January 5, 1998 -- You must work hard on your self-promotion to keep your name alive, build credibility, and ultimately put money in your pocket. Present a strong, helpful image, solve problems, give others (clients, prospects, and the media) in return more than they give or expect, and make sure they come away with a good feeling about you, your business, and your music. Remember this: ego has nothing to do with this. Ruthless self-promotion is about making your business stronger by leveraging the success you've achieved into more success. First you must have an initial success then go crazy telling the world about it. Recognize that your success comes through careful diligence, growing your business day-in and day-out, slowly and methodically. Keep your eye on the prize and the goals you've set for yourself. And make the most of every opportunity presented to you.
January 12, 1998 -- Recently Tom Lord-Alge talked extensively to Mix about his mixing technique. I was particularly struck by this little piece of advice: "I have a boombox in the back of the room . . . as if I were sitting in an office listening to music," explained Lord-Alge. "I want that other perspective that most people have when they listen to music. When I mix on the boombox, I'm just mixing for balance. I'll shut off the monitors and listen to the boombox for vocal levels and guitar cues, whatever. I do probably 40% of my balancing on the boombox." Let me add my own tip: Check all your music mixes on a full range system, cassette walkman, TV speaker, car stereo, and boombox. Try to make a mix sound great using the worst possible scenario -- a telephone. If it's intelligible over the phone, chances are it will be fantastic on fuller range systems.
January 19, 1998 -- Do you want to do music for multimedia? Here's how. First, get a copy of the Multimedia Source Book from Hi-Tech Media (or call 212-447-6400). This book lists over 6800 companies specializing in multimedia production. These are the people who may buy your music for their multimedia projects. Next, use the techniques in my How to Make Money Scoring Soundtracks and Jingles book and put together your killer demo tape and promotional material. Finally, send your package to the music buyers from the Multimedia Source Book and follow up with them. Now work hard to land that first gig and then leverage that initial success into more paying music projects.
January 26, 1998 -- As I've said many times before, everything you do is a promotional opportunity. When you are at music stores, industry events, trade shows, meetings, and more, make sure you have a supply of business cards or other promotional material. It will surprise you when the most mundane circumstance results in a lucrative client. Join local trade organizations and, more importantly, go to the meetings. Talk with everyone you meet and don't be shy about letting people know what you do. It might help if you practice describing your work in 20 words or less: "Hi, I'm Jeffrey P. Fisher. I compose music soundtracks and jingles for commercials, video, and business. What do you do?"
February 2, 1998 -- If you are really serious about getting every last penny from your music, you might consider gathering some up and producing your own music library. Let's face it, some producers will never buy an original composition from you even if it makes their program better. They may buy a collection of your work though. Use your music library both as a profit center of its own and leverage it for more lucrative original music gigs. It makes a great demo that clients can buy, keep, and use while you make a little money on the sales. Also, work hard to land some original music work from the contacts you make selling your library. All unused music tracks and tracks where you retain the rights can put some extra cash in your pocket. You need about 20 tracks or 60 minutes of music to make an ideal music library volume. While diversity may seem a better deal, a collection of music in one particular style can be very attractive, too.
February 9, 1998 -- One of the best business planning tools you can use is tax software. I'm fond of Kiplinger's Tax Cut. It has a nice question and answer format that's a snap to use and understand. What's especially helpful about the program is how you can play some "what if" scenarios. I plug numbers into the various sections and see how they effect my tax bill. For example I can see how much I can contribute to my pension plan, whether I should take actual car expenses or the standard mileage deduction, and how the home office deduction effects my profits. Though you can use it to file your taxes, it's useful throughout the year, too. You can plug numbers in each quarter and see how your taxes are going. Short of a radical change in the tax law, the figures you get with the old (1997) software should be a close approximation of your actual (1998) situation.
February 16, 1998 -- If you're not sure of the moneymaking and money-saving advantages of running your own music business, here are two readily-available books I suggest you add to your reading list. Keep Your Hard-earned Money, Tax Saving Solutions for the Self-employed, by Henry Fellman (Pocket Books) clearly explains all the tax saving benefits of running your own company. Its major focus shows you how to convert everyday living expenses into legitimate, deductible business expenses. The Millionaire Next Door by Stanley and Danko (Longstreet Press) presents some surprising insight into the wealthy. It stresses the importance of frugality and wise spending and investment choices to build wealth and not just make money. If you make $100,000 a year, but spend $99,999, you'll never be wealthy despite your above average salary.
