…There will always be one guy in the front row who thinks it’s okay to put his feet on the stage. It happens all the time. And it’s never women. I’m always like, Do you think you’re in your living room? But I try to flip it — I tell myself, Hey, he feels comfortable with me. I’ll take that as a compliment. Why not?…
I had the pleasure of talking with Heather Pasternak. Heather is an American comedian, writer, and performer whose career spans stand-up comedy, television appearances, corporate workshops, and comedy education. Known for her sharp wit and relatable humor, Pasternak has built a multifaceted career that extends beyond the traditional comedy stage. With credits including The Late Show with Stephen Colbert, New Girl, and Funny You Should Ask, as well as a residency at Jimmy Kimmel’s Comedy Club in Las Vegas, she has established herself as a versatile presence in the industry. In addition to performing, she co-founded The Comedy Partners, an organization that applies comedy to corporate team-building and professional development.
Born and raised in Los Angeles, Pasternak was introduced to performance at an early age, appearing in commercials as a child. Her interest in the entertainment industry led her to New York University’s Tisch School of the Arts, where she earned a degree in acting. Though initially focused on traditional acting, she discovered stand-up comedy after struggling to secure representation as an actress. Encouraged by a friend, she took a stand-up comedy class, an experience she described as liberating. The realization that she could create her own material and perform without waiting for industry gatekeepers marked a turning point in her career.
Her early break in comedy came when actor and comedian Jeff Garlin invited her to open for his shows. This opportunity not only introduced her to larger audiences but also helped her refine her voice as a writer and performer. Her stand-up material often draws from personal experiences, including her reflections on motherhood, relationships, and societal expectations. In 2017, her promise as a comedian was recognized with the Martin Grant, a $5,000 scholarship awarded to an emerging comic.
Pasternak’s television career gained momentum with a performance on The Late Show with Stephen Colbert, which served as her late-night debut. She has since appeared on shows such as New Girl and The Mindy Project, as well as Netflix’s Cooking on High. In addition to performing, she has worked as a writer for the comedy game show Funny You Should Ask, crafting material for well-known comedians and actors.
Beyond the stage and screen, Pasternak has applied her comedic expertise to corporate settings. In 2010, she co-founded The Comedy Partners, a company that integrates humor into workplace training and team-building exercises. Through this initiative, she has led workshops for companies such as Cisco and Amazon, teaching employees how to use comedy as a tool for communication and collaboration. Her approach emphasizes clean, inclusive humor, tailored to corporate environments.
Pasternak has also played a role in fostering new comedic voices. She hosts Tomorrow’s Ladies of Late Night, a showcase at The Crow Comedy Club in Santa Monica, which highlights women and non-binary comedians. The event has provided a platform for emerging comics, some of whom have gone on to secure television appearances. Additionally, she teaches stand-up courses through StandupComedyClass.com, mentoring aspiring comedians and guiding them through the process of developing material and stage presence.
Her residency at Jimmy Kimmel’s Comedy Club in Las Vegas has further solidified her standing in the comedy world. Initially performing in a late-night slot, she later transitioned to an earlier time, allowing her to reach broader audiences. Her show, Happy Hour with Heather, blends stand-up with curated guest performances. In 2024, she released the comedy special Slay at Home Mom through 800lb Gorilla Media, focusing on the absurdities of modern parenting.
Pasternak’s comedic perspective is shaped by her personal experiences, including her role as a mother. She frequently integrates humor into discussions of parenthood, relationships, and societal expectations, offering audiences a blend of observational and self-deprecating comedy. In recent years, she has expanded her reach through digital content, creating viral sketches on platforms like TikTok, SiriusXM and more.
Despite her busy schedule, she maintains a pragmatic approach to her career. Aware of the unpredictability of the entertainment industry, she holds a real estate license — a backup plan she jokingly references in her stand-up. Her ability to balance creative pursuits with practical considerations reflects her grounded outlook on the challenges of working in comedy.
