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The alt.comedy.standup Frequently Asked Questions (FAQ) list

Last-modified: 12/15/98

Send suggestions and info to: Steve Silberberg (stevebo@onramp.net)
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Frequently Asked Questions (FAQ) for the alt.comedy.standup Newsgroup
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  1. Becoming a stand-up comedian.
  2. Commonly asked questions
  3. Comedy writing tips
  4. Protecting your work
  5. The Screen Actors Guild
  6. List of comedy clubs by city.
  7. Agents and promotional agencies.
  8. Books about how to become a stand-up.
  9. Comedy Periodicals
 10. Comedy Software
 11. Miscellaneous

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1. Tips for getting started in stand-up comedy

  1. Keep a notebook and write down everything that strikes you as funny.
     (Only write down the stuff YOU think of!!!!)
  2. Start by going to open mikes. Prepare a few minutes of material and
     give it your best shot.
  3. Audio tape or video tape yourself when possible.
  4. Don't call your act unfunny; they'll believe you.
  5. Don't say "This is serious" or "This is drama"; they'll believe you.
  6. Don't tell the audience they're tired or they don't have to stick
     around. They'll believe you.
  7. Don't tell the audience they're supposed to laugh. They WON'T believe
     you..
  8. Don't use "savers" (jokes about bombing) until at least 3 gags went
     badly.
  9. Don't do the "endless close" if your final bit ate it. It's not only
     excruciating for the audience, it unfairly eats into the next comic's
     time.
 10. Don't dump on an audience member who didn't ask for it.
 11. Don't berate the small audiences for being small. They showed up.
     They're the good guys.
 12. Don't judge, criticize, or rip other people. Comedy is more political
     than you may imagine. Alternatively, politics is more comical than you
     may imagine.
 13. DON'T STEAL MATERIAL! Is your ego so fragile that you can't risk your
     own material not being funny?
 14. Don't get discouraged if you don't do well. (Not easy!).
 15. Bring everybody you know out to see you perform so that the next day,
     they can lie to you about how well you did.
 16. Learn how to take a joke. Most comedians can't.

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2. Commonly asked questions:

Q. Is alt.comedy.standup for telling jokes?

A. Definitely not. Don't post them. Not only are jokes formulaic and
offensive to stand-ups, if you post them, you will be derided mercilessly
by the regulars. If you have an auto-erotic compulsion to tell jokes, or
want to steal jokes you can tell at the office to make people think you're
not the pathetic idiot you are, go to rec.humor and talk to those morons.

Q. Then what is it for?

A. It is mostly a place where stand-up comedians, agents, club owners,
bookers, comedy writers, comedy fans, and an occasional doorman, sound guy
or entertainment attorney hang out and discuss performing, the state of
comedy, and other issues pertaining to stand-up comedy.  The comedians in
this group range from first time open miker to nationally famous
headliner.  Alt.comedy.standup also serves as an informational venue for
people who want to find out about about shows, touring, comedy CD's and the
like. Please refrain from posting binaries.

Q. And what else, Dave?

A. To me, this newsgroup is like sitting at a big table in a restaurant
after a show. Some comics are ripping each other, some just stay for a
minute then come back later, some are trying to be funny, and some just
want to eat and want everyone else to shut up.

Q. But isn't stand-up comedy dead?

A. Yes.

Q. What happened to all the comedy clubs from the 80s, BaldGuy?

A. At one point there were too many rooms and not enough headliners. So in
order to put more money in their pockets some rooms decided to start
headlining people who weren't headliners and that had 50 minutes of time
killing material. Instead of hiring comedians who can kick ass but demanded
more money.

The audiences noticed the drop in quality and recognizability of the
headliners and quit coming to these clubs. So, some ever smart clubowners
decided to "Paper" the rooms which is letting people in for free and living
off the drinks alone. This is called a saloon. Once they got rid of the
cover charges they CERTAINLY couldn't afford the better comedians. Hence
they dried up and died.

Q. What about comedy writers?

A. There is currently no Usenet group specifically for comedy writing.
Comedy writers are encouraged to use alt.comedy.standup for that purpose.
Since there is a huge overlap in the two venues (stand-ups usually write
their own material) comedy writing is often discussed in the newsgroup.

