Wake em Up, Tom Antion teaches us how to get our message across, do it with humor, and keep the audience awake all at the same time. That's great, although I've learned through experience that when I'm not doing 1 and 2, I prefer that the audience doze off. It makes my getaway easier." - Gene Perrett, Author and head comedy writer for Bob Hope)

[Article # 5] - Time of day and Humor

The first speaker of the day for an early morning (7:00 a.m. to 9:00

a.m.) program should not expect hearty laughter. People are not conditioned to laugh a great deal in the early morning. Many won't even be awake yet. Use more information and less humor. I was asked by a sales speaker to open up an early morning seminar. He said, "I just want you to get them laughing before I go on." I told him that it was not a good idea, but he insisted. I opened up the seminar with some sure-fire humor to test their responsiveness and got little response. I cut my material and brought the speaker on stage. He couldn't get them laughing either. I sat in the audience and watched. By 10:15 a.m. they were laughing at just about anything.

It's important for you to know when NOT to expect hearty laughter. It would be a waste of time to use your best material at a time when laughter normally wouldn't be expected. If you didn't know that early morning programs aren't the best for laughter, you could have your confidence shaken so badly that the rest of your presentation might suffer. Also, keep in mind that I am giving you general principles. You might run into a lively group sometime - just don't expect it.

Many consider brunch to be the best time of day to expect a responsive audience. It is late enough that the folks who sleep late are now awake, but not so late in the day that early risers are starting to get tired. Lunch is generally a time for good response for the same reasons as brunch.

In the afternoon people are starting to get tired. Audience members will retain less because they are not listening as closely as they did in the morning. You can use more humor and less hard information, but don't expect laughter to be as intense.

The last speaker of a long afternoon or evening program should not expect a great response, again because folks are too worn out. Keep your presentation short and crisp and acknowledge the lateness so that the audience knows you care about them. One time I was the last speaker on a long program in Baltimore, Maryland, for a food service management company. I was being introduced at 8:35 p.m. on a Monday night in the fall. What do you think the mostly male audience was thinking at 8:35 p.m. on a Monday night in the Fall? Of course! MONDAY NIGHT FOOTBALL! I got up and said:

"There are three things I would never want to be: 1. a javelin catcher; 2. the scoop man at a Donkey Basketball game; and 3. the last speaker on a long program. (I looked at my watch.) It's now 8:40 p.m. I'm going to limit my remarks to 15 minutes. I guarantee you will be in the hospitality suite in time for the kickoff." I kept my promise.

Do you think I had more of their attention than if I had not made the comment? You bet I did! Even though it had been a long day, they all had a good laugh during my talk. A little care for your audience will go a long way.

(Author's note on the book: "Tom Antion has mastered the art of communicating in an interesting and humorous fashion. His book Wake em Up is a "how to" and what "not to do" for speakers. It's a great read for presenters who have been in front of audiences for years as well as those folks just starting out. Hat's off to Tom for a job well done!" - David Kliman, President, Meeting Professionals International.)

[Article # 6] - Closings

One of the worst mistakes you can make as a presenter is talking too long. Not only will you send some folks to never, never land, you will make some of them downright mad. It doesn't matter if your entire talk was brilliant and the audience came away with information that will change their lives. If you talk too long, they will leave saying, "That speaker just wouldn't quit." Don't let this happen to you! Say what you have to say and sit down. Before you do, give them a well thought out closing.

The last thing you say may be the most remembered. You must put as much time into selecting and practicing your closing as you put into any other part of your presentation. Just like your opening, your closing does not have to be humorous. It could be motivational, challenging, thoughtful, respectful of the length of the presentation, or it could restate your point in a different way. This ending segment will have a strong influence on what the audience takes home with them when you are done. Please, at sometime during your talk ask the audience to do something. Many a great NO ZZZZZs talk went no further than the walls of the meeting room because the audience wasn't moved to action. If you haven't ask them to do something by now, the closing is your last chance.

