Delivering art to a good client makes my job a joy!

Now, in every newsletter I send by email:  FREE sample forms for creative entrepreneurs: a Deal Memo, an Illustration Proposal and an Amendment to a Contract – my gift to you for being on my e-mail list!

Most of my illustration clients are wonderful to work with.  I’m blessed in that way.

However, every now and again I run into a business deal that just isn’t a virtuous match.

A recent scuffle with a not-so-ethical client has inspired me to write this article to help you avoid being stiffed on payment.

I have written about getting “ripped off” many times because it happens so often to artists.

Usually it’s their own fault for not getting a deposit up front and for not writing up a proposal or agreement.

But, let’s give the artist (and me) a break for a moment.  We are all human – we get caught up in the excitement of a new idea so much that we sometimes throw our business sense out the window.

But no more!  In this article, I’m going to empower you with two very effective tools:

1 – PREVENTION:  A method that will ensure that you are paid for your work every time.

2 – RESOLUTION:  A sure-fire method to resolve a situation when the client won’t pay.

But first, can you relate to this common scenario:

A client calls on you with an exciting idea for a new project.  They need your creative genius to transform it into a beautiful visual.  (You are flattered – and this is where the trap first opens.)

You are swept away in their enthusiasm.  You fervently begin the work without a deposit or a well-written agreement.

The project starts off great; you’re having fun bringing this client’s vision to life.

Then, they start giving you a lot more to do than what was originally planned.  They keep asking for more work and the project drags out.  You’re losing money by turning down other work because this has become the never-ending project.

You realize you’ve grossly undercharged for what you’ve been roped into.

To add to your stress, they have excuses for not making payment.  They string you out like a dead-beat dad.

Now, you feel taken advantage of and you lose all enthusiasm.  It’s become a project of dread.  When the client calls, your stomach hurts.

Where did things go wrong?

I promise you, this scenario can be easily avoided.  I know because this recently happened to us, and it’s because I let my guard down and didn’t follow my own policy of “Final payment is due before final art is delivered.”  It’s also the first time we’ve been stiffed in eons.  (And wouldn’t you know, it was a friend – they can be the worst offenders.  Needless to say, the friendship has been compromised.  Read “Doing Business with Friends” for tips on this topic)

HOW TO PREVENT BEING STIFFED

Your mother was right; prevention is the cure to everything.  Have a payment policy in place.  Here’s the policy I use (and will never again make an exception to):

PUT EVERYTHING IN WRITING:  Your price quote and your parameters should be provided to your client in writing BEFORE you start sketching or doing any work on the project.

SPELL-OUT PARAMETERS/LIMITS TO AVOID PROBLEMS:  Here’s a sample of parameters we use, which we have learned the hard way:

SKETCH LIMIT:  Price includes up to three sketches.  Any additional sketch changes will incur a fee of $100 each (this ensures that the client is very clear on what they want in the first place.  If not, then they pay extra for the extra work.)

ADVANCE PAYMENT:  We require 50% up front.  This is a non-refundable advance (deposit), so if the client changes their mind after we put 40 hours into it, they don’t get granted rights to use the art nor do they get their money back.  This protects you from working for free.

BALANCE DUE AT COMPLETION:  Specify that the full balance is due at completion.  And it doesn’t matter if they come to get the art or not, the balance is due on that date.

DO NOT give the client finished art files until the balance is paid in full.  Send low res images so they can see that it’s complete.  But don’t send the hi-res images until it’s done.  Your contract should spell this out so there are no surprises.

GRANT OF RIGHTS HAPPENS ONLY IF PAID ON TIME:  THIS IS YOUR STRONGEST PREVENTION LANGUAGE!  Make sure your proposal or agreement states something like:

“Rights to use the art are granted upon receipt of payment in full, provided that payment in full is made within thirty days of completion date.  If payment is made after thirty days of completion, this proposal (or contract) is null and void and rights will not be granted without re-evaluation by the Artist and determined in writing.  All payments made to Artist are non-refundable.”

Without a written grant of rights, they can’t legally use the art.  Never grant rights in writing until after they have paid in full, and on time.  If you don’t specify a date that payment must be made, then they can try to pay you ten years later and assume rights then. (They can try; it most likely won’t fly in court.  Even if you win, it will be a waste of your time and money.)