Q. This news group isn't funny.

A. Then shut your pie hole and post something funny.

You're either new to the group or not a comic. People who peruse the group
the first time often have no idea what's going on. Comedians are notorious
for remembering and calling back posts from days, months, or even years ago
and using them as ammunition to rip others. Many of the posts that seem
nonsensical at first usually turn out to be the funny ones if you've been
paying attention. The posts whose contents are most readily apparent to a
newcomer are the functional/informational posts, and those are generally
dull, especially to outsiders who really don't care what an opener in
Sheboygan makes.

In order to fully appreciate this group, it's helpful to know the
characters. Many of the regulars have been posting here for 2 years or
more.  Comedians are notorious for their amazing ability to recall any
event, no matter how trivial, especially if it can disparage someone or
bring forth humor. Lurk for a few weeks. If it's still not funny to you, go
to rec.humor and talk to those morons.

Q. Just what is a stand-up comedian, Bob?

A. "Comedian: a breed of human being who, without benefit of a steady job,
adequete plane fare or a social life, traverses the globe attempting to
impart upon the masses his/her warped, intricate and often beguiled point
of view while living from brown paper bags, overnight cases and on stale
donuts and coffee."

Q. Why are you a stand-up, Billy?

A. I know when I was a kid, I mean little kid, if I could make the grownups
laugh, I felt like I was closer to them, or they were closer to me. I used
humour in school to avoid getting beaten up, to make friends, and to escape
the realities of homework (a humourous essay was quicker to write than a
real one, and I could get the teacher to laugh, I sometimes actually got a
good mark ).

Q. What differentiates comedians from other people?

A. Everyone experiences pain, of course. But a comedian has the ability to
use their anger and intelligence to refocus and reconstruct their pain into
entertainment. It's so obvious that it almost goes without saying, but
comedians are generally more intelligent and sensitive than the average
person. It's our undeniably superior (almost god-like) intelligence that
made life difficult for us when we were children. We could see through the
hypocracy and illogic of our parents and teachers, but because of our age
and size we couldn't do anything about it. The more we pointed out the
foolishness of our "superiors," the more they kept us down. But just as
pressure and heat transform coal into diamonds, it's that frustration,
social pressure and the heat of anger that transforms us into comedians.

Q. How many Open Mikes do I have to do to become a star, actual3?

A. It frequently amazes me how many people want - even expect - some kind
of instant stardom. As someone who frequents open mics, I think it's
important that people understand that the value you get out of them is not
some diamond lane to superstardom but the opportunity to try different
things in front of an audience and develop a comfort level that allows you
to get better.

Along the way, of course, you'll have the fun of getting out of the house,
away from the television and performing for people the way they used to do
it in the old days. It's a lot like entertaining people in your living
room, because the audience is mostly comprised of other performers. If you
go into an open mic situation expecting some kind of immediate result,
you're only going to be frustrated and get angry. And what's the point of
that? You don't get good feedback that way; nor do you give yourself a
chance to fail.

Q. What else can you tell me about these Open Mikes, actual3?

A. I consider open mics to be a hobby like fencing or building model
railroads or refinishing furniture. You put in time and effort, you achieve
a certain level of expertise, but the odds that you'll get back any of the
time or money you invest are very small. It becomes a matter of deciding
what you're going to do with your life.

So what am I going to do with the time I have left here on Earth? I can
entertain people who are as bored as I am. For a few hours, I can forget my
stupid money problems and help others forget, too. Open mics are great for
that. If it turns out that I have a chance to make a little money from it,
get a little recognition, and maybe hit it big, all the better. But when
I'm up on stage at an open mic I try to get as much emotional and
intellectual value out of those few moments as I can. If I didn't, I'd be
in real trouble. Because that might be all I ultimately get out of it.

Q. I'm pretty damn funny. How do I go about getting a gig, Tim?

A. Oh, sure, you may be pretty damn funny. But you'll need a hell of a lot
more than that to get one of your so-called "gigs." Bitterness, for one
thing. If you haven't failed miserably at nearly every legitimate job
you've ever tried to hold, then you might not have the necessary level of
choking bile to perform stand-up. You see, the best stand-ups are those who
are able to take their own sickening, pathetic obsessions and shortcomings,
and splatter them all over an audience like an Alien Autopsy. Only then
will you even begin to appreciate the masochistic delight you'll experience
offering your brilliant analogies and sparkling wit to a room full of
smoking drunks trying desperately to get laid by the other fattest person
in the room.