February 23, 1998 -- Commercial music is a hard business to break into. Here's my best advice: Work in your local area and build relationships with production companies, advertising agencies, radio and TV stations, and so forth. Deliver your best work all the time and stay in touch with the people who hire you. Remember that people get promoted or take on new jobs and responsibilities. They move on to bigger and better things and often take their *friends* with them. I've landed big gigs from people who were struggling to just get by a few years ago. Now they have bigger budgets, are in a position to hire people, and know my work. All my effort at cultivating relationships has paid off handsomely.
March 2, 1998 -- Are you looking for some money to pay for new gear, finance an advertising campaign, or do you just need some quick cash? Have a garage sale. That's right. Go through your closets, attic, basement, garage, and gather up all those doo-dads you no longer need or want. Price your things at about 10 to 15% of their original purchase price, take out an ad in your local paper, make a few signs, and spend a Saturday earning some easy money. Remember that when you sell things for less than you paid for them, you do not pay income taxes on the money. This is tax free income for you. You can make a tidy sum -- several hundred dollars -- with a single garage sale. Use the proceeds to finance whatever you need today. I've sold several pieces of gear from this Web site and through my MBBB catalog in an attempt to both eliminate items I no longer need and to raise a little cash for future projects.
March 9, 1998 -- I get lots of questions about the traditional music industry -- songwriting and recording contracts. Please be aware that my experience is in the commercial music business of jingles and soundtracks. For the best information about the regular music business, and for an ideal place to market your self-published music, go to the Creative Musicians Coalition. My friend, Ron Wallace, has dedicated his career to helping independent musicians. Plus, his Aftertouch magazine devotes itself to showcasing and selling independent releases. For more information, drop by and say I sent you.
March 16, 1998 -- To sell commercial music services you should prepare a demo tape of your best tracks. I suggest selecting about 20-30 pieces and prepare a montage of short snippets lasting about 8-15 seconds each. What is especially good about this approach is you include only the best parts of each track on the tape.While not every track needs to be commercial, it helps if they have impact and make a good, strong impression.
March 23, 1998 -- What is the secret to success in the music industry? It seems people want to know some shortcut or magic formula to fame and fortune. Well, I must confess that I worked my butt off to reach my current level and suggest you do the same. The first step is to package your talent -- demo tape, video, promo kit, photos, etc. -- and then send it to your market (labels, agents, ad agencies, and so forth). You can't possibly succeed in the creative music world without packaging and presenting what you do well. Songwriters: put your music on tape. Singers: Put your demo together along with a good head shot. Jingle/Soundtrack composers: Package your demo along with a solid sales letter and brochure of your services. This is the best ticket to success. And remember that your hard work, persistence, and talent will eventually pay rich dividends.
March 30, 1998 -- If you've read my books or looked at some of the material on this site, you already know I mainly focus on making money in the music industry. I'm a big fan of increasing your income, reducing your expenses, saving and investing the difference, and using that money to support your current and future lifestyle. There are a myriad of investment choices out there and I urge you to become familiar with saving and investing. However, often people are unable to invest because the minimums are so high. You need $1000 to buy a Treasury Bond. You need $1000 to buy shares of a mutual fund. My bank has a $500 minimum for CD's. Recently the discount broker, Charles Schwab, raised their minimum account to $2500. That's fine if you have the cash, but what if you have less money to invest? Are you stuck with a savings account that's paying 2-3% (if you're lucky)? There is one solid investment for the tiny investor: US Savings Bonds. Yes that's right. Today the often unjustly maligned savings bond is paying 5.59%, and the minimum investment is a mere $12.50. You can convert them to cash instantly and you don't pay taxes on the growth until you redeem them. They have little risk as these bonds are backed by the full faith and credit of the United States. You buy them at half their face value in convenient denominations ($25, $50, $100, etc.) and they grow at variable rates set every May and November. If you have little to invest, US Savings Bonds might be just right for you. Later you can redeem them and invest in other, higher growth vehicles when your earnings and savings have appreciated significantly.