In my bi-monthly newsletter I share PDF’s with sample Agreement language that spells all these details out, and you can use the same for yourself.  To sign up for my newsletters, click here.

WHAT HAPPENS WHEN THINGS GO WRONG?

So your client (or friend, in my case) had you do all the work, they sucked your soul dry, and they still won’t pay you the rest of what they owe you.  Now what?

This is where you have to make a choice:  Be the victim or be hardnosed.

I don’t know about you, but I’d rather take things into my own hands than roll up in a ball on the floor and cry.

THE FOLLOWING IS THE BEST ADVICE YOU’LL EVER GET, IF YOU TAKE IT:

My best friend Bridget, the beautiful, genius Realtor in Encinitas, taught me this principle:

Give people deadlines and consequences.

And then, just as you would with a child, follow through.

DEADLINES AND CONSEQUENCES:  This works for anything, but in business it has been a lifesaver for me.  No more worrying and waiting to see if someone is going to do the right thing.  I, MYSELF, take control of the situation.

If your client hasn’t paid in full, and the work has been completed, send them a nice letter that contains DEADLINES & CONSEQUENCES, such as this one:

Dear Perry Pickle,

This is a friendly reminder that payment was due on April 5, 2012, as all work was completed on that date.  Please send full payment in the amount of $1,250 no later than April 15^th so that we won’t have to incur late fees. (NOTE to reader:  Specifics are key – you give them the due date, the reason it was due, the amount due, and a date they must get final payment to you.)

Also, be aware that grant of art usage rights will occur when payment has been made in full, as long as payment is made no later than May 5, 2012, as specified in the contract.

If payment is not received by April 15^th, please add 3% interest to your payment.  (NOTE to reader:  This is one consequence to not paying – an interest charge.)

Once payment has been made in full, you will have rights to use the artwork as specified in the contract.

If payment is not made by May 5^th, rights will not be granted and you will not have legal rights to use the art.   (NOTE to reader:  this is the 2^nd consequence, and the most important.)

Please let me know if you have any questions.  Thank you, Joe Artist

DEADLINES AND CONSEQUENCES Put you in the driver seat, which is right where you want to be at all times when it comes to your art business.

If the client does not pay by the due date, send them an updated invoice with interest charges applied.

If they don’t pay by your final date (in this example by May 5^th), send a final letter notifying them that they have not been granted rights to use the artwork and that any use will be considered infringement.

Let them know that the art will now be available for you to license or sell to other clients.  As the copyright owner, you have the right to do this, as rights have not been granted.

Send the letter by Certified Mail and make sure you get a return receipt for your records.

After sending that final letter, file it away and forget about it.  Be proud of yourself that you are a good businessperson.  Pat yourself on the back!

ALSO:  Make sure you always copyright your artwork, in the event the client attempts to use the art somehow without the grant or final payment made.  This way, if you end up in court, your filed copyrights will entitle you to attorney’s fees and other awards.

Please, take your business into your own hands.  Don’t let anyone, not even a friend, jack you around!

Maria xxoo

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“I am located in a rural area and want to sell more art from my studio, in fact all of my sales last year came this way.   How can I increase attendance and response?” Cindy

There are countless things you can do to draw attention to your studio space to make people aware that it’s there, and in being aware, they will be more receptive to attending your shows and events.

Here’s just a few of my ideas to get people in there:

1 – Hold an annual, monthly, or quarterly (whatever you want) event where you invite locals to come in and paint with you, or where you give a “free” painting lecture.  (Or charge for it, if there’s local demand for this service.)

2 – Invite local “meetup” groups to use your space to meet in once a month.  When you get people in there on other business, they’ll see your artwork and become familiar with you and your space.

3 – Team up with a local charity that does work that you appreciate, and offer to allow them to hold their next mixer or meeting in your space.  You could sweeten the pot by making a print available for them to raffle.  (I know of one charity here in my town that holds once a month special events for their members, and they change the venue each time, often teaming up with a local artist studio.)

4 – Have a once-a-month “open house” – choose one day of the week every month (say the 1st Saturday of the month) where you invite the public in and they can view your work, and maybe even have their name entered in a drawing to win a print or something of value.

5 – Team up with another artist, who has a strong following, and offer to do a joint art show (her followers will come and be introduced to your work, and vice-versa).