Q. I'm really freaking funny, Liam.

A. Every time someone tells you how funny they are, you know right away
that they're not, and the more they insist on the fact that they're funny,
the more you know they're an untalented douchebag.

Q. What should my act be about, Mark?

A. There are jokes and subjects that the individual comedian wants to tell
and explore and there are jokes and subjects the audience wants to explore.
There is a large intersection and it is the comedian's job to find that
intersection.

Q. Are friends and family supportive of my decision to do comedy, Steve?

A. Friends and family will think you're nuts if you continue to pursue
stand-up for years, to the detriment of personal relationships, good health
and good credit reports, and they'll eventually tell you so to your face.
Enjoy these early days, when those who love you will patronize you, and
encourage you to follow your dream to your face, secretly believing that
one day you'll take that Asst. Manager gig at Blockbuster Video.

Q. There are no Open Mikes in my area. How do I get stage time?

A. Well you could move, but consider starting your own Open Mike. Go to a
local bar, or club, or even shopping mall and pitch it to them. Tell them
you are going to run a comedy night once a week or so. If you don't have,
or can't afford equipment, a bar, or anyplace bands play are usually a good
venues. The point is, make things happen for yourself. If you depend upon
others for your success, you'll often end up getting screwed politically,
financially, or creatively, but seldom physically.

Q. How do I set up an Open Mike, Al?

A. Find a bar or coffeeshop that has a small performance area that's
separate from the main bar area.
Make sure you can perform without worrying about the juke box, the
television set or waiters carrying food.
Ask the owner for permission to have small open mikes there during a time
when it's slow anyway.
Send notices to your local newspapers and drama classes to advertise that
you exist.
Open mikes that mix music, poetry, etc. with comedy tend to be more fun for
the audience members than those that just feature bad, open-mike-level
comedy.

Suggetions:
Make sure that the bar owner understands that most of the performers will
be really, really bad.
Try not to locate the acts any place where the performers will frighten
away the paying customers.
Charge a fee and give the some money to the bar owner.
Avoid setting up your open mike at a family restaurant or anywhere else
where many kids are present.
If you do end up somewhere need food or kids, make it clear to the
performers what the limits are.

Yes, censorship is bad, but there is nothing worse than a bad comic doing
stupid enema jokes while people are eating. Especially when it's the same
bad enema jokes you've hard 50 times before.

Q. Is gender a problem in stand-up, Cathe?

A. The problems I have found most in clubs is that there is a quota of how
many women will get booked because "They're just not popular." The worst
problem is the ability to break that wall of "woman = same old shtick" that
glazes over owners and managers eyes. No man has ever been passed over for
a gig because there was "already another man on the bill".

Q. What's a hack?

A. Stolen material. There's nothing lower or more reprehensible than
someone who steals your material - - especially if they do it better than
you. A hack also refers to material done to death, e.g. Cops in Donut
shops, 7-11 jokes, Clinton-Lewinski jokes, Viagra jokes, differences
between cats and dogs, airline food, etc. etc.

There is an entire FAQ, called the "Hack FAQ"
(http://rampages.onramp.net/~stevebo/hack.html) which gets posted
periodically to alt.comedy.standup and was originally written by Steven
Rosenthal.

Q. Who's a hack?

A. Sorry, FAQ's are limited to 64K.

Q. Why are there so many hacks?

A. In the case of stolen material, very few comedians maliciously hack
others (some do though!). Most comedians have an uncanny ability to
unconsciously store and catalog almost every bit they've ever heard. Often,
they'll write a bit, forgetting that they heard something similar 4 years
ago

Sometimes, comics will write the same joke independently of each other. You
can usually both continue doing the bit. However, if this happens and the
other comic does the bit on TV, you're screwed and should abandon it.

Comics who use stock premises do it because it's easy. Furthermore, you can
connect with more audience members when pontificating about themes common
to everyone. If you really want to do comedy about stock premises, ask
yourself, "What can I bring to this topic that thousands of comics haven't
already explored?"

