The line on the Leicester Square Theatre New Comedian of the Year listing is not phrased as a suggestion. “All contestants must stick to 5 minutes of material or risk disqualification,” it says, and that is the whole of the guidance on length. No grace period is written down, and nobody has put anything in about a light. If your closer lands at five minutes and eleven seconds, the rule as published says you can be thrown out. That is a competition you queued nine months of heats to reach.<\/p>\n
That single sentence is the most useful thing a newer act can read this autumn, because the new-act season is currently mid-flow. A competition run is three separate tests wearing one name, and most acts prepare for only one of them. The Leicester Square semi-finals run 26 to 29 November 2026 at the Museum of Comedy, all four nights at 19:00. The venue is The Undercroft at St Georges Church on Bloomsbury Way. It is a crypt with a low ceiling, and the audience sits close enough to hear you breathe. Komedia’s entries for its 2027 award close this week. The BBC’s grand final is being filmed at Birmingham Town Hall in October, which is a long way from a crypt in both directions.<\/p>\n
Between five and seven minutes, depending which one you enter, and the caps are enforced. Leicester Square is the five: stick to it or risk disqualification, with \u00a31,000 for the winner. So You Think You’re Funny? allows “up to 7 minutes of original material” at its regional showcases and the same at the Grand Final. The Komedia New Comedy Award asks for a “seven minute set of their own original stand-up material”. The BBC New Comedy Awards route in differently again. They ask that “Comedians should submit a video of themselves performing”, rather than naming a stage length up front.<\/p>\n
Two minutes does not sound like much of a difference until you try moving a set across it. A seven-minute Komedia set does not become a Leicester Square set by trimming the tag off the end. You lose an entire third joke and the run-up to it. Build both versions before you need either, and rehearse the five as its own thing rather than as an amputated seven. Also, honestly, time it on your phone at home rather than trusting the promoter’s stopwatch. A room that laughs harder than your bedroom will eat forty seconds you did not budget for.<\/p>\n
The first filter happens before you get anywhere near a stage. For the Komedia award, “27 semi-finalists will be selected from clips”. Before any judge sees you in a room, a file has already done the work. The BBC route is the same shape: a video of you performing, submitted by the deadline. That deadline was 23:59 on Sunday 5th July for the 2026 cycle, so nothing about that comedy competition is open now. Put the July date in next year’s diary while you are thinking about it.<\/p>\n
A clip is a different craft problem from a heat, and acts who would happily spend three weeks rewriting a punchline will film one on a phone propped against a pint glass at the back of the room. The people watching are on a laptop, possibly with the sound low, with twenty-six other submissions to get through. What they need to hear is a laugh from an audience that is clearly present, and what they need to see is your face. For competition purposes the clip and the set should match, because whatever gets you selected is what they will expect in January.<\/p>\n
The clearest recent account of what separates a competition set from a merely good one comes from Chortle’s Tim Harding, reviewing the previous Leicester Square cycle in January 2026. That run drew more than 300 acts across 40 heats, narrowed to 14 finalists, and Roman Harris won it. Harding’s description of the winning five minutes is worth copying out in full: “His set was very impressive – structured carefully as a five minute introductory mini-narrative which laid out his backstory and his comedic concerns, subverted audience expectations and even provided natural callbacks.”<\/p>\n
Every clause there is a build instruction. A backstory, so the room knows who is talking. Comedic concerns give the five minutes a subject instead of a playlist. Subverted expectations, which is the actual joke work. And callbacks, which is the only structural trick that makes a five-minute set feel longer and more finished than it is, because a callback tells a judge you planned the thing.<\/p>\n
The second-placed act in that same final had, in Harding’s words, “clever, strident writing that her body language is not yet managing to mirror – her static positioning on stage and lack of animation let her down a little”. Strong writing came second to structure and movement, which acts who rate themselves as writers tend not to believe until it happens to them in front of fourteen finalists’ worth of family.<\/p>\n