April 6, 1998 -- There seems to be way too much confusion over copyrighting music and lyrics. Let me say it once and for all: COPYRIGHT PROTECTION IS AUTOMATIC! You do not have to do anything special to be given copyright protection for your creative work. You just need to affix your music, lyrics, book, et al in a tangible medium. That means write it down or record it on tape. Once you have done that your work gets all the copyright protection available. Now there are some advantages to registering your copyright with the Library of Congress, specifically with regard to damages in an infringement case, but registering is optional. Let's face it: infringement in rare. And you can't copyright your original idea only the way it is specifically conveyed. Check out my Copyright FAQ for all the real information. By the way, band names can't be copyrighted; they must be trademarked.
April 13, 1998 -- Providing excellent customer service is key to building your music business. Make sure to respond to all inquiries about your business promptly. Mail all marketing and promotional material by the fastest way possible and the same day you get the request. And return all phone calls on the same day, too. Use the remote retrieve option on your answering machine if you'll be away. Even if you don't get the person who called, make sure you leave a message to show that you indeed tried. Often I'll send a quick fax or e-mail message to those I miss. When they return, my message is waiting for them.
April 20, 1998 -- There's a terrific new book out by Jonathan Clements titled 25 Myths You've Got to Avoid if You Want to Manage Your Money Right: The New Rules for Financial Success (Simon & Shuster). This invaluable resource clearly explains why the old rules of finance simply don't work in today's money world. Clements delivers his healthy dose of skepticism with wit, style, and common sense. He's right on nearly every point and you would do well to study this guide and apply its advice in your financial planning. I've already made several changes to my personal and business finances and haven't even finished reading the book yet.
April 27, 1998 -- Do your best work for those who buy and they'll become your best sales representative. They will go out of their way to tell others about what you did for them. Don't go for the quick sale; build clients for life. Work hard to cultivate healthy, long-standing relationships with your clients. Help them anyway you can and they'll help you in return by recommending you to other prospects. Thank your clients publicly for their business. Be their best advocate. And let your other promotional gambits such as news releases, sales letters, newsletters, ads, etc. reinforce this message.
May 4, 1998 -- It is good business to get advance retainers from new clients. In all my contracts I try to get some money up front, usually 33% of the estimated bill. The reason is simple. Writing music is custom, by nature. Once you begin, the music may not be appropriate somewhere else. By getting money first, you have more leverage should the client decide not to continue. Plus, this payment usually helps weed out the serious people from those who might try to take advantages of you.
May 11, 1998 -- Though some stress is important to your well-being, too much stress can adversely affect your mental and physical health. When you take charge of your musical career, you become responsible for so many details that the stress of handling it all can be overwhelming. What makes running your own business so exciting and challenging is the same thing that can really damage your life. So, I consulted with the US Department of Health and Human Services for these tips to either prevent or minimize the effects of stress on your daily life. Try physical activity. Release all that pressure through exercise. Just a brisk walk may help reduce stress levels. Share your stress. It may help to talk through matters with a friend, family member, or fellow business colleague. Don't just unload your troubles. Make the session productive by working through your stress and arriving at possible solutions. Know your limits. If a problem is beyond your control, don't fight the situation. Learn to accept some things as they are. As the adage goes: Don't sweat the small stuff. And by the way, it's all small stuff anyway!
May 18, 1998 -- If your are planning on using your home as your base of operations, you may uncover some conflicts with other family members. Use these tips to avoid trouble. Get into a routine. You can't run your business occasionally. You must set a schedule of some kind. Also, explain your situation to spouses, significant others, and especially children so they understand what you are doing. Another crucial factor in this tightrope walk between work and family is to set up a specific work space. Finally, if you're choosing to work from home so that you can spend more time with your family, one solution may be to combine some child care with your home routine. Even a sitter for a few hours each day can free you for important, uninterrupted business tasks.
May 25, 1998 -- This week is a good time to review your progress for the year. What have you accomplished? Are you meeting your goals? If you've strayed off course, now is the time to make the changes that get you back on course. If you're reasonably satisfied with your growth so far, give yourself a well-deserved reward. Treat yourself to something special. After completing a new score or jingle, I usually buy a book or CD and curl up on the couch for some R&R.
June 1, 1998 -- How is your networking going? Your goal is to use casual, personal contact to reach others who could either use your music or know someone who could. As I've said many times before, everything you do is a sales opportunity. When you are at music stores, industry events, trade shows, meetings, and more, make sure you have a supply of business cards or other promotional material. It will surprise you when the most mundane circumstance results in a lucrative client. I was recently at a real estate closing when a lawyer asked what I did. I told her and much to my surprise she had business for me. We meet later this week. My advice is simple: Talk with everyone you meet and don't be shy about letting people know what you do. It might help if you practice describing your work in 20 words or less, too.