If the subject is appropriate, I happen to be fond of humorous closings for several reasons. If you leave them laughing and applauding, you will exit, but an extremely positive impression about you will remain. Another good reason to leave them laughing is that the room will not be deadly silent as you are walking back to your seat. I hate when that happens. I do love laughter and feeling good; finishing a talk humorously gives me and the audience an opportunity to feel great. Talks that are for entertainment purposes only should generally leave the audience laughing.

Finally, if the subject is not appropriate to end with laughter,. you could end with a touching story or quotation that leaves the audience thoughtful and quiet. Even the most serious subjects can benefit from humor, but the humor should be sprinkled throughout the body of the presentation. Don't put it at the end because closings are powerful and the audience will think your overall attitude toward the subject is flippant.

This same technique can be very effective in ending a mostly humorous presentation. Have them laughing all along while you make your points. Then finish seriously. This contrast will create a great impact. It will convey the fact that you believe in a lighthearted approach to the subject, but the results are very serious to you.

(Author's note on the book: "When I recruited Tom Antion to play for the West Virginia University Mountaineers in the early 70's, he was an exciting high school football player. It doesn't surprise me that he's turned into such an exciting professional speaker. His Book Wake em Up will teach you how to create excitement when you speak to any size group. I use some of his tips in my own speaking engagements." - Bobby Bowden, Head Football Coach, Florida State University.)

[Article # 7] - How to Make a Point with Humor

One of the old saws of public speaking says that you should "Tell em what you're gonna tell em. Tell em. Then tell em what you told em."

When you want to make a point during your presentation, you can use a similar formula. You tell em the point, illustrate the point, then tell em the point again. This formula, however, can seem boring and redundant if you don't spice it up a little. One way to do it is to use humor. Here's the formula:

1. Make your point.

2. Illustrate your point (in our case with a humorous two-liner, but you could use props, humorous props, funny stories, serious stories, case studies, etc.)

3. Restate your point.

Here's an example where your point is "The Importance of Communication."

1. First make your point by saying, Accurate and clear communication is an important part of our everyday lives.

2. Then illustrate your point. In this case use a humorous two-liner. It's like the student pilot who was asked over the radio to state his altitude and location. He said, "I'm five feet nine and I'm in the left seat."

3. Then restate your point in a slightly different manner by saying, You can see how what we may think is clear communication could be interpreted incorrectly especially when people are under pressure.

(Author's note on the book: "This book gives you advanced presentations skills and humor training that would otherwise take you years to learn. It's an absolute must-read for anyone who wants to be a fantastic presenter." - Patricia Fripp, Past president & first woman president of the National Speakers Association.)

[Article # 8] - A Sound, Sound System

If it is hard to hear, people won't listen. As a humorous presenter you must have an excellent sound system because some of the time you will be talking while your audience is laughing. Stand-up comics need good sound too, but they are a little different because they tell a joke, then people laugh (they hope). They tell another joke, then people laugh. A humorous presenter will be rolling right along making points, showing product features, telling stories, and dropping one-liners and must be heard all the while.

A humorous presentation demands a better sound system than a serious talk. In a serious talk, words can be missed and the main message can still be very clear. In humor it doesn't work that way. If key words are missed in a joke or story, it will ruin the humor. No one will laugh and you will look like a giant goober.

The need for a thorough sound check is another good reason to be in the room early. You need to check the microphone to make sure it works. You need to check to see how far your mouth should be from the microphone. You need to know how loudly you should talk. Realize that during your check the audio level should be very loud. People will absorb the sound once they get into the room.

Make sure the sound system is carrying to all parts of the room. If someone speaks prior to you, try to go to the back of the room to see how he or she is coming across. If you have someone at the presentation with you, have them signal from the back of the room if changes are needed after you have started.

If the amplifier controls aren't handy after you have started, you can adjust the sound by changing the distance between your mouth and the microphone and/or increasing or decreasing the loudness of your voice. Try not to use the latter method too often so you don't strain your vocal mechanism.