Q. Why would anyone ever resort to hack, Stu?

A. The crowd laughs at what the crowd laughs at. It's our JOB as
ENTERTAINERS, not as artists, but as ENTERTAINERS to entertain. I and many
others on this NG make our living making the Yahoos laugh. The amount of
work we get is often directly proporsional to the laughs we get, so in my
case, yes if I sense the audience isn't going understand my clever edgy
well written material (for whatever reason) I go right to the hacky crap I
keep in my back pocket and I clench my teeth as I do it. And sure it might
be Men V. Women or some assortment of dick jokes du juor, but A) they're my
dick jokes, and B)I'm not doing fart jokes. So I guess everyone has a line
in the sand that they won't cross.

Q. What's "the light"?

A. At some point while you're on stage, someone will shine a light in your
eyes. This is the owner's/manager's way of saying "Your time is over, wrap
it up." You then have about a minute to get off the stage. Generally, the
light is used to make sure a show runs smoothly and on time. However it can
also be used to tell you that your performance bites or that the person
with the light has a petty vendetta against you.

Q. What is "working blue"?

A. Working blue refers to using off-color, not suitable for TV material.
While four letter words certainly fall into this category, working blue is
not limited to expletives. For instance, describing various secretions in
great detail can also constitute working blue, despite the fact that you
may have used acceptable medical terminology only.

Q. Should I work blue?

A. The short answer is to get up on stage and speak your passion. If you
cannot possibly get your point across without using four letter words, then
use them. If your personality is such that you use four letter words as a
matter of course, then use them. But using them gratuitously is a crutch
that should be avoided at all costs, especially if you have TV aspirations.

It's not always desirable to change your personality for the audience.
Speak your truth. You can say what you think an audience wants to hear, and
they may think you're funny, but you won't pioneer anything new unless you
use that one thing that makes you different, your own personality.

So if your passion is to tell people that you think date rape is funny, why
censor yourself? I personally do an awful lot of religion jokes. Many
people hate it, but those are the types of things I want to tell people. I
have no burning desire to tell people what I think the difference between
cats and dogs are.

Q. Will studying other comedians help me do quality comedy?

A. There's no right or wrong answer. Some people feel studying others is a
must do, for some, it's a must don't.

Even those who feel that they really learn by studying others, have to be
vigilant about not copying them. Not the "I'm gonna rip that joke off"
copy, but the kind of thing where they recycle a joke or premise without
even realizing it.

For me, I'd rather fail with completely original thoughts and premises,
than be successful using bits and premises that were inadvertently lifted
from others.

Q. Should I pander to the audience?

A. Only to save yourself from stinking up a place. There are 2 types of
comedians. Ones that are in it just for the ego stroke they get from
audience laughter, and the other that wants to get a message across. It is
a rare individual that can do both well. Pandering to the audience will
help your ego, but won't help you develop as a professional.

Q. Do you ever buy your material?

A. Some comics perform comedy to transmit their point of view to the
audience and hopefully make people laugh. If they bought/stole/used someone
else's material, they'd be no more than a talking monkey on stage
regurgitating other people's thoughts. Of course, some people have frail
egos and find the only thing that matters is for people to laugh at them,
regardless of whether the material was theirs in the first place.

So, sure I buy material.

Q. I'm too freakin' lazy and vapid to write my own material. Where can I
buy material so that people laugh at me and stroke my ego?

A

   * Comedy Writing Service (http://rob2e.doitnow.com/comedy)

Q. Is anything in comedy off limits, Aloo?

A. Any TOPIC is fair game for comedy. However, different circumstances
determine the topics that are appropriate. For instance, people who are
sensitive should see comedy that's billed as a clean/non-offensive show-
and the comics who agree to do that show should abide by those parameters.
Many corporate events/ private parties fit into that category and therefore
the comic's comments should reflect that.

There is also a difference between a comic discussing a particular topic in
general and picking on an audience member. A comic may do a joke that makes
fun of
handicapped people, black guys, homosexuals, ugly chicks,  retards, aborted
fetuses etc., but when they apply it to a particular person in the
audience, the joke
changes from a general quip to a personal attack.. I've never been fond of
comics who harass audience members- especially if the person didn't
instigate it.

Q. What kind of material should I do, Tim?

A. You are perfectly free to collect and perform jokes such as those where
various improbable combinations of people and animals go into bars, or you
can muse philosophically about the rubbery skin on pudding, or you can ask
those thought-provoking questions about why men must dominate the remote
control... But why not get a real performance rush by letting your audience
know your most secret thoughts? Let the audience know who you are and what
you think. Talk about your own fears and faults.

