In the business world we have a phase "law of diminishing returns." Essentially, a business sells a product and people buy it but then they don't buy it again for a long while or not at all. Another way to look at this is you buy a product and use it once to great delight, but every time after it becomes a less pleasurable experience. Films and restaurant experiences are a great example of this. You see a movie once and every time after you like it less and less. And in your early days of comedy you might have gotten a handful or more of people to come see shows and now you're begging people to show up so the venue doesn't cancel. Well, your friends also feel a rate of diminishing returns seeing your shows, which is normal, but also ironic as you have probably improved a lot since they first saw you. So let's look at why your friends start dropping off and how to recover professionally and emotionally. 

Why Your Friends Stopped Coming
First, don't take it personal when those early supporters stop driving to your shows. After a few times spending hundreds in food, drinks, tickets, and parking they just can't keep dishing out their fun money on you. Plus, there's a good chance you dragged them to amateur night where you did five minutes and so did all the other bringers for the night. Even if there was a great closer (15-20 minute set by a decent comic), it still wasn't worth it since they could have had you tell them the jokes over dinner. 

Another reason people stop coming is because they probably don't feel the need to constantly support. Just like they probably only see their favorite band once or twice, why would they follow you from city to city? Another point similar to the previous is that you most likely book shows and THEN ask people to come, making it a chore for them to have to carve out time. There's nothing "organic" about it. On top of all of that, I bet your friendship decreased in personal time spent as you dedicated more time to comedy and less time to them. So they see comedy as a "home wrecker" in a way. 

​Often People Think You Should Be More Successful in a Few Years 
Here's the rub that they don't want to say out loud. In the first three or so years it's all very exciting for you and your friends. They get to tell people they know the comedian and they feel like VIP guests. Sometimes they get to see other comedians they know or like and your new hobby is much more fun to support as all your potential is up on stage. 

But a funny thing happens on the way to stardom - you don't actually get famous. You still have a day job. You might even have reduced your standard of living by driving Uber or working part time work to schedule more gigs. On one level you're climbing the ranks but only you and your fellow comics know it. To the outside world, you're still an amateur since you haven't been on The Tonight Show or Netflix. Your friends will never say this, but its what they're thinking. Even if you opened for the biggest star in the world, they'd still see you as an opener, regardless of the pay or venue.  

Time to Move On To Better Gigs 
Since I started doing stand up, 11 years ago, people have asked me how to get more spots at showcase clubs. I broke into the small clubs early on as a host and people assumed it was all the reasons except the one: The booker thought I was a good choice due to my teacher background and non-fame chasing energy. Too many comics are begging to open for a comic thinking that person will discover them. It rarely if never happens that way. I've opened for the biggest comics in the world, and they're all nice, and only a few ever asked me to open again for them. When you beg a booker for a spot to open for a bigger comic, just know they are thinking your are just seeking your own benefit. Maybe you are, which I fully support, but if you get in front of the A List comic, can the booker trust you not to ask to be on their podcast or open at future venues? 

I have a few writer buddies who get huge gigs, and it took me 10 years to feel comfortable to ask if I could pitch a joke for an awards show one was helping with. Because I don't want to ruin friendships by being "that guy."

So what do you do now? You get out of town! You stop worrying about local shows with 5 minute guest sets. Find venues that need seasoned comics. Find bars, casinos, and alt venues that need you more than they need your friends. When you're scrolling through socials and see a show that looks good, DM the name on the show you know. All they can do is pass on the booker's contact or say they can't. At least you know the process. 

But you can still ask. And I once had a very self-respected booker tell me never be scared to ask, because how else will he ever know when I'm free. He still hasn't booked me more than once, but rejection is part of the game.

Final Thoughts
While you might feel slighted by people as they become less enthusiastic in your journey, remember they didn't sign up for this - you did. It becomes your job to expand your career. Last year I did 200 shows, including multiple theaters. After sitting down with my accountant to figure out my taxes, I realized I had my best year in comedy but holistically, my finances were "unstable" at best. On paper my friends were excited about all my road gigs and were asking when I'll be in LA again. I sent them a few dates - but did they show? Of course not! So even after the Dry Bar, the road gigs, and the other notches on the old comedy status belt, they are done supporting shows. AND THAT'S OKAY. 

Jim Gaffigan doesn't ask all his friends to fill Madison Square Garden. And road comics don't gather the local neighborhood citizens to pack the Chucklehuts. At some point you will either pop with crowds or bookers or get cast in a show or...fill in the blank. 

​And then your friends will still be too busy. But at least you won't feel the need to ask them to validate your career. Remember, you aren't a comedian because your friends see your shows. You're a comedian because you get up and perform - regardless of the turnout or support.  

