If you think about it as your only opportunity, you aren’t leaving open the possibility of developing a meaningful relationship. And strong professional relationships are what will grow and sustain your art career.
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]]>There is so much pressure when you’re making new connections.
I get it. You want to hit a home run when you contact someone about your art. You don’t want to blow the opportunity.
Maybe you’re planning to send an email to an interior designer, set up a meeting with an art consultant, or write a letter to a gallerist.
You want the recipient to show your art, buy your work, or represent you.
Whatever the situation, you’re not alone in wanting to get it just right.
Let’s see if I can alleviate some of that pressure for you.
Think About This Differently
Much of the stress of meeting new people comes from the mistaken notion that this one contact is your only opportunity.
If you think about it as your only opportunity, you aren’t leaving open the possibility of developing a meaningful relationship. And strong professional relationships are what will grow and sustain your art career.
Instead of thinking about your first contact as a one-time chance, consider it only an introduction—your first of many contacts.
You never want to ask for anything in the first contact with a new prospect.
Introduce yourself to people in order to build lasting relationships, not to try to get something from them.
It Takes Longer
Nurturing relationships is a long-term investment in your art career and life. It’s a process, not a one-off correspondence.
You are building name recognition and trust throughout—proving you are in it for the duration.
There is no perfect timeline for this process. It requires patience and commitment.
If you’re staying in touch and following up, you’ll know when the time is right to ask (for representation, a show, a referral, whatever).
This was first published on March 19, 2014 and has been updated with original comments intact.
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]]>The post How I Screwed Up My Pitch and What You Can Learn From My Colossal Error appeared first on Art Biz Success.
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As I was preparing for this event, I approached someone that I wanted to sit on this panel of art experts. I broke all of my rules for pitching ideas to people and couldn’t have screwed up the situation worse than I did.
Here’s how it went down in an only slightly edited, simplified version.
Me: We’ve never met, but I teach artists how to build their businesses. I’d like to stop by and introduce myself.
Other person: I don’t see how this would benefit us.
Me: Fair enough. I like to know people who work with my clients, and was going to ask you to sit on a panel featuring [persons X and Y]. I just didn’t want to ask you without meeting first. Thank you for your time.
Other person: Alyson you should explain in more depth why you care to meet with people and your business introduction. (Not edited.)
Me: My error. I apologize for wasting your time.
I was feeling all kinds of icky about the whole thing. So I decided just to drop in to this person’s business a couple of hours later to smooth things over. The person wasn’t in, so I talked with the assistant who seemed to know exactly who I was. (More ick.)
Never heard from them again, so I guess I didn’t do any good.
Here’s the thing: It was my fault. I didn’t follow the rules for introducing yourself that I share with clients.
I erred by asking for someone else’s time without showing 1) how it could be beneficial for the other person and 2) mentioning connections we had in common.
How I Should Have Delivered My Pitch
If I had been following my rules when I asked this person to sit on my panel, I would have sent an email that looked like this.
Dear X,
I’ve been admiring what you do at x. I especially enjoyed seeing y. Shows that I know about this person’s work.
Although we have never met, I’ve been in touch with [this person] who suggested I contact you. Mention person who referred by name.
[Explain my panel and event here.]
I think you would be an excellent asset to our panel (authentic flattery) and might even meet artists that you could work with in the future (benefit). If this is of interest, I invite you to check out our website at http://artbizmakeover.com. I’m also happy to drop by and introduce myself in person, although I’m sure you’re very busy (understanding that their time is valuable).
Thank you for your consideration, (a note of gratitude)
Alyson
How You Can Apply This
Follow this formula for introducing yourself to people who might benefit your art career or help you in any way.
Dear X,
Paragraph 1: Show you know the person/venue/organization. Mention anyone you have in common.
Paragraph 2: Explain why you are writing in 2-3 sentences. If you have something of value to the other person, make sure they clearly understand what you’re offering. Get to the point!
Paragraph 3: Flatter authentically, if appropriate, and acknowledge their professional stature.