As she continues to evolve in her career, Pasternak remains committed to using humor as a means of connection and engagement. Whether through her live performances, corporate workshops, or mentorship initiatives, she emphasizes the role of comedy in fostering understanding and resilience. With upcoming projects in television, stand-up, and digital media, she continues to navigate an industry that is constantly shifting, using laughter as both an artistic tool and a source of community.
Yitzi: Heather, it’s a delight to meet you. Before we dive in, our readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Heather: Sure. I’m from Los Angeles.
I studied acting in college at NYU in New York, then moved back to Los Angeles, but I couldn’t get representation. I was just another American girl in America. One of my friends said, “You should try stand-up. You should take this class.” So I did.
That class, which I now teach with Gerry Katzman at standupcomedyclass.com, was so liberating. As a comedian, you don’t have to wait for all these gatekeepers to give you an audition or an opportunity. I realized, “Oh, I can write about what I care about, find a place to perform, and I don’t have to wait for anyone to say it’s okay.” That set me on my path and turned me into a comedy writer.
Yitzi: That’s amazing. Growing up, were you always funny? Like, were you hysterical as a kid?
Heather: My mom always told me I should be a comedian, and it’s so annoying when your parents are right, you know?
I’m the youngest child, which I’ve heard a lot of comedians are. You kind of get used to being the peacekeeper — you’re born into the chaos, and you just think, “Oh, I better lighten the mood around here.” So I think my sense of humor was a bit of a survival skill.
But yeah, sometimes I see people who are really funny, and it’s not their job, and I think, “Wow, that must be nice — to not have to exploit that part of your personality.”
Humor has always been a way of coping for me.
Yitzi: So in school, were you the class clown? Did you make jokes during class?
Heather: I think so. What I really did was talk — a lot. My report cards always said, “Talks excessively.” And now I’m like, “Well, now it’s my job!”
Yitzi: So fascinating. We learned how you first started, but tell us about the next steps. How did that develop into a successful career?
Heather: Yeah, so I took this class, and I always joke that I never left until the teacher let me teach with him — which is pretty much true. I was still auditioning, and booked a few guest stars here and there. My representation at the time sent one of my tapes to The Late Show with Stephen Colbert, which became my first late-night appearance. That was really exciting and definitely a door opener.
Now, I’m actually going to be on The Tonight Show next week, which is exciting — especially because I’m super pregnant right now. So I’m like, “It’s a look!” But I’ve learned to relax about these kinds of opportunities. I used to stress about these things, now to comfort myself, I tell myself, “No one’s really going to watch it; they’ll just know you did it, and that alone gives you credibility.” That mindset lets me focus on making people laugh instead of worrying about how I look or come across.
I also got a residency at the Jimmy Kimmel Comedy Club, which has been so much fun. I was opening for Jade Catta-Preta, an amazing Brazilian queer comedian who always puts together all-female lineups. That really inspired me, and she introduced me to the booker there. It was a slow burn — I had been doing material about being a new mom, which was funny because my stand-up used to be about wanting to get married and have a baby. If my comedy had a theme, it would be careful what you wish for.
I recently had a Don’t Tell Comedy special come out about being a weed mom versus a wine mom. Weed moms don’t get enough publicity!
At the Kimmel Club, it all started when a headliner dropped out and they asked if I could fill in. Then they asked me back for Mother’s Day because I had these “Slay at Home Mom” shirts. The following year, they invited me again, and eventually, they gave me a late-night residency — every other Thursday at 11:30 p.m. since July. Now, they’re bumping me up to the 6:00 p.m. slot weekly on Thursdays, which is exciting. I’m glad to be performing a little earlier. I figured maybe they didn’t love the optics of a big pregnant woman on stage at 1:00 a.m. But either way, I’m pumped about it. The show is called Happy Hour with Heather, and we’re even doing drink specials and other fun stuff.
I also got to be a writer on Funny You Should Ask, a comedy trivia game show where ‘every question has a funny answer.’ It’s been a blast because I get to write for different comedians like Adam Carolla, Natasha Leggero, and Tiffany Haddish. If you like facts and comedy, that show is where those worlds collide.