6 – Ask the local Chamber of Commerce (or some other local group with a lot of connections) to help co-host an event at your studio (offer something to them of value for their participation), and ask that they notify THEIR contacts of the event.

7 – Team up with a company that would benefit from putting on a show with you.  This is where you can get very creative.  We did this with Aerial 7, who put on an art exhibit for Drew Brophy and Karlee Mackie.  They wanted to do it because art is important to them, and they had the artists paint a pair of headphones that were raffled off later.  The opening night turnout was amazing!  This sort of arrangement can be very powerful.

You will notice that many of my suggestions involve teaming up with others.   Working with another person or group for mutual benefit is more powerful than anything else; both parties can pool their resources, time and contact lists.

Let me know in the comments if you have any other suggestions, or if you’ve tried any of these and what the outcome was.

Thanks!  Maria

.

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“Until one is committed, there is hesitancy, the chance to draw back, always ineffectiveness….the moment one definitely commits himself, the providence moves, too.”  William Hutchinson Murray

Money is the physical manifestation of a promise to do something in the near future.

You prove your commitment when you put your money down.

Once the money is paid, you are well on your way to the end result.

On the other side of the fence, your clients are committed when they put their money down.

ON TRAVEL:  Remember that last plane ticket you bought?  You knew it was non-refundable; there was no turning back.

The moment your pulled out your Visa card and made the payment, your mind went to where you were going to be.  For me it was Hawaii.   The day I bought our plane tickets to the North Shore, I was already surfing Puaena Point in my mind!  I was there before I was actually there.

ON BUSINESS:  Some people call me hardnosed, and heck, I’ve been called worse!  But when it comes to business, I’m very serious about keeping my little venture running.  And so, I have to weed out the committed from the bullshooters.

Often we have people come into our lives that promise us the moon (and lots of money), but don’t deliver.  Many years ago we figured out a great way to make the bull-shooters disappear and the serious stay.  (And it prevented us from ever getting ripped off again.)

Drew and I instituted a policy that requires a client to pay 50% up front (or an advance of royalties), before Drew will begin work on any art project.

I almost never deviate from that requirement, even when dealing with friends or family.  Here’s why:

Without the client’s commitment (money), they could change their mind halfway through the project.  Or their boss could choose to change direction.  Or their Board of Directors can decide to call it quits.  This is not about trust at all; it’s pure common sense.

When a client hands over their deposit, I know they are serious.  They are committed.  And that gives me the green light to move forward.

(And, I must add, your best clients will not ever have a problem paying a deposit.  We just got a commission from Google, yes, mighty and powerful Google, and they did not have a problem with our deposit requirement.)

But this doesn’t just work for clients; it works on myself, too.

ON LEARNING:  Commitment is what separates the serious from the not-so-serious.

It breaks out the losers from the winners, the criers from the happy.  Commitment is what will lead you to the end result you seek.

When you pay for a class that you plan to take, you have made a commitment to the goal of learning something new. 

A strange thing happens when we put money down on a class; we begin learning immediately, even before the program begins.  We start noticing others who know what we seek to learn.  We begin reading up on it, in advance.  We are committed.

A couple years ago I signed up for a one week meditation-writer’s retreat with bestselling author Susan Piver.  When I paid for my plane ticket to Denver and a week at the Shambala Mountain Center, I had already begun my lesson.

The money was my commitment to learning to be a better writer and to meditate more deeply.  Before I even left for the retreat center, I was learning.  I had committed with my money, which translated to a commitment in my mind.

HOW COMMITTED ARE YOU TO YOUR GOALS?

How committed are we to our goals?  The money we spend is one barometer of how serious we are.

Some people tell me that they are committed to learning about art licensing, but yet they aren’t willing to put the money into taking LIMA’s one-year course in licensing.

Some say they are committed to propelling their career forward, yet they aren’t willing to put their money where their mouth is. 

There are resources out there that can save you years of work, if only you commit.  The recent smARTist Telesummit is an excellent example of serious, committed artists who had no problem paying $500 for a two-week course to learn from the top art experts in the country.  Many say that the value they gained from that course was priceless.

Committed people aren’t afraid to spend money on consultants and coaches and good attorneys.