Sincerely,
Y
This works because recipients have almost all of the information they need to make a decision. Don’t mess it up by writing too much or over-explaining. Long emails almost always get passed over.
I hope this formula saves you from screwing up your pitch like I did.
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]]>Most of these actions work well with arts administrators, arts writers, gallery directors, or curators. Any one of them would be a step in the right direction.
1. Add VIPs to your postcard distribution list.
You can’t do this with your bulk email, and you should be able to understand why a postcard in the mail is a gentler introduction than an email from someone you don’t know.
Always include a personal note.
2. Become a fan of Facebook pages that are simpatico with your goals.
Like the pages as yourself and as your business page so that you can see the status updates in both of your Facebook feeds.
Join the conversations on these pages and leave comments as your business page. This allows other visitors to click through and see your art.
3. Send a letter of admiration.
No one is immune to flattery!
People in administrative roles are no different from practicing artists. We all like to hear that our work is appreciated.
Compliment VIPs on their programs, exhibitions, books, or articles.
4. Write articles about your work.
In our How to Get Your Art Published in Magazines audio program, Leah Fanning Mebane suggests writing articles about your art and shares how she gets multiple articles and blog features every year.
Send copies of the published articles to the VIPs on your list as appropriate.
5. Be seen.
Attend lectures, gallery talks, and openings whenever you can.
Become a familiar face to the VIPs since familiarity breeds trust.
6. Introduce yourself!
This is probably the most overlooked step. In a room full of art cognoscenti, set a goal of meeting two or three new people that are on your “I need to know them” list.
VIPs are human, too. They are there for the same reason you are: to be seen and to meet people.
How are you getting noticed?
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]]>Do you attend meetings to hear the speaker and leave without connecting with other members?
Two weeks ago my team received an urgent email from Ramon Magee from the Summit Art organization in Lee’s Summit, Missouri. He said his speaker for the evening had cancelled and they needed a program.
I got on the phone with Ramon and, in lieu of my hopping on a plane to fill in for their errant speaker, suggested a networking exercise. I gave him the specifics of how it could work and, after he thought it sounded good, I sent him a document that he could reproduce and use with his members.
He promised to report back to me on how things went.
“WOW what great feedback we got!,” Ramon said, adding, “this was better than a speaker.”
Of course, I don’t want to put myself out of a job. I’m very proud of how I facilitate networking at my workshops and seminars. My favorite part of the work I do is connecting artists to one another – whether it’s at my live events or in my online classes.
But I would be selfish if I didn’t share the goodies with you.
So . . . here’s the exercise for you to use with your own group. Just don’t wait for a speaker fail to make it happen.
Networking Exercise for Artists
Allow equal time for each participant in a group of 2-4 people. Someone must be in charge to facilitate the time and group organizing.
- Introduce yourself to someone new – don’t stick with your usual crowd!
- Practice introducing yourself as an artist to see what is most effective.
- Discover something you have in common.
- Find out what s/he needs most right now.
- Offer an idea, contact or resource to help with that need.
- Bonus: Think of something to collaborate on.
- Allow 15-20 minutes at the end for people to share what they learned.
Ramon added this about the Summit Art experience:
As an observer, during the exercise I was able to witness the sincere and open exchanges in the groups. They were showing each other cell phone images, and having genuine conversations. Sometimes the dynamics were between two each of the group of four then would change to four then back to two.
In the end they want to do it again, which we will. They all felt that the general meetings left the group seeing but not knowing either the person next to them nor those whom they see across the room. They come, each to their “own pew”, or with a friend/s they know, then leave with organization news and a learning experience provided by a quest speaker.
I suggested to the group that we might also use this format for idea generation for our organization. They agreed and seemed hungry for more……..which is great.
Use It
I have adapted this networking exercise from another speaker and I wish I remembered where I first heard of it so I could share credit.
Since connecting artists is a top value in my business, I’d love to help you by sharing this networking exercise download. Just promise you’ll share the results with me.
So, how can you use this? Can you see a way to adapt it outside of a meeting?
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