I’ve also done some feature film rewrites — definitely all in the comedy vein — and I do comedy coaching. One of my favorite things is teaching people how to do stand-up. It seems like there’s no formula, but of course, there is. Every class, there’s a mix of career performers and what I call “bucket list people” — folks who are doing it like they’re skydiving. It’s such an emotionally brave thing to dig into your personal life and find the laughter in it. Ultimately, that laughter becomes medicine for all of us, no matter what we’re going through.
It’s not as shiny as being on The Tonight Show, but it’s incredibly gratifying.
Yitzi: You probably have some incredible stories from all the different stages you’ve been on and the places you’ve been. Can you share one or two stories that stand out in your mind?
Heather: Well, one time I was doing a show in Los Angeles, and a guy in the front row took a phone call. It was so rude. I love heckler stories because I always try to be on my audience’s side. Sometimes you’ll see comedians who are like, “This stuff is great — fuck you guys!” But I’m not like that. I feel like if you’re not having a good time, I’m not doing my job.
So this guy answered the phone, and instead of getting defensive, I got curious. I was like, “Who are you talking to?” Turns out, he was talking to his daughter. So I asked, “Can I talk to her?” and got on the phone with her. I said, “Do you have any idea how much your dad loves you? He’s sitting in the front row of a comedy show, and he doesn’t care — he’s just like, ‘My baby’s calling, I’m picking up the phone.’”
I think finding a way to spin things positively and not take them personally is such a good life lesson, and it makes my job really fun. Obviously, I don’t want people taking phone calls during my set, but that moment was memorable because it could have thrown me off. At this point in my career, though, I’m just there to play and have a good time. I like being able to see the good in people.
At the comedy school, we also do corporate trainings, and a lot of it is teaching people how to have difficult conversations. We call it being bulletproof — handling challenging moments when someone essentially says, “That’s a stupid idea,” and instead of getting defensive or shutting down, learning how to turn opposition into opportunity. That’s something I love. Some of my most memorable moments in stand-up come from unexpected things happening and getting to incorporate them into the show. That’s always a real joy.
Yitzi: That’s amazing. It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting out and what you learned from it?
Heather: Oh my gosh, so many — but I’ve tried to block them out! I mean, I’ve definitely been too pushy at times, tried to get opportunities I wasn’t quite ready for, or reached out to people who were probably like, “Ugh, this girl is emailing me again.” I’ve asked people if I could open for them when I didn’t really know them well enough, that kind of thing.
Luckily, to my knowledge, I haven’t done anything cancel-worthy — at least not yet! But I think it’s hard to look back and label things as mistakes because everything led me to where I am now. Like you said, you learn from them.
Early on, I felt like I had to take every piece of advice from someone more experienced. I still struggle with balancing being authentic to my own voice while also staying open to wisdom from people who’ve been doing this longer. When you’re the talent, you’re often dealing with people who care more about marketing, so it’s about learning how to merge those perspectives.
I think one of the biggest lessons I’ve learned is not letting perfection be the enemy of progress. In my 20s, I felt like if something wasn’t happening right now, it was never going to happen. There was such a sense of urgency. But now, in my 30s, I realize I have time — things will happen. There’s no need to stress so much.
Having kids has also helped with that. I don’t have the energy to overthink an email and wonder, “Did I sound okay?” I just hit send. My career isn’t the only thing that defines me anymore, and honestly, so much of it is out of my control anyway.
The main lesson I’ve learned is to roll with the punches. It’s never going to be perfect — there will always be something you wish had gone differently. I always say, you’re not a real comedian until there’s something on the internet that you absolutely hate. I’ve had that experience in my personal life, too — like getting married. It’s supposed to be the perfect, most beautiful day, but I have a very clear list of everything that didn’t go right. But at the end of the day, if you have the right person, who cares about the other stuff?
So, the biggest lesson is to stop being such a perfectionist. You have to make mistakes to learn. In a way, you should welcome them — because that means you’re getting better.
Yitzi: That’s amazing. We love hearing stories where someone further along creates an opportunity that changes someone’s career trajectory. Do you have a story where someone did that for you or where you did that for someone else?