June 8, 1998 -- It's easy to get caught in the saving and investing mind set. However, don't neglect how sometimes spending money generates even more money. For example: Spend $40 for my How to Make Money Scoring Soundtracks and Jingles book. Use the information you learn to land just one small commercial music gig. Let's say you get the going rate for a two-minute music track keeping all rights: currently about $800. Now you've earned a startlingly 20 times return on your modest 40 buck investment. You'd have to sock a whopping $10,000 in an investment paying 8% to get the same cash return. Now you tell me: which is the wiser, more prudent investment? I firmly believe that intelligent investing in yourself in a careful, controlled, and cohesive manner will often yield larger dividends than simply plopping the same cash in your savings account. Make sure you keep your perspective, though. Don't become either a miser or a spendthrift. But when an expenditure helps you create more success (and more money), you might be better off to write the check.
June 15, 1998 -- When your band is asked, don't say who you sound like. This can kill your chance if you pigeonhole your music and image by saying: "We're the new Aerosmith, dude." Instead, use this subtle tactic. Tell those who ask who'd you OPEN for. Say: "Our sound would make an ideal opening act for (fill in the blank)." What you are really saying is that your brand of music would complement this headliner and that their fans should be yours, too! Are you looking for a good gimmick that might help get you in the door? Try to create a product that ties in with your image. A band called Government Cheese sent their record to radio stations accompanied by a five pound brick of -- you guessed it -- government cheese. A band called Pray for Rain sent sunglasses, emblazoned with the band's logo, along with their promotional kit. These examples help get attention, but are futile unless you persist and follow up.
June 22, 1998 -- Here are three crucial parts to your success in the music industry. One: Grab attention. Every day we get bombarded with messages. You must learn to set yourself apart from the barrage. Two: Position your offers. What sets you apart from the crowd? What is your particular strength? What benefits, solutions, and results do you provide exclusively to your clients? Make sure you use that information in all your selling appeals. Three: Carve out a niche. You can't be all things to all people. You must find your own piece of the market and work it hard.
June 29, 1998 -- I've noticed an increasing number of people are sheepishly apologetic for the promotional messages on their sites. I'm not talking about banner ads and so forth. This disturbing trend has people saying how horribly sorry they are to blatantly promote their product or service. If you want to be a music business success, don't apologize for your promotions. You do not need to be coy about plugging your products and services. There is nothing wrong with letting the world know that you can help them or make their life more enjoyable. Just make sure your promotions talk about the benefits of having/using your product/service and don't cross the line into an egotistical tirade.
July 6, 1998 -- Some of my favorite film scores relied heavily on electronics. If you plan to pursue a commercial music career, you need to do two things. First, buy (and read) my How to Make Money Scoring Soundtracks and Jingles book. Second, study the following scores: Twin Peaks, Angelo Badalamenti; Witness, Maurice Jarre; Scarface, Giorgio Moroder; Miami Vice, Jan Hammer; Blade Runner and Chariots of Fire, Vangelis; Risky Business and Thief, Tangerine Dream; Never Cry Wolf, Mark Isham; and PBS' Millennium, Hans Zimmer. After you've learned from these works, pick up any soundtrack by Bernard Herrmann (especially North by Northwest or Vertigo) and learn the rest from the Master.
July 13, 1998 -- According to a survey by OfficeTeam the average executive spends about 17 minutes per day on hold. Smart companies use this opportunity to deliver information to these busy executives. And YOU should provide on-hold services to these companies. With even the most rudimentary recording setup you can produce on-hold messages for businesses in your area. My Make Money Recording On-Hold Messages booklet reveals the step-by-step strategies and secrets -- both what to do and how to do it -- to success and instant CASH! This sideline business is an ideal way to diversify your services and not let your equipment (and talent) sit idle.
July 20, 1998 -- Just read this interview in MIX magazine and thought I'd share this thought-provoking quote with you. "MIDI has made musicians lazier! Players become insulated in their own home studio environments, and that's bad. If you're sitting and programming a sequencer all day, go out and play with people at night or on weekends. Less is more. Focus on what is the most important element for the listener to hear from moment to moment. Find a balance between technical perfection and raw emotional spontaneity." -- Paul Wickliffe
July 27, 1998 -- For a recent session we needed a shaker sound to complete the percussion track. Unfortunately we didn't have a shaker nor did we have the luxury of an open, nearby music store. So we went to the grocery store spice section and picked up a 2.37 oz. bottle of McCormick brand Whole Black Peppercorns. Upon returning to the studio, we removed exactly 1 tablespoon of peppercorns from the package, replaced the top, and "shaked" the night away.