By presenting what is most personal for yourself, you actually touch a
common chord among more people. You can illuminate what it means to be
human, and bring more humanity out of yourself and others. And that's what
great stand-up is all about ... or you could just do dick jokes.

Q. What's a dick joke?

A. See "Working Blue".

Q. What's alternative comedy, Eugene?

A. Alternative comedy is just another kind of outlet. The reason it exists
and the reason it survives is because some of it is incredible. People must
like alternative comedy to keep coming back every week or every other week.
A lot of the performers write new stuff for every show, and there is a
great deal of unpredictability. Alternative comedy should be a risk and is
based on surprise. A lot of people don't want to see a bunch of middle age
white men talk about how truly difficult it has become to find a date or
whether everyone has noticed how people blah blah blah.

Q. Are comedy classes useful?

A. No one can teach you how to be funny. However you can be taught to be
less nervous on stage. You can also be taught some body language, how to
handle the mike, and how to phrase jokes. Unfortunately, you can also be
taught a "formula" for jokes.

Comedy classes are useful for building confidence, and sometimes getting
showcases and gigs. However, if you're not funny, comedy classes won't make
you funny. And they can be expensive.

One of the selling points of a comedy class is that your class is a built
in support mechanism. Improv works on this concept. So do jockstraps.

So the answer is yes, comedy classes are useful, especially if you're the
teacher. If you're a student, it depends.

Q. Tell me about tapes, Dave

A. Tapes should be from 5 to 15 minutes. From different shows, if possible.
Club owners that have to see a 30 minute tape are more concerned with
quantity than quality. YOU know whether you can do 30 minutes or not. The
owner of Guffaw's Pizza 'n' Comedy Castle may have a different perspective,
but too many clubs have comic's tapes as doorstops, coasters, etc. And see
if you know a headliner that works the club regularly. Maybe they can
recommend you OR bring you in as their middle. Better not suck, though, or
you'll lose a booking and a friend.

Q. Is it better to risk all and do a showcase at a new club or send tapes
until they decide they want you, KlownHuntr?

A. I've never NOT gotten booked from an audition set, never HAVE gotten
booked from a tape.

Q. What should I put on a bio, Dave?

A. Bios should be a list of clubs where you KNOW you've done well. Try not
to have too many Holiday Inn's listed. Include your current address and
phone number and an agent, if you're unlucky. Have some references of
headliners and club owners that think highly of you. You should ask them if
you can put them on your bio so someone doesn't call them up and catch them
off guard.

Q. What's a head shot?

A. A head shot is a photo of you. You often need to send them to agents and
club owners before an upcoming performance. A goofy headshot will not get
you work. It will still be up at the club in 10 years and will make you
regret wearing those handcuffs and a hula skirt.

Q. What does a manager do? How about an agent? What's the difference?

A. A manager keeps your name in the loop. He guides your career and helps
you make choices that are difficult for a performer to make because he/she
can't step back and look at the whole picture. He keeps your name in the
mix, so when something comes up people already have you on their mind. An
agent just tries to sell you to anyone. The manager is (or should be) more
selective. If you are looking for a manager, look at his/her clients and
see what they are doing and if they are going to have long term careers,
etc. Alot of the so called " best " managers in comedy today are selling
their clients out so they can get ahead and look good.

Q. What do bookers do, Pepperskul?

A. Bookers schedule comedians, send photos and bios on the comedians to the
club, arrange radio interviews, send press releases out on new club
openings and special comics, and above all...get the comics the information
they need to get to their gigs.

Bookers who book mainly COMEDY CLUBS are hired because the club owner
simply has gotten fed up with trying to book the room. In all honesty, I've
talked to MANY comedy club owners that say that dealing with all the comics
is just a big fat pain in the ass. That's not to say that ALL comics are a
pain, it's just sometimes taking the calls from everyone looking for work
and dealing with schedule changes and whether or not you have pictures for
the ad becomes a gruesome task. If a club were to try and do this all
themselves, they might find it cost prohibitive because they can't route
dates together and they don't have enough contacts.