(Author's note on the book: "We live in a world of entertainment. If you have hard hitting business content and need a way to inject appropriate humor to keep people with you, this is the book that will teach you how to do it." - Bob Pike, CSP "The Trainer's Trainer," Editor Creative Training Techniques Newsletter, President Creative Training Techniques Companies)

[Article # 9] - To Laugh or Not to Laugh That is the Question

Some humor "experts" say that you should not laugh at your own jokes and stories. This may work for some, but it is definitely not my style. When I'm in front of an audience, I'm having a great time. I'm there because I love humor and laughter and I love sharing it with the audience. I can't help laughing sometimes. I laugh at what I say. I laugh at what they say. I laugh at unexpected occurrences during the presentation. That's my style. I believe that to fully connect with an audience, you must be accepted as one of them. If I expect them to laugh, then I should laugh too.

Sometimes you can laugh to tell the audience it's time to laugh. Within a matter of minutes your stage persona will be evident to the audience. As soon as they catch onto your style and rhythm, they will pick up on the cues you give them. When you laugh they know it is time for them to laugh. It's almost like holding up an applause sign. Some presenters use facial expressions or gestures or a combination of many cues that tell the audience it's OK to laugh.

The opposite of a laughter cue is a deadpan expression. This is a serious expression that is contrasted with funny lines. The contrast evokes a larger laugh than the line could get by itself. I use this to set the audience up for some fun questions. I look completely earnest when I say, I'm the foremost expert in the world [pause] on dumb questions. It always gets a good laugh.

(Author's note on the book: "Anyone who has ever been in one of Tom Antion's audiences would attest that Tom clearly "practices what he preaches!" In this informative and enjoyable book, you'll find dozens of practical tips, tools, and techniques that will show you that "learning can be fun!" Enjoy Wake em Up. I know you will." - Edward E. Scannell, CMP, CSP, Co-author Games Trainers Play series, Past National President, American Society of Training and Development, Meeting Professionals International and the National Speakers Association)

[Article # 10] - Transitions

Most presentation skills books will tell you to be a polished presenter you have to tie all your information together so it flows smoothly. You must lead your audience and alert them that slightly different, but related information is coming. This is called transition or segue (pronounced seg'way). LET ME STATE RIGHT NOW THAT I FULLY BELIEVE SMOOTH TRANSITIONS ARE A NECESSITY IF YOU WANT TO HAVE YOUR AUDIENCE MEMBERS SO BORED THEY FALL RIGHT OUT OF THEIR SEATS AND SMASH THEIR HEADS ON THE FLOOR.

Come with me to the amusement park. Look around a little bit and tell me where the excitement is. Of course, it's over on the roller coaster where transitions are sharp. They are sharp and exciting even though you can see them coming. The excitement isn't over at the kiddie choo choo train (notwithstanding, the excitement you might feel watching your little munchkin on there for the very first time) where turns and motion are mild so the little ones don't get too upset. The excitement is also at the bumper cars where you can get blind sided because cars are coming at you from all directions. The excitement isn't at the baby boat ride where a 2cm wave would flip your little bundle of joy out of the boat.

OK. I'll admit, some thought should be given to transition, especially with older, more traditional audiences, and when you have a very high content presentation. But you don't have to be a trite, snoozer by saying things like, . . . "Speaking of bananas. I'm now going to talk about bananas." You could, however, do a segue like that and then make fun of yourself for doing it by saying something like, "Don't you think that transition was really smooth?" Transitions are one of the places where you could plan to use some humor. This works well with technical audiences because they won't feel you are wasting their time. Since, in their minds, you are REQUIRED to do a transition anyway, it's OK if it's funny.

Segues aren't important at all for 85 percent or higher humor content presenters or stand-up comics. You can just bang away and as long as they are laughing, no one much cares about transitions. If you are not in this category, then you can begin paying a little attention to bridging the gaps between your points and topics. Just don't be trite and don't think you have to "say" something to make the transition.

You can make transitions by changing stage position, pausing, using visual aids, giving out a handout, or picking up a prop. Do anything that breaks the pattern of what you were doing in the previous segment and introduces what you plan to do.