August 3, 1998 -- All publicity is good, even negative stories. That's mostly true as long as the negative side isn't something horrible or controversial. A shooting spree by a disgruntled employee at your studio is NOT good publicity by any means. However, fair criticism by a reviewer of your latest music software product isn't going to hurt you unjustly. All good reviewers try to find the pros and cons in a product. Use the positive to your advantage by sending article and publicity reprints to your clients and hottest prospects. Use the negative observations as the impetus to improve your product or service.
August 10, 1998 -- Plenty of demo tapes arrive in my mailbox and I've noticed two disturbing trends. One: too many tapes lack contrast. The music sounds the same from track to track. Part of the problem is the single synth/sampler syndrome that results in a certain "sound" to all tracks. The solution is to mix it up with many styles, instrumentation, and so forth. Consider bringing in real musicians. An all synth track is OK, but real guitars, horns, and such add a new dimension to your music and make your demo tape much stronger. Two: If you're going to try to emulate real instruments on a keyboard, you must work very hard to make the track convincing. I hear flute solos that suffer horribly from "iron lung" syndrome. The part goes on and on never giving the player a chance to breath. It's unrealistic and no human could play the part. The solution when emulating wind instruments on keys is to sing or hum the part as you play it. This way you'll know when to stop and take a breath before playing the next phrase better imitating the style. Better yet: get a real horn player on the track!
August 17, 1998 -- One of the secrets to success in today's music industry is to become a lifelong student. You need to know and understand what is going on around you. That means researching the business, your market, and more. There is a wealth of information out there that's ready to help you succeed -- if you only know where to look. Read the local paper, read a major metropolitan paper, read a news weekly magazine, read industry magazines, read magazines outside your area of interest, surf the Web, and so forth. Keep looking and you'll find the information you need to succeed. One Sunday Chicago Tribune possibly has more information in it than an American Revolution soldier could get in his lifetime. Wow! Now imagine the 'Net. The information available to you is staggering. Never in history has any human had better access to information. What are you going to learn today? More importantly, how are you going to use what you learn to expand your music industry career options and opportunities? (BTW: My Free Tips section is a great place to start!)
August 24, 1998 -- Testimonials are a popular -- and effective -- promotional technique. You just need to look at the movies section in your daily paper to see dozens of these endorsements. I think most of these ads a pure hype and I'm confident they do little to impress people to see a movie. However, real testimonials can be powerful and motivating. Here's how to do it right. After you've achieved something significant for your clients, ask if they wouldn't mind putting their comments down on paper. With these words in hand, use them to promote your success to others. I ask my clients to write a letter of recommendation and use copies of these letters in my marketing kit. Or I quote specific passages in letters and brochures. You should do the same. This third party validation of your work is important to diminishing the fears of prospects who haven't purchased from you before. When you either get or solicit testimonials, make sure you get written permission to use what is said. I write a short letter thanking them for the comments, show them what I want to use, ask them for permission, have them sign on the bottom, and return the signed letter to me.
August 31, 1998 -- Your telephone is one of your most important means of contacting prospects and clients. Make sure you have a professional voice mail message on the line for times when you'll be away. When using the phone to make sales calls, practice what you're going to say and learn to be personable, helpful, and enthusiastic on the phone. Make sure you rehearse your technique. You might find it helpful to script your calls or, at least, the answers to your prospect's most frequently asked questions. Having your notes in front of you can help you get over the anxiety of phone calls. Here's another sure-fire tip. Just before you pick up the receiver, take a deep breath, exhale slowly, inhale again, and smile. Your relaxed, friendly smile comes through during your call.
September 7, 1998 -- If you compose soundtracks and jingles here's a terrific way to turn your old tracks into cash. A prospect recently called and asked for music for a spec project. He could only afford to pay a small fee so he asked if I had any appropriate music around that he could use. I suggested a few tracks and made a quick demo from which he used two different tracks for his film. I spent 30 minutes remixing the music and he picked up the master tape the very next day. The charge was $150 for the music. My time invested was less than two hours. So by simply recycling old music tracks, you too can keep money coming in. Since you can't rely on prospects and clients asking you for this service, you need to develop a formal system. One: Select appropriate music from your past work. Two: Create a demo tape of the best tracks. Three: Develop a flyer or brochure offering this service. Four: Sell the music for a flat rate offering non-exclusive rights to your clients.