It wasn’t that long ago that I decided to start consulting artists on the side.  I didn’t know what to expect; I wondered who would be willing to pay me $150 an hour for my expertise.

After about my twentieth consulting client, it dawned on me that every single artist that I worked with was highly intelligent, open-minded to advice and applied it.  Things always worked out for them.  Most were already very successful.  I was surprised, because I know so many people that are the opposite.  It was refreshing.

Then I realized:  Underachievers don’t hire consultants.  Winners do.

Underachievers can’t commit.  Or they refuse to.  Or they claim that they can’t afford to take a class or course or hire someone to help.

Being unwilling to spend money to further your career or to learn something new or to solve a problem will keep you right where you are.  You can’t grow from a lack of commitment.

But those of us who are willing to put our money where our mouth is, we show our commitment, and the results show up.

What have you committed to recently that was a big step for you? Or is there something you are considering to commit to?  Please share in the comments!  I’d love to hear your say on this topic.

Maria xxoo

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“The challenge with whales is that you have to swim out to them; otherwise they don’t know you exist”

Years ago an advertising company contacted us to use Drew’s art for a promotion for Togo’s Eatery.  The company wanted to connect with Southern California Surfers.

What better guy than Drew, a surfing artist, to help them reach that goal?  They licensed Drew’s art to wrap on surf vans and bought many of Drew’s painted surfboards and hired surfers to drive the vans up and down the coast, giving out Togo’s sandwiches and Drew Brophy surf art posters.  The campaign was a huge success for Togo’s.

It was a whale of a deal for us, and it was indeed an introduction into working with companies that had a healthy advertising budget.

This year, my top business goal is to catch three whales.  In this article, I’m going to share with you the first step to creative deal-making with whales!

It’s a fact that it takes the same amount of time to complete a whale of a project (that pays extremely well) as it does to take care of a low-paying minnow.

The challenge with whales is that you have to swim out to them; otherwise they don’t know you exist.   Meanwhile, the minnows are keeping us near the shoreline in a holding pattern.

Whales are the big companies with healthy budgets, those who don’t blink an eye at your proposal if it’s something they need.  They appreciate your work and happily show up with a check.

And then there’s the plentiful minnows.   Now, don’t get me wrong here, I appreciate the minnows that have helped my business grow.  But it’s more advantageous to place efforts into deals that will earn us bigger bucks.  And some minnows are more apt to haggle on price, ask for more than they pay for, and often are high-maintenance.

And the part that many of us small-business owners overlook is this:  The whales need us!  We have talents and gifts that will benefit them, if only they knew about it.

It’s a fact that many whales end their fiscal year with money left over that should have been spent on things like sponsorships and programs.  What a tragedy!  Some of that unspent cash could have sponsored your painting tour or your special event for kids or your brilliant advertising idea.

I’m currently building my net to catch three whales this year, and one of them is going to benefit from sponsoring a Standup Paddle –n- Paint Tour we are taking across the country this summer.

The first step to making a deal with a whale is to find a whale that needs you.  Here’s how:

Grab a pen and a piece of paper, pour a cup of tea and sit down and brainstorm with these questions -

• “Who or what will benefit from my art?”  (i.e. if you paint horse portraits, companies that sell to horse owners would benefit from your art)
• “Who will benefit from my persona and lifestyle”  (i.e. if you are an enthusiastic rock climber, skater, harpist, fill in the blank – what companies would benefit from that lifestyle)
• “What company shares the same core values that I do?”  (ie. if you live for environmental causes, look for companies that do, too.)
• “What company has similar goals as I do?”  (i.e. If your goal is to teach children how to dance, team up with a company who has the same goal.)
• “What company is trying to reach a target market that I already have reached?”  (i.e. if you are well known for something, find a company that is trying to connect with others who admire that something that you’re known for)

What you are looking for is someone who will benefit from:

• Your art
• You being featured in their ads
• Your association with them
• Your upcoming events, tours or shows

Once you come up with your list of entities, the next step is to brainstorm on what you can create with or for this company.

I’ll be writing more articles that will give examples of deals to create and how to present to the company.

I hope this encourages you to chase after a few whales this year!  Please, share in the comments any questions or thoughts you have, or additional advice on this topic.

Here’s to all of us catching the big fish we seek!