So You Think You’re Funny? reached its 39th year in August 2026, with nearly 500 applications, a final of nine competitors doing seven minutes each in the Debating Hall at the Gilded Balloon, hosted by Laura Lexx. Joshua Khoury won it, Bobby Jethro came second, Lucas Jones Ho and Sarah Lewis were joint third. Steve Bennett’s review of that night is the best available field guide to how a strong act loses a comedy competition, and none of the failures were about not being funny.<\/p>\n
One was a pacing problem, which Bennett pinned on an act who had the room but was not pushing it anywhere:<\/p>\n
\n“However she’s a bit too comfortable on stage as she doesn’t show much impetus to land on unexpected punchlines as she chats amiably about being childless.”<\/p>\n<\/blockquote>\n
Comfortable is a compliment everywhere except a seven-minute final. Another act lost on structure rather than material: “And a routine about fat statues is rather too convoluted for too little pay-off,” Bennett wrote, which is the most competition-specific note in the whole review. A long build with a small pay-off is affordable in a twenty-minute club set where you have already banked three laughs. In seven minutes it is most of your allocation spent on one bet. A reference in the same set was judged too specific to land. Bennett’s praise for the winner went the other way, to “a great ear for phrase-making and great eye for comic detail” – density, in other words, rather than scale.<\/p>\n
None of that is official judging criteria, just one reviewer’s account of one night. But it lines up uncomfortably well with Harding’s account of a different competition seven months earlier, and when two rooms in two cities reward the same things, that is worth planning around. Whatever you do, do not decide on the night to solve a flat start with fifteen seconds of improvised chat with the front row. A timed heat is the worst possible place to learn what crowd work costs you. And if it does go badly, it goes badly for roughly four minutes and then you go to the bar, which is a shorter ordeal than most of the ways a set can die<\/a>.<\/p>\n
Fifteen spots, three years, and the agent question<\/h2>\n
The eligibility caps are worth reading before you write a word of the set. So You Think You’re Funny? is the tightest: “The performer must not have performed more than 15 stand-up spots (including open spots) before 1 June 2025.” Fifteen, open spots included, which a keen act can burn through in a couple of months. It also requires that “The performer must be unsigned from any comedy agent or management company at the time of applying” and that you have not done, and are not planning, a solo hour at the Fringe. Applications for 2026 have closed, and the organisers say to keep an eye out for 2027 announcements towards the end of the year.<\/p>\n
Komedia is looser but still bounded: acts who have “been gigging regularly for less than three years but have not won any major comedy competition”. Leicester Square is looser again, open to “any non-professional act who’s been performing for 5 years or less”, and explicitly welcomes character acts, musical acts and sketch groups. The BBC New Comedy Awards accept “comic performers of any genre (stand-up, character, sketch and musical)”, which is a reminder that the whole route is not stand-up-only, whatever the finals photos suggest.<\/p>\n
One live discrepancy to flag before you file your Komedia entry. Beyond The Joke reported the deadline as “Wednesday 30th September”. Komedia’s own show page currently reads “Entries are now open until the 01\/10\/2026”. Those are a day apart, and the sensible move is to treat 30 September as the real one and stop thinking about it.<\/p>\n
A bottle of fizz, a trophy, and a 30-minute audio pilot<\/h2>\n
Worth being clear about what is actually at the end of this. Leicester Square pays \u00a31,000. Komedia’s winner gets “a bespoke award, a bottle of celebratory fizz, and a spot at award-winning Comic Boom Comedy Club”, which is one more bottle of fizz than most gigs hand out. The 2027 final adds an Audience Choice Award, voted for by ticket-holders on the night, for the first time. The BBC’s is the biggest single package: “a paid commission to write and perform their own 30-minute audio pilot under the mentorship of a BBC Comedy Commissioner, plus a trophy and \u00a31,000 cash”. Amy Gledhill is head judge, and the winners list since 1995 includes Alan Carr, Tom Allen, Lucy Beaumont, Josie Long, Nina Conti and Rhod Gilbert. That audio pilot is the only prize here that behaves like a commission rather than a booking, and the BBC does buy comedy at volume elsewhere: Radio 4 recently commissioned 19 stand-ups and five pilots<\/a>. So You Think You’re Funny? gives its winner a cash award and a fully paid-for run in the Gilded Balloon’s Fringe programme, plus a paid slot in the Comedy Arena at Latitude. A Fringe run is a prize and a workload at once, and it works best for acts who already know what they want the show to become afterwards<\/a>.<\/p>\n