Determine whether you will use clips or mic stands. Mic stands offer a wider variety of placement options and can allow the drummer to keep the mics from impeding his playing. However, having upwards of 8 to 10 mic stands can be expensive, hard to transport and difficult to position on stage. Clips are easy to transport and assemble but can get in the way of the drummer if not placed correctly. If you choose clips, the Audix D-Vice and the Shure A56D are the standard, but there are off-name clips on the market as well.
Decide which drums and cymbals will get a mic. Consider the number of mics you have as well as how many channels on the mixer can be allotted to the drummer. Realistically you will need three to four and often more to get an accurate sound. Depending on the size of the club, you may be able to get away without a mic for your crash cymbals but you always want to mic your kick, snare and hi-hats when possible.
Consider using a personal mixer for yourself. This way you can plug as many mics in as you have channels on the mixer. Plug up your mics and mix in everything the way you want and send the mixer out to the sound guy. With this, he will only be able to control your overall volume so you will have to carefully set your mix. However, this is the best way to avoid getting stuck with only one or two channels for your sound.
Set the mics on your snare and toms off of the drums by only a few inches. If possible, angle them slightly to pick up a wider range of sound. For optimal placement on the toms, place the mics to the left of center from the toms left of the bass drum and to the right of center for the toms on the right. They should only minimally interfere with drum rolls at this point.
If you play a lot of closed hi-hat, you will need a mic fairly close to the the hi-hats. If you do not have many mics or are short on mixer channels, you can cheat and use the same mic to pick up the hi-hats and the snare drum but only do this as a last resort. Use a boom mic stand, if available, to get a better range of placement options. For the other cymbals, one mic in the general area of a bunch of cymbals will likely suffice to pick up these higher pitched sounds.
Use a mic specifically made for low frequencies (below 100Hz) for the kick drum. The Audix D-4 and D-6 are acceptable but for large bass drums (20" and above) consider the top of the line Shure and Yamaha mics. The sure Beta 91 does not look like a traditional mic in that it lays flat on the inside of the drum itself to pick up a wider range of sounds. The Yamaha Sub-kick comes with its own stand and picks up a larger range of low frequencies than cheaper mics. With the exception of the Sub-Kick, you will need a low-profile mic stand to position the mic. If your bass drum is ported, put the mic inside of the drum for the most accuracy.