For verbal transitions, one-liners, anecdotes, and questions work well. Also, people seem to like and need recaps, so I am in favor of saying things like, "To recap this section . . ."

Whatever you do, think in terms of roller coasters and bumper cars so you keep your audience excited and alert all the time.

These articles are a ten part series excerpted from Tom Antion's new book, "Wake em Up: How to Use Humor and Other Professional Techniques to Create Alarmingly Good Business Presentations". Anchor Publishing, 336 page softcover, $24.95 + $4.00 S&H, (800) 448-6280 x 1 or FAX to (301) 552-0225.

Apologies to anyone who hasn't enjoyed the advertising throughout this series. I have reduced the author's advertising a little, as these were designed as separate articles to go in a series of newsletters. However, I felt that the benefit of the advice all in one place at once was more useful for BSCW members, and that you're perfectly capable of ignoring the advertising if you aren't interested.

I find reading about the art of comedy writing as fascinating as it is writing it. (It's certainly easier... unless you can't read, that is!) and I'm not just talking about the 'How to...' books, which are interesting and helpful, albeit not exactly riveting, no, I'm referring to the biographies and autobiographies of comedy writers and performers.

One recent read I'd like to recommend is the excellent 'A Kentish Lad'. Now, this isn't exactly hot of the shelf of your local bookshop, it's been available for five years now, but if you haven't read it yet and are interested in the comedy writing (Well, you wouldn't be reading this if you wasn't) do.

'A Kentish Lad' is the thoroughly enjoyable and fascinating autobiography of the late Frank Muir, who during a twenty-five year partnership with Dennis It'll-Be-Alright-On-The-Night-Volume-345-Norden, and beyond wrote and produced some of the most famous and inventive radio and television comedy programmes. Without Frank Muir they may have never been Wacko, Take it From Here, The Glums, My Word, My Music, Steptoe & Son, Till Death Us Do Part and On the Buses to name but a few.

It's a very comfortable read, written in Muir's very gentle, very original, very funny way, it tells of his early life growing up in Ramsgate, his war years as an air photographer in the RAF and how after

his demob he went to London to become a writer.

After a spell at the infamous Windmill Club, Muir joined the BBC and it was here that he met Norden and the rest as they say is hysterical.

From revue to radio, from television to film, from assistant head of the BBC sitcom department to head of entertainment for London Weekend Television, Muir has done most of it when it comes to British comedy, both behind and in front of the camera, and all in that distinct and unique Frank Muir style. A style that flows from the pages, whether it's relating jokes or funny anecdotes or exposing some of the red tape and beaurocrat of the television of the time.

Muir loved words, hence his long association with 'Call My Bluff' and I think that love and knowledge of them shows this was not a ghost written book, but from the pen and the wit of the man himself.

Frank Muir died not long after the book was published. Apparently he had been watching the Tom Hanks movie, Forrest Gump and had remarked to his wife how good he thought the script was before going to bed where he died peacefully at the age of 77.

Frank Muir's legacy of laughter will be with us forever and 'A Kentish Lad' will help keep one of the pioneers of British comedy scriptwriting to the fore and enthuse all that write with a pun in hand.

'A Kentish Lad' by Frank Muir is published by Corgi in paperback for £7.99, ISBN No 0-552-14137-2

Other Books I recommend for a good insight into this ridiculous profession we attempt to follow are:

- 'You Won't Believe This But...' Barry Cryer, Published by Virgin, in Paperback £5.99, ISBN 0-7535-0397-2
- Cleese Encounters, Jonathan Margolis, Published by Orion, in Paperback £5.99
- Over The Limit, Bob Monkhouse, Published by Century
- Frank Skinner by Frank Skinner, Published by Century

I think you've had it far too easy lately, and reckon it's time you did some of the thinking on the E-zine for me. I'd like to start a debate. I'm happy for this one to run across several issues, and when you run out of steam (or insults to each other) I'll see what I can do to start another one. In the immortal words of Mrs Merton "Let's have a heated debate."