Heather: Well, let’s see. I would say Jeff Garlin — I’ve opened for him a lot. A lot of people know him from Curb Your Enthusiasm. He was amazing. He found me on Instagram and asked me to start opening for him before I had even done The Late Show with Stephen Colbert, which was such a confidence boost for me and my stand-up. He’s been a really good friend, and anytime I call him and say, “Hey, I need a big name on a lineup, or they won’t let me produce a show,” he’ll hop on. He’s a real supporter. He’s read my scripts, too.
My friend Milana Vayntrub was actually the first person who suggested I take a stand-up comedy class. She’s always been a supporter. She was probably most famous for being the AT&T girl for many years, but she’s also an actress and comedian. She’s been a huge supporter, we’ve been friends for over 20 years and she even produced the special I did with 800PGM. Like I mentioned, Jade Catapreta has had me open for her a lot and made many helpful introductions. Gerry Katzman taught me so many of the basics when I was just starting out and has given me an opportunity to make a sustainable career out of teaching those skills to others. The Martin Grant was another super helpful milestone. Jessica Pilot gave me my first late night spot… it’s a long list!
I’ve been lucky to have a lot of support and I try to do the same for others. I was producing this showcase called Tomorrow’s Ladies of Late Night, where we put together showcases featuring women, non-binary performers, and different voices we wanted to see more of on TV. We organized it with LOCA (The Ladies of Comedy Association) and The Crow in Santa Monica.
There were a few comedians from that showcase that have gone on to do The Tonight Show, Leslie Liao and Jessica Keenan to name a few, so I hope they feel like that was helpful. That’s one of my favorite things about comedy — when I get someone really excited to feature or perform at the Kimmel Club, and I have the opportunity to say, “Yeah, I can give you that spot.” That feels really great. But it doesn’t feel as good to sit here and say, “I helped so-and-so.” I just hope some people have stories about me helping them. I’m not keeping track. I just like to believe there’s enough for everyone.
Anytime I meet a friend, I think it’s so much easier to help someone else with their career than to figure out your own. Like, I’ll be on a call with a friend and say, “What’s your next goal? These are the steps you need to take.” And then I’m like, “Okay, now someone tell me what to do!” It’s so hard to see your own path — it’s kind of like needing a spotter at the gym.
I’m a big believer in collaboration and getting coaches or help when you need it. There’s this old-school idea that comedy is a lone-wolf sport, where you have to wear a leather jacket and smoke a cigarette. But I don’t think it’s like that at all. You can find your community — people who build you up.
Yitzi: Do you have a story about the most challenging role or job you’ve taken on?
Heather: Well, actually, funny enough, opening for Jeff Garlin. He brought me to London to open for him at the Soho Theatre, which was so cool. I was so green at the time, and I thought, I’m going to try to get more stage time while I’m there. So I reached out to this show and I basically told them, I’ll come do this show with Jeff Garlin, so you have to put us on. I went out of my way to book this totally unnecessary gig.
What I didn’t realize at the time is that sometimes, when you open for someone famous, it’s actually more challenging because the whole audience is just there to see them. And at this particular the host gave me what felt like the worst intro — basically, the gist was, We have Jeff Garlin here, but before he comes on, you have to listen to this woman. That was how he set me up.
I did ten minutes of material — stuff that normally kills — and none of it landed. When you watch veteran comedians, the reason they’re so great is that they have this fearlessness. They’re not afraid to fail because they know failure is part of getting better. They truly don’t care if someone isn’t into it. But with newer comics, you can always tell when they’re bombing but pretending they’re not. And there’s nothing more uncomfortable than that. Usually, if you just acknowledge it — like, Well, you guys hated that one! — it releases the tension in the room. But if you act like it’s not happening, it just makes it worse.
And that’s exactly what I did — for ten painfully long minutes. The only laughter in the room was coming from Jeff Garlin in the back, and he has the most distinct laugh. And it wasn’t like he was laughing at my jokes — he was laughing at his friend completely eating it on stage.
I learned so much from that experience. I made so many mistakes, like going out of my way to book a gig just to bomb. I absolutely did not need to do that. So, yeah, that one stands out.
