Stephen Grant is a successful professional comic/promoter and comedy writer with frequent radio and TV appearances. He headlines at top clubs around the UK and comperes/promotes the Krater at the Komedia in Brighton.

Stephen - let's start with how you became a comedy promoter, and what keeps you doing it.

I think it was genuinely so that, as an act, I could get regular and proper stage time. However, after working in 4 or 5 venues where it never worked, it developed from there into a full size location and now I get an equal buzz from just programming a successful event as I do from performing in it.

What part do you think promoters play in encouraging the growth of new comedy? Is it enough to offer open spots, or is there more? 

I think everyone should have an open spot policy, but I appreciate some places can't. There's not much more people can do to encourage new talent - it's never stunted in this industry, is it? The best always rise to the top, if they're prepared to put the work in. Promoters can't make acts do it. 

What's the best way for a new act to approach/contact you for an open spot? And what criteria do you apply? 

Best way to get hold of me is by email - newacts@krater.co.uk or direct at me@stephengrant.com. People need to accept that even acts who get paid elsewhere will need to do an open spot if I haven't seen them, and that they'll have to do opens on the (rowdy) late night Saturday shows before they can be booked. And as it's a large room with a big audience, we expect acts to have at least 30 or 40 gigs under their belt because they'll find this environment very tough indeed. Not fair on them, the crowd, or the promoter!

What impresses you most about a new act that performs in your club - and least? 

If they're original, it makes the night. Having seen soooo many new acts come in and out, it's truly refreshing when someone is developing their own style right from the off. What least impresses me is joke theft. Even if it's from a book or TV, it's too small an industry to get away with it. If people do it, then they'll have problems getting booked. 

So how can a new act progress from an open spot at your club to a support spot?

The path in 90% of circumstances for acts at the Krater is as follows: 7 minute open spot on a Sunday. These crowds are very polite and to get past here you need to be strong throughout your set. Then: 2 * 5 min spots on a Saturday. These crowds are a lot tougher and this is more about stagecraft and experience than anything else - but you do need them, and it needs to go well for both. Then I offer paid halfs - paid ten minute slots for a whole weekend (3 shows). From there, and assuming it was all lovely, I will offer paid full supports. I don't tend to book acts within 6 months of their last appearance at the club. 

Finally - if you had one key piece of advice for new acts, what would it be? 

Just keep doing it. Nobody ever got worse from working hard.