Over the past two months I've gotten to work in some big shows with some big headliners. As the producer/host for these shows, I know there is always the possibility the headliner shows up with two friends and my 15 minutes on stage turns into 5 minutes. It comes with the territory. Most shows I do are 20-40 minute sets, with some at an hour. But when the possibility of doing 5 minutes comes up, I get a bit nervous, mostly because, what in the heck do I want to do in a 5 minute set? This happens on all types of shows, and when your time gets cut, after you curse the comedy gods, you need to come up with a plan. 

When I was starting out, doing a tight five was the goal, but now, doing five minutes is harder because my brain wants to do a million different bits. Yet, a good comic has to have a 5, 10, 20, 30, and 40+ minute set ready. So let's breakdown the differences between what a 5 minute set does verses a 30+ minute set. 

Getting to the Point is Key 
When doing a 5 minute set, I have to have the opening joke ready. That first joke is so much more crucial than a longer set. If you get up on stage and fool around with crowd work, you'll find yourself potentially flailing early on without much time to recover. Know the the first thing you want to say and say it. If you are opening the show, after a quick welcome, make sure you get them laughing in a few seconds. If you are a guest set after the host, then either tag the host or do your thing. Waiting to "find the funny" on stage is the fastest road to death by guest set. 

Stay Away From Stories 
Maybe you're a storyteller comic and that's your bread and butter. I'm a storyteller comic, but I also have ten minutes of rapid fire setup-punch jokes for when my time has been cut. While your story might always "kill," ask yourself "when do I usually tell it?" If it's at the 8 or 15 or 20 minute mark, you've already established your stage presence. In a 5 minute set, you don't have that luxury. And, if the story doesn't land, there's no recovery. You're trapped in a story that sucks up 2-3 minutes of time. Why would you waste so much time with exposition when the crowd is sitting there waiting for laughter?   

Think In Laughs Per Second 
I know this seems weird, because comedy isn't a mathematical science. But think of five minutes as laughs per seconds, not laughs per joke. The worst 5 minute set should be a laugh every twenty seconds. That's 3 punchlines a minute. That's 15 good laughs. Doesn't sound that great, right? If you tell long jokes with no tags, you might get 5-7 laughs per set. 

Now, if you aren't trying to impress anyone, and you don't care, then who cares! But if you're reading this, then you want to succeed. And if you only get 5 minutes, the fasted way to impress is to have 4-5 jokes per minute. That's 20-25 laughs. Sounds a lot better, no? 

Choose Topics People Naturally Get    
I have a lot of alt comedy friends with great jokes about 1980's movies, weird video games, and silly products they have to explain on stage. But they know those jokes don't work in a 5 minute set. Why? Because they know people blurt out questions, and they need the time to give the bit an the audience the fair amount of time.   

Choose topics where the setup clearly creates an image in their head. Keep the topics and premises easy to understand. Don't fall into the trap that you'll be the most original comic on the show. I've seen comics try alt stories, weird props, and songs, only to fail in a 5 minute bit where those jokes thrived in a 20 minute set. 

Can I Prepare For 5 Minute Sets? 
John Wooden once said "Failing to prepare is preparing to fail." By having your best 20-25 jokes ready to go, you'll feel better when your time gets cut or you get a great guest set opportunity. Showcases, festivals, and auditions still like the 5 minute format, so be ready for those times when you are asked to do shorter sets. 

One thing you can do is ask friends who run shows for a 5 minute spot once a month, just to tune up incase you get asked to do one. Another thing to do is go to an open mic and run your five minutes to time it out. It really should be 4 minutes and 20 seconds to 4 minutes and 30 seconds to leave room for laughter. Never prep for a pure 5 minutes, as many things can occur, and you need the freedom not to rush. 

Maintain Your Normal Energy 
This brings me to my final tip, which is to still perform like you would if you were doing your normal 10 to 30+ minutes. Don't rush the jokes. Don't feel the pressure to get to everything. And if you have to switch to dealing with hecklers, either ignore them or engage if you know you have a quick retort. 
I'll give you an example. I was recently hosting a show and got the light. The set was going great by all accounts, and going into my final joke a about being heckled at an old folks home, a guy yells out, "Who are you? Larry David?"

Now, I could have made a joke about the heckle, but with the clock ticking, I finished the joke, knowing most of the 200+ audience never heard him. "Finish strong" went through my head and I did. In my younger days I might have tried to say something, giving me little time to recover. 

Final Thoughts
Whether you're doing a long or short set, you have one job - to get laughs. And you want to always present your brand of comedy as the same regardless of the time allotted. You want to have a plan, yes, but you want to show the maturity to be fluid and move with the nature of the show. While no one ever really got famous off a 5 minute hosting or guest set, if you can master it, higher level comics will see your skill set and start thinking about you for other gigs down the road. 
So start preparing now so you can maximize your success later!