Yitzi: You have such an impressive body of work, and we’ve heard a little about your latest projects, but tell us more about what you’re working on now and what you hope to be working on in the near future.
Heather: Yeah, I’m really excited for The Tonight Show appearance. I also hope to be writing again on Funny You Should Ask — it’s on hiatus right now. But mostly, I’m excited about Happy Hour with Heather because we’re launching it! The first show is March 6th. I don’t know when this article will come out, but let’s get the hype going! I want people to come out. It’s a weekly thing, so I’ll be able to try new material and have the time and space to experiment.
It’s also really fun because I’m going to the Kimmel Club on Thursday, and any of these shows before my Tonight Show appearance on March 12th are exciting. If there are any comedy nerds out there who love seeing how the sausage is made, come watch me work out this set. It’s so fun to see someone perform a set live, then watch it a week later on national television and notice what changed, what didn’t, and how it lands differently.
Also, my Don’t Tell Comedy special is out, and it’s only an eight-minute watch, so I’m hoping to get some traction from that. It’s interesting — I used to think the goal was to build a big following, figure out where your demographic is, and then travel to those cities to tour. But honestly, I’ve started to realize that Vegas is kind of the hack. Tourists from all over are already coming to me, and it’s only a 40-minute flight from LA.
And I’m about to have a baby at the end of May, so that’s about as much travel as I want to do. I’m really excited to keep building my relationship with the Kimmel Club. I’d also love to do more film and television — maybe even see a sitcom on the horizon. It’s funny how your dreams change as you get older. I used to think, I want to be the lead on a show. Now I’m like, I’d love to be sixth on the call sheet, work enough days to get health insurance, and still have time to hang out with my baby. You know what I mean?
But yeah, I’m really excited to keep performing regularly, bring more female-led lineups to the Vegas community, and introduce audiences to incredible comics they might not have seen before.
Yitzi: Wonderful. Can you share a bit about your creative process? Where do you get material for your jokes? Do you sit down quietly with a pencil, or does it come to you while you’re driving?
Heather: It’s a little bit of everything at this point, but overall, the main thing is trying to write from the truth and never feeling like something is too personal. You know that quote, “That which is most personal is most universal”? I really believe that.
I think the best stand-up feels like a secret. Sometimes, when I sit down to write, I ask myself, What’s the thing I don’t want to talk about? What’s that thing that’s a little embarrassing? For example, some of my material that’s getting the best traction right now is about how it’s socially acceptable to be a wine mom, but not a weed mom. But to get to the point where that was funny, I first had to sit down and write, Sometimes I don’t want to hang out with my two-year-old unless I’m high. And that was an uncomfortable truth to put on paper.
But then, you start tailoring it, refining it, making it palatable, and you realize, Oh, I just said something out loud that a lot of parents secretly feel. Like, sometimes playing imaginary games with your kid can be exhausting, and you feel guilty about it. That’s a real, relatable feeling. And through comedy, you get to take those hard truths, distill them, and turn them into something that makes people feel less alone.
So I’d say my process is always aiming for the truth. I think if you try too hard to be funny, it won’t be funny. But if you aim for the truth, with enough patience, you’ll eventually find the funny. The challenge when you’re newer is that you might have a great premise, but you don’t yet know how to shape it into a joke, so you throw it away too soon instead of working through it.
And, annoyingly, my husband is so funny. Some of my best jokes are just things he’s said, and I’m like, This is annoying, but also, it’s my new closer. So, I guess it is what it is. I also tend to gravitate toward self-deprecating humor. If I’m going to make fun of anyone, it’s going to be me.
Yitzi: That’s great. So it sounds like you’re saying that the way to write comedy is to start with the truth. But when I watch stand-up and hear a crazy story, I often assume, That can’t be true.
Heather: Well, in comedy, we have a term called “premise and act-out.” That’s a basic joke structure. The premise should be true, but the act-out can be exaggerated — that’s the fun part. People don’t come to a stand-up show to hear a journal entry or a straightforward story. They want it to be heightened. Otherwise, it’s like, Are we just getting lunch? What’s happening here?