September 14, 1998 -- Make sure you have everything you need to follow up with prospects and clients first before you start promoting. I worked with a client who was wholly unprepared to do business. They jumped in without preparing anything and put things together as needed. This put tremendous pressure on them and others. Everything was a rush job and usually ended up costing way too much. Subsequently, their promotions lacked consistency and often failed miserably. Don't let this happen to you. Figure out what you need and put it in place before you take a single step.
September 21, 1998 -- Choosing a name for your music business or band is a difficult yet critical promotional step. You want to be original, but you also don't want to waste time and money explaining what you are or do. Pick a name for your company that will stand the test of time. Amalgamated, Inc. is not a good name by any means. Commercial Music Producers is better. Intriguing names can be great for musical acts, if you don't mind explaining where the name came from and what it means all the time (e. g. Veruka Salt). Still your unique name gives you a great promotional hook. Other things to avoid are names that are easily misspelled or mispronounced; they're just not worth the inevitable battles. For example, Federal Express simply changed their name to what most people called them anyway: FedEx.
September 28, 1998 -- If you're in business, you make sales presentations. Here are some tips to help you sell more faster.
October 5, 1998 -- One of the most crucial roads to success is to find out what your market wants and then position yourself to give it to them. No matter what you sell, focus on your market, narrow it down to a single segment, find out what that niche wants, and show how you fill that need precisely. For example: your band wants to play at a popular club. Ask yourself what does the club owner want? You might say they want to provide quality entertainment to their patrons. That would probably be second on their list. They want to hire a band that can pack the house. More importantly, they want to hire a band that can pack the house with people who drink and eat a lot. That's why establishing a track record of success is so important. You need to show that you have a following and that these people come to your gigs. Get testimonials from other club owners who have benefited from your playing when pitching the new club owner.
October 12, 1998 -- Keep a log on your computer of all your client contacts. I suggest you summarize your meetings whether by phone or in person. With my database I record pertinent information about each inquiry I receive. When they call again I quickly scan the file and use that information to adapt my conversation. This often impresses people when I remember them or something they said or did in the past. "By the way, how did that jingle gig go for AAA Towing?" Companies don't do business, people do business together. Look for other ways to connect personally with people and build long term, mutually beneficial relationships.
October 19, 1998 -- Another key ingredient to success in the music industry is to make sure you work to your strengths. Take a long, hard look at what you do best and also recognize your shortcomings. If you present well in front of people, you should concentrate on promotions that get you in that situation. Try giving talks and seminars and work hard to get face-to-face meetings where you can really shine. Perhaps you do better on the phone. Then let the phone be your main promotional tool. That may mean a lot of cold calls, but some of your other promotions may heat up your telephone pitches for you. I'm a strong writer so I use words to attract much of my business. How about you? Capitalize on your specific skills and start selling!
October 26, 1998 -- Would you believe that 90% of the music business is self-employed? It's futile to think you can land a music industry "job" working for someone else. That's why you must learn to work for yourself, to run your own business. No matter what part of the music business you choose to pursue, acquiring solid business skills is crucial. You need to know how to manage people and projects, how to promote successfully, and how to manage your finances. Jettison the résumé. Instead get a business background to combine with your musical talent and you'll have the foundation on which to build your successful career.
November 2, 1998 -- If you work hard at your music business career, you will have some customers. Some of these people will be really good customers. These people are special and you should treat them much better than a casual buyer. One suggestion is to give them a special rate on your music products and services. Make these offers too good to resist. What you really do when you make such an offer is show how much you care about these people and give them a discount as thanks for their continued support. Also, you generate some new sales, too.
November 9, 1998 -- You must master writing skills to be successful in business. Until such time as you can hire someone to handle your writing chores for you, you'd better improve your own abilities. Keep this in mind. Writing is not typing. Writing is communicating with the written word. Don't take this point for granted. You will write during your career. You will write promotional material. You will write proposals. You will send e-mail. And people will read what you write. Make sure you take steps to make sure your writing serves the fundamental purpose: to communicate ideas and information. Take the time to organize your thoughts. Use simple, everyday language and write short, action-packed sentences that progress in a logical way. Make sure to proofread what you write and revise as necessary. Check your spelling, too.