I know the title of this section is a little corny, and 'Sorry' may not be in many lists of all-time favourite sitcoms. However, Timothy's mother does, I think, have a valid point. Is bad language big? Is it clever? In this day and age, does it even have the shock factor to get a laugh? Perhaps the only way to really get an audience reaction is to use the old-fashioned F-word - 'Flip,' or to call someone the B-word - 'a Bounder.'

We've all seen or heard comics who swear worse than Tourette's sufferers, but did it really enhance their performance? I remember seeing one Irish stand-up (nameless because I don't remember his name!) who was very funny. By the end, I felt cheated at not having heard as many gags as I might have done, if only he'd removed the F-word from all his jokes. I think he'd have got through twice as much material, and hopefully, been twice as funny.

But, you're all shouting at me, what about scripts? If a character would swear in a situation, they must! Must they? I'm not sure that's true. There are plenty of ways to express anger without - and they're probably funnier because you have to think of different ways to do it.

Having said all that, I readily confess, I do swear in my speech. I notice it more when I'm with company that doesn't. When comedians, or TV characters swear, it doesn't overly bother me, except when it upsets those I'm with. So does it matter anyway? Are those who even care just being prudes? Has our society moved on to the extent that the s-word for fecal matter is less offensive to most ears than politics?

Go on, let me have your opinions! I'll put in all that are on the subject at hand. Do tell me if you don't want to put your name to your opinion (Devil's advocates welcome too!) And if you can find tactful ways to avoid using the actual words, in case they do offend anyone, I wont edit a word. So, can comedy really be clean-cut? Or will it always be bluer than the Tory party?

Firstly there's a second batch of Market Info for August now on the site. (www.bscw.co.uk)

Secondly, more details about the conference have also been put up on the site. While we're here, it's time to remind you that the £20 discount for the BSCW comedy conference is due to end this weekend. However, due to the problems with our website we have extended the deadline by a further week until 7th September. If you want to take advantage of this discount please return the booking form (which you can find on the BSCW website) and deposit/full payment as soon as possible to Ken Rock."

Thirdly, an apology for recent problems with the site. We have moved over to a high-performance web server, and webmaster David Bodycombe says "hopefully the last ever move we'll do." Unfortunately - especially for David - everything has to be reprogrammed for this. Currently everything is working except for the General Forum, and Market Info Discussion. Apologies for these being out of action for the moment. David hopes to get those sorted out in mid-September.

Well, we seem to be incredibly short on your successes this month. Either you've had a very quiet summer, or you've been too busy writing to tell me what you've had performed, published or produced. But please let me know by 25th September, so your hard work can be shared in the October E-zine.

Thankfully, Ken Rock saves the day with a report of his stage play. "The dates for the show '14 by 3,' the lifestory of Tom Owen, his father Bill Owen and their association with "Last of The Summer Wine" co-written by Tom Owen and Ken Rock are as follows:

7 Sept - Haymarket Theatre, Basingstoke;
13 September - Lawrence Batley Theatre, Huddersfield;
14 September - The Gate Theatre, Goole;
18 September - Brewhouse Theatre, Taunton;
5 October - Ridware Theatre, Rugeley;
6 October - Jennings Theatre, Kirkgate centre, Cockermouth;
7 October - Dane bank Theatre, Crewe;
23 October - Bloxwich Library Theatre, Walsall;
4 Nov - Rhoda McGaw Theatre, Woking;
9 Nov - Chipping Norton Theatre;
18 Nov - Wimbledon Library Theatre.

"If any BSCW members wish to attend please contact the theatres direct. Tom will be happy to chat to any members after each performance."

Also Gill Smith has had a poem selected for an Australian Anthology, 'Modern Rhymes for Modern Times.' "It's not paid, but I reckon I can now call myself an International Poet!"

AS USUAL, I'd really love to see your articles, review, news and successes for the next E-zine. You know where to send them by now - gill@bscw.co.uk. In case some of you, like me, work better to a deadline, then I'd like everything in by 25th September, please, for the October issue.