There are also many bookers out there who book special events for a variety
of other clients - not just clubs. People call bookers or agents all of the
time looking for talent for an event they are having. Without these
bookers, many road comics would not have the extra work that comes from
these sources simply because the availablity of sources for these "special
clients" would not be as accessible

Q. Where can I find bookers, Bret?

A.  Comedy Bookers (http://members.aol.com/bookerlist/comlist.html)

Q. I'm about to go out on the road. Any tips, Lawrence/Steve??

A.

   * Get delivery menus to the nearest pizza place, chinese place or
     whatever.
   * Have a calling card because most condos don't have phones you can dial
     out.
   * Ask the desk clerk for a room on the top floor, away from the
     housekeeping closet, vending machines, and elevators. That will be the
     quietest room in the hotel.
   * Carry a fan for "white noise" so it is easier to sleep if the hotel or
     condo is loud.
   * When the gig's in the hotel, and they try to stick you in a meeting
     room with a murphey-bed, and they try to use the line "Sorry, but this
     is what we assign as 'comp' rooms", try politely replying, "My room is
     not comped, it's part of my compensation, just like my paycheck." 9
     times out of 10, that will work.
   * When you bring some chippie back to the hotel/condo for a one-night
     stand, hide your jewelry and wallet while she's in the bathroom.
   * On Saturdays The Instant Oil Change place is usually managed by a
     young assistant manager. They will usually trade passes for an oil
     change.
   * Eat at alot of happy hours.
   * Become a AAA delux member. You may need the free 100 mile tow.
   * You can pull the corner of carpet up in most hotel rooms and hide
     money, it can easily be put back on the tack strip
   * Tip the bartender or waitstaff that serves you.
   * Bring your laptop to the show. No telling how many people have keys to
     the condo.
   * Before you go buy smut, check under the mattress in your hotel room,
     salesman buy mags, and don't want to take them home so they put them
     under the nattress where the maid can't reach.
   * Be polite to the staff at the club, not only is it the right thing to
     do, but many club owners listen to them about the comics. If two
     comics are of equal talent, one is a dick and one is a good guy, who
     do you think is coming back?
   * When a club offers you a fistful of free passes to give away to
     promote the show, there are creative ways to distribute them. If you
     are aware of how the barter system works, you can often trade free
     passes to one of your shows for pizza, sandwiches, games of bowling,
     old magazines, discounts in the mall and more.
   * Write your name on the passes you distribute, and tell them they need
     to use it this week. People are more likely to come out that week,
     giving you a bigger crowd. And all those passes with your name on them
     at the box office tends to impress the management.

Q. What does it mean when a club owner/bar manager says, "We don't have
enough cash to cash your check.", Kevin?

A. This often means it's going to bounce or be cancelled, so go to HIS bank
at opening time the VERY NEXT DAY and present the check. He will probably
sleep late and try to cancel it around noon, by which time you'll already
have the $$$. If it bounces at the bank, go see a local attorney. It's
illegal to bounce a check, and you can often recover triple the amount in
damages, however, it usually doesn't get that far. A letter from an
attorney usually does the trick.

Q. What can you tell me about corporate gigs, Laphboy?

A. Corporate gigs can range anywhere from a banquet hall in the Four
Seasons to an area cordoned off by an accordian pull-divider in the back of
a Shoney's.  The one consistent element is that no one ever thinks you'll
need a microphone or lighting, because you're a professional. If there is a
mic, it's usually attached to a podium, leaving you delivering your act
like a White House Press Secretary at an official briefing.

You're generally stuck into the program immediately after a large meal has
been consumed, during what is traditionally the 'drinking and napping'
hour.  If they aren't dining, you will follow a Senior Vice-President with
no sense of timing who would walk half the room, if they were allowed to go
anywhere.

You can do well at corporate gigs if you stick to your act (if it's not
overly offensive), but that they'll gladly carry you around the banquet
room on their shoulders if you slam The Boss.  It's as simple as that.
Learn his name, and at some point in your act, use it where you would
normally say the word "asshole".  NOTE:  Don't use this tried and true
technique in conventions held by religious organizations.

In closing, corporate gigs do very little to enhance the edginess of your
act, but they pay anywhere from 2 to 10 times better than the average one
nighter, less 40% for the booker who answered the phone and then called
you.

Q. Hey Stu, real comics should be spending their time working on their acts
instead of reading the newsgroup!

A. Most, if not all, of the comics here are not quite as busy or successful
as they would like to be. Most will take responsibility for their lives,
and are doing what they can to be as successful as they can be. They look

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