Maria

PS:  At this month’s smARTist Summit, I will be speaking about Putting deals together; A totally out of the box use of creativity!  For information on this live, virtual event please click here!

ART CREDIT: The popular “Fail Whale” image at the top of this post is illustrated by the very talented Yiying Lu.  You can see her website here:  http://www.yiyinglu.com/sc/illustration and also read an interview with her about the making of the famous Twitter Fail Whale on the Drawn blog.Similar Posts:

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Circle of Life Painting by Drew Brophy

ONE MAJOR KEY TO CONNECTING WITH COLLECTORS: SOLVE THEIR PROBLEM!

Last month I almost lost sale on a large painting, and admittedly it was my fault.

But I learned a lesson and luckily, I was given a second chance.

Here’s what happened:

We thought we would try something new at Drew Brophy studios this holiday season to pump up sales and to create a personal connection to Drew’s collectors.  We held a studio “open house” the four Saturdays before Christmas.

It was a success; we had existing collectors show up and many new people who had never been in our studio before.  We sold over two dozen original paintings!

However, I almost lost the sale of the largest painting that month.

That’s because, in the hustle of being busy with many customers, I forgot one of the golden rules of selling art:

Make it easy for your customer to buy.  Solve their problems and you’ll make the sale.

One of Drew’s regular collectors, Tim, had showed up to open house and was interested in a very large painting called The Circle of Life.

His problem was this:  he needed to have it transported to his new home in Hawaii.

When he suggested that he look into shipping options himself, I agreed to let him do the work on solving that problem.  That was a mistake on my part.  It was my responsibility to take care of the shipping.  I shouldn’t have made the customer do the work on that.

A few days later he called and said that he couldn’t buy the painting after all; the shipping service that he was using for all of his other belongings wouldn’t insure the painting.

This is when I realized the error of my ways and said “let me see what I can find out about shipping and get back to you.”

I made a few calls to others who ship large items to Hawaii and got leads on different companies that insure artwork.  Then I called for price quotes and insurance information and chose the best option.

I called Tim and said “I found a good shipping price from a company that is willing to insure it.  How about this; we will build the crate for it, package and ship it and all you have to do is pay for it?”

There was a good chance that he had changed him mind on buying the painting.  But happily, he agreed to the shipping quote.  SOLD!  The Circle of Life is going to its new home Hawaii this month, and all is well.

The moral of the story is this:

Make it easy for your collectors to buy your art.  Solve their problems for them.  Ensure that their experience with you one of ease and joy.

Aren’t you glad that I am here to make all the mistakes for you?  Now you don’t have to make that one!

Here’s to cultivating many new collectors in 2012!

Maria xxoo

PS:  There are many different aspects to connecting with your collectors.  I’ll be hosting a live call with expert Artist Coach Ariane Goodwin to discuss her own wonderful ideas on how to connect with collectors.

Please join me on my call with Ariane on Tuesday, January 10^th, from 7-8 p.m. Eastern Standard Time (4-5 pm PST).  It’s free, and you can sign up for it here!

PPS:  IN THE COMMENTS, PLEASE SHARE your tips or a lesson learned when Connecting with Collectors!

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“Honest poverty is a gem that even a King might call his own, but I wish to sell out.”  Mark Twain

A bright young artist I met on the beach yesterday was concerned about “selling out”.

She’s fortunate enough to get commissioned work from local buyers in her her community, but the subject matter that some of her clients ask her to paint worries her.

I was impressed when she told me that she quit her job waiting tables so that she could paint full-time.

She took a loan to get her business started and she’s taking the leap into being a full-time artist.

That kind of committment is what leads to success.  I have no doubt she’ll go far, as she works to figure out the rest of pieces of the puzzle.  She had a lot of questions.

“Am I selling out when I paint what they ask for?”  She was taking her career as an artist very seriously, and didn’t want to make big mistakes that might hurt her future.

Every now and again the Big Sell Out Question emerges, and I’ve written about it before, on a different topic, as well as on the question of Should an Artist be Paid for their Work?

She mentioned that a lot of people wanted her to paint dogs and particular landscapes and other subject matter that she isn’t drawn to.

I pointed out that many people paint dogs and love it, because pets are their passion; but she said that’s just not for her.

I asked her what she is drawn to, what would be her preference to paint.  She said she’s working on finding her niche and her own style.