The truth is how you feel about something. The exaggeration is what makes it a performance. Like, take my weed mom joke. The real truth behind it is that sometimes I think having a little buzz actually makes you a more engaged parent. That’s the premise. Then the exaggerated part is when I say, Yeah, let’s see if you can fit through the cat door! That’s not something I actually did — it’s just a heightened, playful version of the idea.
The art of stand-up is taking a core truth and making it funnier through exaggeration — whether that’s using a character, a voice, a specific image, or painting a picture with your words.
Yitzi: I give talks occasionally. My background is actually as a rabbi, and when I give a talk, I feel really self-conscious if I have to repeat something I’ve said before to a different audience.
Heather: Oh, totally. But with comedians, it’s different — we go on tour, we do shows, and we say the exact same joke, the same story, line by line. So, do I feel that same self-consciousness? Yes and no.
I think the best stand-up is a balance between being in the moment — improvising and playing off the energy of the room — but also respecting people’s time enough to say, I’ve worked on this, I’ve thought about this, and I know this is good. It’s a marriage between those two.
There’s a quote Gerry uses a lot in our comedy classes: “The amateur does new material for the same audiences. The professional does the same material for different audiences.” It’s the same with actors in a play — their job is to make a performance they’ve done seven nights in a row feel fresh every time.
If you’re really present, engaged, and trying to connect with the audience, the material naturally comes out a little different each time. I also always try to throw in a few new things — not when I’m doing a TV taping, but in live shows, that’s the beauty of it. Also, at a certain point you have a wealth of material so changing up the order, following where my thoughts naturally lead me, makes every show different.
Honestly, I think doing all new material for an audience is kind of disrespectful. Like, You guys didn’t pay to come watch me work out — you came to hear the finished goods.
I also rely on intention a lot. I’m sure you do the same with teaching or speaking. If you go on stage thinking, I hope they like me. I hope they think I’m funny, people can sense that insecurity, and it doesn’t land well. They feel like you need something from them. Even after over ten years in comedy, I still remind myself of this before every set. I set an intention, like, I’m here to make one mom feel less alone tonight. That simple shift changes everything — from I need something from them to I have something to offer you if you want it. And that completely changes how an audience receives you.
So even though I’m telling the same jokes, they never feel exactly the same. It’s like cooking the same dish for different people — it’s a little different every time.
Yitzi: That’s great. So, why is it that sometimes we think something is going to be hilarious or really interesting, but then when we actually try it out, it completely falls flat? What is it about a live audience or the difference between an idea and its execution?
Heather: There’s a sweet spot in comedy — it has to be something you care about and want to talk about, but also something the audience cares to hear about. If there’s no overlap, the joke usually doesn’t work.
But you kind of never know until you try it. Different audiences resonate with different things. That’s what’s exciting — and frustrating — about comedy. It’s a little like throwing spaghetti at the wall. One night, a joke kills, and the next night, silence.
And subtle changes can make a huge difference. That’s why recording and rewatching sets is so valuable. You might realize, Oh, this bit where I make fun of my mom works way better when I first establish that she did something mean to me. That way, the audience feels permission to laugh. But if I open with it, they might not know that I actually love her, so they hesitate. Or maybe one night, I delivered a joke like I was mad, and another night, I did it like I thought it was silly — and that totally changed how people reacted.
If you’re interested in writing comedy, one useful trick is to take note of real-life moments when you make people laugh. We all have an idea of what kind of funny we are, but when you actually track it, you might realize, Oh wow, I do voices. I didn’t even realize I was doing voices.
The best comedians make you feel like you’re just laughing with a friend. That’s the goal.
Yitzi: Are we able to rely on stereotypes to gauge what kind of jokes will land? Like, if I’m in New York City, one joke might be appreciated, but in Alabama, a different joke would go over better.
Heather: I mean, there are definitely certain things that vary by audience. If you’re doing a political joke, for example, it’s going to hit differently depending on the political lean of the room. Or if I were making fun of riding the subway, that would work great in New York but probably not as much in Los Angeles.