November 16, 1998 -- Another skill every creative artist must master is finding your unique "voice." This goes beyond just talent and style. It is what you are all about, the message you deliver through your music. Don't expect to easily or quickly discover your voice. Most artists develop their voice through a body of work. How do you find your creative voice? Make composing part of your daily routine. Take time and listen to music, too. Pick artists you admire and compose in their style or write in a style with which you are unfamiliar. Let others listen to your music and ask for their detailed criticism. Put your music down in a permanent record. Don't just drop snippets on tapes and file your music away in a box in the closet. Put out your CD as a record of your artistic achievement. Go back a listen to it after some time has passed. Compare what you've written in the past to what you write now. Has your voice developed? Or are you still struggling with your vision?
November 23, 1998 -- If business is not going well for you, take a step back and review. Listen to your demo. Is this your best music or can you do better? Evaluate your sales material. Are you making a good offer? Are you addressing your prospect's concerns and solving her problems? Or are you just boasting about yourself? People will tell you what they want. Are you delivering that with your music and other promotional material? Are you building your promotional network? Or are you sitting on your hands waiting for the phone to ring? Get up, get out, and get active. What promotions have you tried lately? Are you sending in publicity? Posting flyers? Mailing promotional kits? Delivering your demo in some wacky way? Are you building relationships with people or just trying to get sales? Don't give up easily. Fight for what you want. And remember day-in, day-out, methodical, persistent, and consistent promotion is what ultimately works to make your music business career stronger.
November 30, 1998 -- Despite my contempt for résumés, they do serve a purpose in the traditional employment arena. The usual rules still apply: highlight the real results you've achieved during your work history in a neat and organized presentation. However, today many résumés, especially those sent to larger companies, are scanned, stored, and retrieved via software. This means when people are looking for job candidates they search the software database for key words. You'd better make sure your résumé summarizes your skills and talents in a few key words. While the typical paper résumé would use a lot of action verbs (directed, taught, saved, etc.), the software searches look more for nouns (such as job titles). The savvy job searcher will find most of these key words in the prospective company's employment ads. Use them!
December 7, 1998 -- You've finally reached a prospective customer by phone. Now what? Many people may try to get you off the line by asking you to send them your promotional material. Hold it a minute. You are here to help them through your music products and services, not just send out information. So don't be put off by "Send me your stuff." Ask them if they use what you offer, if they have any projects coming up, and so forth. Get a conversation started and use this chance to show how you can benefit them. You might find it helpful to script the answers to your prospect's most frequently asked questions. Having your notes in front of you can help you get over the anxiety of calls. And don't forget that you should be talking only a small part of the time, under 30%. Listening to your clients and prospects is essential. If you give them the chance, they will tell you their problems and concerns. Now it's up to you to use this information to position yourself and show how you can help.
December 14, 1998 -- So you have a Web site. Now start promoting it. Include your Web URL on business cards, letters, brochures, e-mail signature, indeed everything that you use. Don't forget to register your pages with the popular Internet portals such as Yahoo, Excite, and so forth. Make sure you don't just register your site features. Most registrations let you enter the site URL, the page title, and a brief description. Use the title and description to promote your best benefits. Don't register: "Bob's Music Store Home Page. " Do register: "How to buy the best guitar for the least money."
December 21, 1998 -- Create a calendar and keep your name in front of prospects and clients 24-7. Make sure to include advance event information such as upcoming gigs, seminars, open house, and so forth. Choose a theme that relates to your music business. If you run a studio, fill your calendar with important dates in recording history, tips, words of wisdom, or other information related to the specific products and services you promote and sell. Maybe include some monthly offers such as discounts, too.
December 28, 1998-- Commit right now to improve your current standing in the music industry in 1999. If you are reasonably successful, set your goals a little higher. How about a 20% increase in revenues? If you haven't yet earned a single dollar from your music, work extra hard next year to make that first buck. Then, try to make $10, then $100, then $500, then . . . (insert your dollar figure here: $______.) I made a whopping 50 smackers on my first music gig. That did more for my confidence and motivation than any other thing. Somebody paid me to play. Now I just had to find somebody else willing to pay me. And so it goes . . .
This document Copyright Jeffrey P. Fisher, 1998
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