The one thing she’s sure of is this:  her passion is painting, and she’s good at it, and that’s why she has no problem getting commissions.

In the hot South Carolina sun, sand blowing in the wind, we talked about what it means to “sell out.”

Selling out is not what a lot of people think it is.

Selling out is when you agree to do something that goes against your personal values, just for money.  For every single person, selling out is different.  We all have very different personal values.

For example: a person who doesn’t believe in drinking alcohol would be selling out if they accepted a commission from a liquor company.  A person who abbhors corporate America is selling out when they accept a large grant that’s funded by Microsoft.

Painting subject matter that isn’t your favorite isn’t necessarilly selling out.  I look at it like this:

An emerging artist, still working out their niche and their style, will benefit from the opportunity to paint in different styles, mediums and subject matter.

They may be asked to paint something they normally wouldn’t, only to discover a spark of energy, one that wakes up a part of them, and through that exercise they discover something that they love!

Experimenting can open an entire new world of possibilities for an artist.  And at the same time, you don’t have to go back to that old job that doesn’t do anything for your art career.

Waiting tables vs. Painting dogs:  At least with painting dogs (or any subject that’s not your favorite), you’re getting time in the studio, practicing dealing with clients, learning the business, working with colors, getting paint on your hands.  Waiting tables contributes little to your art career.

So what do you think?  Should an emerging artist abstain from painting what she isn’t drawn to?  Is it selling out?

I’d love to hear your thoughts in the comments below!

Maria xxoo

Pin-up girl image above courtesy of http://www.zazzle.com/pinuppro

PS:  I’m on vacation here in South Carolina, beaching it every day, and writing a book that will help artists with art licensing contract langauge.  I’ll keep you posted on the progress!

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A huge amount of my effort goes into public relations, all with the goal of building up the brand of Artist Drew Brophy through media exposure.

Why?  Because exposure = popularity = interest = fans = sales = success.

The hard to swallow truth is this:

The most successful people are not necessarily the most talented; they are the best marketed.

Many people mistakenly think they have to go out and spend money on advertising to get press.  But for small business owners, that’s not always the best way to go.

Free press is so much better than paid advertising!  When you’re written about in an authentic story of interest, the public is more likely to pay attention to it.  And, it’s better because it’s free…leave the expensive advertising to the Coca Colas of the world.

Having an authority (like a newspaper or magazine or blog) to write about what you’re doing gives you exposure and credibility. And the more of those 2 things that you get, the more people will know about you AND will trust in what you do.

In the past few years, Drew’s art has been on the COVER of many publications: Surfing Magazine, Eastern Surf, Airbrush Technique Magazine, Longboard Magazine, So Cal Magazine, Pinstriping &  Kustom Graphics and SC Times Newspaper, to name a few.

He’s also had full color art in magazines such as Playboy, Spin, Surfer, Juxtapoz, Art Business News, Royalties and License.  (And then there’s numerous mentions in trade magazines, too many to count.)

And though I’d love to say that all of these publications come running to us for a story, that would be a lie.

The truth is, we work at it constantly. We send out press releases  several times a year and we keep in close touch with the media.

But, how do you get an editor to care about what you’re doing?

By sending a proper press release: According to expert promoter Artist Tara Reed, a press release is “a one-page document that tells a specific piece of news about your business – it’s an announcement.”

There is a strategy for sending press releases, and I’m going to share it with you, along with information I pulled from Artist Tara Reed’s wonderful e-book titled LEARN HOW TO BE A PRESS FRIENDLY ARTIST (This book is not just for artists, it’s applicable to ANYONE looking for details on how to write and submit press releases.)

I’ll use my most recent press release as an example of how sending out a press release is effective in getting free press:

I sent a press release to announce that the Cox Network in San Diego picked up my tv show, THE PAINT SHOP.  (You can see the press release here.)

To announce the news, I emailed a press release to publications and online news sites.

The result: Over a dozen blogs and media/news websites picked up and listed my release AND we got an interview with a writer of a column called JOE SURF in Laguna Beach, which made it into the printed paper that week.

HOW TO CREATE/SEND A PRESS RELEASE CHECKLIST:

1.)  HAVE SOMETHING TO ANNOUNCE:  You have more interesting things to announce than you think!