That said, some topics are more universal and feel a little more reliable. Relationships, family, parenting, jobs, anxiety — these are things everyone experiences in some way.
As far as what to avoid, my general rule is: if it’s your story, it’s yours to tell. But if it’s not, maybe don’t go there. Like, I’m not out here making jokes about being trans — that’s not my experience to comment on.
Ultimately, I think the most interesting comedy comes from finding those universal threads — the stuff that connects us, no matter where we are.
Yitzi: That’s amazing. Okay, this is our main question, and we’ll wrap up after this. You can take it seriously, have fun with it, or mix both. Can you share five things you know now — things you’ve learned over the years — that you wish you knew when you first started as a professional comedian?
Heather: Hmm. Yeah, let me think about that. Five things…
- Don’t take anything personally. Seriously, whether it’s a bad set, a rejection, or someone else getting an opportunity you wanted — it’s never as personal as it feels in the moment.
- Quality over quantity when it comes to stage time. When I was starting out, I thought I had to do every single show, even the ones that were terrible. But the truth is, doing five great sets is way more valuable than doing 20 in bad environments where you’re not growing.
- There’s enough for everybody. Comedy isn’t a zero-sum game. Someone else’s success doesn’t take away from yours. The more you support and uplift others, the better things are for everyone.
- You can do all-female lineups. When I first started, people would say, You can’t put too many women on a show — it won’t sell. That’s total nonsense. There’s an audience for everything, and if you build something good, people will show up.
- It’s cool to outsource. You don’t have to do everything yourself. Pay people who are better at certain things than you are. Hire someone to make your flyers, get a 22-year-old to run your social media — make your life easier. Prioritize enjoyment.
Yitzi: This is our final aspirational question. Heather, because of your great work and the platform you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would it be?
Heather: Most good to the most people… that’s a tough one. There are a lot of dicks out there. How do we start world peace? You’re the rabbi, you tell me. What do you think?
I’ve actually been doing a bit on stage where I say, Everybody should be free! I believe in freedom for everyone and peace! And if you don’t believe that… you should be shot. That’s what I think.
Does that count as an idea to spread?
I mean, I don’t want to sound cliché, but honestly, kindness. That’s the one, right?
Another thing I try to remind myself of is the importance of following things through to the end. Especially in entertainment, persistence is everything.
For example, with The Tonight Show, I had been in touch with the booker, and I sent him a set. He told me the material wasn’t right for the show. Then I sent another set, and he didn’t respond. I could have taken that as, He hates me. This is never going to happen. But six months later, I reached out again and said, I think I’ve got the set this time. And that’s how I got booked.
So yeah, following through and not being afraid to ask for feedback can open a lot of doors. And also, self-love is kind of the secret to everything. If we’re kinder to ourselves, we’re naturally kinder to others.
I feel like I should’ve given funnier, cheekier answers to this.
Yitzi: This is great. But if you want to add something, go for it.
Heather: Can I add one to the list of things I’ve learned in comedy? There will always be one guy in the front row who thinks it’s okay to put his feet on the stage. It happens all the time. And it’s never women. I’m always like, Do you think you’re in your living room?
But I try to flip it — I tell myself, Hey, he feels comfortable with me. I’ll take that as a compliment. Why not?
Yitzi: That’s great. That’s a real skill — being able to turn things around like that. It’s like comedy judo, taking someone’s energy and using it to your advantage instead of letting it drain you.
Heather: Totally.
Yitzi: Beautiful. So, how can our readers keep up with your work? How can they see your shows, follow you, or buy your material?
Heather: HelloPasternak.com has everything — tour dates, merch, all of it. I’m also HelloPasternak on all social media. I’ve got an email list where people can let me know what city they’re in, and I’ll send updates when I’m performing nearby — plus promo codes and early access to tickets.
Yitzi: Amazing. Well, thank you so much for taking the time to talk with me. I’m excited to share this. It’s really been a delight to meet you.
Heather: Amazing. So nice to meet you — thanks for everything and come to Las Vegas!
Heather Pasternak: Five Things I Wish Someone Told Me When I First Became A Professional Comedian was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.