THE KEY IS TO NOT SELL, BUT TELL.  What I mean by that is:  You want to send out “newsworthy” releases, not advertisements.    Here’s just a few ideas for you:

• You changed companies
• You won an award
• You wrote a book
• You signed a new deal or license or partnership (get your partners approval before sending)
• You have an event coming up, like a “ten years in business” party or an art show
• You’re doing something great for a charity
• You’re paddleboarding 225 miles down the rapids of the Grand Canyon
• Anything that could be considered Newsworthy!

2.)  CREATE YOUR “MEDIA HIT LIST”: Make a list of RELEVENT media sources and their contact information.  This can be done in an Excel spreadsheet or your e-mail program where you keep lists.

Many years ago when I started compiling my lists, the internet was not a source of information.  I did it the old-fashioned way – I would pick up a newspaper or magazine and I would find out who the editor or journalists were, and add them to my press list.  Now, most of the information you’re seeking can be found online.

Separate your contacts into groups, so that you only send what’s relevant to each group.   Don’t send a story about a local event to someone in another state (or anything obviously irrelevant).  You will quickly be put on their “spam” list and you will kill any chance of them paying attention to future releases.

INDUSTRY LIST:   Since Drew is a surf artist, I focus heavily on the surf and action sports industry publications such as Surfer Magazine, TransWorld Surf, etc.  There are many online news websites in the industry as well, such as Surfline.com.

LOCAL LIST:  Since many newspapers like to write about local people, I also keep a list of relevant journalists and contributors to local newspapers such as the Orange County Register and the SC Times and Sun Coast News.

3.)  WRITE YOUR PRESS RELEASE – There are professional standards to how a press release is written and structured, and you can find help with that online, or you can buy HOW TO BE A PRESS FRIENDLY ARTIST by Tara Reed, where there are sample releases and a lot more information.

Here are a few quick tips:

• Have a compelling title, so that your press release isn’t trashed.
• Keep it to one page, so it’s not trashed.
• Make sure it’s interesting enough, and never ever seem like you’re selling something, so it’s not trashed.
• The overall goal here is this:  Write it so that the editor doesn’t throw away your release!

Writing a release often takes me all day long, no kidding.  I obsess over making it interesting, compelling, well worded and properly written.  But it’s worth the time that I put into it because I always end up getting at least one or two write-ups in the printed media.

You get better and better at writing releases as time goes on.  I’ve gotten good at it, though I’m still not quick.

4.) ATTACH A GOOD, PRO PHOTO – as Tara Reed says, “You want to have print-worthy images.”

We always make it a point to have professional-looking photos at the ready when a reporter calls.  The more your art or your products or your face is printed in the paper, the better.

(You can read more about photographs in my post titled WHY ARTISTS SHOULD SHOOT THEMSELVES.)

5.)  POST YOUR RELEASE TO AN ONLINE DISTRIBUTION SITE: Tara Reed goes into great detail on this in her book.  Basically, an online press release site puts your release on the internet, which can be picked up by search engines.  It’s like putting on public record your announcement, and it stays there, always.

Some of these sites charge for use, and some are free.  I use the free one called PRLOG.Org, which I found through Tara’s book.  I am not opposed to paying for a press release site, I just haven’t found the one I want yet.  I’m still cogitating on that.

6.)  EMAIL YOUR “MEDIA HIT LIST” your release.  Be sure to send it to the media which is relevant.  Then be ready should someone call for an interview or more information.

If you get a call from a writer, jump on it immediately. They work on tight deadlines, and if you don’t respond quick enough, they’ll move onto the next story.

I hope this was helpful.  If so, you can thank me by leaving a comment!  Or, leave a question in the comments.  Either way, I want to know what you’re thinking.

Maria xxoo

*I refer to Tara Reed’s HOW TO BE A PRESS FRIENDLY ARTIST e-book often, as I’ve learned quite a bit from it.  Even though I’ve been doing press releases for over ten years, the rules keep changing!

I highly recommend this 80 page e-book if you want help with:  Properly wording your press release; Understanding of how the online distribution sites work; Samples of press releases; Tips on how to entice the media through headlines, and so much more.  It’s extremely thorough.  (I am an affiliate for the book, which means that if you buy a copy I will receive a small commission.  I only recommend items I find to be of incredible value, and this is one of them.)

 Similar Posts:

• Self Promotion is NOT a Dirty Word – 11 Ways to Market Yourself
• Say Yes! To All Opportunities for Media Exposure
• Branding Art from Surfboards to Greeting Cards – by Kate Harper

Drew Brophy Art Exhibit at Surf Expo

I have a pet peeve:  Leaving a message for someone and then the  person doesn’t return my call.  Nothing makes me more frustrated!

Have you ever tried making a call to someone you want to do business with, and you just can’t get them to come to the phone? You leave a couple messages, and STILL they won’t call you back. Finally, you give up and assume they don’t want to do business with you.

But, what if you had met them at a trade show? Then, when you called they would be more likely to talk to you, because now it’s personal. You aren’t just a stranger on the end of the wire.  You two have already met – heck, you’re practically friends now!

And that leads me to this question that I often get from my readers:  “Should I spend the money and time to exhibit at a trade show?”

My answer is “YES, if you want someone to pick up the phone when you call them!”

I know many creative entrepreneurs who claim to want to find success, but aren’t willing to make an investment in their own business!

And by investment, I mean, they are reluctant to spend money to make money.

Trade shows can be costly, but they can also catapult your business to success.

If you are in a business where you have something to sell (art, technology, yourself), then yes, you should attend trade shows.

It’s a golden opportunity to meet the people you need to meet.

We live in a global marketplace, and no longer can you survive by doing business just with customers in your own area.

A trade show brings people from all over the world to do business together.

Often other artists will ask me “wow, how did Drew get a deal with Converse” or “how did you guys set up that sweet license with Hinano Tahiti clothing?”

The answer is always this: we knew someone who opened the door for us.  Most of our license deals have came from knowing someone already, or meeting them at a trade show.

If you’re serious about doing what you say you want to do, you have to spend the time and the money to get face-to-face with the people who you want to do business with.

Three reasons to attend a trade show in your intended field:

EDUCATION:  You learn what’s hot, what’s not, and what’s happening in the world of your industry.  You are free to ask people in the same field as you what their opinions are, to help you provide a better offering.

You have conversations where you learn something about the people you want to do business with, that leads to partnerships down the road.

Often there are seminars you can attend to learn new skills.  There’s no better way to get the scoop on what’s happening without being there in the middle of the action.

SHOW OF COMMITMENT:  By exhibiting, you are able to show the value of what you’re offering.  Just by being there, you are demonstrating to possible clients, agents and licensees that you are committed and that you’ll be around awhile.

NETWORKING:  This is the most important aspect of a trade show!  A show gives you the opportunity to rub elbows with manufacturers, agents, sales reps, and anyone else involved in your field.   Most of the big deals we’ve done came from meeting someone at a trade show.

Why?  Because people want to do business with people they have met.  It’s all about trust and who you like, and who likes you.

If you’re hidden away in your studio in the middle of America, you won’t be taken as seriously as you would if you networked at shows.

Here’s just a few of the many deals we’ve made that came directly from exhibiting at Trade Shows:

• Walter Foster signed on to publish our HOW TO DRAW WITH DREW book
• Palisades Skateboards signed on for a complete line of Drew Brophy decks
• Mattel offered us a deal to redesign their “street sharks” line
• Skin-It signed Drew on for a great license for electronic skins
• South Pacific Licensing Agent:  We signed on with an agent who has gotten us many deals in Australia and New Zealand.

Being in the business of surf lifestyle art, many different trade shows apply to us.  We often attend Surf Expo, MAGIC and CHA, because many of our licensees and potential customers are exhibitors there.

We also attend License Show in Las Vegas, though this year we declined because we are shooting the first season of The Paint Shop TV Show.

If you want to create stronger, better partnerships, get out of the safety of your work space and go meet people!

Determine the best trade show for you, and the first year just walk it.  Research what is working for the exhibitors, take notes and ask a lot of questions.  That way when you exhibit the next year, you’ll be ready.

I’ll see you at the next show!

Maria

PS:  I co-wrote the book on Art Licensing Contracts.  Click below for info:

 Similar Posts:

• Most of Success is Just Showing Up – According to Woody Allen
• How we got our HOW TO DRAW Art Book Published
• Ten Questions to ask Before Hooking Up Your Art With a License